Properties associated with business and tourism exist in abundance throughout Carmel. Significant examples should retain a high degree of integrity. Significance would be enhanced by association with prominent members of the business community and with specific businesses or business types that were pivotal in the town’s economic development.
Due to relative scarcity and the importance in representing the continuum of development within this context, pre-automobile transportation resources would have a high degree of significance. Due to the prevalence of adaptive reuse, there would be a lower level of integrity expected for these resources.
Significance of resources within this context would be enhanced by association with individuals that played important roles in the development of the Carmel business community or promoted tourism in the area.
4.0 GOVERNMENT, CIVIC AND SOCIAL (1903-1986)
4.1 Civic Development and Incorporation
In addition to assisting with the early formation of community and cultural institutions, James Devendorf also acted as the unofficial mayor, resolving disputes between residents. Ultimately, however, he could not create the kinds of ordinances or regulations necessary to control development or shape public improvements. A group in favor of cityhood circulated a petition for incorporation in October 1916. The County Board of Supervisors approved the petition and scheduled an election for October 26. There were 199 votes cast with 113 in favor and 86 against. At the same time, the first Board of Trustees was elected.
There were five members in the total with two holding two-year terms and three holding the four year terms. The Board then elected a president to a two-year term. The charter members included A.P. Fraser, president, Peter Taylor, G.F. Beardsley, E.K. DeSabla and D.W. Johnson. In addition, Louis Slevin was elected treasurer and J.E. Nichols was elected as clerk. In 1920 Saidee Van Brower was elected City Clerk. Serving until 1942, she started and kept the only city building records. The position of City Clerk became elevated to City Administrator when Hugh Bayliss was promoted in 1968. In 1978 the system was slightly modified when the office of Mayor was changed to a publicly elected position. William Askew, Sr. was superintendent of Public Works for thirty years. Also employed by the city, William Askew, Jr. also served as the superintendent of Public Works for thirty years.
In 1917, the first official City Hall was located in the Philip Wilson Building on the northwest corner of Ocean and Dolores. In 1927, City Hall was located upstairs in the Oakes-Mitchell Building on the west side of Dolores between Ocean and Seventh. It moved again in 1946 to the old All Saints Episcopal Church on the east side of Monte Verde between Ocean and Seventh. The Department of Public Works was located in the little green building on the southwest corner of Mission and Seventh with the Police Station. In 1966, the new Public Works/Police Station, designed by Burde, Shaw & Associates and located on the east side of Junipero between Fourth and Fifth, was dedicated.
From the beginning there has been general agreement among Carmel residents for slow growth and preservation of the residential character of the village. One of the first city ordinances prohibited the cutting down of trees on public land. Determined to keep the rural setting, residents also fought the Attachment 3
32 introduction of paved streets, mail delivery, and electricity. Public improvements and development continued, but not without controversy. Even the paving of Ocean Avenue, which did not occur until 1922, was so hotly debated that the issue had to be resolved in court. Another battle raged over the development of the Dunes, a stretch of the beach at the foot of Ocean Avenue. A resort hotel planned for the site was defeated when a group of residents successfully persuaded Devendorf to sell the land to the city for $15,000. Citizens voted four to one in favor of its purchase.
Another hot issue was the bathhouse on Carmel beach. The bathhouse, constructed in 1889 for Women’s Real Estate Company by Delos Goldsmith, served Carmel with dressing rooms and towels, had a tea room, and served as a meeting place and a site for wedding receptions. The City of Carmel purchased the building in the 1920s. However, the cost of upkeep and the potential for lawsuits should someone drown while using the life rope which extended from the bathhouse to the ocean, led many to question ownership of the property. The bathhouse was sold in 1929, and later demolished.
Battle lines over such issues were usually drawn between the art and business factions in the community.
Perry Newberry became one of the central leaders of the art faction. Newberry had come to Carmel in 1910. Formerly on the art staff of the San Francisco Examiner, he became the assistant editor of the Carmel Pine Cone and later its owner until he sold it in 1935. He was first inspired to run for public office in response to a proposal to construct a city hall, an idea he opposed. He successfully ran for the Board of Trustees in 1922 and fought to preserve the unique and rural quality of Carmel. He promised voters:
Believing that what 9,999 towns out of 10,000 want is just what Carmel shouldn’t have, I am a candidate for trustee on the platform, DON’T BOOST. I am making a spirited campaign to win by asking those who disagree to vote against me.
DON’T VOTE FOR PERRY NEWBERRY:
If you hope to see Carmel become a city.
If you want its growth boosted.
If you desire its commercial success.
If concrete street pavements represent your civic ambitions.
If you think a glass factory is of greater importance than a sand dune, or a millionaire than an artist, or a mansion than a little brown cottage.
If you truly want Carmel to become a boosting, hustling, wide-awake, lively metropolis, DON’T VOTE FOR PERRY NEWPERRY.
In an effort to control the postwar building boom, Carmel re-established a new Planning Commission in 1946. The newly re-organized Commission was comprised of Bert Heron, former City Council member and mayor; Hugh Comstock, architect; Clara Kellogg, city trustee and co-creator of Devendorf Park; and Florence Josselyn, wife of Talbert Josselyn, a writer for the Saturday Evening Post. 68 All members were
either part of the artistic element or were avid supporters of it. This group of individuals was responsible for codifying some of Carmel’s most recognized planning restrictions, including bans against billboards, electric signs, and displays over sidewalks; requirements for off-street parking at motels; a two-story building height limit and appropriate setback; a restriction against sidewalks in the residential districts; and the most notorious of all, an ordinance requiring a signed waiver for anyone wearing high-heeled
68 Harold and Ann Gilliam, Creating Carmel: The Enduring Vision, 1992.
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33 shoes. In 1954 the Commission hired San Francisco planner Lawrence Livingston, Jr. to author a city plan, which he submitted in 1956. Highly controversial, the plan made such suggestions as eliminating vehicular traffic on Ocean Avenue to create space for an open-air pedestrian mall.69 After a series of revisions, the Carmel General Plan was adopted in 1959.
Throughout the history of the village, Carmelites have appreciated the urban forest and sought to preserve it. In 1945 a gentleman denied a request to cut down his tree sent a poem to the Monterey Peninsula Herald: “I asked them to cut down that tree; I was prepared for ‘ifs’ and ‘buts’; they answered me in one word – ‘nuts.’”70 Carmel formally declared its respect for local trees in the establishment of a forestry commission in 1958. Driven by the determination of council-member Gunnar Norberg, the Forest Commission took the responsibility of the City’s trees from the City Council and placed it in the hands of a forester. The city’s first forester, Robert Tate, was quoted as saying, “Without the trees, the city would be little different from many other coastal villages in California.”71 Carmel’s urban forest took a toll on city sidewalks, as tree roots damaged asphalt and pavers. On October 9, 1963, in an effort to curb injury claims, the City Council decided to make it illegal to wear high heels without obtaining a special permit and signing a waiver of legal claims.
4.1.1 Civic Policy Development: 1965 - 1986
City government officials and residents continued their concern with the commercial and tourist pressures on the small village in the forest. Planning policy regulations were aimed at updating the 1959 General Plan, and various emergency building moratoriums, curbs on commercial and residential development, and measures to handle the massive influx of nonpermanent residents were implemented with much wrangling among citizens and city officials.
After winning the highest number of votes in the 1968 City Council election, businessman and pragmatist Barney Laiolo became the City’s appointed mayor. That same year, there was an influx of hippies seeking to expand the Summer of Love to Carmel’s quiet streets; many occupied Devendorf Park, the beachside sand dunes, and the downtown business district, and some solicited tourists and residents for money.
Laiolo did not favor violent police intrusion, but police did quietly address illegal mischief. On July 31, 1968, the City passed a controversial emergency ordinance that regulated the use of public property. The State Supreme Court rescinded the ordinance in 1971, with the Carmel Pine Cone declaring, “sitting on the grass is legal now.”72
In the 1970s, planning policy aimed to control commercial development and new restaurant construction in the downtown and the construction of large homes in residential zone. As previously described, the commercial building moratorium approved on July 24, 1973 was meant to address “the needs of permanent residents in relation to the needs of the mushrooming commercial district.” It was the first building moratorium enacted by the City since its 1916 incorporation. The moratorium was proposed by planning commissioner Albert Henry Hill, who identified an alarming new trend of out-of-town business capital placing pressure on the little village. Indirectly referring to the proposed size and scale of expanded Carmel Plaza, Hill stated that the new business interests’ intent was to “buy up, tear down, rebuild – and make it big to pay.” Hill was backed by fiery councilmember Gunnar Norberg, who warned
69 Harold and Ann Gilliam, Creating Carmel: The Enduring Vision, 1992. 70 Steve Hauk, “Carmel Determined to Keep its Charm,” Monterey Peninsula Herald, 1 June 1970. 71 “Carmel Determined to Keep its Charm.”
72 Gualtieri, Kathryn and Lynn A. Momboisse, A Village in the Pine Forest: Carmel-by-the-Sea, 2016, 11.
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34 of “far more serious things that appear on the horizon, huge enterprises coming from outside to remake Carmel block by block.”73
The moratorium was extended to give the City time to perform studies to determine the best solutions to excessive commercialization, and work on amended development standards. 74 In December 1973, the
Planning Commission voted unanimously to adopt an ordinance to amend the general regulations for commercial buildings, amend uses within commercial zones, and change the height definitions for commercial structures; the City Council voted to officially adopt the building control ordinance in March 1974.
75 Norberg cast the singular dissenting vote because he did not consider the building controls strict enough. The ordinance was aimed at insuring adequate open space, limiting maximum commercial building size and height, and encouraging second-story apartment uses. 76 Residential development was another issue of the 1970s, when Carmelites began to express concern about Carmel losing its historic and stylistic character. In 1972, the City Council asked the Planning Commission to discuss a residential design ordinance and the implementation of design controls to residential properties, which heretofore only applied to the commercial district. Then-councilmember Barney Laiolo disagreed with the request noting, “It’s pretty hard to control people’s taste. One man might want a flat-top roof, another might like a peaked roof.” Councilmember Olaf Dahlstrand, former head of the Planning Commission, agreed, stating, “You can’t legislate beauty. One of the dangers (of design control) is that something really good that’s ahead of its time might not get approved.” Finally, City Councilmember Gunnar Norberg convinced the City Attorney to draft an ordinance that would “prevent gross intrusions against the residential character of the village, and that would take into account the complex policing job that might be created.” 77 In 1978, City Councilmember and former mayor Bernard Anderson voted against a proposed moratorium on the new construction of two-story homes in the residential district.78 These matters would not be resolved until the adoption of the 1984 General Plan.
Additional ordinances were proposed throughout the 1970s – all aimed at keeping Carmel “Carmel.” In 1974, with planning commissioner Albert Henry Hill noting “sixty persons to each restaurant in Carmel to me is ludicrous,” the City Council passed an emergency ordinance banning any new restaurants. An ordinance banning the use of illegal kitchens in the residential zone was also passed in 1974, in an effort to curb illegal cooking in boarding rooms and transient apartments. While these efforts continued throughout the decade, with much discussion among planning staff, commissioners and the public, these various concerns would not be addressed significantly until the adoption of the 1984 General Plan.79 The culmination of over one decade of discussion was the passing of the Carmel General Plan Update in December of 1983. Officially adopted in 1984, the new General Plan sought to address concerns about commercial overdevelopment, to foster small-scale commercial development in the business district and residential design controls. Plan highlights included:
73 “Carmel Votes 4-Month Building Moratorium,” Monterey Peninsula Herald, 7/25/73. “Rewriting Effort Begins on Zoning,” Monterey Peninsula Herald, 8/2/1973.
74 “Carmel Votes 4-Month Building Moratorium,” Monterey Peninsula Herald, 7/25/73; “Rewriting Effort Begins on Zoning,” Monterey Peninsula Herald, 8/2/73; “Building moratorium extended eight months,” Carmel Pine Cone, 11/15/1973, p.33.
75 “Planners adopt altered commercial restraints,” Carmel Pine Cone, 12/20/1973, p.10; “Council adopts building control law,” Carmel Pine Cone, 03/21/1974.
76 “Planners adopt altered commercial restraints,” Carmel Pine Cone, 12/20/1973, p.10; “Council adopts building control law,” Carmel Pine Cone, 03/21/1974.
77 “City Attorney Asked to Draft Ordinance on Residential Design Control,” Carmel Pine Cone, 8/10/72. 78 “Retiring Councilman’s Last Vote Stymies Move to Ban Two-Story Homes,” Carmel Pine Cone, 3/14/78. 79 “Moratorium Proposed on New Restaurants,” Monterey Peninsula Herald, 11/21/74; “Two Ordinances Proposed for Limiting Second Kitchens, Additional Tenants,” Carmel Pine Cone, 11/7/74.
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35 Establish a “village preservation overlay zone” on Ocean Avenue, implementing design restrictions on additions/alterations to new buildings.
New second-story retail shops are not permitted in the commercial zone; however, residential apartments are permitted, as are professional offices defined as services. New motels are permitted only in the new RC: Residential and Limited Commercial Zone, located outside the commercial zone and adjacent to the R-1 Residential Zone. New tourist-related stores (including T-shirt shops and art galleries) are only allowed in the central commercial district, subject to the granting of a use permit. New restaurants would be allowed in the central commercial district and the commercial service zones, subject to the granting of a use permit.
Commercial uses are no longer permitted in the R-4 multiple-family district.80 The City Council’s first reading of the 1984 General Plan occurred in June, with a spirited, lengthy meeting that included, “name-calling, open threats of recall and a six-hour marathon session.” The second and final reading occurred on July 3, 1984.81
During this time period, Carmelites also voted to confirm an ordinance making the mayor an elected position in 1978, a decision formerly under the purview of the City Council. In 1980, former mayor (1968 to 1972) and pragmatist Barney Laiolo became the first elected mayor of Carmel.82 Laiolo served as mayor for one term, from 1980 to 1982, and returned the city administration to a business friendly environment. The mayoral election of 1982 became another political battle between the practical Laiolo and his old foe Gunnar Norberg, the latter seeking to return the city to an anti-commercialism platform.
Despite both men’s plans, Carmel native Charlotte Townsend won the mayoral race in 1982, becoming the first elected female mayor in Carmel’s history.83
Charlotte Townsend served two terms as mayor from 1982 until 1986. After nearly ten years of hearings, she stewarded the passage of the 1984 General Plan (discussed above), which endeavored to provide a compromise between commercial development and keeping Carmel a local place. As implementation of the new General Plan occurred, business owners increasingly grumbled at the Plan’s restrictive policies, viewing the new administration as anti-development, despite its intentions to balance both commercial and local needs. To assess the opinions of Carmelites, the Townsend administration released a survey to residents in the summer of 1985, with questions regarding the General Plan policies, including the limits of new restaurants and tourist-related stores, the location of hotels and the changes to second-story development in the commercial zone. The survey was distributed to 3,900 residents. The Carmel Pine Cone summarized the preliminary responses of the first 1,000 residents in a July article, notably that the city has “too many” tourist-related shops, such as gift shops, antique shops and art galleries; and that the city needs more shops that provide goods for locals, including book stores, hardware shops, furniture and auto parts stores. What became clear from the survey results is that locals felt underrepresented in their community, again reviving Carmel’s longstanding conflict between commercialism and local needs. This controversy would lead to the election of Clint Eastwood in 1986.84 In 1985, Hollywood celebrity Clint Eastwood submitted plans for a new building on San Carlos Street.
Initial designs were rejected by the Planning Commission, who viewed the proposed Eastwood building as too large and out of character with Carmel’s village-like atmosphere. Negotiations continued for
80 “New City General Plan Ordinances Would Limit Shops, Galleries, Eateries,” Carmel Pine Cone, 4/26/84. 81 “1984: The Year in Review,” Carmel Pine Cone, 12/27/84. 82 Gualtieri, Kathryn and Lynn A. Momboisse, A Village in the Pine Forest: Carmel-by-the-Sea, 2016, 12. 83 Harold and Ann Gillian, Creating Carmel, the Enduring Vision,1992, 206. 84 Michael Gardner, “Carmel Residents Voice Strong Views in Survey,” Carmel Pine Cone, 7/25/85.
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36 months. A bitter compromise was reached in 1985 and Eastwood was granted a permit for construction of the building. The results did not sit well with both locals and the business community, the latter viewing the fight as anti-commercial and not in the best interest of business development. The battle also resulted in Clint Eastwood’s decision to run for mayor in 1986.
In 1986, Carmel made national headlines for reportedly banning ice cream. The media fervor stemmed from the denial of creamery permits (denied due to water requirements and restrictions on take-out food), misconstrued as an outright ban on ice cream. Eastwood made the issue part of his campaign, promising to bring back ice cream. Eastwood’s campaign created yet another surge of visitors onto Carmel’s quaint streets, as tourists swarmed into town to perhaps get a glimpse of the Hollywood icon. Running on an anti-government ticket, Eastwood sought to return Carmel to the people, and the actor embraced both locals and tourists alike during his campaign. Articles about Eastwood’s movements and interactions with the people dominated the Carmel Pine Cone in 1986. Both locals and tourists wrote frequent letters to the editor during the Eastwood campaign, reflecting the ongoing conflict between local and tourist needs. The Letters to the Editor page from March 20, 1986 featured both sides of the debate, with one Carmelite writing, “Clint Eastwood may be a very nice person and a smart businessman, but what we need is a person who can and will give their full-time effort to being responsive to the needs of the residents. One who will do their best to keep what’s left of the Carmel character intact, insofar as possible.” The opposing view was presented by a southern California tourist who frequented Carmel for decades: “My daughter and I are sitting here wearing Clint Eastwood pins and eating Paul Newman popcorn. Let me tell you that Clint Eastwood is more like the residents of Carmel in those days than most of the ones today.
Down-to-earth, unassuming and genuine.85
Clint Eastwood was elected mayor in April of 1986. Despite fears over a return to commercialism, Eastwood’s term resulted in several benefits to Carmel residents. He revitalized the Carmel Youth Center, providing a place for Carmel children to meet and socialize in a safe environment. He also purchased the Mission Ranch in 1986, and restored the area’s agricultural buildings with minimal intervention that both preserved the ranch’s historic character and allowed for additional open space. Though ice cream was never actually banned in Carmel, Eastwood is credited with passing Ordinance 86-10, “Amending Title 17 of the Municipal Code redefining and establishing standards for eating places primarily selling frozen dessert products” to ensure an ice cream-friendly regulatory environment in Carmel.86
4.2 Public Services
Carmel’s early residents organized to provide themselves with local public services and utilities long before the community was incorporated. In addition to the more frequently recognized services discussed below, other important community infrastructure basics include sanitation and disposal services. In 1966 a new Public Works Department building was constructed at Junipero and Fourth Avenue.87
4.2.1 Communication
The history of postal service in Carmel began in 1889, when leather mail pouches were hauled over the hill from Monterey to a small building in Carmel Valley known as the White Oak Inn. This arrangement was discontinued in April 1890. This post office was re-established in 1893, and there was an abortive attempt to move it in September 1903. At this time, Frank Powers traveled to Washington, D.C., where he successfully lobbied to have Carmel made the official post office for the area. The Carmel post office
85 “No Coney Island (Letters to the Editor),” Carmel Pine Cone, 3/20/86; “Keep Carmel Intact (Letters to the Editor),” Carmel Pine Cone, 3/20/86.
86 Gualtieri, Kathryn and Lynn A. Momboisse, A Village in the Pine Forest: Carmel-by-the-Sea, 2016, 13. 87 Sydney Temple, Carmel-by-the-Sea from Aborigines to Coastal Commission, 1987.
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37 was finally established in December 1903. The first mail carrier was A.F. Horn, who carried the mail between Carmel and Monterey on a one-horse wagon, along with baggage express and passengers.
Charles Goold, who owned a local stage and hauling company, eventually earned the contract to bring Carmel mail from Monterey. Mail was distributed from Devendorf’s office at the general store and Devendorf’s brother-in-law, J.P. Staples, handed out the mail. Burton Williams, proprietor, acted as postmaster until Louis Slevin had been a resident of Carmel for one year. Beginning with eight boxes, Slevin was Carmel’s first official postmaster, a position he held from 1904 to 1914. Slevin was followed by L.
Payne from 1914 to 1918, and Stella Vincent was postmaster from 1918 to 1929. Subsequent post office locations include Dolores near Seventh, where it moved in 1922; the southwest corner of Ocean and Mission in 1934; and the second building from the northeast corner of Dolores and Sixth. Since there was never door-to-door delivery, the post office, now located at the southeast corner of Fifth and Dolores, has always been a favorite spot to meet and chat with friends. In 1951 the post office was moved to its current location on Fifth Avenue between Dolores and San Carlos. The building received an addition and doubled in size in 1957.88
In the early days, Carmel residents devised a unique method of communication, described by Daisy Bostick and Dorothea Castelhun in Carmel at Work and Play. On an old board fence on Ocean Avenue, residents and visitors posted lost and found notices, announcements of meetings, help-wanted signs, advertisements, and bits of world news. One enterprising individual attached a pad of paper and a pencil with the command, “Leave your orders for wood here.” As the village developed, the bulletin board found new sites. It remained a community institution until recent years.
It was often said, “If you don’t hear about it on a trip to the bulletin board or the post office, you’ll read it in the Pine Cone.” The Carmel Pine Cone was established in 1915 by William Overstreet. An ex-San Francisco news reporter, clerk and correspondent, he dreamed of owning his own newspaper. Beginning on a shoestring budget with a second hand press in the room behind the post office, the Carmel Pine Cone became the voice of the village. Although the newspaper has changed hands several times over the years, it continues today as Carmel’s primary news organization. There have been numerous competitors and other local news publications; however, none outlasted the Carmel Pine Cone. Examples include the Carmel News from 1914-1917; the Carmelite co-founded by Lincoln Steffens, lasted from 1925-1931; the Village Press from 1926 to 1935; and the Village Daily published from 1930 to 1935, to name a few.
The first telephone service in Carmel was the Sunset Telephone Company, established in 1903. The Carmel Telephone Exchange was established in 1913 in a section of Blood’s Grocery on the corner of Ocean and Lincoln, with 35 customers. On April 13, 1917, a two-party telephone line was ordered by Carmel’s city government, one for the residence of the city marshal and one for the office of the clerk in City Hall. By 1928 there were 880 subscribers in the village. In 1949 a new telephone central office building was constructed on Sixth Avenue between Junipero and Mission Streets. The building housed equipment for a new dial telephone system.
4.2.2 Utilities
As in most frontier locations, water for domestic use was originally provided by individual wells.
Windmills and tank houses were common components of rural settlements during the early American period. In 1888, Wesley Hunter and his uncle Delos Goldsmith carried water from the Carmel River until a good well was dug. The first well in the city was on Carpenter near Ocean, but was too alkaline. The second, “Mary’s Well,” was at Guadalupe and Fifth. Water was piped to a windmill on Ocean Avenue where a tank supplied the Hotel Carmelo.
88 Sharon Lee Hale, A Tribute to Yesterday, 1980.
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38 The Pacific Improvement Company constructed the first unit of the water system when they piped the spring at the head of Laguna Grande, which proved unsuccessful. The first reliable water was supplied by a pipeline from Carmel Valley, built to supply water to the Del Monte Hotel in Monterey and Los Laureles Lodge, a spa in Carmel Valley. Water was supplied from the original San Clemente Dam built by 700 Chinese laborers in 1882-1883 under the supervision of William Hatton. After the dam was completed, a pipeline was constructed to a new reservoir in Pacific Grove. The Pacific Improvement Company laid a pipeline down Ocean Avenue. Those not connected to the pipeline drew water from the line and hauled it in barrels. The Carmel Water Works had a large holding tank during the early days, and there was a public water trough at Ocean and San Carlos.
In 1905, the Carmel Development Company installed its own water system, with a pump at the river to bring water into a large tank at Ocean Avenue and Mountain View. Horse drawn barrels allowed water to be brought to higher elevations. Later, the Monterey County Water Works took over water distribution.
In 1935, the Monterey County Water System was owned and operated by the California Water and Telephone Company, a private corporation serving Monterey, East Monterey, Del Monte, Carmel, Pebble Beach, and various Carmel Valley locations. Cal-Am (California-American) now supplies water to Carmel.
Electricity may have come to the area as early as 1894. Monterey Electric Light and Development Company organized in 1891 and extended lines into Pacific Grove in 1894. However, Sharron Hale and other long-time residents agree that electricity did not arrive in Carmel until 1914. In the early days, the merchants and developers in Carmel-by-the-Sea agreed that the village should grow slowly and gas and electricity should be “forbidden.” Gas service finally arrived in Carmel in 1930.
4.2.3 Healthcare
Carmel’s first healthcare institution was a sanitarium operated by Dr. Himmelsbach. Opened in 1902, the Pine Sanitarium was located in his parent’s home on the northeast corner of Dolores and Ninth. A second facility, Carmel Hospital, was established in 1927, the brainchild of Edith Ballou Shuffelton, a graduate of the nursing school at Stanford. Shuffelton persuaded individuals to donate funds for a facility to meet the general medical needs of the community. Located in Carmel Woods, the hospital was designed by Robert Stanton and built by Michael J. Murphy. In a matter of a few years, however, the facility proved to be inadequate. The equipment was sold to the Monterey Peninsula Community Hospital and the building converted to the Forest Lodge apartments.
The Metabolic Clinic was founded in 1928 by Grace Deere Velie Harris, an heir to the John Deere Tractor fortune. This clinic conducted research on the blood disease from which Harris suffered.
Unfortunately, Harris died before the facility was completed in 1930. The Clinic was dissolved in 1934 and the structure became the Monterey Peninsula Community Hospital on Highway 68. Community Hospital had formed in 1934 and was located in the former Metabolic Clinic on Valley Way and Highway
1. When Community Hospital moved into its modern facility outside of the Carmel city limits, the building was transformed into a convalescent home (the Carmel Convalescent Hospital).
In the 1950s Samuel F.B. Morse donated twenty-two acres for the relocation of the Community Hospital of Monterey County. Famed modernist, Edward Durell Stone, received the commission for its design.
The new hospital opened on 28 June 1962 and received many awards for its progressive design. The hospital was the first in the country to offer private rooms to all its patients. The hospital cost $3.5 million, two-thirds of which was donated by the community.89 As stated above, the hospital is outside the boundaries of the City of Carmel, but it does serve the city’s residents.
89 “Our History,” Community Hospital of Monterey Peninsula Online, 2008.
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39 4.2.4 Fire and Police Departments
A group of twenty citizens, led by Robert Leidig, established a volunteer fire department in 1908.
Equipment was stored in a tent on the southwest corner of San Carlos and Sixth and in a garage still standing at Santa Fe and Fourth streets. The Citizen’s Fire Protection Committee organized to raise funds for a proper fire engine and a permanent fire company in 1915. The equipment was kept in a building contributed by the Carmel Development Company. When the city incorporated the following year, the fire protection service became the responsibility of the city. In January 1917, the Fire Protection Committee reported to the City Council that the Monterey County Water Works would lay six-inch drain pipes down Ocean Avenue to Monte Verde, then down Monte Verde to Twelfth with necessary fire hydrants. In 1920, John Jordan, owner of the Pine Inn, donated the shed which housed McDonald’s Dairy on Sixth between San Carlos and Dolores. Moved in 1936, this building is now at the old Thermotite site on the west side of Santa Fe and Third. Through the approval of a bond and a federal Works Project Administration grant, money was raised for a new firehouse in 1936. Completed in 1937, the new firehouse designed by Milt Latham was constructed of poured-in-place concrete faced with Carmel stone.
The Carmel Fire Department underwent significant equipment upgrades in the 1950s and 1960s, including the installation of a radio system in 1958, a new ambulance, and in 1963, a La France Engine, which cost the city $27,000. The Fire Department celebrated its fiftieth anniversary in 1965. Robert Leidig served as chief from 1925 to 1941; Vicente Torras from 1941 to 1956; Robert E. Smith from 1956 to 1965; J. Robert ‘Bob’ Baker from 1966 to 1970; and Robert Updike from 1970 to 1988. 90 In 1948 Carmel’s police force was decidedly small and consisted of only eight men.91 In 1957, Carmel allocated a third of its budget toward policing the village, yet a newspaper from that year was quick to underscore that such a police force was unnecessary, as “almost nobody – and sometimes not even a few forgetful businessmen – lock their doors at night.”92 In 1967 a new police department station was completed at Junipero and Fourth Avenue, designed by Burde, Shaw and Associates. 93 The new police
station was designed and engineered for future construction of a City Hall, Council Chambers and City Offices. The Carmel Police Department was headed by Roy C. Fraties from 1940 to 1950; Clyde R.
Klaumann from 1950 to 1976; William H. Ellis from 1976 to 1981; and John J. McGilvray from 1982 to 1994.
94 4.3 Educational and Religious Institutions
4.3.1 Schools
The Carmelo School District was established in the 1850s and served all the families in the Carmel Valley and beach area. The Bay School was established in 1879 on Joseph Gregg’s ranch at the mouth of San Jose Creek. The Sunset School, founded in 1904, was the first and only public school established in the village of Carmel.95 Children first attended classes in Delos Goldsmith’s shed with Mary Westphal as teacher. Increasing enrollment, however, created a need for larger quarters. Classes were temporarily moved to Michael J. Murphy’s lumber yard while plans were drawn for a two-room school house on the
90 Sharon Lee Hale, A Tribute to Yesterday, 1980.
91 Elmont Waite, “The Cities of America: Carmel, California,” The Saturday Evening Post, 15 May 1948. 92 “This is Carmel 1957.”
93 “Council Gives ‘Go Ahead’ on Civic Center,” Carmel Pine Cone, 17 February 1966, p.1. 94 Sharon Lee Hale, A Tribute to Yesterday, 1980.
95 State law at the turn of the century required that a school be formed when as many as seven children lived in a town. Sharron Lee Hale states on page 10 of her book, Tribute to Yesterday, that “Devendorf, who was in favor of beginning a school in Carmel, begged the Nortons to stay so that Mabel [their daughter] would make the seventh pupil the law required and he could have his school.”
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40 southeast corner of Ninth and San Carlos. Completed in 1906, the mission Revival style building held forty-eight students in eight grades during its first year. In late 1931, additional classrooms and an auditorium were built to accommodate the growing student body. During this time, older students attended high school in Monterey or Pacific Grove. Miss Emma Williams taught a private school at two sites from 1906 through the 1930s.
The Forest Hill School was opened in 1922 at the southwest corner of First and Mission streets. Founded by Minna Steel Harper, the school temporarily closed in 1941; the Carmel Pine Cone states “during the war years, the building was used as a lounge and club for Fort Ord officers.”96 The school opened again in 1943, with students enrolled from kindergarten to third grade, but closed by 1961.
In 1938, the Sunset School District seceded from the Monterey Union School District. In 1938 a bond was issued for the construction of Carmel High School. Designed by acclaimed school designer Franklin & Kump Associates with Hugh Comstock, the high school was completed in two phases in 1939 and 1941.97 Though the high school is located across Highway 1 outside of Carmel’s city limits, the school’s progressive design is worth noting. Immediately after its construction, Carmel High School caught the attention of the national architectural community. Pencil Points magazine raved in 1945, “Carmel High School deserves an exceptionally high rating.”98
By the 1940s, the Carmel School District (formerly, the Sunset School District) had a population of 400 students.99 In 1947 three schools were listed in the city directory: Carmel High School, Sunset Grammar School, and Forest Hill School. In the mid to late 1950s, the district population rose to 1,081 students and was comprised of four schools, three of which were located outside Carmel’s incorporated boundaries.100 In 1953 two additional schools appeared in the city directory: Carmel Woods on Dolores near Vista and Carmel Pre-School on Santa Rita near Third Avenue. In 1958 two new schools appeared: Carmel River School on Fifteenth near Monte Verde and Carmel Art Institute on Ocean Avenue near Monte Verde.
The 1956 Plan for the Conservation and Enhancement of Carmel-by-the-Sea and Environs stated: “The Sunset School buildings do not comply with earthquake resistance requirements of the State Law, and the site is substandard in size.”101 Soon thereafter, in the early 1960s, the district offered to sell the Sunset School to the City of Carmel-by-the-Sea. In 1964 the City Council voted to acquire the Sunset School with the intention of developing the complex into a cultural center. The school cost $550,000 and was purchased in 1965 after passing a bond measure.102 Renamed the Sunset Center, it housed 733 in its auditorium and quickly became the Monterey Peninsula’s regional theater and the permanent home of the Bach Festival.
In the early 1960s the district covered more than 500 square miles and oversaw nine schools. In 1963 three new schools appeared in the city directory: Academy of Applied Osteopathy on Third Avenue near Carpenter; Bishop Kip School on Dolores near Ninth Avenue; and the Kramer School for Secretaries on Fifth near Mission.
4.3.2 Libraries
96 “History Beat by Neal Hotelling: That time Carmel was reluctant to ‘impose art’ on valley residents,” Carmel Pine Cone, 10/18/2019, p.26A.
97 The twenty-two-acre campus of Carmel High School is actually located outside the city limits. 98 “Carmel High School, Carmel-by-the-Sea, California.” Pencil Points, 1945. 99 Daisy Bostick, Carmel Today and Yesterday, 1945.
100 “This is Carmel 1957.”
101 Lawrence Livingston, Plan for the Conservation and Enhancement of Carmel-by-the-Sea and Environs, 1956. 102 Nancy Hills, “City Showed Foresight in Buying Sunset Center,” Carmel Pine Cone, 21 September 1989.
Attachment 3
41 As was the case with many early community institutions in Carmel, the first libraries were located in private homes. Mrs. Helen Jaquith operated the first library in Carmel out of her cottage.103 Beginning in 1904, she would receive books as gifts in exchange for lending privileges. The following year the Carmel Free Library Association was formed. The group, led by Frank Powers, dedicated itself to establishing a permanent public library by sponsoring fundraising events, expanding the collection of books, and attracting new members. In 1911 the group changed its name to the Carmel Library Association. Shortly thereafter, the Carmel Development Company donated a building for the library at Lincoln and Sixth.
The box-like building resembled many of the small cottages built in Carmel during the period. Clad with Shingles, it was capped by a hipped roof with flared and extended eaves. The façade featured a central door flanked by bay windows. As the books in the library began to exceed capacity, funds were raised to purchase the adjacent lot. In 1921, the existing building was relocated diagonally across Sixth Street, presumably to provide space to construct larger facilities. After the new library was completed, the old library building was remodeled for use by the Girl Scouts.
Ella Reid Harrison can be considered the most generous supporter of Carmel’s library. Harrison bequeathed a large portion of her estate, including bonds, land, books and furniture, to the city on the condition that they be used to build a public library in memory of her late husband, California Supreme Court Justice Ralph Chandler Harrison. Designed and built by Michael J. Murphy in consultation with Bay Area architect Bernard Maybeck, the Ralph Chandler Harrison Memorial Library was completed in 1928. Located at the northeast corner of Ocean Avenue and Lincoln, the building is designed in the Spanish Colonial Revival style. The L-shaped plan consists of two wings, one facing west and one facing south. Characteristics of the style, the cross-gabled roof is covered with red tile, and the exterior walls are finished with smooth stucco. Arched, multi-paned windows allow sunlight to flood into the reading room in the south wing. The building was modernized in 1949 and 1976.
4.3.3 Religious Institutions
As Carmel was originally envisioned as a religious retreat for Catholics, it is not surprising that churches were some of the first community institutions to form. After the Mission was re-dedicated in 1884, Catholic services were once again held there. Other religious denominations in Carmel which can trace their roots back to the turn of the century include Christian Scientists, Methodists, and Episcopalians.
These early congregations often held services in hotels, private homes, or out-of-doors.
In 1903, a group of Christian Scientists began to meet at the newly-built Pine Inn. That congregation eventually disbanded, but Christian Scientists continued to meet in each other’s homes on a more informal basis. Organized meetings commenced again in July 1913 in the Arts and Crafts Hall on Casanova Street between Eighth and Ninth avenues. The First Christian Scientists Society of Carmel incorporated in 1917. The following year a church was dedicated. In 1936 a reading room was established on Ocean Avenue.104 The congregation relocated to a new building at Monte Verde between Fifth and Sixth avenues in 1950.
Methodists in the area began to meet under the trees on the corner of Dolores and Sixth in 1904. James Devendorf hired the Reverend George Clifford as pastor of the congregation, and donated two lots on Lincoln near Ocean for a Mission Revival style church which was dedicated in 1905. As the congregation grew so did the need for larger quarters. In 1926 Michael J. Murphy constructed a new room for Sunday services, a kitchen, and a recreation hall. In 1940 the name of the church was changed
103 Dora Hagemeyer, a poet, operated the Woodside Library out of a cottage on San Carlos Street north of Fourth. It moved to Monte Verde in 1927 and eventually closed when the Harrison Memorial Library took root. 104 The Christian Science Reading Room is now located at the church on Lincoln near Sixth.
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42 to the Carmel Community Church, and a new building at Lincoln and Seventh was dedicated. Designed by Robert Stanton, the new church was a single stuccoed mass under a front-facing gabled roof. The name of the church changed again in 1947 to the Church of the Wayfarer. The Church of the Wayfarer celebrated its sixtieth anniversary in 1964 with a membership of 529.105 The Carmel Presbyterian Church was founded on 3 January 1954 by Dr. Harry Clayton Rogers. Arriving in Carmel in 1953 to retire after forty-two years in ministry service, Dr. Rogers soon realized the need for a Presbyterian church. On 14 November 1953, the first service was held in the Carmel Woman’s Club.
Located on Mountain View and Junipero, the Carmel Presbyterian Church building was dedicated on 11 September 1955. President and Mrs. Dwight D. Eisenhower attended services on 26 August 1956. An educational building and parking lot were added in 1964.106 An Episcopalian congregation had been meeting at various locations since 1907. In 1910 the Reverend E.H. Maloney, the rector of St. Mary’s-by-the-Sea in Pacific Grove, began to hold services in the basement of the Pine Inn. Soon a committee was created to raise funds for a church. Devendorf donated two lots for the church that later were exchanged for ones on Monte Verde. Completed in 1913, All Saints Church was designed by Albert Cauldwell, a San Francisco architect, and built by Michael J.
Murphy. Eventually, Reverend Darwell was hired as the full-time minister. In July 1948 retired U.S.
Navy officer, M. R. Allen, launched a building-fund campaign for a new church at the southwest corner of Dolores and Ninth. All Saints’ Episcopal Church commissioned famed local Modernist Robert R.
Jones to design the building and charged preeminent landscape architect Thomas Church with the design of the patio and terrace.
The groundbreaking was celebrated on 5 February 1950, and the church was completed in 1951. The next year, Architect and Engineer magazine devoted six pages to new building, writing: “… the All Saints’ Episcopal Church…is a unique blending of traditional church structure features and modern church design.”107 Constructed of Carmel stone and redwood, the church served a membership of 600 into at least the 1960s. In 1960 Jones designed an auditorium addition at the south end of the church site. In 1961 the church formed the Bishop Kip Day School under direction of headmaster, Rev. Peter Farmer.108 The old All Saints’ church on Monte Verde was purchased for use as City Hall in 1949. “White Cedars,” the home of Mrs. M.E. White on the corner of Ninth and Dolores was the site of the founding of the Carmel Missionary Society in 1907 by the auxiliary of the San Jose Presbyterian Society.
The Missionary Society built a chapel in 1911, which it occupied until 1951. Located on the southeast corner of Dolores and Eighth, the chapel was also used by the local Chinese. White Cedars was purchased by All Saints Church in 1946, when it was moved to become the home of Rev. Seccombe, All Saints’ new pastor.
After 1940, the sole religious organization listed in city directories was the International Association of Religious Science Churches on Lincoln near Seventh Avenue.
4.4 Social and Recreational Institutions
From its earliest days, Carmelites took their playing very seriously. Undoubtedly, the informal atmosphere, the pleasant weather, and the beautiful scenery promoted the casual lifestyle and the enthusiastic participation of the residents in a wide variety of social and recreational activities. In 1911, James Devendorf in the Carmel Development Company brochure extolled the opportunities for
105 “Celebrate Oldest Protestant Church in Carmel,” Monterey Peninsula Herald, n.d. 106 “Carmel Presbyterian Church Completes 1st Decade,” Monterey Peninsula Herald, 23 March 1964. 107 “All Saints’ Episcopal Church: Carmel-by-the-Sea, California,” Architect and Engineer, December 1952. 108 “All Saints Church Grew with Carmel,” Monterey Peninsula Herald, 23 March 1964.
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43 swimming, fishing, hiking, and riding in the area. Local shopkeepers felt free to put up a “gone fishing” sign anytime the mood struck. In addition to fishing, swimming, and picnics on the beach there were also more organized opportunities that played important roles in the social life of Carmelites. Many of these organizations also contributed to the arts and cultural development of the community, and will be discussed in Chapter 6.
The Bathhouse, completed in 1889, was probably the first of the recreational institutions constructed in Carmel. Besides providing towel and suit rentals to sea bathers, it was the site for many club meetings, dances, and church outings. In 1906, James Machado opened the Carmel Bowling Alley on Ocean Avenue, which also offered “Pool, Cigars, and Tobacco.” Formed in 1905, the Manzanita Club was responsible for bringing the first moving pictures to Carmel in 1916. The club was incorporated in 1925 and the clubhouse was constructed in 1926. The Manzanita Club was responsible for many plays, outdoor athletic events, and a summer camp.
The Arts and Crafts Club sponsored festivals, parades, street fairs, and fundraisers such as the Dutch Market and Sir-Cuss Day. These events were enjoyed by all segments of the community—artists, writers, craftsmen, business owners, police and firemen, and their families.
Carmel’s first and only golf course was located south of the village on Point Loeb (Carmel Point).
Designed by Philip Wilson, who settled in Carmel in 1905, the golf course was abandoned during World War I. Wilson also kept a fleet of 20 rowboats that he rented to tourists during the spring and summer months. After the first World War, informal softball games were organized and played at a rough field on Carmel Point near Inspiration Avenue. The games led to the formation of the Abalone League in 1921, the first softball league in the western United States. Whole families joined in the Sunday doubleheaders. League rules required that at least one woman and one child be on each team. In time the league moved its games to Tortilla Flat in Carmel Woods at a triangular shaped area bordered by Camino del Monte, Serra, and Portola. The league lasted until 1938.
Clubs organized for young people included the Carmel Boys Club, the Boy Scouts and the Girl Scouts.
The Boy Scouts in Carmel began with a visit from Sir Baden-Powell in 1910. Baden-Powell stayed at the Presidio of Monterey and camped with a group from the presidio and some of the members of the Boys Club of Carmel. All the boys and their leader, John Neikirk, became official scouts, with the help of Douglas Greeley, Sr. and Fred Leidig. The Scouts raised funds to build a clubhouse at Mission and Eighth. The clubhouse was built by M.J. Murphy. According to city directories, local Boy Scout Troop 86 was active through at least the early 1960s and still based in the same clubhouse. Organized by Mrs.
Eva Douglass in 1922, Carmel’s Girls Club specialized in cooking and other homemaking activities. In 1923, this group officially became Carmel’s first Girl Scout Troop. City directories list the “Girl Scout House” on the corner of Sixth and Lincoln which served as home for the Scouts in the 1950s and 1960s.109
Nurtured for many years by artists Josephine Culbertson and Ida Johnson, the Boys Club provided opportunities for boys to learn parliamentary law, hear interesting talks from learned men who were visiting in the area, as well as hiking, camping, and picnics on the beach.
The Carmel Youth Center was established in October 1949 and received a home soon thereafter.
Designed by architect Robert Jones, construction began on the Carmel Youth Center in 1949. The idea for the Youth Center was conceived by Bing Crosby, then a resident of Pebble Beach. Crosby was responsible for the organization of over 200 private non-profit youth centers across the country. Of all
109 Polk City Directory.
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44 Crosby’s operations, the Carmel Youth Center is the sole remaining privately operated outfit.110 The Youth Center is still extant on the corner of Fourth and Torres and in operation today.
The Carmel Woman’s Club was an outgrowth of informal salons held in the home of Anne Martin on Mission and Eleventh. Martin, a suffragette who ran for senate in 1918 and was Vice Chair of the National Woman’s Party, moved to Carmel in the early 1920s.111 Martin was a friend of Mary Austin and Carol Steinbeck. Immediately after her arrival, Martin’s home became the center for Carmel’s nexus of progressive women. Martin served as the western regional director for the Women’s International League for Peace and Freedom from 1926 through 1931, provoking discussions of local concerns, including spillage of sewage into Monterey Bay, unnecessary tree cutting, poor city planning policies, and the killing of local wildlife.112 The Carmel Woman’s Club was officially founded in the 1940s. The Carmel Woman’s Club entertained local women with card games, reading groups, cocktail parties, and afternoon teas.113 The Woman’s Club building is located at San Carlos and Ninth Avenue and the club continues to meet.
The American Legion Post 512 was organized after World War II in 1934 and set up its hall in the former Manzanita Club on Dolores and Eighth Avenue. The Legion Post 512 hall is still extant and the organization is active. Additional postwar social clubs consisted of the Carmel Pistol Club on San Carlos near Ocean Avenue, Cypress Club on Lincoln near Seventh Avenue, and the High Twelve Club on Lincoln near Seventh Avenue.
Additional benevolent or civic organizations active between 1940 and 1965 include the following: Carmel Masonic Club on Lincoln between Seventh and Eighth Avenue; Catholic Daughters of Carmel in Court Number 1496 on Sixth and Lincoln; American National Red Cross on Dolores near Eighth; Carmel Foundation on Lincoln near Eighth Avenue; Carmel Lodge Number 680 on Lincoln near Seventh Avenue; Carmel Lions Club on Dolores near Ocean Avenue; and Carmel Rotary Club on Camino Real and Eighth Avenue.
Artistic organizations in operation between 1940 and 1986 were: Artists Guild of America, Inc. on Monte Verde and First; Carl Cherry Foundation northwest of Guadalupe and Fourth Avenue; Carmel Craft Studios, Inc. on San Carlos near Ocean Avenue; Monterey Peninsula Chapter of the American Federation of Arts on Lincoln near Ocean Avenue; and Carmel Bach Festival, Inc. on San Carlos near Ocean Avenue. Created in 1927, The Carmel Art Association at Dolores Street between Fifth and Sixth Avenues, continues to be active today.114
4.5 Associated Resource Types
4.5.1 Identification
The following property types have been identified with the context of Government, Civic and Social Institutions:
Properties associated with civic and public services
110 From “A Brief History of the Carmel Youth Center” distributed at the Anniversary Open House on 26 April 2008.
111 “Nevada Woman to Run for Senate,” New York Times, 4 March 1918. 112 John Thompson, “Turn-of-the-Century Feminist: Anne Martin,” (accessed online) 2006. 113 Daisy Bostick, Carmel Today and Yesterday, 1945.
114 Carmel Art Association Website: https://carmelart.org/.
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45 Schools and churches
Social and recreational property types
4.5.2 Description
Properties associated with civic and public services
This property type includes buildings and other resources that have served public functions. Examples may include buildings that served as City Hall, post offices, library, police departments and firehouses.
Also included here would be other resources that represent public works and services. Resources associated with this theme also include the homes of individuals who played significant roles in civic affairs or were employed in positions that influenced the development of the city. Such individuals would include, for example, mayors and council members, city attorneys, the Chief of Police, Fire chief, postmaster or mistress.
Newspapers also played an important role in civic development. The Carmel Pine Cone has had a continuing role in reporting local events, as well as taking editorial stands on the development of community character. Competing, although shorter lived, newspapers were important in that they often presented views in opposition to the Carmel Pine Cone’s editorial position on civic issues. Resources include not only buildings where newspapers had their offices and printing facilities, but also the homes of newspaper editors or publishers.
Utilities, whether private or public, are resources associated with this theme. Resources that represent the development of water management, electrical and gas service, and waste management are important in the full understanding of a community’s history. Resources associated with the development of communication include telephone and telegraph services, as well as post offices and newspapers.
Healthcare is also an important aspect of community development. Associated resources include hospitals, clinics, sanitariums. Resources also include the homes or offices of prominent local physicians, dentists, and other types of healthcare providers.
Schools and churches
A number of schools and churches were established in Carmel before 1940. Resources in this category include surviving residences or buildings that were used as schools, as well as buildings specifically constructed to serve as private and public schools. Also included are resources that represent particular developments in the history of local education, such as kindergartens, nursery schools, and the Arts and Craft summer school programs. The Sunset School, opened in 1906 and now part of the Sunset Center, is a significant resource associated with this theme.
Churches and resources associated with religious institutions include Mission San Carlos Borromeo del Rio Carmel, previously discussed in Chapter 2, as well as churches established since 1903, such as the Christian Science Church, All Saints Episcopal Church, the Church of the Wayfarer and the Presbyterian Church. In addition to church structures, buildings that served other religious functions or served as residences for the pastor should be considered under this property type.
Social and recreational property types
The people of Carmel led active social lives and were involved in a variety of community activities. This property type would include buildings that served as club houses or that were associated with important social events that are not included under other contexts. This property type would also include resources Attachment 3
46 associated with recreational and athletic activities. Certainly, this would include any extant resources associated with the Abalone softball league.
4.5.3 Significance
From its inception the residents of Carmel were active in the civic, educational and social life of the community. Property types associated with this theme are important in reflecting this aspect of the community’s character. The significance of these resources would depend not only on the association with significant aspects of community life and its high degree of integrity, but also on the quality of the impact the activity had on the social life of Carmel residents.
5.0 ARCHITECTURAL DEVELOPMENT IN CARMEL (1888-1986)
5.1 Environmental and Cultural Influences on Architecture Carmel is located in the angle formed by two ranges of hills, one running in a generally east-west direction, forming the backbone of the Monterey peninsula, and the other at a right angle to it, forming the natural barrier between the Carmel Bay and the Carmel River (Rio Carmelo). In this angle a forest of pine trees has grown. East of the town along the Carmel River lies the Carmel Valley, a strip of rich alluvial soil thirty miles long and from one-half to two miles wide. West of the town is the Pacific Ocean, the water of which is rarely colder than fifty-five degrees nor warmer than sixty-five degrees. The Carmel Valley acts as an equalizing factor by furnishing currents of warmer or cooler air whenever the land and ocean temperatures differ. For that reason, Carmel’s temperature is moderated to a range of twenty degrees lower or higher than the ocean’s temperature.
Carmel as viewed by Spanish explorers or even as observed later by European settlers differs significantly from today’s landscape. The most obvious sign of human intervention, of course, is the town itself.
Devendorf inherited Duckworth’s county-approved map of Carmel City with its conventional grid pattern. He continued to use it, but did not hesitate to curve roads around trees or topographical features in later additions. His respect for the natural environment was in contrast to many developers who flattened hills and cleared trees. Devendorf also encouraged the planting of trees so much that an illusion has been created of an area more wooded than originally. A reporter for the Oakland Tribune described how Devendorf “drove up and down and crosswise in a buggy drawn by a white horse, planting trees as he went along. When he sold a lot, he threw in a few trees for good measure. If he actually got cash for the lot—which rarely happened—the buyer might have had a whole grove presented to him as a bonus.”115 Early photographs show open meadows or coastal scrub with few trees west of Monte Verde except in natural canyons or near water courses. The efforts of Devendorf and others who followed have created a more forested character for Carmel-by-the-Sea.
The other important influence in the development of Carmel was the Arts and Crafts Movement. A reaction against the impersonal production of the Industrial Revolution and the loss of pride of craftsmanship, the movement had its roots in England during the last half of the nineteenth century reaching its zenith in 1888 when the Arts and Crafts Exhibition Society was founded in London by the young members of the Royal Academy. These individuals were frustrated by the institutional definition of art in terms of the fine arts only, relegating the applied and decorative arts to a position of second place.
115 Harold and Ann Gilliam, Creating Carmel: The Enduring Vision, p. 69.
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47 In the United States, the Arts and Crafts Movement gained momentum from the 1893 Columbian World’s Exposition in Chicago, which preceded an expansion of trail-blazing developments in building techniques. After 1893 dozens of arts and crafts societies were formed across the nation. The years between the 1901 Pan-American Exposition in Buffalo, NY, and the outbreak of World War I in1916 are often referred to as the “Craftsman Movement.” The movement was named after the Craftsman magazine, which was the voice of a generation of designers who established a severe geometric style of furniture and ornamentation and the rise of the Prairie school of architecture. Architecture in California, moving away from the Queen Anne style of the late Victorian period, was seeing the influence of young eastern architects. Ernest Coxhead and his young protégé, Bernard Maybeck, were designing simple, shingle-clad houses in San Francisco and Berkeley. Dedicated to the work of Maybeck, Charles Keeler wrote in The Simple Home in 1904, “The ideal home is one in which the family may be most completely sheltered to develop love, graciousness and individuality, and which is at the same time most accessible to friends, toward whom hospitality is as unconscious and spontaneous as it is abundant.”116 This statement surely describes Carmel’s architecture and society during this formative period.
By the 1940s, Carmel was comprised of a conglomeration of architectural styles, and the village was known world-wide for the uniqueness of its building stock. Yet, despite a history of local acceptance of designs wrought by quirky individualism, the Modern movement was initially met with resistance. By 1950 Modern architectural styles had gained enough visibility in Carmel to draw both scorn and acclaim from village citizens. A press release from September of that year summarized the extent of the distaste for the movement in its title, “Modern Style in Carmel Brings Cries of Anguish.”117 Even local poet, Robinson Jeffers, chimed in: “Motors and modernist houses usurp the scene.”118 Those who were accustomed to Carmel’s distinctive pitched roofs and vernacular construction considered the horizontality and manufactured materials of the Modern design vocabulary an affront to tradition. Merchants, especially, were hyper-conscious of the power that story-book-style buildings had in luring tourists through their doors; to these shopkeepers, Modern architecture was a potential impediment to business.
Conversely, in the spirit of a village known for avant-garde thought, many residents welcomed the novelty and ingenuity of Modern buildings. To these residents, the practical functionality and minimalism of designs provided a welcome respite from the buildings that dated to earlier periods in Carmel’s history. Either way, Modernism was triumphant, as Carmel saw the construction of an incalculable number of Modern-style buildings between the years of 1940 and 1986.
5.2 Geographic Development and Expansion
As related in Chapter 3, Carmel City was the vision of Santiago Duckworth who purchased part of Las Manzanitas Rancho from Honoré Escolle in 1888. Located in the northeastern portion of Carmel-by-theSea, Duckworth subdivided 164 acres bounded by Monte Verde, Pescadero Canyon and First Street, Monterey Street, and Ocean Avenue. The 1888 grid overlaid small lots across slopes, canyons, and forests. In 1902, Devendorf and Powers took over the unsold land from Duckworth and formed the Carmel Development Company, which re-subdivided the Carmel City tract. Powers also brought up a number of adjoining tracts owned by Honoré Escolle, V.D. Moody, portions of the Mission Ranch from the Martin heirs, the P.H. Sheridan property, 702 lots from Dr. Saunders, and land previously owned by the San Francisco Pacific Glass Works. People often purchased multiple lots.
The early subdivision maps greatly influenced the later character of Carmel. The 1888 grid overlaid slope, canyons, and forests, and street routes were adjusted to fit the topography and to avoid trees.
Drainage systems and the street layout were designed in a non-urbanized manner.
116 Keeler is quoted in Robert Judson Clark’s The Arts and Crafts Movement in America 1876-1916, p. 81. 117 “Modern Style in Carmel Brings Cries of Anguish,” Monterey Peninsula Herald, 9 September 1950. 118 Harold and Ann Gilliam, Creating Carmel: The Enduring Vision, 1992.
Attachment 3
48 In the 1920s, many cities across the nation responded to the City Beautiful Movement by instituting city planning measures. Having formed a Planning Commission in 1922, Carmel was in the forefront of this movement. The original members of this commission were Dr. Alfred Burton, Susan Creighton, Thomas B. Reardon, Charles Sumner Greene, and Jessie A. Botke. In 1923, the first rudimentary zoning ordinances were passed by the city. The city adopted its first comprehensive zoning ordinance on March 2, 1925, which was the first ordinance to prohibit most non-residential uses from the residential zone. At this time fewer than 500 cities in the country had adopted zoning ordinances and it was not until 1926 that zoning was upheld as constitutional by the U.S. Supreme Court. On June 5, 1929, a new simpler zoning plan was adopted that began with the now famous preamble by City Attorney Argyll Campbell: “The City of Carmel-by-the-Sea is hereby determined to be primarily, essentially, and predominantly a residential City wherein business and commerce have in the past, and now, and are proposed to be in the future, subordinated to its residential character.” This ordinance defined the commercial district and helped shape and sustain Carmel’s unique character.
As the population of the town increased, the lands adjoining the original subdivisions were supplemented by a number of additions made between 1905 and 1922:
Addition #1, 1905, generally bounded by Monte Verde Street, Santa Lucia Avenue, San Antonio Avenue, and Ocean Avenue (formerly the Sheridan property) Addition #2, 1916 (surveyed 1906), bounded by Mission Street, Santa Lucia Avenue, Casanova Street, and Twelfth Avenue (the northern portion of John Martin’s Mission Ranch) Addition #3, 1907, bounded by Monte Verde Street, Ocean Avenue, San Antonio Avenue, and Second Avenue (a portion of the Murphy ranch purchased by Powers in 1904) Addition #4, 1908, generally bounded by Junipero Avenue, Third Avenue, Monte Verde Street, and a zig-zag line beginning at the intersection of Monte Verde and Second and continuing northeast in block increments to Alta Avenue
Addition #5, 1910, known as the Eighty Acres, generally bounded by Forest Road, Eleventh and Twelfth Avenues, Junipero Avenue, and Ocean Avenue
Addition #6, 1910, bounded by San Antonio Avenue, Santa Lucia Avenue, Scenic Road, and Eighth Avenue
Addition #7, about 1911, part of the Martin Ranch that included Point Loeb (Carmel Point), bounded by Carmelo, Santa Lucia, and Scenic Drive (outside Carmel’s southern city limits) Addition #8, 1922, generally bounded by San Antonio Avenue, Eighth Avenue, Del Mar Avenue, and Ocean Avenue
Other subdivisions included Paradise Park, between Forest Avenue and the City limits, which was subdivided in 1918 but remained undeveloped until the 1940s. Del Monte Properties opened the Carmel Woods area for development in the 1920s. The Walker Tract adjacent to the Eighty Acres was subdivided in the 1920s. On September 3, 1950 the City Council purchased the beach and lagoon that stretched from the end of the city limits to the Carmel River.119 A resource for tracking development patterns is Sanborn Fire Insurance maps published by the Sanborn Fire Insurance Company. In addition to earlier maps, Carmel was surveyed by the Sanborn Company in 1910, 1922, 1930, and 1962. For the most part, the areas to the east of Junipero Avenue were not surveyed by the Sanborn Company; the exception was a rectangular section bounded by Third Avenue to the north, Ninth Avenue to the south, Junipero Avenue to the west and Guadalupe Street to the east.
Despite the thirty-two-year gap, a comparison of the 1930 and 1962 maps is important in understanding how the city grew during those three decades. In 1930, most blocks were only partially developed, with
119 Sydney Temple, Carmel-by-the-Sea from Aborigines to Coastal Commission, 1987.
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49 the exception of the Ocean Avenue commercial district where nearly all parcels contained a building.
The 1922 subdivision north of Third Avenue was the least developed, with an average of seven residences per block. The residences north of Ocean Avenue were generally small, square or rectangular dwellings of a single story in height. South of Ocean, the residences were larger and had more irregular footprints.
Remarkably, the majority of homes extant in 1931 were still standing in 1962. Approximately sixtyseven residential buildings and twenty-five commercial or institutional buildings disappeared, either through demolition or accidental loss – a very low average for such a lengthy span of time. Most of the residences were located near Ocean Avenue and were replaced by commercial buildings. Equally notable, Carmel experienced vigorous development during this period with the addition of over sixhundred residences. In 1962 almost every parcel was developed, and many parcels had been subdivided to allow the construction of additional residences. The subdivision north of Third Avenue was still sparsely developed and the parcels were generally larger than those in other areas. Many new residences were constructed with detached guest houses or outbuildings.
5.3 Builders and Architects
The tradition of designer-builders began with Delos Goldsmith, who was responsible for the construction of many of the buildings in Carmel before the turn of the century. However, M.J. Murphy and Hugh Comstock were responsible for giving Carmel its unique architectural character.
When Devendorf and Powers took over the development of Carmel, prefabricated cottages from San Francisco were offered as a low-cost housing alternative. After materials for one hundred cottages failed to show up in 1904, Devendorf hired Michael J. Murphy to take charge of the building for the Carmel Development Company. Murphy went on to become the most prolific designer-builder in the history of Carmel, with the Pine Inn, Highlands Inn, La Playa Hotel, Sundial Lodge, Harrison Memorial Library, several notable commercial buildings, and about 350 houses to his credit. He also worked with Robinson Jeffers on the Tor House. It is estimated that about 80% of the homes in Carmel were designed or constructed by Murphy by the 1930s.120 Never a proponent of a particular style, Murphy designed buildings to suit his client’s taste, often in currently popular styles. His earliest homes were late Victorian cottages and Craftsman bungalows. Born June 26, 1885, in Mendon, Utah, Murphy first came to Carmel on a visit in 1900. In 1914 he established M.J. Murphy Inc., an enterprise which sold building supplies, provided rock crushing services and concrete work, and operated a lumber mill and cabinet shop located between San Carlos and Mission. When Murphy retired in 1941, Carmel lost its first and most important master builder.
Earl Percy Parkes was a building contractor who moved to Carmel in 1919; he worked as a contractor, designer and builder and kept an office in the Parkes Building on Dolores Street south of Ocean Avenue.
Parkes is credited as the builder of the Seven Arts Building southwest of Ocean Avenue and Lincoln Street, the Mary Dummage Shop southwest of Ocean and Dolores, and several other commercial buildings and residences, many of which were designed in the Spanish Colonial Revival style. 121 He built
a residence for Jo Mora on San Carlos 3 southwest of First Avenue, and a home for Charles Sumner Greene on Monte Verde between Thirteenth and Santa Lucia Avenues.122 Hugh Comstock developed the “Fairy Tale” style with which Carmel has become closely identified. Born in Evanston, Illinois, in 1893, Comstock moved to Santa Rosa with his family in 1907. In 1924, he came to Carmel to visit his sister, artist Catherine Seideneck, where he met and married Mayotta Brown. The
120 Carmel Inventory of Historic Resources.
121 Janick, Richard N. Percy Parkes Building (DPR523 Form), 2002. 122 Carmel Pine Cone, 7 April 1921, p.1; Carmel Pine Cone, 18 March 1920, p.3.
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50 newlyweds decided to remain in Carmel where Mayotta had a successful doll-making business.
Comstock’s career as a designer-builder began when his wife asked him to build a cottage for her dolls.
The “Doll’s House” became the first of many Fairy Tale style cottages he would design and build.
Several commercial buildings, including the Tuck Box on Dolores and the old Monterey County Trust on Dolores near Seventh (now the China Art Building), remain as good examples of his work. Comstock also designed buildings in many of the traditional styles of the 1920s and 1930s. After World War II, Comstock developed the post-adobe system of construction, which he described as “simplified adobe construction combining a rugged timber frame and modern stabilized adobe.”123 Though never having received a degree in architecture, Comstock was described by the Monterey Peninsula Herald as one of Carmel’s most influential architects.124
Carmel’s most famous resident architect, Charles Sumner Greene, who made significant contributions to California architecture in the early part of the century, moved to Carmel in 1916. Greene, along with his brother Henry Mather Greene, established the architectural firm of Greene and Greene in Pasadena in 1893. Together, the brothers developed and refined the Craftsman style of architecture into high art. D.L.
James engaged Charles Greene in 1918 to design a home on a rocky bluff overlooking the Pacific Ocean south of Carmel; a year later he began a gradual withdrawal from the firm Greene and Greene and eventually made Carmel his permanent residence.125 After building his own home and studio on Lincoln Street, Greene worked on commissions in Pebble Beach and the Fleishacker house in Woodside. He did the extensive remodeling of Spindrift, the Martin Flavin house in Carmel Highlands, and several homes in Carmel, since demolished. Greene also designed the War Memorial Arch on Ocean Avenue at San Carlos.
Robert Stanton was one of the few academically trained architects to practice in Carmel. A graduate of the University of California School of Architecture, he designed many notable buildings in the Monterey and Santa Cruz areas. He was born in Torrance, California, and worked for the architect Wallace Neff as a traveling superintendent until 1934. At that time, he moved to Pebble Beach, having developed a liking for the area during his honeymoon at the Highland Inn twelve years earlier. Establishing his office in Carmel on the northeast corner of Lincoln and Ocean, his first local commission was the Salinas County Courthouse in 1935. He also designed sixteen hospitals and forty schools. His projects in Carmel include the Normandy Inn and All Saints Episcopal Church. His office later became Merle’s Treasure Chest on the southeast corner of Lincoln and Ocean.
Other builders and contractors active in the early decades of the twentieth century included Artie Bowen, George Mark Whitcomb, A.C. Stoney, Meese and Briggs, Percy Parkes, Fred Bigland, Lee Gottfried, Perry Newberry, and Donald Hale. Dene Denny and Hazel Watrous constructed seven houses in Carmel Woods. Most of the builder/designers lived in Carmel and were also active in other aspects of the village’s development. Prominent architects who worked in Carmel include C.J. Ryland, who designed the Sunset Center, Milton Latham, Albert Farr, Mark Daniels, Guy O. Koepp, Bernard Maybeck, Willis Polk, and William Wurster.
Though Modern-style buildings were the most likely designs to appear between 1940 and 1986, other styles appeared as well. Notable examples include George Whitcomb’s Tudor Revival Etting House on Camino Real and Sixth Avenue that was designed in 1941; a Cape Cod bungalow at Carpenter Street and Fifth Avenue was designed in 1951; a post-adobe residence, the L.L. Spillers Guest Cottage at Carpenter Street and Third Avenue, was designed in 1951 by William Cranston; the Ranch-style Ernest Bixler
123 Hugh W. Comstock, Post-Adobe.
124 Dorothy Stephenson, “Carmel’s Architecture Both Interesting and Livable,” 1 June 1970. 125 Note that D.L. James always went by D.L.; Daniel James was his son.
Attachment 3
51 House at Sixth Avenue and Forest Road was designed in 1954; and the Spinning Wheel Restaurant on Monte Verde Street south of Ocean Avenue was designed in the Monterey Revival style in 1952.
As a strong testament to the prominence of the Modernist architectural idiom that emerged in Carmel in the post-war era, some of the movement’s most recognized names designed buildings locally. Frank Lloyd Wright designed a house on the coast for Mrs. Clinton (Della) Walker, which was completed in 1952.126 Premier Bay Region architect, Gardner A. Dailey designed a home for himself on Ocean and Forest Road in 1945. William Wurster of the San Francisco firm Wurster Bernardi and Emmons designed the Nelson Nowell House on Scenic between Tenth and Eleventh in 1947-48 and the Dr. Albert K. Merchant House on Scenic and Eleventh in 1961-62. Though not necessarily recognizable on the national stage, architects well-regarded in California also designed buildings in Carmel. Albert Henry Hill, promoter of the Second Bay Region Tradition, designed multiple homes in Carmel, including the following: Chazen Residence on Scenic between Ocean and Eighth in 1948; a second house for himself and his family on Lopez Avenue in 1961; the Mr. and Mrs. Irving Fisk House on Lopez in 1961 (with partner John Kruse); the Vivian Homes House on Mountain View and Santa Fe in 1962 (with John Kruse); and the Vivian Homes II House on Torres and Ninth in 1963. Mark Mills, a Taliesin Fellow in the 1940s, designed the Mills House on Mission and Thirteenth in 1952-53; the Walker Spec House on Rio Road and Junipero in 1951-52; and the Mr. and Mrs. William Junk House on San Carlos and Thirteenth in 1965. Additional notable architects who designed buildings in Carmel between 1940 and 1965 include Hugh Comstock, Jon Konigshofer, Clarence Mayhew, and Marcel Sedletzky.
Prominent architects and designers who worked in Carmel in the post-war era include Carl Bensberg, Will Shaw, Walter Burde, William L. Cranston and Thomas S. Elston, Olaf Dalhstrand, Gardner Dailey, Lee Gottfried, Roger Gottfried, Albert Henry Hill, James Heisinger, Sr., Robert Jones, Jon Konigshofer, Fred Keeble, John ‘Jack’ Kruse, Frank Lloyd, Rowan Maiden, Clarence Mayhew, Mark Mills, James Pruitt, Guy Rosebrook, Marcel Sedletzky, Edwin Lewis Snyder, Robert Stanton, Robert A. Stephenson, George Thomson, George Willox, Frank Wynkoop, and landscape architect Thomas Church. Some architects spanned the pre- and post-war era such as William Wurster. This was also true for builder Miles Bain and contractor George Mark Whitcomb. Father and son, Richard Bixler and Ernest Bixler were prominent builder/contractors in Carmel in the 1940s and 1950s.
It is worthy of note that a number of prominent Carmelite architects, designers and builders created homes for themselves in Carmel-by-the-Sea, including but not limited to: Ernest S. Bixler, Gardner Dailey, Albert Henry Hill, Frank Lloyd, William A. Smith, Robert A. Stephenson, and Helen T. Warren.
See Appendix 9.9 for biographical information on architects working in Carmel, 1940-1986.
5.4 Architectural Styles
This section has been augmented to include both a narrative presentation of the primary architectural movements that developed in Carmel-by-the-Sea and to develop an analytical framework for evaluating buildings constructed between 1935 and 1986. After a brief discussion of commercial architectural styles, the various architectural movements affecting residential design are presented. The final section presents an analysis of Carmel architectural styles from 1935 to 1986 and includes photographs, lists of character defining features and representative examples.
Commercial Architectural Styles
126 PAST Consultants, LLC, Mrs. Clinton Walker House, National Register of Historic Places Registration Form, 2017, 6. The Keeper of the National Register formally listed the building in 2017.
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52 Commercial buildings in the business district display wide architectural variations. Generally, buildings are one to two stories in height and form contiguous street faces, interrupted by frequent courtyards.
Intercommunication between courtyards is possible in several places. Commercial uses occupy the ground levels, with upper stories frequently used for office or residential space. Window boxes, decorative paving, and other urban design amenities are frequently employed.
The oldest buildings in the business district, although remodeled, retain features associated with the Italianate and commercial false front styles typical of late nineteenth and early twentieth century American “Main Street” vernacular. These include second-story bay windows, double-hung sash windows, remnants of board-and-batten and tongue-and-groove siding, quoins, and paneled and glazed doors. The building housing the Carmel Bakery, located on the south side of Ocean Avenue between Lincoln and Dolores Streets, exhibits these characteristics. However, it was the construction that took place in the 1920s, under the influence of architectural revival styles, which left the most lasting imprint on the character of the business district. Both the Spanish Colonial Revival and the Tudor Revival were widely employed. Beyond the usual Spanish stylistic trademarks of stuccoed exteriors or tiled roofs, Carmel’s many Spanish styled buildings feature ornate wrought iron and carved wood detailing, generous use of colorful glazed tile for staircase risers, dados, fountains, planters, and backsplashes, patios and courtyards spaces, arcades, and towers. Tudor Revival buildings typically feature characteristic halftimbering and gabled rooflines.
Residential Architectural Styles
Carmel is essentially a residential community with single-family homes as the most prevalent property type. Residential neighborhoods surround the business district and display a wide architectural variety due to age, aesthetic and architectural preferences, lot size, building siting, and the subordination of buildings to nature. Architects’ and builders’ response to Carmel’s unique location, with its hilly and wooded terrain facing the Pacific Ocean, has continuously resulted in creative approaches to the placement of the building within its environment. No tracts of similar homes were constructed in Carmel, and not one block was constructed in a single period of time. Early in the City’s development, a taste for simplicity, often articulated by the use of shingles or board-and-batten siding, transcends the divisions of time and architectural fashions. Other features which regularly appear regardless of architectural style include “Dutch” doors, which can be opened on the top and left closed on the bottom, and the use of the local chalkrock or Carmel stone for chimneys, paving, garden walls, and exteriors. An adjunct to many houses figuring prominently in the streetscapes of Carmel is a detached single garage, usually frontgabled, sided with board-and-batten, entered via an arched vehicular door, and set close to the street.
Many of the earliest homes built in Devendorf’s and Powers’ Carmel-by-the-Sea were one story cottages typical of turn of the century housing elsewhere in the country. A hipped roof and box-like proportions are the hallmarks of this genre. They could be sided with narrow or medium clapboard, shingles, or clear heart redwood board and batten. Typical features include bay windows on the front or sides, porches attached to the façade or tucked into one corner, and double-hung or fixed sash windows with decorative patterns of muntins in the smaller upper sash. Details of such cottages related them either to the Victorian era Queen Anne style, the Colonial Revival style (enclosed soffits, frieze and endboards) or the Craftsman style (exposed rafters in the eaves, tripartite windows). Turn of the century cottages of these types were built through the first decade of the twentieth century.
The Craftsman style was an expression of the philosophy of the Craftsman movement, with the American adaptation of the English Arts and Crafts Movement, which had crystallized around William Morris in the second half of the nineteenth century. Popularized in this country with Gustav Stickley and his Craftsman magazine, and in California by the work of architects such as Bernard Maybeck, Julia Morgan and the brothers Charles and Henry Greene. Craftsman homes were characterized by horizontality of Attachment 3
53 proportions, seen in the spreading lines of low-pitched, overhanging gable roofs and informal building plans; reliance on the honest use of materials such as wood, brick, and stone and undisguised structural elements such as exposed beams, braces, and rafters for architectural beauty; and enjoyment of the natural setting through porches, outdoor spaces, and the clustering of windows into horizontal bands. The architectural precedents for Craftsman homes were the wood traditions of Japan and India, as well as past styles such as the American Colonial and the English Tudor. Typical features of Craftsman homes in Carmel include stucco or shingle siding, “L: or “U” shaped plans which enclose a patio, and windows— either sliding, hinged casement, or double-hung sash in operation—which are framed by extended lintels and sills. The heyday of Craftsman building in Carmel lasted from about 1905 into the early 1920s.
Both the aesthetic characteristics of the Craftsman style, and its philosophical underpinnings, which linked it to progressive political, social, and artistic movements in the early twentieth century, made it popular with Carmel’s academic, literary, and artistic residents. The Craftsman style and the emerging popularity of architectural revivals, particularly those based on medieval England, set the stage for a burst of individualism and creativity in Carmel during the 1920s. Hugh Comstock, with his fanciful Tudor cottages, was the most visible manifestation of this period. Steep gables, decorative half-timbering set on stuccoed surfaces, and diamond-paned windows were some of the characteristics of this deliberately picturesque mode of design. Some builders expressed themselves through their choice of materials— clothing an entire building in bark or the local Carmel stone—while others whimsically combined features associated with several styles on a single home to create a unique and eclectic whole. For example, heavy wooden lintels that suggest adobe construction would be incorporated into a home whose other details were derived from an English manor.
In the 1920s and 1930s a taste of revivalism in architecture swept the country. The English, French, Spanish, Italian, and early American countryside were explored for architectural inspiration. This fashion coincided in Carmel with an increase in building of summer homes by the well-to-do, as well as with new demands for traditional amenities by year-round residents. Most of Carmel’s larger homes date from this era. English homes were inspired by a variety of precedents. Tudor homes were usually stuccoed, halftimbered, and gabled. Cotswold houses mimicked thatched roofs with rolled eaves and shingled surfaces.
English Revival homes could be sided with stucco, shakes, or even board and batten or Carmel stone and usually had at least one arched opening, often a front door. The French Revival could be distinguished from the English by the use of hipped roofs and the occasional incorporation of turreted bays. Spanish and Italian Revival houses adhered to the Mediterranean customs of stucco sheathing, tile roofs, and arched opening. American Colonial Revival homes could look to the Cape Cod tradition of New England, with side gabled volumes faced with shingles and pierced by a symmetrical arrangement or neatly framed opening. Regionally popular styles such as the Monterey Revival, usually recognized by a second story balcony across the façade, or the Pueblo Revival, characterized by flat-roofed, cubic massing, were also occasionally attempted.
Simplified traditional styles during the 1930s and into the onset of the World War II include the Minimal Traditional style (1935-1950), which emerged during the years of the Depression as the Federal Housing Administration established national criteria for inexpensive homes. Houses built in this style generally reflect traditional forms but lack decorative detailing or enrichment. Roof pitches tend to be low or intermediate rather than steep, and eaves are narrow rather than overhanging. Built nationwide in great numbers before World War II up until circa 1950, in Carmel these houses are commonly wood-framed and wood-clad, with a brick or Carmel stone chimney. Regional architects such as Edwin Lewis Snyder, Robert Stanton and Julia Morgan experimented in the style, with several examples listed on the City’s Historic Resources Inventory.
Characteristics of the California Ranch style (1935-1970), which originated in California, include asymmetrical single-story forms, low-pitched roofs, wide overhanging eaves, and modest traditional Attachment 3
54 detailing, typically decorative iron or wooden porch supports, ribbon windows and decorative shutters.
Period detailing can include elements of the Spanish Colonial- and Monterey Colonial-revival styles, such as partially enclosed courtyards or patios, or a continuous front veranda on plain or decorated columns.
The private outdoor living areas to the rear of the house are a direct contrast to the large front and side porches of most late nineteenth and early twentieth century styles. In Carmel, the California Ranch style is also expressed using the Post-adobe construction method pioneered by Hugh Comstock in the late 1940s.
Buildings in postwar modernist styles migrate to Carmel largely from the San Francisco Bay Area and Southern California, as architects received commissions to design vacation or second homes for their urban clients. A visual presentation of these styles follows this section and includes examples of some of the City’s most unusual residences. Carmel’s unique topography and climate has resulted in many idiosyncratic examples of modernist styles, such as the Bay Region Modern and Organic styles.
Constraints derived from Carmel’s narrow hillside and/or wooded lots have resulted in singular examples by leading modernist architects, designing in the Bay Region Modern, Organic and Expressionist styles.
The Bay Region Modern style represents Carmel’s unique development of the Second and Third Bay Region styles. This warmer and rustic variation of the colder and more austere Modern styles has been described under multiple labels: Bay Area, Bay Area Regionalism, San Francisco Bay Regionalism, Bay Region, post-war Bay Region and Bay Tradition. The style was not officially named until October 11, 1947, when Lewis Mumford, author of the New Yorker column Skyline, described a new phenomenon occurring on the West Coast:
I look for the continuous spread, to every part of our country, of that native and humane form of modernism, which one might call the Bay Region Style, a free yet unobstructed expression of the terrain, the climate, and the way of life on the Coast.127
In its infancy, Bay Region was little more than a movement or an “attitude” rather than a formal style.
Architectural historian David Gebhard qualifies three loosely defined schools of the Bay Region style:
The principle adherents of the First Bay Tradition, also identified as the Arts & Crafts or Craftsman Style, (1890-1930) were A. Page Brown, Ernest Coxhead, Bernard Maybeck, Willis Polk, and John Galen Howard, among others. The principals of the Second Bay Tradition (1930s-1959) were William Wurster, Joseph Esherick, John Dinwiddie, and Gardner Dailey. Charles Moore and his contemporaries defined the Third Bay Tradition (1960 onward). For purposes of defining Carmel’s modernist architectural styles, the Second and Third Bay traditions have been classified into a single style, the Bay Region Modern style, that has been continuously developed into the 1980s.128 The Bay Region Modern style became somewhat formalized when this loosely-knit group of architects in California’s San Francisco Bay Area redefined Modern designs to include natural, local materials. The plentiful stock of redwood in Northern California made this an obvious choice for structural and aesthetic elements. The result was a softer expression of Modernism that was sensitive to California’s unique natural setting, yet still incorporated key principles of the Modern movement, such as clean lines, strong horizontals, and open and airy designs. For proponents of Bay Regionalism, the site – topography, vegetation, viewshed – drove both the form and materials of the building. A Bay Region building was viewed as an organic extension of nature. Large expanses of glass window walls, sliding doors and
127 David Gebhard, Roger Montgomery, Robert Winter, John Woodbridge, and Sally Woodbridge. A Guide to Architecture in San Francisco & Northern California, 1973. 128 David Gebhard, Roger Montgomery, Robert Winter, John Woodbridge, and Sally Woodbridge. A Guide to Architecture in San Francisco & Northern California, 1973.
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55 partitions, and lofty ceilings allowed the outdoors to flow flawlessly into the interior living spaces. In a place like Carmel where the natural environment reigned supreme, the Bay Region was a perfect fit.
Bay Region Modern buildings in Carmel share similar characteristics, such as irregular-shaped plans; sharp, angular forms and irregular massing; vertical board and batten, shiplap, or shingle cladding; local stone cladding; plate-glass window walls; skylights; flat, low-pitched gable or shed, A-frame, or inverted, butterfly-shaped roofs; wind screens; terraces and decks; and ample gardens and garden courts. The use of traditional materials within a Modern architectural vocabulary is common. The integration of house, setting and landscape is a critical consideration.
Another variation of the Modern architectural style appeared in Carmel in the late 1940s and early 1950s.
The Wrightian Organic style, was realized in Carmel by adherents of Frank Lloyd Wright, and includes architects Mark Mills (a Taliesin fellow), Albert Henry Hill, Rowan Maiden, Jon Konigshofer and Olaf Dahlstrand. The most recognizable characteristic of Wrightian architecture found in Carmel is dramatic roof forms sheltering buildings constructed of natural materials. Influenced by Frank Lloyd Wright’s Organic design principles, Carmel architect Jon Konigshofer pioneered the “hillside house,” a residence designed specifically to fit into a hilly, wooded lot. A typical design would place the driveway at the top of the site, with an integrated carport serving as the building’s entrance. Living spaces would be developed downhill, with open views out to the landscape. In the absence of a flat site, the hillside house utilized substantial, cantilevered decks to provide private outdoor space.
Leading shelter magazines, including Sunset Magazine, The Architectural Record and House Beautiful featured stories on the hillside house. On the West Coast, the hillside house became a distinct type of house design, as promoted by the shelter magazines. In the 1950s, Sunset Magazine published Sunset Ideas for Hillside Homes, an architectural pattern book featuring designs of hillside homes by leading West Coast architects. Jon Konigshofer’s typical hillside design, as evidenced by the 1948 Keith Evans House (on the Historic Resources Inventory), was featured in several editions of this publication.129 Initially, locals pondered the unusual designs; however, Carmel’s modernist buildings received favorable regional and national reviews. Popular shelter magazines, such as Sunset, Good Housekeeping and the Architectural Record began featuring Carmel’s modern buildings. A 1948 newspaper article noted:
“Carmel architecture is holding the spotlight in a number of publications of nation-wide circulation these days…Sunset magazine has already featured the Konigshofer residence and has a layout on the Ford home scheduled soon.”130
Continuing into the 1970s and 1980s, architects such as Walter Burde, Will Shaw and Mark Mills designed buildings in various modernist styles, including the Organic and Bay Region Modern styles.
More recent architects, such as John Thodos updated the Bay Region Modern style by incorporating transparent rooms of glass, with mitered corners to almost completely merge interior and exterior space.
129 The 1956 printing of Sunset Ideas for Hillside Homes features the Keith Evans House on page 5. 130 Dorothy Stephenson, “Carmel Architecture Gets Wide Publicity,” Monterey Peninsula Herald, 5/29/48.
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56 5.4.1 A Visual Presentation of Architectural Styles: 1935 - 1986 A visual presentation of Carmel architectural styles from 1935 to 1986 appears below and covers prewar styles such as Minimal Traditional and California Ranch, as well as modernist architectural styles that continue to be employed today.131 Seven architectural styles are represented by this time period:
1. Minimal Traditional Style (1935-1950)
2. California Ranch Style (1940-1970)
3. Bay Region Modern Style (1940-1986)
4. Postwar Modern Style (1945-1960)
5. Wrightian Organic Style (1945-1986)
6. Regional Expressionist Style (1945-1986)
7. Post-Adobe Style (1948-1970)
For each architectural style, photographs of typical examples are provided, along with character defining features and representative buildings. Whenever possible, buildings listed on the Historic Resources Inventory have been featured. However, not all pictured or “representative” buildings are listed, as some styles are not yet well represented on the Inventory. The inclusion of a property in the Historic Context Statement does not automatically indicate it will be listed on the Inventory.
131 The date ranges provided for various styles are general rather than absolute ranges.
Attachment 3
57 Minimal Traditional Style (1935-1950)
Minimal Traditional house (1935) at Guadalupe Street
and Sixth Avenue.
Minimal Traditional house (1944) at Santa Fe Street
and First Avenue.
Pope House (1940) by Julia Morgan at 2981 Franciscan
Way.
Alta R. Jensen House (1947) by Edwin Lewis Snyder at
Torres Street 5 NE of Eighth Avenue.
Introduction
To stimulate the faltering housing industry during the Depression, the Federal Housing Administration (FHA) released several publications for the development of inexpensive and easily constructible homes.
A typical Minimal Traditional house bears a rectangular plan, a simple gable or hipped roofline, sparse ornamentation, a small wood porch on square columns, multi-pane windows and wood siding. In Carmel, the style may also feature gable-on-wing in massing, a well-crafted brick or Carmel-stone chimney, and may contain exposed knee braces and corner windows in anticipation of the Modern movement.
Character Defining Features
Single-story rectangular plan
Side-gable, hipped or gable-on-wing massing
Wood clapboard, board-and-batten or shingle wall cladding Small front porch on square columns or Modernist knee braces Multiple-light wood-sash windows; may contain corner windows Some examples may feature a Carmel stone or brick chimney Representative Buildings
Dr. Emma W. Pope House, Julia Morgan (1940)
Paul Stoney House (1940)
Alta R. Jensen House, Edwin Lewis
Snyder (1947)
Harry Turner Jr. House (1948)
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58 California Ranch Style (1935-1970)
California Ranch house (1947) at 2960 Santa Lucia
Avenue.
California Ranch house (1961) at 25985 Ridgewood
Road.
Introduction
The California Ranch style became the ubiquitous postwar style in the United States. The style occurs in large numbers in the California suburbs, where vast swaths of farmland were redeveloped into housing.
Popular trade journals, such as Sunset Magazine, presented architect-designed ranch houses that extolled the benefits of combined indoor and outdoor living. In Carmel, California Ranch houses utilize the typical street-facing horizontal ranch form and turn it within the lot to take advantage of the city’s narrow-butdeep lot configuration. Earlier Carmel ranch houses are designed with Monterey- or Spanish Revival detailing. Carmel Ranch houses may be constructed using adobe walls or the post-adobe construction method.
Character Defining Features
Low-slung, single-story, horizontal massing
Gable, hipped or flat roofs, often with incorporated porch Wood-framed and sheathed, post-adobe, or adobe wall construction Carport or garage (attached or detached)
Fenestration may consist of wood, aluminum, or steel-framed windows Wide brick, adobe or Carmel stone chimneys
Applied ornamentation in period revival styles (Spanish, Colonial and Monterey Colonial styles) Representative Buildings
There are early examples of the California Ranch style throughout the Village, including several in the vicinity of Ridgewood Road and Lausen Drive, where development followed Suburban design principles.
However, the style is not yet well represented on Carmel’s Inventory of Historic Resources. The Inventory does list the Bauman House (1950).
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59 Bay Region Modern Style (1940- 1986)
132
Merchant House (1962) by William Wurster at Scenic
Road and Eleventh Avenue.
Esther M. Hill House (1964) by Marcel Sedletzky at
Scenic Road and Thirteenth Avenue.
Reflections (1968) by David Allen Smith for Burde
Shaw & Associates at Dolores Street and Franciscan
Way.
Light House (1982/1997) by John Thodos on Scenic
Road between Ocean and Eighth Avenue.
133
Golub House by Albert Henry Hill (1972) by Albert
Henry Hill at San Antonio Street near Fourth Avenue.
Thodos House (2006) by John Thodos at Torres Street 3
SE of Third Avenue.134
132 Note the Bay Region Style in ongoing; however, this document does not include a study of the post-1986 period. 133 Photo by Wayne Thom, used with permission. The Light House was constructed in 1982, burned in 1994, and was rebuilt in 1997.
134 Photo by Patrick Tregenza, used with permission.
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60 Introduction
The Bay Region Modern style includes the Second and Third Bay Region styles as they migrated from the San Francisco Bay area through individual designs by important regional architects and subsequently practiced by Carmel’s local architects. The Second Bay Region style departed from the rigid expression of the International Style’s “box within a landscape” and expressed volume using the vernacular forms of California’s agricultural buildings – primarily sheds, barns and ranches – what William Wurster called “Soft Modernism.” Modernist design principles, such as integration of the building within the landscape, wide expanses of glass and exposed structural framework were expressed using wood for structure, and particularly, exterior wall cladding.
Third Bay Region architects used the design idiom of the Second Bay Region, but expressed them in vertically oriented buildings with complex roof forms. In Carmel, Third Bay Region buildings prioritize views and often contain projecting shed-or flat-roofed volumes with decks or terraces. The Bay Region Modern style continued into the 1990s, with architects like John Thodos. Most examples are singular designs by leading regional architects. Buildings in this aesthetic continue to be designed today.
Character Defining Features
Building integrated with surrounding landscape
Landscape may be designed by a significant landscape architect Horizontal massing with low-pitched gable, hip or nearly flat roofs; or Vertical massing with flat or shed roofs
Projecting shed or boxy volumes
Exposed structural elements
Wide expanses of glass set within wood frames
Wood siding as exterior wall cladding
Representative Buildings
The Carmel Historic Resources Inventory (HRI) contains a number of buildings in the Bay Region style.
Listed and significant examples include:
Nelson Nowell House, William Wurster (1948)
Merchant House, William Wurster (1961)
Weekend House and Kruse House, Albert Henry Hill (1961) Esther M. Hill House, Marcel Sedletzky (1964)
Reflections, David Allen Smith for Burde Shaw and Associates (1968) Golub House, Albert Henry Hill (1972)
Thodos House, John Thodos (2006)
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61 Postwar Modern Style (1945-1960)
Postwar Modern House (1948) at Torres Street 3 SE of
Eighth Avenue.
Postwar Modern House (1952) at San Carlos Street 3
SE of Thirteenth Avenue.
Introduction
The Postwar Modern Style was a favorite of builders following World War II, when the American dream of home ownership became available for millions of returning veterans. In Carmel the flat-roofed version of the building type was the most prevalent. Building developer Frank Lloyd hired two architect veterans, Thomas Elston & William Cranston to draw plans for his firm. Elston & Cranston would become one of the major architectural firms in Carmel after 1950. The building form was an economic subtype of the American International Style, which was introduced to California in 1920s Los Angeles by Richard Neutra and Rudolph Schindler. Buildings resemble the International Style with flat roofs, and boxy massing, clad with wood, brick or stone. Almost always one-story, many have attached carports.
Character Defining Features
Low-slung, single-story massing
Low-pitched shed or gable roof, or flat roof, with wide eaves throughout Open roof overhangs
Minimal exterior decoration
Fenestration consisting of wood- or aluminum-framed windows Attached, flat- or shed-roofed wood carports common
Representative Buildings
A concentration of this house type occurs along Torres Street, where the firm of Elston & Cranston designed variations of the style. Other examples can also be found scattered about the City. However, the style is not yet well represented on Carmel’s Inventory of Historic Resources. The Inventory does list the Thomas Elston House by Elston & Cranston (1948).
Attachment 3
62 Wrightian Organic Style (1945-1986)
Keith Evans House (1948) by Jon Konigshofer at 2969
Franciscan Way.135
Mark Mills’ Walker Spec House (1951) at Rio Road and
Thirteenth Avenue.
Mrs. Clinton (Della) Walker House (1952) by Frank Lloyd Wright at Scenic Dr. near Santa Lucia Avenue.
Wells Fargo Bank (1965) by Olof Dahlstrand at San Carlos Street between Ocean and Seventh Avenues.
Introduction
In his 1939 book, An Organic Architecture – The Architecture of Democracy, Frank Lloyd Wright described his “organic” style, which dictated the harmony of the building with its natural environment; the use of regional and natural materials to relate the building to its setting; designs with low-pitched overhanging roofs to provide protection from the sun in the summer and to provide some weather protection in the winter; and the integration of interior and exterior space through expanses of glass and exterior decks or patios. In Carmel, Wrightian architects such as Mark Mills and Jon Konigshofer used these techniques to construct modernist buildings of local materials that take advantage of the hilly, wooded Carmel landscape.
135 Photography courtesy of Google Street View, 2019.
Attachment 3
63 Character Defining Features
Irregular plans and asymmetrical composition
Geometric, low-pitched roof expressions with wide overhangs and exposed structure Use of modernist construction methods but with natural and local materials Wide expanses of glass in wood or metal frames
Clerestory windows
Wood- or metal-framed fenestration
Integrated landscape features of local materials
Landscape may be designed by significant landscape architect Representative Buildings
Keith Evans House, Jon Konigshofer (1948)
Dorothy Green Chapman House, Rowan Maiden (1949)
Robert A. Stephenson House, Robert Stephenson (1949)
Walker Spec House, Mark Mills (1951)
Mills House, Mark Mills (1951)
Mrs. Clinton (Della) Walker House, Frank Lloyd Wright (1952) Attachment 3
64 Regional Expressionist Style (1945-1986)
Butterfly House (1952) by Frank Wynkoop, at
Scenic Road and Stewart Way.136
Cosmas House (1961) by Albert
Henry Hill at Lopez Street
between Second and Fourth
Avenues.
Hofsas House (1965) by Ralph
Stean, at Dolores Street and
Fourth Avenue.
Introduction
Regional Expressionism applies new technologies and construction techniques to design modernist buildings that are attuned to Carmel’s regional topography, geology and climate. With advances in concrete and metal technologies, rooflines soar with space-age forms, including butterfly, arched, serrated, airplane and parabolic. The structures beneath were expressed boldly and employed wide expanses of glass to view Carmel’s varied and natural landscape.
Character Defining Features
Irregular plans and forms addressing the immediate setting & its environment Soaring rooflines in butterfly, arched, serrated, airplane or parabolic shapes Exposed steel or wood structural system
Wide expanses of glass in wood or metal frames
Concrete and cement-block walls, integrated with patio and landscape features Landscape may be designed by a significant landscape architect Representative Buildings
Butterfly House, Frank Wynkoop (1952)
Cosmas House, Albert Henry Hill (1961)
Hofsas House, Ralph Stean (1965)
136 Note that the Butterfly House is south of the City limits but within the Carmel-by-the-Sea sphere of influence and is pictured here to illustrate the Regional Expressionist Style.
Attachment 3
65 Post-Adobe Style (1948-1970)
Post-Adobe house (1950) at Vizcaino Avenue and
Flanders Way.
Carmel Village Inn (1954) by James Pruitt at NE
Ocean and Junipero Avenues.
Post-Adobe House (1950) at Scenic Road and Eighth
Avenue.
Carmel Red Cross Headquarters (1954) at SE Dolores
Street and Eighth Avenue.
Introduction
Post-Adobe is both a building style and method-of-construction. Conceived by Carmel master builder Hugh Comstock in the late 1930s in anticipation of World War II building materials shortages, Comstock began constructing adobe homes while experimenting with waterproofing methods for his bricks. By 1940 he had developed a wall-framing method of Redwood posts infilled with waterproof adobe bricks, which also allowed for internal wiring and other infrastructure to be accommodated within the adobe walls. In Carmel and the region, the construction method was well suited for the California Ranch-style.
In 1948, Hugh Comstock published his construction manual, Post-Adobe: Carmel by the Sea, detailing the construction method and offering a number of house plans for constructing the buildings.
Character Defining Features
Building forms in Postwar architectural styles, notably Postwar Modern and California Ranch styles Roof forms may be gable, hip or flat
Waterproof adobe bricks framed between redwood timbers; also used for adobe chimneys Fenestration includes either metal- or wood-framed casements or sash Representative Buildings
L.L. Spillers Guest Cottage, Elston & Cranston (1951) Carmel Village Inn, James Pruitt (1954)
Carmel Red Cross Headquarters (1954)
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66 5.5 Public and Domestic Landscaping
The garden was one of the most important contributions of the Arts and Crafts Movement to creating natural, unpretentious, and harmonious environments. According to the tenets of the movement, gardens were intended to express regional character, built from local materials and simple plants. They were meant to be used as outdoor rooms and places for growing productive plants. Ideally, Arts and Crafts gardens had an irregular path system through the landscape and conformed with the natural topography avoiding trees and natural rock outcrops. Bernard Maybeck and Charles Sumner Greene were important exponents of this type of garden.
The influence of the Arts and Crafts movement combined with the Carmelites’ appreciation and enjoyment of the natural coastal environment is expressed in the prevalence of gardens, courtyards, and informally landscaped open space throughout the city. Most homes have some sort of outdoor living space, be it a paved terrace nestled between wings of the house or an area carpeted with pine needles set in amongst the trees. Pines, oaks, cypress, and other trees punctuate the lots, and flowers and vines grow, seemingly unchecked on and around them. No front lawns or sidewalks separate the properties from the streets; rather, garden fences of pickets, stakes, or stone blend in with the landscape. Since Carmel homes do not have addresses, signs with the owner’s or the house’s name are attached to fences, walls, or posts.
Daisy F. Bostick and Dorothea Castelhun in their affectionate description of Carmel in 1925 state “The true Carmel garden knows no straight line nor conventional symmetry of arrangement.”137 Public landscaping projects were promoted by Devendorf and Powers. Powers was a nature lover who took delight in planting trees in the village and often made gifts of seedlings to friends. Trees were not always planted in a random fashion, especially on commercial streets. In 1904, Devendorf had his Japanese work crew plant Monterey pine trees down the middle of Ocean Avenue and a boardwalk was built on both sides, affording some relief to shoppers from the dust in the summer and the mud in the winter. Two years later Scenic Road and San Antonio Avenue were planted with cypress trees.
Devendorf also gave children a one-cent piece to plant seedlings.
In 1921, a group of prominent citizens lobbied the city to purchase 15 acres of dunes from James Devendorf to preserve it for the future. The price was set at $15,000 and the voters approved the purchase by the city. The purchase included the dunes and beach and Block 69, now Devendorf Park.
For a considerable time Block 69 served a multitude of uses—polo field, horseshoe pit, campground, and fairground. Unfortunately, most of the time it was either a dust bowl in summer or a quagmire in winter.
By 1928, it became apparent that beautification could be realized through the support of the clubs and organizations. The development of Devendorf Park was accomplished by the city in 1932.138 In the early 1940s, a City Council with a majority of Carmelites from the “artistic element” voted to abolish parking on the median of Ocean Avenue. Nationally renowned landscape architect Thomas Church redesigned the median with stone walls, shrubs, and flowers.139 One of the leading American modernist landscape architects active from the 1930s to the 1970s, Thomas Church is known for his pioneering modern garden designs that were appropriated to the local environment and climate. His design approach influenced the next generation of landscape architects, including Garrett Eckbo, Robert Royston, Lawrence Halprin, Theodore Osmundson, and Douglas Baylis,
137 Daisy F. Bostick and Dorothea Castelhun, Carmel at Work and Play, p. 30. 138 Sharron Hale, A Tribute to Yesterday, p. 55.
139 Harold and Ann Gilliam, Creating Carmel: The Enduring Vision, 1992.
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67 acknowledged as pioneers of the “California Style” of landscape design.140 Church was educated at the University of California, Berkeley, and Harvard, where he became fascinated with issues of California’s climate and outdoor living. 141 By 1930 Church had established his own practice in San Francisco, the neoclassical style was the prevailing approach in landscape and city planning design. Church’s unique approach towards unifying building and landscape with particular attention towards climate context and lifestyle gave birth to modern landscape design and planning. Some of Church’s most notable works include the residential design of Donnell Gardens in Sonoma County, California, and the innovative middle-income housing development of Parkmerced in San Francisco. Church and William Wurster, of Wurster, Bernardi and Emmons, were close friends and collaborated on many house and garden projects.
142
One of the most significant open space additions to Carmel-by-the-Sea occurred following purchase of
17.5 acres of the Doolittle Property at the wooded southeast corner of town and the 14.9-acre Flanders Estate in 1972. The combined properties became Mission Trail Park, the largest open space located within the city limits. The two land acquisitions were widely popular and viewed as a major victory for locals and environmentalists, as a large-scale residential development was in competition for the land.143 As a village in the forest, Carmel has a continuous history of environmentalism. In 1979, the Piccadilly Nursery, located on the west side of Dolores Street between Ocean and Seventh Avenues went out of business. Disputes ensued within the City Council, which was debating developing the vacant site or making it a city park. In 1980, Carol Stratton and Jean Mitchell formed the Carmel-by-the-Sea Garden Club. They quickly made saving the site for a park their top priority. City Councilmember Helen Arnold, a champion of environmental and residential rights, wrestled with the male-dominated City Council and became a vocal advocate for the creation of Piccadilly Park. She was reelected to the City Council in 1980 and battled mayor Barney Laiolo, who sought commercial development, for the park’s creation.
The combined work of these women, particularly Helen Arnold’s voice within the Council led to the delightful open space within the dense commercial blocks of the commercial core. Piccadilly Park opened in 1996 with a plaque honoring its founders and Councilmember Helen Arnold.144
5.6 Associated Resource Types
5.6.1 Identification
Within the context of Architectural Development in Carmel the following resource types have been identified:
Single family houses
Commercial buildings
Landscaping and public art
5.6.2 Description
Single family houses
140 Corbett, 19.
141 Marc Treib, editor. Modern Landscape Architecture: A Critical Review, Cambridge, MIT Press, 1992, 169. 142 Corbett, 12.
143 “The 70s: A Decade in Review,” Carmel Pine Cone, 1/24/80. Gualtieri and Momboisse, 12. 144 Gualtieri, Kathryn, “The Fight over Whether or Not to Construct Piccadilly Park (unpublished research paper),” 6/10/22.
Attachment 3
68 Carmel has always been a residential community and has consciously resisted efforts to develop and urbanize in defiance of economic pressures. Therefore, a substantial percentage of Carmel’s residential properties were developed prior to World War II and constitute the bulk of the historically significant resources in the city. Described in detail in Section 5.4, architectural styles include the simple vernacular cottages from the earliest period, craftsman bungalows, and the revival styles popular during the 1920s and 1930s. Many Carmel residences also represent the work of notable architects and designer/builders.
Commercial buildings
Commercial construction which took place under the influence of the architectural revivals of the 1920s has left the most lasting imprint on the character of the business district; however, buildings that represent earlier building periods should also be considered for preservation. In 1903, the Carmel Development Company constructed the first “fireproof” commercial building of concrete blocks made to look like stone. Formerly the Carmel Development Company’s office, the People’s Market, and Holman’s Hardware store, this building is still standing at the northwest corner of San Carlos and Ocean.
Both the Spanish Colonial Revival and the Tudor Revival styles are well represented in the business district. Beyond the usual Spanish stylistic trademarks of stuccoed exteriors and tiled roofs, the Spanish styled buildings feature ornate wrought iron and carved wood detailing, generous use of colorful patterned tile for staircase risers, dados, fountains, planters, and backsplashes, patios and courtyard spaces, arcades, and towers. The courtyard complexes, Las Tiendas (1921) and El Paseo (1927), are among the best exponents of this genre of commercial construction. 145
Other notable Spanish buildings
include the China Art Center (1929) on Dolores and the Mediterranean Market (1932) on the corner of Ocean and Mission. Hugh Comstock’s Tuck Box (1926-29) on the east side of Dolores Street between Ocean and Seventh Avenues symbolized Carmel’s love affair with the quaint and the picturesque to many visitors. Like his residential “doll houses,” the Tuck Box employs steep gables with uneven rakes, rolled eaves, and a capricious combination of shingles, bricks, Carmel stone, stucco, and wooden half-timbering.
Other Tudor Revival commercial buildings such as the Amelia Gates Building at the southeast corner of Ocean and Monte Verde were more conventional in their use of half-timbering, vari-colored brick, and multi-paned casement windows.
Landscaping and public art
Regardless of building use, architectural style, or period of construction, Carmel’s neighborhoods reflect a love of nature, expressed in terms of gardens, window boxes, and trees. In addition, civic improvements such as street trees, the island on Ocean Avenue, the street pattern which is especially noteworthy when it bends and curves to accommodate a tree, and stone-lined curbs and culverts do much to shape the character of the built environment. Picadilly Nursery/Park, the Church of the Wayfayer’s Biblical Garden, and the War Memorial Arch designed by Charles Sumner Greene are also prominent landscaping and public art examples.
5.6.3 Historic Significance and Integrity
Nearly every commercial building on Ocean Avenue and Dolores Street contributes to the character of the historic business district. Other commercial properties in the city may also be eligible for listing if they were constructed more than 50 years ago, are good representatives of a given architectural style and that
145 Architect Bertram Goodhue’s buildings for the 1915-16 California Pacific International Exposition in San Diego are said to have inspired Spanish style buildings in the 1920s in California, particularly in Santa Barbara, and beyond.
Attachment 3
69 possess sufficient historic integrity. Since it is the nature of commercial buildings that storefronts are frequently remodeled, such modifications do not necessarily compromise a building’s integrity. Historic associations enrich the significance of most buildings in the business district as well, and may outweigh a lack of architectural integrity in the application of the criteria for listing.
Significant single family residences are those that are related to Carmel’s architectural chronology as described in Section 5.4 above; that reflect Carmel’s pronounced taste for individualism; or that represent the work of a master builder or architect. Residences should be considered for individual merit or contribution to potential historic districts on the basis of architecture (in addition to or in lieu of any historic associations with notable residents). Architectural integrity should be substantially intact and based on individual evaluation of each building based on the above lists of character defining features for each architectural style. Where there are many representatives of a particular style or examples of a master’s work, the property should retain a high degree of physical and architectural integrity.
Significant landscape and garden resources are those that characterize the Arts and Crafts ideal of integrating the natural environment into the overall ambiance of the building site, streetscape, neighborhood, or district.
The following table summarizes the National Register-, California Register- and Carmel-by-the-Sea Inventory of Historic Resources criteria for historic significance.
Ntl / CA
Register
Carmel
Municipal
Code
§17.32.040
Significance Analysis for Carmel Inventory of Historic Resources A/1 1 Events, Patterns
Trends
Should support at least one historic theme listed in the historic context statement.
B/2 2 Persons Should be associated with significant persons that contributed to the City through economic development, government, civic, cultural, artistic or social institutions.
C/3 3 Architecture,
Construction
Method
Buildings designed by a significant architect, landscape architect, or a significant builder; buildings designed by unrecognized architect/builder, but being a good representative of an architectural style listed in this context statement.
Individual examples, which contribute to diversity in the community, need not have been designed by known architects, designer/builders or contractors. Rather, rare styles and types that contribute to Carmel’s unique sense of time and place shall be deemed significant
D/4 4 Information
Potential
Confined primarily to archaeological or subsurface resources that contribute to an understanding of historic construction methods, materials, or evidence of prehistoric cultures.
National Register Bulletin 15: How to Apply the National Register Criteria for Evaluation defines historic integrity as “the ability of a property to convey its significance.” Historic properties either retain their integrity or they do not. To retain integrity, a resource will always retain several and usually most of the seven aspects of integrity:
Attachment 3
70 1. Location: the place where the historic property was constructed or the place where the historic event occurred.
2. Design: the combination of elements that create the form, plan, space, structure, and style of a property.
3. Setting: the physical environment of a historic property.
4. Materials: the physical elements that were combined or deposited during a particular period of time and in a particular pattern or configuration to form a historic property.
5. Workmanship: the physical evidence of the crafts of a particular culture or people during any given period in history or prehistory.
6. Feeling: a property’s expression of the aesthetic or historic sense of a particular period of time.
7. Association: the direct link between an important historic event or person and a historic property.
After establishing the property’s historic significance, the evaluator assesses integrity using National Register Bulletin 15’s four-step approach:
1. Define the essential physical features that must be present for a property to represent its significance.
2. Determine whether the essential physical features are visible enough to convey their significance.
3. Determine whether the property needs to be compared with similar properties. And,
4. Determine, based on the significance and essential physical features, which aspects of integrity are particularly vital to the property being nominated and if they are present.
National Register Bulletin 15 emphasizes that “ultimately, the question of integrity is answered by whether or not the property retains the identity for which it is significant.”146 To use the above four-step approach when a building has not been previously evaluated, consult the list of architectural styles and character defining features to determine what the essential physical features of the building are (step one); determine if sufficient character defining features are present (step two); compare the building to others of similar style (step three); and determine if sufficient historic integrity is present (step four).
The following two lists provide Minimum Eligibility Requirements and Integrity Thresholds for determining if a given building maintains sufficient historic integrity. These lists should be used in conjunction with the architectural style photographs and lists of character defining features.
Minimum Eligibility Requirements
Retains sufficient character defining features to represent a given architectural style. Retains original form and roofline.
Retains the original fenestration pattern.
Retains original exterior cladding (or original cladding has been replaced in-kind).
Integrity Thresholds
146 U.S. Department of the Interior, National Park Service, National Register Bulletin 15: How to Apply the National Register Criteria for Evaluation. Washington, D.C.: National Park Service, U.S. Department of the Interior, 1997, 44-49 (bold in original).
Attachment 3
71 Carmel’s Modernist buildings primarily use local and natural materials. Retention of original construction materials (or in-kind replacement) is essential. Carmel buildings with garages constructed contemporaneously with the residence enhance a site’s historic integrity.
Additions/alterations are acceptable provided the alterations meet the Secretary of the Interior’s Standards for Rehabilitation.
6.0 DEVELOPMENT OF ART AND CULTURE (1904-1986)
6.1 Arts and Crafts Movement
As previously discussed, the Arts and Crafts Movement was very influential in many aspects of Carmel’s physical and cultural development. The movement promoted the pride of craftsmanship and had particular influence on the decorative arts and architecture of the period. However, Arts and Crafts ideals permeated all aspects of American society as can be seen in the changes in dress and fashion, home management and patterns of living, trends in education, and in social reform. The philosophy of the Arts and Crafts Movement was spread through popular literature and periodicals, as well as through the establishment of clubs, societies, and schools.
The Arts and Crafts Club in Carmel was established in 1905 by Elsie Allen, former editor of Harper’s magazine and faculty member of Wellesley College, Jane Powers, Louis Slevin, and a number of other like-minded citizens. Arts and Crafts were broadly defined to include all the visual and decorative arts, literature, music, domestic arts, and drama. The club also established a natural history museum, sponsored fund-raising events, mounted exhibitions of the members’ artwork, and promoted civic improvements. In the following years a number of more specialized art, music, literature, and drama clubs and associations were formed. In 1910, the Arts and Crafts Club organized its first summer school, called Cedar Croft, offering classes in botany, drawing and painting, pottery, china painting, art needlework, dramatic reading, music, and art metal, in addition to tutoring in Latin, English, and mathematics. The school operated until the mid-1920s, giving students from around the country the opportunity to work with nationally recognized artists as well as noted local artists.
The art community continued to grow in the 1940s, but by the 1950s concerns mounted over the dearth of artists living in Carmel in relation to the growing number of art galleries catering to tourists. The “art for art’s sake” folk were forced out not only by the skyrocketing price of real estate, but also by artists who began to create art purely for profit. Yet again a rift formed between the artistic and business elements.
For gallery owners, the commodification of art was good business, as tourists’ appetites for art proved voracious. To the artistically inclined old guard, the popularity of art galleries was yet another threat to community character; Carmel was on its way to becoming less of an artistic getaway and more of an attraction for tourists. Local artist and art teacher, John Cunningham warned, “Carmel is going to destroy itself as an art center by too many galleries that are selling too much schlock.”147 The Carmel Art Association maintained its status as the largest art organization in the community with a working membership of 175 and an overall membership of 800 in 1945.148 (See Appendix 9.5.1 for a list of artists who were members of the Carmel Art Association and were working in Carmel, 1940-1965.) Founded in 1937, the Carmel Art Institute was bought by John and Pat Cunningham in 1939, whereby it was moved to the Court of the Golden Bough and then the Flanders mansion. The Art Institute was a center of the art-education community in Carmel for the decades to follow.
147 Harold and Ann Gilliam, Creating Carmel: The Enduring Vision, 1992. 148 Daisy Bostick, Carmel Today and Yesterday, 1945.
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72 The Carmel Art Gallery, a non-profit organization first listed in city directories in the early 1950s continued to feature work by local artists. The Carmel Art Gallery was in operation on Dolores between Fifth and Sixth Avenues through at least the early 1960s. The Carl Cherry Foundation gallery at Fourth and Guadalupe, housed in the home of Jeanne D’Orge (nee Lena Yates), was a notable bohemian salon.
In the late 1940s, the talented abstract artist and poet converted her home into a gallery and theater where she showcased her and other artists’ work and hosted experimental plays. At her house and gallery, Jeanne D’Orge hosted the avant-garde set for nearly two decades until her death in 1964.149 The Foundation is now the Carl Cherry Center for the Arts.
In 1958 the City Council, under the encouragement of Gunnar Norberg, voted to create an Arts Commission. The Arts Commission was composed of representatives from each of the arts. In 1967 the Commission was reorganized into the Community and Cultural Commission.150 Additional arts organizations that were active during this period include the Carmel Camera Club, the Carmel Adult School, the New Group Gallery, and the Carmel Music Society.
6.2 Artist and Writer Colony
6.2.1 Artists
The Mission San Carlos Borromeo del Rio Carmelo (known to locals as the Carmel Mission) and the breath-taking landscape of the surrounding area has made Carmel a popular destination for artists since the 1870s. Coupled with the discounted lots and agreeable terms offered by the Carmel Development Company, many artists decided to make Carmel their home. The remodeled barn of Jane Gallatin Powers, an accomplished artist and wife of Frank Powers, is considered to be the first art studio in Carmel. Mrs. Powers persuaded many San Francisco artists to relocate their studios to Carmel, after the 1906 earthquake. Other studios were soon established, including those of Mary DeNeale Morgan, Arthur Vachell, Laura Maxwell, Jessie Frances Short and William Silva.
By 1911, James Devendorf reported that over 60% of the residents of Carmel were devoting their lives to work connected with the “aesthetic arts.” Although Carmel was a thriving artist’s colony by the 1920s, there were no galleries except for the clubhouse of the Arts and Crafts Club, which was used for other functions as well. Even this limited gallery space disappeared when the Club ceased to hold its annual exhibition in 1922, and it sold the clubhouse to the Abalone League in 1927. Many artists displayed their work in their home studios. That strategy proved to be unsuccessful, however, as potential buyers, mainly tourists, often had a difficult time finding the studios, given the lack of addresses and street lighting. This problem was resolved in 1927 by the formation of the Carmel Art Association. Members paid dues of one dollar per month to the association which would provide exhibition space, hire a curator, and make sales. Twenty-five percent of sales went to the curator, five percent to the association and the rest to the artists. Meetings were held at “Gray Gables,” the home of Josephine Culbertson and Ida Johnson. The group first rented commercial space in the Seven Arts Building, designed by Herbert Heron, at Lincoln and Ocean. Through the assistance of Barnet Segal, the association purchased Ira Remsen’s old studio on Dolores Street in 1934 and expanded it in 1937.
Three particularly active members of the Carmel Art Association were Mary DeNeale Morgan, William Ritschel, and Armin Carl Hansen. Born in San Francisco in 1868, DeNeale Morgan attended the California School of Design from 1888 to 1890. She later exhibited throughout the United States. She had previously come to Carmel in 1903 with her mother and brother Thomas and helped run the Pine Inn
149 Harold and Ann Gilliam, Creating Carmel: The Enduring Vision, 1992. 150 Harold and Ann Gilliam, Creating Carmel: The Enduring Vision, 1992.
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73 for a little more than a month for Frank Devendorf. Morgan returned the following year and occupied a cottage on Monte Verde near the Pine Inn. Six years later she established her permanent home and studio in the former Sidney Yard studio on Lincoln near Seventh. An avid painter in tempera and oils, DeNeale Morgan was also active in the Forest Theater Society and All Saints’ Church.
William Ritschel and Armin Carl Hansen were two of five members of the Carmel Art Association to be admitted into the National Academy of Design, one of the highest forms of recognition for artists. Marine landscapes artist Ritschel was born in Nuremberg, Bavaria in 1864. He came to the United States in 1895 and settled in New York City. Having later visited Carmel, he returned in 1918 to have his “Castle” built in the Highlands with the help of a Spanish stone mason. Born in San Francisco on October 23, 1886, Hansen studied art at the California School of Design and later in Stuttgart, Germany. He was a painter and etcher who was noted for his portrayals of the Spanish and Portuguese fisherman of Monterey Bay.
In 1937 Hansen and Paul Whitman, an etcher, founded the Carmel Art Institution as a school where all branches of art were taught. Their studios were in the Seven Arts Buildings on Lincoln. Two years later, however, Hansen became ill and asked another active member of the Carmel Art Association, John Cunningham to take over. Cunningham—and his wife Pat, an oil painter and muralist—moved the institute first to the Court of the Golden Bough and then to the city-owned Flanders Mansion. Closed after Cunningham’s retirement, the Institute was a vital part of Carmel’s art scene for decades; among its faculty were such internationally-famed artists as Fernand Leger and Alexander Archipenko.
Carmel also attracted a number of cartoonists. In the early years, Gene Byrnes, creator of “Reg’lar Fellers,” was named by Literary Digest in 1923 as one of the seven big cartoonists of the United States.
Bill O’Malley, creator of the cartoon, “The Little Nuns” was a Carmel resident. Other cartoonists that have made their homes in Carmel include Jimmy Hatlo, Hank Ketcham, Gus Arriola, Eldon Dedini, and Bill Bates.
The natural beauty of the area has also attracted photographers. Arnold Genthe, a native of Prussia with academic training, came to San Francisco in the early part of the century. Here he discovered photography and began specializing in informal portraits and landscapes. As a member of the Bohemian Club and a friend of poet George Sterling, he first visited Carmel in 1905. Attracted by the easy terms offered by the Carmel Development Company, he built a house and studio in Carmel on Camino Real between Tenth and Eleventh avenues, where he lived periodically for ten years. It was here that he took the first color photographs of “the cypresses and rocks of Point Lobos, the always varying sunsets, and the intriguing shadows of dunes offered a rich field for color experiments.”151 In 1911 he displayed one of the first exhibitions of color photographs in the United States. Other photographers included Edward Weston, Lewis Josselyn, Johann Hagemeyer and George Seideneck. Edward Weston maintained a second floor studio at the southeast corner of Ocean Avenue and Monte Verde between 1929 and 1937.
This influential photographer helped establish the West Coast Tradition of fine art photography and was a prolific interpreter of the Carmel Valley, Point Lobos and Big Sur environments. One of the most important local photographers was Louis Slevin. A man of many facets, Slevin was a shopkeeper, postmaster, writer, and stamp collector, collector of rare books, and maritime historian. Ranging from 1899 to 1935, Slevin’s photographs provide important documentation of the changes as the Monterey Bay area developed. The businesses of Louis Slevin and Dale Hale’s Camera Shop supported local photographers by selling the tools of the trade.
Craftsmen of every type found a home in Carmel. Ruth Kuster kept a weaving shop in her husband’s Court of the Golden Bough. Catherine Seideneck specialized in hammered brass and copper, leather work, and hand-made jewelry. Mayotta Brown Comstock fashioned handmade dolls, and Ida Johnson
151 Franklin Walker, The Seacoast of Bohemia, p. 24
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74 produced fine pottery. J.J. Wright established the Press in the Forest where he wrote, set the type, printed and bound each volume by hand. Also notable were artist/blacksmith Francis Whitaker and Charles Sayers, a master woodcarver.
6.2.2 Literature
Arriving from 1901 to 1907, the earliest writers to come as full or part-time residents were David Starr Jordan, Hal Lewis (later Sinclair Lewis), and Frederick Bechdolt. The author of Blood of the Nation, The Higher Sacrifice and The Strength of Being Clean, Jordan first visited the Carmel area in 1880 while taking the U.S. Census. Short story writer Jimmy Hopper, editor of Commonweal Michael Williams and his wife Peggy, and Grace MacGowan Cooke and her sister Alice MacGowan also settled in Carmel in the early years of the century.
Jimmy Hopper moved to Carmel permanently after the San Francisco earthquake in 1906. First renting a cottage on Dolores and Ninth, he later took over George Sterling’s house at Torres and Eleventh, which was destroyed by fire in 1924 and rebuilt on the same site. Hopper wrote more than four hundred short stories and several novels for popular magazines such as Collier’s and The Saturday Evening Post.
Born on July 27, 1874, in Mercersburg, Pennsylvania, Frederick Ritchie Bechdolt went from placer mining in the Klondike, to cow punching, to rubbing shoulders with criminals at San Quentin and Folsom. When he first arrived in Carmel in 1907, he rented a cottage in the Eighty Acres until he met and married Adele Hale. His novels include When the West Was Won, The Hard Rock Man, Tales of Old Timers and 9009 in collaboration with Jimmy Hopper. He also wrote for various newspapers including the Seattle Star and Los Angeles Times. In addition to being a prolific writer, Bechdolt served as postmaster, city council member and police commissioner. He died in 1950.
Alice MacGowan and Grace MacGowan Cooke moved to Carmel in 1908 to join the literary colony.
They had already achieved wide popular success with their novels, short stories, essays, and poems, a success that began as early as 1888 with the publication of Grace’s first magazine stories. They bought a two-story, shingled house located on a cliff above the beach at what came to be known as “Cooke’s Cove.” They were also active in the Forest Theater Society from its founding in the spring of 1910.
Soon after the MacGowan sisters arrived in Carmel, they wired twenty-three-year-old Sinclair “Hal” Lewis to join them as their secretary and collaborator. The three had met at Helicon Hall, a utopian writer’s colony in New Jersey established by Upton Sinclair. For a little over a year Lewis lived in the house of Josephine Foster on the beach near the MacGowan house; that spring he shared his modest quarters with friend William Rose Benet. During the summer, the two young men were hosts to The Nautilus editor Elizabeth Towne and her husband, William E. Towne.
The cut-rate prices for building lots offered by Devendorf made Carmel a magnet for the Bohemian writers of San Francisco. George Sterling had moved to California in 1890 from Sag Harbor, Long Island. He studied for the priesthood for three years, then left to work for his uncle, Frank Havens, as a realtor. He married Carrie Rand and settled in Piedmont. During his fifteen years as a businessman he made a point of meeting most of the literary figures of San Francisco, and he gradually came to think of himself as a poet instead of a realtor. Eventually Sterling became the center of a group of artists and writers that met at Coppa’s, a San Francisco restaurant. About the same time Sterling joined the Bohemian Club, San Francisco’s refuge for playful businessmen, and received the title “King of Bohemia.” His friend, writer Ambrose Bierce, helped him publish his first collection of poems in 1903.
In 1905, Sterling and author Mary Austin visited Mission San Carlos Borromeo del Rio Carmel. Soon thereafter, each decided to make Carmel their permanent residence. The Sterlings built a house in the Attachment 3
75 Eighty Acres, on Torres Street between Tenth and Eleventh. Jack and Chairman London were frequent guests.
Born on September 9, 1868, in Carlinville, Illinois, Mary Austin was a prolific writer who published some thirty-two books and approximately two hundred periodical articles. Austin had moved to a ranch near Bakersfield with her family when her father died in 1888. Married to Stafford Wallace Austin in 1891, Austin eventually left her husband to devote herself to her intellectual interests. After a prolonged visit to Italy, Austin returned to Carmel in 1912. Always unconventional, Austin had San Francisco architect Louis Mulgardt design a quaint redwood cabin and a studio platform around the limbs of an oak on her North Lincoln property. Austin called the studio her “wick-i-up” and spent many hours there writing about nature and women’s rights. By 1924 she had established herself in Santa Fe where she fought for the preservation and rehabilitation of Native American and Spanish art and handicrafts.152 The circle of writers and artists around Sterling began to crumble in 1910 when he made the first of what came to be regular summer trips back to his family home on Long Island. His marriage to Carrie Rand, which had been shaken many times by his infidelity, broke up in 1914 as the result of a particularly flagrant affair. He left Carmel for good the following year, settling in Greenwich Village where he hoped to begin a new and more successful career. Despondent over the death of his friend Jack London and the estrangement with his wife, Sterling committed suicide in 1926.
Robinson Jeffers was Carmel’s most original poet. Sterling’s enthusiastic, lyrically descriptive letters describing Carmel and its isolated inhabitants, struck a chord with Jeffers. He rented a house on Monte Verde near Ocean in 1914. After his marriage to Una Call Kuster, the Jeffers purchased land on Carmel Point and hired Michael J. Murphy to build a house in 1918. Constructed of native granite, they called it “Tor House” because the treeless, windswept lot facing the ocean reminded them of the tors in England.
Observing the stone masons’ techniques during the construction of “Tor House,” Jeffers later built “Hawk Tower” himself. Robinson Jeffers continued to live in Tor House until his death in 1962. In 1941 he produced the play The Tower Beyond Tragedy for the Forest Theater. The play starred Judith Anderson.
In 1950 Robinson’s wife, Una, passed away from cancer. Jeffers’ poetry became retrospective in his grief. When the Carmel Master Plan was published in 1956, Jeffers’ learned that his famous house and property were planned to house the “Jeffers Memorial Library,” a plan that he knew nothing about.
Jeffers was furious and out of revenge sold a portion of his property for a subdivision.153 Although Jeffers did not replace Sterling as the center of Carmel’s bohemian society, he was not the hermit many have made him out to be. Indeed, he attracted many friends and visitors to his home including Lincoln Steffens and his young wife, Ella Winter.
Son of a wealthy Sacramento dry goods merchant, Lincoln Steffens became a “muckraking” reporter, holding several editorial positions with magazines that included McClure’s Magazine and American Magazine before he wrote The Shame of Cities. Steffens and Winter moved into a cottage on San Antonio near Ocean Avenue in 1927, where Steffens wrote his autobiography. Steffens also took an active interest in the affairs of the town, in its politics and schools. He also edited the Pacific Weekly and wrote a regular column for the local weekly, The Carmelite, edited by his wife. During this period, Steffens was host to many of the world’s literati and politically important people. In 1929, Ella sued Steffens for divorce amid much gossip. After the divorce was final in 1931, Steffens remained in Carmel until his death in 1936.
152 Austin’s place of residence during this time alternated between Europe, New York Carmel and Santa Fe with various sources contradicting the actual time periods. One source has her moving back and forth between Europe and New York from 1903 until she moved to Santa Fe in 1918. Another source has her living in either Carmel or New York between 1911 and 1918 until she moved permanently to Santa Fe in 1924. 153 Harold and Ann Gilliam, Creating Carmel: The Enduring Vision, 1992.
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76 6.2.3 Drama and Theater
Drama in Carmel was pursued in close conjunction with the other arts. The first theater in Carmel was created by Herbert Heron, a professional actor with the Belasco and Morasco Stock Company in Los Angeles. He first visited Carmel in July 1908 and returned a year later to build a home at Guadalupe and Mountain View. He selected a site for an open air theater in the Eighty Acres which Devendorf gave to him on a long term lease without rent to build a stage and seats. Devendorf was so excited about the idea that he tossed in the remainder of the block and two workmen to help clear the grounds. By 1910 there were enough interested individuals living in Carmel to form the Forest Theater Society. Its motto was “to produce plays by local writers, and to give local writers the opportunity and experience of writing, producing, acting and directing as well as stage and costume design.” The first production was the play David, written by Constance L. Skinner and directed by Garnet Holmes, which took place on July 9, 1910. Most of the town’s residents played a role in this and following productions or were part of the audience.
Perry Newberry and a group broke away from the Forest Theater for a time and formed the Western Drama Society in 1912. Later, in 1919, the two groups were reunited and merged with the Carmel Arts and Crafts Club, the Forest Theater Society becoming its theater wing. The Arts and Crafts Club constructed an indoor theater on Monte Verde near Ninth Avenue in 1924. During the Depression Era productions at the Forest Theater were halted, and the facility was deeded to the City of Carmel so that the Public Works Administrative could rebuild the stage and continue its upkeep. For almost a decade, from 1937 through 1947, the Forest Theater was dark. From 1939 to 1940, the Theater was reconstructed by the Works Progress Administration under direction of local architect Hugh Comstock. Rock was used to re-face the concrete dressing rooms and original stage, the plain wood benches were replaced with redwood plank seating, and a new fence was built around the property. In 1941, the Theater opened briefly for its first original production, Robinson Jeffers’ play The Tower Beyond Tragedy starring actress Judith Anderson, before closing during World War II due to blackout regulations. 154
Historian Kevin
Starr writes, “The very elaborateness of [Forest Theater] productions, which called for the cooperative effort of hundreds of Carmelites, testified to the coherence of the Carmelite identity among its permanent summer residents.”155 The Theater opened briefly in 1947 for Dan Totheroh’s play, The Distant Drum.
156
In 1949 after being dark for nearly a decade, the city-owned theater sought a sponsor. Founder Herbert Heron met with Cole Weston, son of famed photographer Edward Weston, and twenty villagers; together, they formed the Forest Theater Guild, which was charged with the Theater’s financial oversight.
Cole Weston directed several plays at the Forest Theater through the early 1960s when the popularity of the outdoor venue dimmed.
A prominent figure in the development of theater in Carmel, Edward J. Kuster came to the village in 1919 from Los Angeles where he had been a lawyer for twenty years. He gave up the legal profession to study theater arts with a former client, Ruth St. Denis. He was first cellist with the Los Angeles Philharmonic, and an amateur bicyclist. He then spent two seasons in Berlin and Munich, moving to Carmel in 1920 to work with the Forest Theater Society as its president and director. Next he went to New York to study classical and medieval architecture and later enrolled in the San Francisco School of Theatre. Again he returned to Carmel, and decided to build a state-of-the-art indoor theater. He opened the Theatre of the Golden Bough on Ocean Avenue at Monte Verde on June 3, 1924. Constructed for experimental drama, the Golden Bough featured a projecting semicircular platform connected to the main stage by a flight of wide shallow steps, indirect lighting and small balconies. Costing $100,000, the theater resembled an old
154 Harold and Ann Gilliam, Creating Carmel: The Enduring Vision, 1992. 155 Kevin Starr, The Dream Endures: California Enters the 1940s, 1997. 156 Michael Whitcomb, Carmel: The Architectural Spirit, 1978.
Attachment 3
77 pagan temple and was praised nationwide by critics, not only for the quality of the production, but for its comfort and beauty.
The Theatre of the Golden Bough opened with a summer session in 1924 with Maurice Brown’s original play, The Mother of Gregory, based on an old Scot legend of Annie of Lochroyan. Theater productions in Carmel had usually been plays involving almost the entire community from small children to elders in every aspect of its production. While great community involvement, fun, and satisfaction was evidenced, Kuster felt a more disciplined professional product was necessary.
During the Depression, Kuster leased the theater as a movie house. He also took over the old Arts and Crafts Theater from the Abalone League, which he renamed The Studio Theater of the Theatre of the Golden Bough, and leased it out as well. In 1935, he began bringing back live theater. On May 17, the play By Candlelight opened and two days later the theater burned, leaving only a portion of the lobby intact. After the fire, the theater was moved to the old Arts and Crafts Theater (near Monte Verde and Ninth) and renamed the Golden Bough Playhouse. It became Carmel’s first art movie house—Carmel Filmarte.
Kuster continued to present theater productions and summer workshops. He was called “The Starmaker” because Hollywood scouts would attend his productions to find promising young actors. Some of the actors he nurtured include Rosemary de Camp, Ruth Warshawsky, Robert Ryan, Nanette Fabray, and Donnon Jeffers, son of Robinson Jeffers.
The Golden Bough Playhouse was damaged by fire in 1949 while again running By Candlelight. A new Golden Bough Theater was built at this site on the Monte Verde side, and The Circle Theater of the Golden Bough was built behind it on the Casanova side. When rebuilding was completed by a newly organized corporation, Kuster was hired as manager. He retired in 1956 and moved to Switzerland in 1961, where he died an untimely death. The Circle Theater continued to offer productions until 1969 when it was purchased by United Artists.
The team of Watrous and Denny were active participants in the cultural life of Carmel. Hazel Watrous was a supervisor for the Alameda school system, and also had experience as a stage designer. She moved to Carmel in 1924 with her companion, Dene Denny, whom she had met at Berkeley. During 1927 and 1928 they leased the Golden Bough Playhouse from Kuster and presented eighteen plays.
The Studio Theater, a dinner theater, presented plays by local thespians; it was located on Dolores Street between Ocean and Seventh.
6.2.4 Music
From the early days of Carmel, informal groups of music lovers gathered in homes to hear resident or visiting artists play or sing. Sally and Teresa Ehrman, Mrs. Lawrence Strauss, and Mabel Gray Young formed the nucleus of the musical colony. Young is believed to have been the first trained musician to settle in Carmel. She often gave concerts in San Francisco and was said to be teaching piano to most adults in Carmel.
The Norwood Music Colony established in 1917 had eleven cottages where many eminent musical artists lived. A large number of notable musicians spent some time in Carmel. Cellist Frederic Preston Search worked with local organizations. Concert Pianist Katherine Vander Roest Clarke held informal Sunday afternoon musicals in her Carmel home. Others included Thomas Vincent Cator, Henry Cowell, Antonio DeGrassi, Edward Johnson, Betty Lawrence, Nathan Firestone, Marina Ralston, Evadna Lapham, Louis Persinger, George H. Richardson and his wife, and David Alberto.
Attachment 3
78 Denny and Watrous were responsible for organizing the most important musical events and venues in Carmel. They founded the Carmel Music Society in 1926 which hosted chamber music concerts. Later the two became professionally involved in music management and promotion. They opened the DennyWatrous Gallery on Dolores which hosted informal recitals and exhibitions. They also sponsored concerts in other cities as well. In 1935 they organized the Carmel Bach Festival. Although envisioned as a venue for local talent, it achieved national recognition, featuring noted professional musicians.
Presented in the Sunset School Auditorium and at the Mission, the festival originally consisted of five concerts, two organ recitals, and a series of lectures on related musical subjects. Each series was concluded by the Mass in B Minor, sung in the Carmel Mission by the full chorus accompanied by a full orchestra. The conductors were Ernst Bacon, followed by Michael Penha until 1939, and then Gatson Usigli from 1938 to 1955. The Festival’s first permanent conductor, Usigli was born in Venice and was known as an inveterate perfectionist with a fiery temper. Sandor Salgo took the reins as conductor of the Bach Festival from 1955 through 1992. The company was made up of approximately 60 musicians and a chorus of 50 singers. One of the more important supporters of music and especially the Bach Festival was Noel Sullivan, the nephew of James D. Phelan, mayor of San Francisco, state senator, and builder of Saratoga’s Villa Montalvo. The Festival was suspended for three summers during World War II.157 The City acquired the Sunset School on 30 June 1965 with the intention of developing the complex into a cultural center. The school cost $550,000 and was purchased after a bond measure was passed.158 Renamed the Sunset Center, it housed 733 in its auditorium and quickly became the Monterey Peninsula’s regional theater and the permanent home of the Bach Festival. The buildings surrounding the auditorium space housed a photography gallery, pottery and dance studios, and workshops for the arts.
6.3 Academia and Science
Dr. David Starr Jordan was the first of the college professors to settle in Carmel. He first visited the area while taking the U.S. Census in 1880. In 1904, Jordan, then president of Stanford, purchased three lots on the northeast corner of Camino Real and Seventh where he built a “comfortable and stately” house in 1905. Soon after, many professors, no doubt responding to a brochure they received from Devendorf inviting “school teachers of California and other brain workers at indoor employment,” began to populate Carmel-by-the-Sea. Starr’s colleagues from Palo Alto such as Vernon Kellogg, George Pierce, Karl Rendtorff, and Guido Marx soon followed. Since most of them bought lots on Camino Real south of Ocean, that section of town became known as “Professors’ Row.” Professors from the University of California at Berkeley tended to build homes in other parts of Carmel. For example, John Galen Howard, Dean of the School of Architecture, purchased lots on Monte Verde between Thirteenth Avenue and Santa Lucia while George Boke, Dean of the School of Law, settled on the northwest corner of San Carlos and Santa Lucia.
Among the professors and scientists who had permanent or vacation homes in Carmel were plant ecologist William S. Cooper; Professor James Worthington, a fellow of the Royal Astronomical Society of Great Britain and conductor of eclipse expeditions; Dr. Alfred E. Burton, former dean of Massachusetts Institute of Technology; Drs. Fenner and Stillman, early experimenters with vitamins; zoologist Professor Vernon Kellogg; and Dr. J.L. Fish, engineering expert. Dr. Karl G. Rendtorff, a professor of Germanic languages, came with his family and built a house in 1910 and subsequently became very active in village life. Dr. O. V. Lange was a professor at the University of California. The home of Professor Guido Marx at Ninth and Camino Real became the Holiday House.
157 Harold and Ann Gilliam, Creating Carmel: The Enduring Vision, 1992. 158 Nancy Hills, “City Showed Foresight in Buying Sunset Center,” Carmel Pine Cone, 21 September 1989.
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79 The Department of Botanical Research of the Carnegie Institute, locally known as the Coastal Institute, was located at the east end of Twelfth Street at Junipero. The Lab brought many members of the scientific community to Carmel. Institute staff included Dr. Daniel T. MacDougal, who served as director of botanical research for thirty years; Dr. Beverly Clark, authority on photosynthesis; Professor Benjamin M. Duggar, physiological pathologist; Dr. Forest Shreve, known for his map of North America; and Professor Francis E. Lloyd, a botanist who specialized in the study of carnivorous plants.
6.4 Influence of Women
From its earliest years, Carmel has attracted intelligent, creative and independent women from all walks of life. Whether artists, writers, community activists, healthcare advocates, politicians, philanthropists, or builders, women were unusually visible and dynamic participants in the creative and physical development of Carmel. The early social structure of the village allowed women to challenge typical gender roles and lifestyles and to fully exercise their talents in business, art, and politics, while in other localities women were still engaged in the struggle for recognition and autonomy.
The organization and activities of the Arts and Crafts Club was dominated by women. Elsie Allen served as the first president. She was followed in office by Josephine Foster and Mary E. Hand. Hand led the group for sixteen years, organizing fundraisers and overseeing the construction of the Arts and Crafts Theater in 1922. Fannie Yard (Mrs. Sidney Yard) was the director of the Cedar Croft School, a position she held for many years.
Many female artists who made Carmel their home took an active role in the community. A good friend of James Devendorf, Mary DeNeale Morgan first came to Carmel in 1903 with her family. A painter in oil and tempera, she had graduated from the California School of Design in 1890 and exhibited her work throughout the United States. She was a founding member of the Arts and Crafts Club, the Forest Theater, All Saints Church, and the Carmel Art Association. She also taught drawing and painting in the Cedar Croft school, and led the 1921 campaign for the city purchase of the Sand Dunes. 159 and Block 69.
Morgan’s good friends, artists Josephine Culbertson and Ida Johnson, came to Carmel in 1906 and were active in the development the community. Both gifted artists, Culbertson painted in oils and Johnson was a potter. Culbertson was also a talented organist who played in the Arts and Crafts orchestra as well as at the Community Church. They organized “The Dickens Club” for the young men of the village.
Miss Culbertson also had a hand in the organization of the Carmel Art Association in 1927. Ida Johnson was the chairwomen and curator of the “Museum of Yesteryear,” sponsored by the Arts and Crafts Club.
Both ladies were active in the Carmel Library Association, founded in 1904. Miss Johnson served as the Association’s president in 1911-1912. The contributions of Dene Denny and Hazel Watrous have already been discussed. Both were very influential in the development of art, music, and drama in Carmel. Daisy Bostick, co-author of Carmel at Work and Play with Dorothea Castelhun, wrote for many years for the Carmel Pine Cone.
Women were involved in local politics from the date of city incorporation in 1916. Eva K. DeSabla was a charter member of the city’s board of trustees. She was reelected to a second term on April 12, 1920 and appointed president of the board. Saidee Van Brower was first elected city clerk in 1920 and won every bid for reelection thereafter. A dance instructor in Berkeley, Van Brower was one of the many artisticminded people who moved to Carmel in 1907. She performed in the Forest Theater productions as well as directed the corps de ballet, as did her niece Jeanette Hoagland Parkes, who married Percy Parkes.
159 Devendorf gave Block 69 to the City as part of the Sand Dunes sale.
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80 The contributions of other influential women have been discussed in the foregoing sections, i.e., Abbie Jane Hunter, Jane Powers, and Mrs. E.A. Foster (Section 1.5); Mrs. Dominga Doni de Atherton, Ann Murphy, Emma Otey and Emma Maugh (Section 3.1); Dene Denny and Hazel Watrous (Section 3.2, 5.3 and 6.2); Grace Deere Velie Harris (Section 4.2); Emma Williams, Helen Jaquith and Ella Reid Harrison (Section 4.3); Josephine Culbertson and Ida Price (Section 4.4 and 6. 2); Elsie Allen and Jane Powers (Section 6.1 and 6.2); and Mary DeNeale Morgan, Ruth Kuster, Catherine Seideneck, Mayotta Brown Comstock, Mary Austin, Alice MacGowan, Grace MacGowan Cooke, Mabel Gray Young, Sally Ehrmann and Katherine Vander Roest Clarke (Section 6.2). Other women who were active in community life or made significant contributions in their fields of endeavor include Laura Maxwell, Ivy Basham, Agnes Signor, Daisy Bostick, Mary Goold, Josephine Foster, Marie Gordon, Nora May French, and Eunice Gray.
6.5 Associated Resource Types
6.5.1 Identification
Properties associated with context of Development of Art and Culture include:
Homes and studios
Art galleries
Theaters
6.5.2 Description
Homes and studios
The homes of artists, writers, dramatists, photographers, musicians and others who shaped Carmel’s identity as an art cultural center between 1905 and 1940 are easily distinguishable from their neighbors, perhaps due to the strong individualism of their inhabitants and their expression of personal creativity.
Studios and other types of work spaces would also be important resources associated with this context.
Art galleries and shops
The Carmel Art Association building and numerous art galleries are focal points of this context throughout the business district. Many craftsmen kept retail shops to sell the products of their art.
Theaters
Historic theaters in Carmel include the open-air Forest Theater and the Arts and Crafts Community Theater, now the Pacific Repertory Theater (also known as the Golden Bough Theatre, on Monte Verde south of Eighth Avenue). In addition, remnants of the Kuster’s Theatre of the Golden Bough on Ocean and Monte Verde exist in the Court of the Golden Bough. The Sunset Center is significant within this context for the role it played in the community as an auditorium for cultural events since 1934. Designed by C.J. Ryland, the Sunset Center has been the venue of many cultural activities and performances, including pottery classes, dance recitals, painting studios, and lecture and meeting rooms. Other resources include the American Legion Hall and the Woman’s Club at Ninth and San Carlos, which each include a large hall with a stage.
6.5.3 Significance
The registration requirement for a property associated with this context would be the role the resource played in the development of art or culture, and its integrity to the period of significance, i.e., the occupation of the person in question and his or her productive years, or with the period of significant activity. Commercial buildings significant under this context include those which were associated with notable artists and craftsmen or promoters of art and culture.
Attachment 3
81 8.0 BIBLIOGRAPHY
Books and Reports
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Bostick, Dairy F. and Dorothea Castlehun. Carmel at Work and Play. Monterey: Cypress Press, 1991 (1977 & 1926).
Bostick, Daisy F. Carmel Today and Yesterday. Carmel: The Seven Arts, 1945.
Boule, Mary Null, Mission San Carlos Borromeo de Carmelo. Vashon, Washington: Merryant Publishing, 1988.
Brewer, Joseph, Up and Down California in 1860-1864. Edited by Francis Farquhar. Berkeley:
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Carmel Business Association. Carmel-by-the-Sea A Booklet Prepared for Those Who Desire to Learn More of Our World-Famed Village. Carmel, Ca.: Printed for the Carmel Business Assoc. by the Carmel Press, 1940s.
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Carmel by the Sea, California Visitor's Guide, 1954. Carmel: Pacific Grove Press, 1954.
Carmel (Calif.). Municipal Code City-of-Carmel-by-the-Sea. Carmel, Calif.: [s.n.], 1957.
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Clark, Donald Thomas. Monterey County Place Names: A Geographical Dictionary. Carmel Valley, CA: Kestrel Press, 1991.
Clark, Robert Judson. The Arts and Crafts Movement in America 1876-1916. Princeton University Press, 1972.
Comstock, Hugh W. Post-Adobe; Simplified Adobe Construction Combining a Rugged Timber Frame and Modern Stabilized Adobe. 1948.
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Crandall, Chuck. They Chose to be Different. Chronicle Books, 1972. (720.9794 CRA).
Culleton, James. Indians and Pioneers of Old Monterey: Being a chronicle of the religious history of Carmel Mission considered in connection with Monterey’s other local events and California’s general history. Fresno: Academy of California Church History, 1950.
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82 Projects Administration in Northern California, American Guide Series. Sponsored by California Department of Education, 1935.
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Attachment 3
83 Matthewson, Joanne. The Fairy Tale House of Carmel. Carmel: The Tuck Box, 1977.
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Attachment 3
84 Walker, Franklin. The Seacoast of Bohemia: An Account of Early Carmel. San Francisco: Book Club of America, 1966.
Watkins, Robin. History of Monterey and Santa Cruz Counties, California: Cradle of California’s History and Romance, Vol. 11. Chicago: The S.J. Clarke Publishing Co., 1925.
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“81 New Houses.” Architectural Forum, vol. 74 (1941): p. 244. “1984: The Year in Review.” Carmel Pine Cone (27 December 1984). “A Carmel, California House Unfolds: W.R. Yelland, Architect.” Architect and Engineer, vol. 151 (1942): pp. 24-25.
“A House of Seven Levels.” House and Garden, vol. 133 (1968): pp. [106]-[111]. “A Planning Lesson from Frank Lloyd Wright.” House and Home, vol. 5 (1954): pp. 98-105. “A Seemingly Artless Vacation House Gives Well Directed Views and Three-Way Exposure to Every Major Room.” Architectural Forum, vol. 91 (1949): pp. 80-82.
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Attachment 3
85 “Attic on a Slab.” House and Home, vol. 4 (1953): pp. 76-79.
Austin, Mary, “George Sterling at Carmel” in American Mercury, vol. 11, May 1927, pp. 65-72. “Bach by the Sea.” Time, vol. 50 (4 August 1947): p. 55. “Ban on Post Adobe Homes in Carmel.” Carmel Pine Cone (7 September 1972) “Beachcombing bonanza: Store with Curios Washed Up by the Sea.” Christian Science Monitor Magazine (11 June 1949): pp. 8-9.
Beck, Susan. “Carmel in ‘50s: Residents Fear LAization.’” Carmel Pine Cone (2 November 1989).
Bennett, Janey. “Work of Mark Mills: Structural Elegance and a Sense of Reverent Space.” Journal of the Taliesin Fellows, no. 10 (1993): pp. 18-29.
Bostick, Daisy F., “Outdoor Living in Carmel” in California Arts and Architecture, May 1938, pp. 10, 33.
Brady, M.E. “New Cult of Sex and Anarchy.” Harper’s, vol. 194 (April 1947): pp. 312-22. “Built Around a Pine Tree.” House Beautiful, vol. 83 (February 1941).
Burke, Margo. “Compact Home Overlooks Carmel Bay.” Monterey Peninsula Herald (20 May 1972).
Burke, Margo. “It Seems Always to Have Been There.” Monterey Peninsula Herald (3 June 1972).
Burke, Margo. “’Relaxed’ Home in Carmel.” Monterey Peninsula Herald (30 September 1972). “Businessmen in Carmel Oppose Power Poles.” Source provided by the Henry Meade Williams Local History Department at the Harrison Memorial Library (13 January 1966). “Butterfly House by Frank Wynkoop.” Architects & Architecture (1980). “California Beauty Spot: Photographs” in School Arts Magazine, vol. 25, March 1926, pp. 392-94.
Canfield, Clarke. “Maine town might vote to favor local flavor; Keeping out chain restaurants will be on ballot.” The Houston Chronicle (1 October 2005): p. 7.
“Carmel…An Artist’s Village Grown into a City of Contrasts.” Monterey Peninsula Herald (13 August 1957).
“Carmel Announces Annual Bach Festival.” Musical America, vol. 70 (June 1950): pp. 35. “Carmel Architecture Gets Wide Publicity.” Source provided by the Henry Meade Williams Local History Department at the Harrison Memorial Library (29 May 194_). “Carmel-by-the-Sea” in Outlook, vol. 141, October 28, 1925, pp. 301-02. “Carmel’s Bach” in Newsweek, vol. 38, July 30, 1951, pp. 48.
Attachment 3
86 “Carmel Foundation Maps Plans for Aged” Source provided by the Henry Meade Williams Local History Department at the Harrison Memorial Library (17 November 1948). “Carmel High School, Carmel-by-the-Sea, California.” Pencil Points, vol. 26 (1945): pp. [73]-86. “Carmel Is Unique City Which Accepts Progress Only with a Struggle.” Source provided by the Henry Meade Williams Local History Department at the Harrison Memorial Library (date unknown).
“Carmel Landmark to be Moved to New Location.” Monterey Peninsula Herald (4 January 1957). “Carmel Legends.” Carmel Pine Cone (5 February 1987).
“Carmel May Be First to Fly UN Flag.” Monterey Peninsula Herald (25 August 1960). “Carmel Mission: The Favorite of Artists” in School Arts Magazine, vol. 49, June 1950, p. 34648. “Carmel Now Has Chamber of Commerce” (1950).
“Carmel Presbyterian Church Completes 1st Decade.” Monterey Peninsula Herald (23 March 1964). “Carmel Residents Listed in Volume” (16 November 1948). “Carmel Votes 4-month Building Moratorium.” Monterey Peninsula Herald (25 July 1973). “Carmel Will Choose Own Kind of Progress.” Monterey Peninsula Herald (16 July 1949). “Carmel’s Bach.” Newsweek, vol. 38 (30 July 1951): pp. 48. “Citizens Express Enthusiasm for Carmel Foundation” (10 December 1948). “City of Carmel-by-the-Sea Proposed Significant Building List.” Unpublished manuscripts from the Henry Meade Williams Local History Department at the Harrison Memorial Library (13 February 1979).
“City Attorney Asked to Draft Ordinance on Residential Design Control.” Carmel Pine Cone (10 August 1972).
“City to Abandon Intersection at Del Mar and Eighth” (21 January 1949).
Cole, David. “Carmel’s Oldest House is Still a Home.” Carmel Pine Cone (22 April 1976). “Comfort and Background Without Excessive Cost: house of Dr. Rudolph von Urban, Carmel, Calif.” Architectural Record, vol. 104 (1948): pp. 116-118.
“Construction Begins on Carmel Youth Center” (23 November 1949).
Della Cava, Marco R. “Charming-by-the-Sea.” USA Today (25 July 2003): p. 01D.
DiGirolamo, Vincent, “Bach’s Beheading. Carmel’s Great Unsolved Art Crisis” in San Francisco Chronicle, This World (Sunday Supplement), November 22, 1987, p. 12.
Attachment 3
87 “Downtown Center for an Unusual West Coast Town.” Architectural Record, vol. 131 (June 1962): pp. 166-69.
Dunn, Arthur. “Monterey County California.” Sunset Magazine Homeseekers’ Bureau, 1915. “Enthusiasm Runs High for Elderly People’s Home Plan” (November 1948).
Erickson, Molly. “Halfway There.” The Carmel Pine Cone (30 August 1990). “Family Circles.” Time (27 November 1944).
“First Jitters.” Time (22 December 1941).
“Four houses.” Progressive Architecture, vol. 31 (1950): pp. 51-69.
Fox, Christy. “Music Fills the Carmel Valley Air.” Los Angeles Times (27 June 1965).
Funchess-Jones, Elaine. “Charles Davis: The Aquarium Architect.” Pacific (July 1990).
Flynn, William. “Carmel Just a Gold-Plated Tourist Trap, Writes Bitter Correspondent for St. Louis Paper.” Monterey Peninsula Herald (20 September 1949).
Gardner, Michael. “Carmel Residents Voice Strong Views in Survey.” Carmel Pine Cone (25 July 1985).
Garrott, H. “California City Holds Fourteenth Bach Festival.” Musical America, vol. 71 (August 1951):
p. 24.
Garrott, H. “Carmel Holds Bach Festival.” Musical America, vol. 69 (August 1949): p. 34.
Gaston, Kay Baker. “The MacGowan Girls.” California History (Summer 1980): p. 117. “George Andrew Brooke-Kothlow.” Monterey Peninsula Herald (23 September 2012).
Gilman, Pete. “New Carmel Point House Has Many Novel Features” (10 April 1952).
Gray, E.T. “Forest Theater at Carmel-by-the-Sea, California.” St. Nicholas, vol. 42, April 1915, pp. 570-
71. “Green Belt Annexation Offered City.” Source provided by the Henry Meade Williams Local History Department at the Harrison Memorial Library (3 February 1975).
Gualtieri, Kathryn and Lynn Momboisse, “The 70s: A Decade in Review.” Carmel Pine Cone (24 January 1980).
Harris, Sid. “Another Writer’s View of Carmel.” Source provided by the Henry Meade Williams Local History Department at the Harrison Memorial Library (4 September 1950).
Hauk, Steve. “Carmel Determined to Keep Its Charm.” Monterey Peninsula Herald (1 June 1970): 11D.
Hauk, Steve. “The Man Who Made Architecture Fun.” Monterey Peninsula Herald (17 December 1993).
Attachment 3
88 Hills, Nancy. “City Showed Foresight in Buying Sunset Center.” Carmel Pine Cone (21 September 1989).
Horovitz, Bruce. “Study Took Two Years To Complete; To Go To City Council Soon.” Carmel Pine Cone (22 February 1979).
“House, Carmel, California.” Progressive Architecture, vol. 33 (1952): pp. 92-95. “Houses: House for Informal Living.” Architectural Record, vol. 103 (1948): pp. 118-137. “Houses: House for Mr. and Mrs. W.S. Chitarin.” Architectural Record, vol. 104 (1948): pp. 82-134. “How Architect and Owner Create the Personal House.” House and Garden, vol. 137 (1970): pp. 64- [75].
Howe, Kevin. “Coastal Commission Approves Carmel, Calif., Plan.” Monterey County Herald (16 October 2004): p. NA.
Howe, Kevin. “Landmark Buildings Designated in Carmel.” Monterey Peninsula Herald (4 April 1991).
Hudson, Jeff. “Carmel: A Town’s Identity and the Forces of Progress.” The Monterey County Herald, (20 February 1993): 5D.
“Huge School District Serves Carmel Area.” Monterey Peninsula Herald (23 March 1964).
Hulanicki, Alex. “Architect Leaves His Mark with Care.” Monterey County Herald (22 March 1993).
Hulse, Jerry. “The Little Village That Wouldn't Change Carmel Has Resisted `Progress' for 75 Years and Visitors Still Wish They Could Stay for Good.” Los Angeles Times (17 March 1991): p. 1. “John H. Gamble.” Monterey Peninsula Herald (6 November 1997). “Keep Carmel Intact (Letters to the Editor).” Carmel Pine Cone (20 March 1986).
Kendall, Raymond. “A Well-Tempered Bach Festival in Carmel-by-the-Sea.” Los Angeles Times (26 July 1964).
Kuster, Ted. “Fifty Years War.” Source provided by the Henry Meade Williams Local History Department at the Harrison Memorial Library (10 February 1959). “Lawmakers ban new galleries.” Art Business News, v. 31 i12 (December 2004): p. 14(1).
Lemos, P.J., “Little Houses of Carmel” in School Arts Magazine, vol. 27, Fall 1928, pp. 338-43.
Lindsey, Robert. “Carmel’s Charm Resists the Tide of Change.” New York Times (1 July 1984): p. A.14. “Livin’ is Easy: The Robert Stanton Home.” Carmel Pacific Spectator Journal (June 1956).
Lloyd, Marjory. “The History of Carmel: 1542-1966.” Unpublished manuscript from the Henry Meade Williams Local History Department at the Harrison Memorial Library (May 1966).
Attachment 3
89 Loh, Jules. “Edward Durell Stone’s Search for Beauty.” Monterey Peninsula Herald (18 November 1973).
“Mark Mills.” Monterey Peninsula Herald (20 June 2007).
Martin, Bill. “Stock Designs Harmonize with Nature.” Carmel Pacific Spectator Journal (9 June 1950).
“Merchants See Tourism as Mixed Blessing.” Carmel Pine Cone (30 August 1973).
Miller, Harlan. “Carmel, As Seen by Visiting Iowan.” Des Moines Register (23 August 1950). “Modern Style in Carmel Brings Cries of Anguish.” Source provided by the Henry Meade Williams Local History Department at the Harrison Memorial Library (9 September 1950). “Moratorium Proposed on New Restaurants.” Monterey Peninsula Herald (21 November 1974). “Mrs. Chapman Works to Preserve Carmel.” Monterey Peninsula Herald (9 April 1964).
Mukhija, Vinit and Donald Shoup. “Quantity versus quality in off-street parking requirements.” Journal of the American Planning Association, v. 72 i3 (Summer 2006): p. 296(13).
Muschamp, Herbert. “Charles Moore, Innovative Post-Modern Architect, Is Dead at 68.” New York Times (17 December 1993).
“Music Lovers Flock to Carmel for Bach Event.” Los Angeles Times (14 July 1940). “Nevada Woman to Run for Senate.” New York Times (4 March 1918). “New Carmel City Hall is Opened.” (28 December 1950).
“New Character in Old Framework.” Architectural Record, vol. 100 (1946): pp. 103. “New City General Plan Ordinances Would Limit Shops, Galleries, Eateries.” Carmel Pine Cone (26 April 1984)
“No Coney Island (Letters to the Editor).” Carmel Pine Cone (20 March 1986).
Norris, Barnard. “Carmel Up in Arms Over Mention of Any Such Thing” (14 December 1950). “Oldest House in Carmel Located Near our Cherished Sand Dunes.” Carmel Pine Cone, 1936. Reprinted February 3, 1975.
Orth, Michael. “Ideality to Reality: The Founding of Carmel.” California Historical Society Quarterly (September 1969): pp. 195-210.
Pastier, John. “U.C. Santa Cruz: The Architecture.” AIA Journal (August 1979).
Peattie, Donald Culross. “Four of Our Prettiest Towns.” New York Times Magazine (12 August 1962):
pp. 12-13.
Attachment 3
90 “Pine Inn at Carmel Recently Enlarged.” Los Angeles Times (21 June 1940).
Porter, S.C., “Theatre of the Golden Bough” in Theater Arts Magazine, vol. 9, Fall 1925, p. 8995.
Prine, Kay. “Carmel and World War II.” Unpublished manuscripts from the Unpublished manuscript from the Henry Meade Williams Local History Department at the Harrison Memorial Library (date unknown).
“Proposed Carmel Significant Building List.” Carmel Pine Cone (22 February 1979).
Rasmussen, Lilian. “Hugh White Comstock: 1893-1950.” Unpublished manuscripts from the Henry Meade Williams Local History Department at the Harrison Memorial Library (date unknown). “Redwood Number.” Architect and Engineer, vol. 140 (1940): pp. [16]-48. “Recent work of Michael Goodman.” Architect and Engineer, vol. 139 (1939): pp. [16]- 40, 51.
“Retiring Councilman’s Last Vote Stymies Move to Ban Two-Story Houses.” Carmel Pine Cone (26 April 1984).
“Rewriting Effort Begins on Zoning,” Monterey Peninsula Herald (2 August 1973).
Reynolds, Christopher. “Quaint as It Ever Was; Cute little Carmel resists change, but that doesn't mean nothing is happening in Pleasantville.” Los Angeles Times (13 June 1999): p. 1 Richardson, L. “Birthplace of Garden Ideas, Carmel-by-the-Sea.” Better Homes and Gardens, vol. 2 (January 1943): pp. 28-29.
Roseth, Brian, “A Brief History of Early Zoning Ordinances in Carmel-by-the-Sea.” “Rowan P. Maiden.” Carmel Pine Cone (17 January 1957).
Rowntree, L., “Homes in the Highlands” in Sunset Magazine, vol. 64, May 1930, pp. 12-13.
Ryland, C.J. “Bank for Carmel by the Sea.” Architectural Concrete, vol. 6, no. 2 (1940): pp. 24-25.
Samuels, L.K. Los Angeles Business Journal, v. 28, i41 (9 October 2006): p. 59(1).
Schilly, Barbara. “Points of Interest in Carmel.” Source provided by the Henry Meade Williams Local History Department at the Harrison Memorial Library (date unknown).
Smith, Virginia. “You Can’t Improve on Simplicity.” Los Angeles Times (11 April 1948). “Some California Schools.” Royal Institute of British Architects Journal, vol. 57 (1950): pp. 375-381.
Spratley, Louise. “Carmel: A Success Story.” West Vancouver Lions Gate Times (11 January 1963). “Stanton to be Honored by Fellow Architects.” Carmel Pine Cone (24 August 1972).
Attachment 3
91 Stegner, Wallace. “The California Tomorrow Plan.” Bulletin of the American Academy of Arts and Sciences, Vol. 25, No. 5. (February 1972): pp. 3-7.
Stephenson, Dorothy, “Carmel Architecture Gets Wide Publicity.” Monterey Peninsula Herald, 29 May 1948.
Stephenson, Dorothy. “Carmel’s Architecture Both Interesting and Livable.” Monterey Peninsula Herald (1 June 1970).
Stephenson, Dorothy. “’Dream’ Houses for the Common: ‘Dobies’ Move Out of the Luxury Class.” Monterey Peninsula Herald (5 March 1948).
Stephenson, Dorothy. “Hugh Comstock Influenced Carmel Architecture.” Monterey Peninsula Herald (8 September 1950).
Stephenson, Dorothy. “New House on Edge of Ocean at Carmel Point Draws Spectators.” Monterey Peninsula Herald (24 October 1951).
Stephenson, Dorothy. “Threat of Humanity Threatens to Engulf Carmel Village.” Monterey Peninsula Herald (3 May 1949).
Strickley, Andria. “Carmel Suffers An Identity Crisis As a Playground for Silicon Valley.” Preservation: the magazine of the National Trust for Historic Preservation, vol. 52, no. 4 (July 2000): pp. 18-20.
Sutton, Horace. “Where the Longhairs Live.” Los Angeles Times (1962).
Taylor, F.J., “City-in-the-Forest” in Better Homes and Gardens, vol. 10, August 1932, p. 9.
Tescher, Chris. “Architectural Integrity.” Carmel Pine Cone (5 July 1990). “The Bid Sur Saved.” Time (28 December 1962).
“The Bow Front Faces the Blue Pacific.” Architectural Record, vol. 104 (1948): pp. 100-102. “The Residence of Mrs. Esther Thatcher, Carmel: architect, Michael Goodman, interiors, Sawyer & Knowles.” California Arts and Architecture, vol. 57 (1940): pp. [28]-29. “The Second House.” Time (17 August 1962).
“The Unwanted.” Time (30 October 1950).
“This is Carmel 1955.” Carmel Pacific Spectator Journal (15 April 1955). “This is Carmel 1957.” Carmel Pacific Spectator Journal (September 1957). “This Site Slopes Up From The Road, So The House Climbs Instead of Descending.” Architectural Forum, vol. 88 (April 1948): p. 141.
Thompson, John. “Turn-of-the-Century Feminist: Anne Martin.” Carmel Life Online (2006).
Attachment 3
92 “Three weekend houses (Carmel, California).” Progressive Architecture, vol. 43 (1962): pp. 120-[126]. “To Make a Two-Story House More Elegant, Accent the Vertical.” House and Home (February 1954): p. 124-9.
“Top-lighted school.” Architectural Forum, vol. 91 (1949): pp. 107-110. “Tourists Follow Artists to Nature’s Hideouts.” Literary Digest, vol. 118, December 15, 1934, p. 24.
Turrentine, J. “Tradewinds-Inn, Asian tranquility soothes the soul on the California Coast.” Architectural Digest, vol. 61, issue 11 (2004): p. 280. “Twelve Candidates Vie for Three Seats.” Carmel Pine Cone (26 February 1976). “Two Ordinances Proposed for Limiting Second Kitchens, Additonal Tenants.” Carmel Pine Cone (7 November 1974).
“Two Peninsula Architects Honored by Invitation to Europe Exhibit.” Monterey Peninsula Herald (20 April 1951): 12.
“Vacation houses.” Architectural Forum, vol. 95 (1951): pp. 156-161. “Visitors Love Carmel.” Monterey Peninsula Herald (27 August 1948).
Wadsworth, Euel. “Carmel-by-the-Sea.” American Mercury, vol. 79 (December 1954): p. 2829.
Wallis, Ada King. Celebrated Artists of the Carmel-Monterey Colony. The Western Woman, v. 13, no. 2-
3. Los Angeles, Calif: Ada King Wallis, 1950.
Waite, Elmont. “The Cities of America: Carmel, California.” Saturday Evening Post (15 May 1948). “What Happened in 1973.” Carmel Pine Cone (27 December 1973). “Wilder Files for Carmelo District: Three for Tularcitos.” Carmel Pine Cone (14 March 1952).
Williams, M., “Forest Theater in the Shadow of Junipero Serra’s Mission.” Sunset Magazine, vol. 29, Summer 1912, pp. 319-25.
Wolf, Paul. “Report City City’s ‘Success Story.’” Carmel Pine Cone (1 December 1994).
Maps, Ephemera and Unpublished Manuscripts
AIA Monterey Bay Arts and Architecture Lecture Series: Creating the Architecture of the Monterey Peninsula: John Thodos, FAIA presented by Erik Dyar, AIA (September 23, 2021). https;// https://www.youtube.com/watch?v=jyUcqKXzjAk
Ariss, Bruce. Carmel-by-the-Sea A Street Map of Carmel. California: s.n, 1950.
Askew, Bill, interview, December 14, 1995.
Attachment 3
93 Carmel-by-the-Sea. Carmel, Calif.: A.W.V.S., 1944.
Carmel-by-the-Sea. Carmel, Calif: Carmel Realty Co, 1940s.
Carmel-by-the-Sea: Commemorative Pageant of the Founding of the Mission San Carlos del Rio Carmelo in 1771. (Official Program.) Monterey: Webret-Lee Co., July 4, 1911.
Carmel Modernism (exhibit by the Monterey Area Architectural Resources Archive), 2017.
City of Carmel, Minutes of the Carmel Council, 1916-1933. “David Allen Smith Biography (Unpublished Manuscript).” Monterey Area Architectural Resources Archive (MAARA).
“Donald Goodhue, FAIA, Biography (Unpublished Manuscript).” Monterey Area Architectural Resources Archive (MAARA).
“Gordon Drake Biography (Unpublished Manuscript).” Monterey Area Architectural Resources Archive (MAARA).
Gory, Walter, unpublished reminiscences. On file at Carmel Preservation Foundation. “Joseph Wythe Biography (Unpublished Manuscript).” Monterey Area Architectural Resources Archive (MAARA).
Mora, Joseph Jacinto. Carmel-by-the-Sea Past and Present. Monterey, Calif: Jo Mora Publications, 1942.
Nixon, Clara, unpublished memoirs. On file at Local History Archives, Harrison Memorial Library. “Paffard Keatinge-Clay Biography (Unpublished Manuscript).” Monterey Area Architectural Resources Archive (MAARA).
R.L. Polk & Co. Polk City Directory: Monterey County, California. Livonia, MI: R.L. Polk & Co., (1947-1963).
Roseth, Brian, personal communication with Glory Anne Laffey, 20 March 1996.
R.V. Vaughan Publications. Monterey Peninsula Informant map and guide. Street and Tourist Maps – Monterey Area. Monterey, Calif: R.V. Vaughan Publications, 1967.
Severance, H. D. City Maps of the Monterey Peninsula 4 Street Maps of Monterey, Carmel, Pacific Grove and Seaside. S.l: s.n, 1947.
Severance, H. D. Map of the City of Carmel-by-the-Sea Monterey County, California. [S.l.]: H.D.
Severance, 1937.
Thodos, Diane. “Remembering John Thodos, Award-winning Architect – 1934-2009.” Monterey Area Architectural Resources Archive (MAARA).
Vial, Sandy, interview regarding the Carmel area wastewater district, 10 January 1996.
Attachment 3
94 9.0 APPENDICES
This section contains supplemental information to the Context Statement. Reference to any specific property, place name, address or individual within the Appendices is not a determination of historical significance of a particular property at the present time, rather it is a reference to a historical contribution.
Designation of a property as a historic resource is determined on an individual basis, after a survey and evaluation process.
9.1 Elected Officials of Carmel-by-the-Sea
Charter Members of the Board of Trustees and Elected Officials, 1916 A.P. Fraser, President
Peter Taylor
G.F. Beardsley
Eva K. DeSabla
D.W. Johnson
L.S. Slevin, Treasurer
J.E. Nichols, Clerk
President of the Board of Trustees, 1916-1928
A.P. Fraser, 1916-1920
Eva K. DeSabla 1920 (resigned)
William Kibbler 1920-1922 (appointed to replace DeSabla) William Maxwell 1922 (resigned)
Perry Newberry 1922-1924 (appointed to replace Maxwell) William Kibbler 1924-26
John B. Jordan, 1926-1928
Mayors, 1926-1992
A.P. Fraser, 1916-1920
Eva DeSabla, 4/12-9/29/1920
William T. Kibbler, 1920-1922
William L. Maxwell, 4/10-5/29/1922
Perry Newberry, 1922-1924
William Kibbler, 1924-1926
John B. Jordan, 1926-1928
Ross E. Bonham, 1928-1932
Herbert Heron, 1930-1932 and 1938-1940
John C. Catlin, 1932-1934
James H. Thoburn, 1934-1936
Everett Smith, 1936-1938
Keith B. Evans, 1940-1942 (resigned)
Percy McCreery, 1942-1946
Frederick M. Godwin, 1946-1950
Allen Knight, 1950-1952
Horace D. Lyon, 1952-1958
John S. Chitwood, 1958-1960
Frank Putnam, 1960-1962
Eben Whittlesey, 1962-1964
Herbert B. Blanks, 1964-1966
Steve Grant, 1966-1968
Bernard Laiolo, 1968-1972
Bernard Anderson, 1972-1976
Eugene Hammond, 3/2-9/7/1976
Gunnar Norberg, 1976-1980
Bernard Laiolo, first elected Mayor, 1980-1982
Charlotte Townsend, 1982-1986
Clint Eastwood, 1986-1988
Jean Grace, 1988-1992
Kennedy White, 1992-2000
Sue McCloud, 2000-2012
Jason Burnett, 2012-2016
Steve Dallas, 2016-2018
Dave Potter, 2018-current
Attachment 3
95 Members of the Board of Trustees, 1916-1950
A.P. Fraser, 1916-1920
Peter Taylor, 1916-1920
G.F. Beardsley, 1916-1918
Eva K. DeSabla, 1916-1920 (resigned)
D.W. Johnson, 1916-1918
William T. Kibbler, 1918-1926
Courtland J. Arne, 1918-1922
T.B. Reardon, 1920-1924
Fred Bechdolt, 1920 (resigned)
Michael J. Murphy, 1920-1922 (appointed to replace Bechdolt) George M. Dorwart, 1920-1922 (appointed to replace DeSabla) William Maxwell, 1922-1924
Helen Parkes, 1922, 1926
Perry Newberry, 1922-1924
John Dennis, 1924-1928
Henry Larouette, 1924-1928
C.O. Goold, 1924-1926
John B. Jordan, 1926-1934
George Wood, 1926-1930
Alfred K. Miller, 1926 (resigned)
Fenton P. Foster, 1926-1928 (appointed to replace Miller) Ross E. Bonham, 1928-1932
Vassamine Rockwell, 1928-1932
Lavon E. Gottfried, 1928-1930
Herbert Heron, 1930-1934 & 1938-1941 (resigned)
Clara Kellogg, 1930-1934; 1936-1940
John Catlin, 1932-1936
Robert A. Norton, 1932-1936
Bernard Rowntree, 1934-1938 & 1944 (died)
James H. Thoburn, 1934-1938
Joseph A. Burge, 1934-1938
Everett Smith, 1936-1938
Gordon Campbell, 1938 (resigned)
Hazel Watrous, 1938-1940 (appointed to replace Campbell) Keith Evans, 1940-1942 (resigned)
Frederick M. Godwin, 1940-1942 & 1946-1950
Arthur Hill, 1941-1942 (appointed to replace Heron)
Fred U. McIndoe, 1942-1943 (died)
L.L. Dewar, 1942-1944 (appointed to replace Evans)
Fred J. Mylar, 1943-1944 (appointed to replace McIndoe); 1945 (appointed to replace Rowntree) (Resigned)
H.E. Hefling, 1944-1948
Allen Knight, 1944-1952
Charles M. Childers, 1945-1946 (appointed to replace Mylar) & 1946-1948 Donald M. Craig, 1946-1952
Andrew Martin, 1948-1952
Gene A. Ricketts, 1948-1952
Attachment 3
96 9.2 Members of the Arts and Crafts Club of Carmel
Founding Board, 1905
Elsie Allen, President
Mary Braley, Recording and Responding Secretary
Mrs. Frank Powers, Vice President
Louis Slevin, Treasurer
Second President, 1906
Josephine Foster
Fundraising Committee, 1906
Mary E. Hand
Fannie Yard
Dr. J.E. Beck
Carrie R. Sterling
Sidney Yard
William E. Wood
Arthur Vachell
Cedar Croft Staff, 1910
Sidney Yard, Director and dramatic reading
Helen Parkes, botany
Mary DeNeale Morgan, drawing and painting
Etta Tilton, pottery, china painting and art needlework Carrie Carrington, music
Museum of Yesteryear
Ida Johnson, Chairwoman and Curator
Civic Committee
Thomas Reardon
Dr. Alfred E. Burton
Jessie Arms Botke
Susan Creighton Porter
Charles Sumner Greene
Attachment 3
97 9.3 Founding Members of the Forest Theater Society
Joseph and Mary Hand
Helen Parkes
George and Carrie Sterling
Lucia Lane
Maud Lyons
Stella Vincent
Jessie Francis Short
George Boke
Virginia Smiley
Mary DeNeale Morgan
Fred and Clara Leidig
Saidee Van Bower
J.E. Beck
Thomas Reardon
Nellie Murphy
Ferdinand Burgdorff
Frederick Bechdolt
Helen Cooke
Alice MacGowan
Perry and Bertha Newberry
Herbert Heron
9.4 Charter Members of the Carmel Free Library Association Edmund Arne
George Beardsley
Annie Gray
Mrs. F.H. Gray
Helen Jaquith
Annie Miller
Miss Parmele
Mrs. Franklin Powers
Franklin Powers
9.5 Founding Board Members of the Carmel Art Association Pedro Lemos, President
Henry F. Dickenson, First Vice President
Josephine Culbertson, Second Vice President
Ida Maynard Curtis, Secretary
W. Seivery Smit, Treasurer
Sarah Deming
Homer Emmons
Jo Mora
George Seideneck
Edgar Alwyn Payne
Barnet Segal
Attachment 3
98 9.5.1 Artists Working in Carmel, 1940-1986
Martin Baer
Clancy Bates, sculptor
Dudley Carter, sculptor
John Catlin, sculptor
William Chase, painter
John Cunningham
Patricia Cunningham, painter
Ida Maynard Curtis, painter
Eldon Dedini, cartoonist
Linford Donovan, painter
Leslie Emery, painter
Nora Grabill
Armin Hansen, painter
Jimmy Hatlo, cartoonist
Edda M. Heath, painter
Austin James, sculptor
Charles Chapel Judson, painter
Hank Ketcham, cartoonist
Bill O’Malley, cartoonist
John O’Shea
Paul Kirtland Mays, painter
David Ligare, painter
Alec Miller, sculptor
Frank Moore
Jo Mora, sculptor
Philip Nesbitt, illustrator
Lee Randolph
William Ritschel, painter
Catherine Seideneck, sculptor
George Seideneck, landscape painter
Celia Seymour
William Silva, painter
Howard Smith, painter
Vaughan Shoemaker, cartoonist
Alison Stilwell, painter
Donald Teague, illustrator
Edward Timmons
Gerald Wasserman, painter
Brett Weston, photographer
Edward Weston, photographer
Alexander Weygers, sculptor
Clifton Williams
9.6 Notable Architects, Designers and Builders in Carmel, 1940-1986 Architects
Frank Ashley
Richard Barrett
Carl Bensberg
Walter Burde
George Brook-Kothlow
Thomas Church
William L. Cranston
Olaf Dahlstrand
Gardner Dailey
Gordon Drake
Thomas S. Elston
Albert Farr
John Gamble
Donald Goodhue
Charles Sumner Greene
Albert Henry Hill
Robert Jones
Paffard Keatinge-Clay
Fred Keeble
Guy Koepp
Jon Konigshofer
Jack Kruse
Milt Latham
Frank Lloyd
Rowan Maiden
Bernard Maybeck
Clarence Mayhew
Charles Moore
Julia Morgan
Mark Mills
Louis Mulgardt
Athanese Nastovic
Willis Polk
James Pruitt
Guy Rosebrook
C.J. Ryland
Marcel Sedletzky
Will V. Shaw
David Allen Smith
Edwin Snyder
Robert Stanton
Ralph Stean
Robert A. Stephenson
John Thodos
George Thomson
Helen Warren
George Whitcomb
George Willox
Frank Lloyd Wright
William Wurster
Frank Wynkoop
Joseph Henry Wythe
Designer/Builders
Miles Bain
Frederick Bigland
Ernest Bixler
Delos Goldsmith
Lee Gottfried
Donald Hale
Percy Parkes
Frank Ruhl
A. C. Stoney
Attachment 3
99 Richard Bixler
Daisy Bostick
Artie Bowen
Hugh Comstock
James Heisinger, Sr.
C.H. Lawrence
Meese & Briggs
M.J. Murphy
Hazel Watrous
George Mark Whitcomb
9.7 Historical Chronology of Carmel
1542 Juan Rodriguez Cabrillo sails by Monterey Bay, inhabited by Native Americans for thousands of years prior to Spanish exploration.
1595 California coast mapped by Sebastian Rodriguez Cermeno, who calls Monterey Bay “Bahia de San Pedro.”
1602 Sebastian Vizcaino also maps coast and names Monterey Bay after the viceroy of New Spain, names Point Pinos and “El Rio Carmelo.”
1769 Captain Gaspar de Portola and Franciscan padre Junipero Serra set out to establish a chain of missions and presidios in Alta California.
1770 On June 3, Mass is celebrated by Father Serra and founds a mission on the shores of Monterey Bay as the second of the Alta (Upper) California Spanish missions. 1771 Father Serra moves the mission near the ocean mouth of the Carmel River; he plants a cross to designate site of Mission San Carlos Borromeo, the ‘Carmel Mission.’. In August work begins on the first buildings, log structures with thatch
roofs surrounded by a stockade.
1773 Father Francisco Palou joins Serra and begins building a larger church at Carmel Mission.
1784 Father Serra dies and is buried at the Carmel mission. 1793 Construction begins on new stone church which is completed in 1797. Manuel Estevan Ruiz, a Mexican stonemason, is the designer.
1803 Father Fermin Francisco de Lasuén, who had taken over from Father Serra as the head of the missions, dies. Decline of missions begins.
1822 Control of Alta California passes from Spain to Mexico. 1833 Secularization of the missions.
1835 Richard Henry Dana visits Monterey and records his impressions in Two Years Before the Mast.
1848 California ceded to the United States by Mexico by the Treaty of Guadalupe Hidalgo. 1849 The first Constitutional Convention is held in Monterey. 1850 California becomes the thirty-first state in the Union. Its first capital is San Jose.
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1861 Mission San Carlos Borromeo described as a complete ruin. 1880 Southern Pacific Railroad opens resort hotel in Monterey, later called the Del Monte, and a mission restoration fund begun. Actual restoration not completed until fifty years later by Harry Downie, a San Francisco cabinetmaker.
1888 Development rights of 324 acres of the Las Manzanitas Ranch, owned by Honoré Escolle, pass to Santiago Duckworth.
Santiago Duckworth files map of “Carmel City” at county seat in Salinas. Plans resort development and builds Hotel Carmel at the intersection of Junipero (then Broadway) and Ocean. Two hundred lots sold and some cottages built before the 1890s depression. 1892 Duckworth is joined in his venture by Mrs. Abbie J. Hunter founder of the Women’s Real Investment Company of San Francisco. Mrs. Hunter’s uncle-in-law, Delos Goldsmith, builds bath house in 1889 at the foot of Ocean Avenue.
1902 James Franklin Devendorf purchases land in Carmel from agent Santiago Duckworth.
Frank Powers becomes his partner and the two formed the Carmel Development Company with Devendorf as the on-site manager. Hotel Carmelo moved four blocks down Ocean to present location and re-named the Pine Inn.
1903 Brochure, addressed to “the School Teachers of California and other Brain Workers at Indoor Employment” distributed by Devendorf in May. Pine Inn officially opens on July
4. 1904 Stanford president David Starr Jordan builds at the northeast corner of Camino Real and Seventh. His assistant Vernon Kellogg also builds cottage. Camino Real just south of Ocean becomes known as “Professor’s Row.”
1905 Poet George Sterling moves to Carmel. His house becomes the nucleus of a literary colony.
Arts and Crafts Society organized.
1910 Forest Theater founded by Herbert Heron and Forest Theater Society formed. Open air facility opens July 9, 1910, with a production of “David.” 1912 Forest Theater improved with larger stage with dressing rooms beneath. Electricity installed a year later. Western Drama Society breaks away from the Forest Theater Society and also begins producing plays. Arts and Crafts Society becomes third producer. 1913 Permanent population 550 by unofficial count with several thousand summer visitors.
Devendorf issues another promotional brochure.
1914 Robinson and Una Jeffers arrive in Carmel from Monterey. 1915 Carmel Highlands subdivided by Devendorf and Highlands Inn completed in 1917. 1916 Carmel incorporates.
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1928 Robinson and Una Jeffers begin building Tor House on Carmel Point. 1919 Three societies producing plays at the Forest Theater reunite. 1922 City purchases Devendorf Park and the Sand Dunes from James Devendorf. 1923 Opening of the Bank of Carmel by State bank charter. 1927 Carmel Art Association organized.
1929 Residential character of Carmel-by-the-Sea proclaimed by ordinance.
Bath house sold by City to Mrs. W.C. Mann who dismantled it. 1937 Highway 1 opened down the coast of California.
1930s Perry Newberry suggests building a fence around Carmel and charging a toll to enter. 1940 Carmel High School opened.
1941 Town experiences nightly blackouts during World War II. Carmelites rally to support troops through recycling programs, donations, and entertainment in the form of USO entertainment at Fort Ord.
1946 Monterey County Symphony founded, housed at Sunset Auditorium.
Village Corner constructed on NE corner of Dolores Street and Sixth Avenue.
Hugh Comstock appointed to Planning Commission.
1947 Planning Commission delivers a statement of policy that outlines a strict adherence to “Carmel tradition,” from which there should be “no departure.” Home prices skyrocketed after war. Home on Casanova that sold for $8,500 in 1946 sold for $14,000 in 1947.
1948 Hugh Comstock launches “Dream Houses for the Common Man” project. 1948 Anti-rooming house law upheld in court.
Newspaper article claims anti-progress/modernization sentiments still strong. Carmel fought gas and electricity and in 1948 refuses to own its utilities. No numbers on homes or mail delivery.
Community bulletin board used by all.
Buildings in commercial district could not exceed two stories. Bowling alleys, pool halls, or major industries not permitted in town.
1949 City purchases All Saints’ Church for use as a City Hall annex.
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1949 Founded by Bing Crosby, the Carmel Youth Center, a recreational center for teenagers is established.
1949 Construction began on Carmel Youth Center, designed by Robert Jones. 1950s City Council issued an ordinance stating that any Carmelite over 10 had to be clothed “from shoulder to knee.”
City made plans to purchase 600-feet-long beach strip Santa Lucia to the Walker House.
New post-War architectural development boom.
Mark Mills moved to Carmel from San Francisco (where he lived briefly after living at Taliesin West).
City employees sign non-Communist oath.
1950 Chamber of Commerce established (Carmel merchants participated in Monterey Peninsula Chamber of Commerce). Residents opposed.
Carmel’s telephone central office building completed.
Carmel Foundation, a group dedicated to elderly and the maintenance of Town House, a social center for elderly, founded.
1950 Ground broken for new All Saints’ Episcopal Church on White Cedar tract, which was purchased from Mrs. Margaret Hitchcock for $12,000. Church designed by Robert R. Jones. 1950 City Hall expands into adjacent former All Saints’ Church building. 1952 Della Walker House (designed by Frank Lloyd Wright in 1949), completed on West side of Scenic Road and Santa Lucia.
1953 First worship service for Carmel Presbyterian Church held in Carmel Woman’s Club. 1954
Carmel Ballet Academy Building, designed by Elston and Cranston, constructed on Mission Street between Seventh and Eighth Avenues.
1954 Carmel Presbyterian Church formally organized with 70 charter members. 1955 One-hour-parking signs installed on Ocean Avenue.
1955 Forest Theater Workshop inaugurated.
New shopping center proposed at corner of Ocean and Junipero, which was at this time occupied by Murphy’s lumberyard and the San Carlos Canning Company. Property owned by Leslie Fenton.
1955 Newly constructed Carmel Presbyterian Church dedicated.
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1956 Robinson Jeffers sells a portion of his property for subdivision. More is sold after his death in 1962.
1956 Citizen’s committee recommended closing Ocean Avenue to traffic and discontinuing additional parking at beach for tourists.
City Council purchased parking lot across street from post office for $45,000 and Murphy Lumber Yard lot on Ocean for $117,000.
1958 City Council instituted an Arts Commission, which was particularly charged with operation and maintenance of the Forest Theater.
Forestry Commission instituted to conserve trees and guide reforestation. City Council embarks on monthly special tree tour meetings.
1959 State of California gifted half-block-long strip of Ocean Avenue between Carpenter and Highway 1 to Carmel.
Carmel General Plan adopted.
Carmel Citizens’ Committee formed with membership of 600. 1960 Carmel Plaza, designed by Olaf Dahlstrand, opens.
1962 First official Carmel Sand Castle contest held.
50 gift shops, 20 art galleries, 24 restaurants, 50+ hotels/motels.
Shell Oil Station, designed by Burde, Shaw, and Associates, constructed on SE corner of San Carlos Street and Fourth Avenue.
1964 Citizens approve a $575,000 bond measure to purchase Sunset Center and its two-block site. 1965 Sunset Center purchased by the City.
1965 Wells Fargo Bank, designed by Olaf Dahlstrand, constructed on E side of San Carlos between Ocean and Seventh Avenues.
1966 Vocal city council member Gunnar Norberg chairs Carmel’s Golden Anniversary celebration, marking the 50-year anniversary of Carmel’s incorporation. 1966 New Carmel police station, designed by Burde, Shaw and Associates, completed on Junipero and Fourth.
1968 Carmel Plaza additions approved despite public controversy. 1969 Carmel passes emergency ordinance regulating the use of public property. 1970 Council member Gunnar Norberg leads successful fight to save the Forest Theater. 1971 California Supreme Court strikes down the 1969 public property ordinance.
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1972 Northern California Savings and Loan building, designed by Burde Shaw Associates constructed on Dolores and Seventh.
1972 City of Carmel purchases the Flanders Estate, including 14.9 acres of land, eventually developed into Mission Trail Park.
1972 California voters pass Proposition 20, creating the California Coastal Commission. 1973 The Carmel Pine Cone publishes the first cartoon by artist Bill Bates. 1976 Gunnar Norberg selected as mayor and serves two terms until 1980. 1976 Carmel citizens group Old Carmel, and former Carmel Pine Cone editor Frank Lloyd fight for and save Hugh Comstock’s Village Corner restaurant.
1976 California State Legislature adopts the California Coastal Act of 1976. 1976 First architectural survey of Carmel’s Significant Buildings conducted by Richard Janick, architectural historian. The survey concluded with a Proposed Carmel Significant Building list published in the Monterey Peninsula Herald in 1978.
1978 Carmel citizens pass an ordinance to make the mayor an elected position. 1978 First major study of Carmel’s significant historic buildings conducted by architectural historian and Monterey Peninsula College instructor Richard Janick. A list of 112 structures was published in the Monterey Peninsula Herald.
1980 Former Carmel mayor Barney Laiolo (having served from 1968-1972) becomes Carmel’s first elected mayor.
1982 Charlotte Townsend becomes second female mayor in Carmel’s history. 1982 Mayor Charlotte Townsend wins a second consecutive term. 1984 Carmel passes new general plan.
1984 Improvements to M. J. Murphy’s 1913 All Saints Episcopal Church updated and improved in an effort to modernize City Hall.
1984 Marjory Lloyd, local Carmel historian and advocate, forms the Carmel Heritage Society. 1985 Mayor Townsend’s Beach Task Force completes Phase One of Carmel beach/bluff stabilization and the installment of new drainage infrastructure, in response to the 1983 winter storm.
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9.8 Who’s Who in Carmel
*The purpose of this appendix is to provide a biographical information on historic figures in Carmel’s history, especially the creative people from all disciplines who shaped Carmel’s character. It is in no way intended as a complete list, but rather a synopsis of information collected during the preparation of this report. Exclusion from this appendix does not diminish the significance of any individual historic person.
Elsie Allen – Founding president of the Arts and Crafts Club of Carmel, Allen was a former editor of Harper’s magazine and retired faculty member of Wellesley College.
Mary Austin – Born on September 9, 1868 in Carlinville, Illinois, Austin was a prolific writer who published some thirty-two volumes in addition to approximately two hundred articles in periodicals.
Austin moved to a ranch near Bakersfield with her family when her father died in 1888. Married to Stafford Wallace Austin in 1891, she gave birth to a daughter the following year who was later found to be mentally retarded. She separated from her husband and moved to Carmel in 1906. Unable to afford the construction of a house on the lot she had purchased, she rented a cottage and later stayed in the Pine Inn. San Francisco architect Louis Mulgardt designed a studio platform around the limbs of an tree on her North Lincoln property. Austin called it her wick-i-up and spent many house there writing about nature and women’s rights. In 1908, thinking herself hopelessly ill, she went to Italy to study prayer and mysticism with the Blue Nuns. Her book, Christ in Italy, was a product of her experience there. In 1912 she returned to Carmel and finally built a cottage beside her tree house. In 1924 she established herself in Santa Fe where she fought for the preservation and rehabilitation of Indian and Spanish arts and handicrafts.
Leonard Bacon – Bacon moved to Carmel in the 1920s. He wrote the satirical verse “Guinea Fowl”, “Lost Buffalo” and others for Harper’s Weekly.
Raymond Stannard Baker (AKA David Grayson) – Journalist, Pulitzer Prize winning biographer and essayist, Baker was born in Lansing, Michigan on April 17, 1870. From 1892 to 1897 he was a reporter for the Chicago Record. He moved to New York with his wife and children in 1898 to work for McClure’s Magazine of which he served as associate editor until 1906. Baker then joined in the purchase of American Magazine, of which he was one of the editors until 1915. He was asked by Woodrow Wilson to edit his papers. Baker received the Pulitzer Prize for biography in 1940 for Woodrow Wilson:
Life and Letters. He died in 1946.
Frederick Ritchie Bechdolt – Born on July 27, 1874 in Mercersburg, Pennsylvania where he received his formal education, Bechdolt later went from placer mining in the Klondike, to cow punching, to rubbing shoulders with criminals at San Quentin and Folsom. When he first arrived in Carmel in 1907, he rented a cottage in the Eighty Acres until he met and married Adele Hare. His novels include When the West Was Won, The Hard Rock Man, Takes of Oldtimers and 9009 in collaboration with James Hopper. He also wrote for various newspapers including the Seattle Star and Los Angeles Times. In addition to being a prolific writer, Bechdolt served as postmaster, city council member and police commissioner. He died in 1950.
William Rose Benet – Poet and novelist, Benet was born on February 2, 1886. He was on the staff of Century Magazine from 1911 to 1918. From 1919 and 1920 Benet was assistant editor of the Nation’s Business, and went from there to the Literary Review of the New York Evening Post, from which the Saturday Review of Literature grew. In 1942, he received the Pulitzer Prize for The Dust Which Is God, an autobiographical verse narrative. Benet shared a cottage in Carmel with his former Yale classmate Sinclair Lewis.
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Geraldine Bonner – Bonner moved to Carmel after the San Francisco earthquake. She was a writer for the San Francisco Argonaut and author of The Pioneer and The Emigrant Trail.
Daisy Bostick – Daisy Fox Desmond Bostick first came to Carmel from San Jose as a guest of the Newberrys in 1910. She moved to the village permanently in 1918, pursuing a variety of activities including managing the Hotel Carmel with her husband Lou Desmond and writing a column for the Carmel Pine Cone. An acute observer of life in Carmel, she co-authored Carmel at Work and Play with Dorothea Castelhun in 1925.
Arthur (Artie) Bowen – Born in Sotoville in January 1887, Bowen moved to Carmel from San Jose. He built a cottage for himself on the east side of Casanova between Ninth and Tenth where he resided until his marriage in 1906. He worked for Devendorf for six years and later went into contracting and remodeling. He died in 1969.
Van Wyck Brooks – Literary historian and novelist, Brooks arrived in Carmel for a short period in 1911.
He was the author of The World of H.G. Wells and America’s Coming of Age. Although he was critical of the lifestyle of the bohemians in Carmel, he returned for extended visits during the 1930s and 1940s.
Davenport Bromfield – In April of 1888 W.C. Little and Bromfield were commissioned to survey Carmel City for Santiago Duckworth. Bromfield, Little’s apprentice, ended up doing most of the work while living in a small cottage he built for himself on the east side of Carpenter Street between Second and Third.
Ferdinand Burgdorff – Born on November 7, 1881 in Cleveland, Ohio. Burgdorff first came to Carmel in 1908 to visit his friend and fellow Bohemian Club member, Charles Rollo Peters. He soon returned and rented a small portion of the kitchen belonging to the Arts and Crafts Club, which he used as his first studio while often swapping notes with Sidney Yard. He later built a home on Boronda Road in Pebble Beach. Burgdorff died in 1975.
Argyll Campbell – Born on December 2, 1892 in San Jose, Campbell was the city attorney and responsible for drafting many of Carmel’s first zoning laws and ordinances. He is best remembered for writing Carmel’s “Magna Carta”: The City of Carmel-by-the-Sea is hereby determined to be primarily, essentially, and predominately a residential city wherein business and commerce have in the past, are now, and are proposed in the future to be subordinated to its residential character.
Dorothea Castelhun – Castelhun moved to Carmel from Massachusetts during the 1920s. She published the series of stories for girls, The Penelope Books, and co-authored Carmel at Work and Play with Daisy Bostick.
Father Angelo Casanova – Casanova, a priest at San Carlos Church, was responsible for the partial restoration of the Carmel Mission in 1884, which involved putting a roof on the church to protect it from the elements.
Lena Cherry – Cherry was a poet and artist who moved to Carmel in 1920 with her first husband M.I.T. professor, Dr. Alfred E. Burton. Six years later she left him and their three children for inventor Carl Cherry. They purchased Delos Goldsmith’s house which was constructed between 1892 and 1894. After her husband died, Cherry created the Carl Cherry Foundation and remodeled their house into a gallery and theater.
Hugh Comstock – Hugh Comstock developed the Fairy Tale style of architecture with which Carmel has become closely identified. Born in Evanston, Illinois in 1893, Comstock moved to Santa Rosa with his Attachment 3
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family in 1907. In 1924, he came to Carmel to visit his sister and met and married Mayotta Brown. The two decided to remain in Carmel as Mayotta had a successful doll making business. Comstock’s career as a designer-builder began when his wife asked him to build a cottage for her dolls. The “Doll’s House” became the first of many Fairy Tale style cottages he would design and build. Comstock’s interest in architecture eventually changed, however, to the development of the post-adobe system of construction.
Josephine Culbertson – Culbertson came to Carmel in 1906 with her friend and companion, Ida Johnson.
Soon they opened a studio to display their art and built a home at Lincoln and Seventh, known as “Gray Gables.” They helped organize the Carmel Art Association, of which Culbertson was the founding vicepresident. In addition to their artistic endeavors, they established The Dickens Club, a local boys club.
John Cunningham – Cunningham originally appeared in Carmel in 1926 with a cast of amateur actors from Berkeley. He stayed on for a few months painting sets for the Forest Theater. A decade later he returned with his wife, Pat, and set up permanent residence. In 1939, the Cunninghams bought the Carmel Art Institute from Armin Hansen and Paul and Kit Whitman.
Pat Cunningham – Cunningham, an oil painter and muralist, was the first woman president of the California Art Association. She and her husband, John, bought the Carmel Art Institute from Armin Hansen and Paul and Kit Whitman in 1939.
Dene Denny – born in Callahan, California, Denny acquired a degree from the University of California at Berkeley. She moved to Carmel in 1924 with her companion, Hazel Watrous. They first built a studio on Dolores near First, which Watrous also designed. From 1927 to 1928 they leased the Golden Bough Playhouse from Edward Kuster and presented eighteen plays. They formed the Denny-Watrous Gallery in 1928 which sponsored concerts and art exhibitions. They also co-founded the Bach Festival in 1935.
Eva K. DeSabla – DeSabla was first elected to public office as a City Trustee October 31, 1916 when Carmel-by-the-Sea incorporated. She was reelected April 12, 1920 and appointed president, but resigned from office September 29, 1920. She came to Carmel from Marysville, where she was known as Eva K.
Couvileau.
Frank Devendorf – Born April 6, 1856, Devendorf left his native town of Lowell, Michigan at sixteen to join his mother who lived in San Jose. He later established himself in the real estate business there and in Stockton. In 1902 he acquired Carmel City from Santiago Duckworth and the following year established the Carmel Development Company with Frank Powers. He set the stage for the development of Carmelby-the-Sea and became its unofficial mayor. He and his wife Lillian had four daughters Edwina, Marion, Myrtle and Lillian.
Paul Dougherty – An artist who achieved fame as a seascapist, Dougherty was a National Academician who settled in Carmel Highlands in 1928. He served as president of the Carmel Art Association in 1940.
Harry Downie – Downie was a cabinetmaker from San Francisco. He was commissioned by Monsignor Philip G. Scher of San Carlos Church to restore the Carmel Mission in 1931. He died March 10, 1980 and was buried alongside the mission.
Santiago Duckworth – In 1888, Santiago J. Duckworth purchased 324 acres of land from Honoré Escolle and filed a subdivision map for Carmel City. The area was surveyed by W.C. Little and generally bounded by Monte Verde on the west, Forest Road on the east Twelfth Avenue on the south and First Avenue on the north. Duckworth, already established in the real estate business in Monterey, planned on developing Carmel City as a summer resort for Catholics, akin to the Methodist retreat already established Attachment 3
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in Pacific Grove. He opened the Hotel Carmelo on the northeast corner of Ocean Avenue and Broadway (Junipero) in 1889.
Louise Norton Drummage – A native of Illinois, Louise came to California in 1897 to work at the Agnew State Hospital in San Jose. While taking a holiday in Pacific Grove in 1899, she met and later married Melvin Norton, proprietor of the Cash Package Grocery. The couple first visited nearby Carmel in June 1903 where they bought property and established the village’s first restaurant. They built a house at Seventh and San Carlos, which was later moved to Ninth and San Carlos. In 1906, Louise opened a bakery, and later built the Tel and Tel Building, constructed by Percy Parkes, which was razed in 1957.
She later married William T. Drummage.
William T. Drummage – Drummage was sent to Carmel in 1892 as the resident agent for Abbie Jane Hunter. He and his mother moved from San Jose to Carmel in 1898 to a house he built on the lot bounded by San Carlos, Mission and Fourth streets. In 1899, Abbie Jane Hunter sold Drummage a portion of her Carmel holdings. He was Carmel’s first plumber. He later married the widow Louise Norton.
Amos Engle – A landscape artist, Engle moved to Carmel during the 1920s.
Nora May French – A gifted poet and protégé of George Sterling, French came to Carmel in 1907.
Sterling built a cabin for her in the Eighty Acres so she would have a place to write. She later committed suicide.
Delos Goldsmith – Born in Painsville, Ohio on September 3, 1828, Goldsmith moved to San Francisco at nineteen where he worked as a carpenter. He moved to Carmel in 1888 and began constructing homes.
He was the uncle of Wesley Hunter, husband of Abbie Jane Hunter.
Lee Gottfried – A builder responsible for numerous homes and commercial buildings, alone and as half of the partnership of Gottfried and Hale, Lee Gottfried was active in village life, helping to organize the Abalone League of softball teams and the building and loan society.
Eunice Gray – Gray moved to Carmel during the 1920s and lived in one of the first beach cottages, “The Barnacle.” She wrote Cross Trails and Chaparral.
Charles Sumner Greene – Greene, along with his brother Henry Mather Greene, established the architectural firm of Greene and Greene in Pasadena. Together the brothers developed the Craftsman style of architecture into a high art. D.L. James engaged Charles Greene in 1918 to design a home on a rocky bluff overlooking the Pacific Ocean in the Carmel Highlands. Charles Greene Charles Greene left Pasadena and settled in Carmel, where he built his own home and studio on Lincoln Street. Greene was a member of the Civic Committee of the Arts and Crafts Club and in 1921 designed the War Memorial Arch at San Carlos and Ocean Avenue. He was also one of Carmel’s first Planning Commissioners. His daughter Bettie built stables on Junipero and Fifth streets which were razed in 1958.
Arnold Genthe – Prussian Arnold Genthe had originally intended to become a teacher in his homeland.
He came to Carmel via San Francisco, where he became a member of the Bohemian Club and a fledgling photographer, not long after his friend George Sterling. He built a redwood home on Camino Real near Eleventh and continued to develop his skill and his reputation as a portrait and landscape photographer.
While living in Carmel, he took his first color photographs. In San Francisco in 1911, he displayed one of the first exhibitions of color photographs in the United States.
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Armin Carl Hansen – Born in San Francisco on October 23, 1886, Hansen studied art at the California School of Design and later in Stuttgart, Germany. He was a painter and etcher who was noted for his portraits of Spanish and Portuguese fisherman of the Monterey Bay. A National Academician, he was an organizer of the Carmel Art Association—of which he was later president—and the Carmel Art Institute.
He died April 23, 1957.
Ella Reid Harrison – Ella Reid Harrison can be considered the most generous supporter of Carmel’s library. Harrison bequeathed a large portion of her estate including bonds, land, books and furniture to the city on the condition that they be used to build a public library in memory of her late husband, California Supreme Court Justice Ralph Chandler Harrison.
Herbert Heron – Heron was born in 1883 in New Jersey. He had been a professional actor with the Belasco and Morasco Stock Company in Los Angeles and first visited Carmel in July of 1908. Returning one year later, Heron built a home at Guadalupe and Mountain View. The following year he formed the Forest Theater Society. Heron also opened the first genuine book shop in 1918 in the Eighty Acres. It was later moved to the Seven Arts Building on the corner of Lincoln and Ocean which he built in 1925, and sold in 1940. In later years he served on the city council and as mayor from 1930 to 1934.
James Hopper – Hopper was born in Paris on July 23, 1876. His first book, Caybigan, was published in 1906. He taught school in the Philippines for a while, but returned to the United States to dedicate himself to writing. He wrote more than four hundred short stories and several novels for popular magazines such as Collier’s and The Saturday Evening Post. He moved to Carmel permanently after the San Francisco earthquake in 1906. First renting a cottage on Dolores and Ninth, he later moved into George Sterling’s house. After it burnt down, he built a new home on the same site. His first wife, Mattie, was particularly active in raising funds for the development of Devendorf Park. In 1938, Hopper married Elayne Lawson of Monterey, and died in 1956. His daughter Janie married actor Richard Boone and Herb Vial.
Abbie Jane Hunter – Hunter founded the Women’s Real Estate and Investment Company in 1892. She acquired partial interest in the development of Carmel City and sponsored the Carmel Bathhouse (built by Delos Goldsmith). She is credited with coining the name Carmel-by-the-Sea.
Robinson Jeffers – Jeffers was born in Pittsburgh, Pennsylvania. He studied various fields including forestry and medicine before deciding to become a poet. Initially considered to have an unpromising career, his genius blossomed during the 1920s. His principal work, Roan Stallion, Tamar and Other Poems, was published in 1925. Jeffers and his wife, Una, began renting a house on Monte Verde near Ocean in 1914. Several years later they purchased land on Carmel Point and hired Michael J. Murphy to build a house. Constructed of native granite, they called it “Tor House” because the treeless, windswept lot facing the ocean reminded them of the tors in England. Observing the stone masons during the construction, Jeffers later built “Hawk Tower.”
David Starr Jordan – The first president of Stanford University, Jordan built a house at the northeast corner of Camino Real and Seventh in 1905. That section of the street later became known as “Professor’s Row.” Jordan was also the author of Blood of the Nation, The Higher Sacrifice and The Strength of Being Clean.
William Keith – California’s best known landscape artist, Keith was born in Aberdeenshire, Scotland on November 21, 1838. he was a prolific artist, however, 2,000 of his paintings, sketches and studies were destroyed in the San Francisco fire of 1906. He died April 13, 1911.
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Harry Lafler – Literary editor of the Argonaut, Lafler moved to the Carmel area after the San Francisco earthquake. He actually lived down the coast most of the time and wrote for local papers. He also worked on the publication of poems by Nora May French after her death.
Father Fermín Francisco de Lasuén – The building at Mission San Carlos de Borromeo was begun in 1793 under the direction of Father Lasuén.
Sinclair Lewis – The first American to win the Nobel Prize for literature in 1930, twenty-three year-old Lewis joined the MacGowan sisters in Carmel in 1908 to act as their secretary and collaborator. The three had met at Helicon Hall, a utopian writer’s colony in New Jersey established by Upton Sinclair. For a little over a year Lewis lived in a house on the beach near the MacGowan house; that spring he shared his modest quarters with friend William Rose Benet. He worked off and on as a reporter before becoming a novelist. He won the Pulitzer Prize in 1926 but refused it saying he did not believe in prizes. His principal works include: Elmer Gantry, Main Street, Babbit and Arrowsmith.
W.C. Little – In April of 1888 W.C. Little and Davenport Bromfield were commissioned to survey Carmel City for Santiago Duckworth.
Grace and Alice MacGowan – The MacGowan sisters moved to Carmel in 1908 to join the literary colony. They had already achieved wide popular success with their novels, short stories, essays and poems. They bought a two-story, shingled house located on a cliff above the beach at what came to be known as “Cooke’s Cove.” They were active in the Forest Theater Society from its founding in the spring of 1910.
Xavier Martinez – Martinez was born in Guadalajara, Mexico on February 7, 1874. He moved to San Francisco in 1893 to study art and in 1895 went to Europe for six more years of study. Martinez returned to San Francisco where he taught at the California School of Arts and Crafts. Most of his impressionist paintings are of the Piedmont hills where he lived; however, he spent summers teaching at the Arts and Crafts Club School and made frequent trips to Carmel to visit friends and sketch. He died January 13, 1943. His house at Carmelo and Sixteenth was occupied by his wife and daughter until 1989.
Laura Maxwell – Maxwell was born in Carson City, Nevada on October 13, 1887. She moved to Carmel permanently in 1918 and opened her first studio at Carmelo and Santa Lucia. She died August 7, 1967.
Joseph Mora – Sculptor, painter and writer, Mora was born in Uruguay and came to the United States as a child. He studied art in New York and Boston. After World War I, he moved to Carmel, purchasing a full block at San Carlos and First where he built his home and studio. Soon after his arrival he was commissioned to do the Serra Cenotaph for the Carmel mission which was completed and dedicated in 1924. Shortly afterward he sold his property in town and moved to Sunridge Road in Pebble Beach.
Other notable works by Mora include a monument to Cervantes at Golden Gate Park, the Bret Harte Memorial at the Bohemian Club, and the Memorial Fountain at the Salinas County Courthouse.
Mary DeNeale Morgan – Born in San Francisco in 1868, DeNeale Morgan attended the California School of Design from 1888 to 1890. She later exhibited her art throughout the United States. She visited Carmel briefly in 1903 with her family who helped run the Pine Inn for a little more than a month for Frank Devendorf. Morgan returned the following year and occupied a cottage on Monte Verde near the Pine Inn. Six years later she established her permanent home and studio in the former Sidney Yard studio on Lincoln near Seventh. An avid painter in tempera and oils, active in the support of the Forest Theater and All Saints Church, and one of the founders of the Carmel Art Association, she died in October 1948.
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Michael J. Murphy – Born June 26, 1885 in Mendon, Utah, Murphy first came to Carmel in 1902. Two years later Frank Devendorf hired him to do the building for the Carmel Development Company. Murphy went on to become the most prolific designer-builder in the history of Carmel, with the Pine Inn, Highlands Inn, La Playa Hotel, Sundial Lodge, Tor House, Harrison Memorial Library, and numerous houses to his credit. In 1924 he established M.J. Murphy Inc., which sold building supplies, did rock crushing and concrete work and operated a lumber mill and cabinet shop located between San Carlos and Mission.
M.M. Murphy – Murphy moved to Carmel during the 1920s and lived at Twelfth and Casanova. He was an author, paleontologist and Navajo Indian Reservation official.
Perry Newberry – Perry Newberry came to Carmel with his wife, Bertha, in 1910. He was formerly on the art staff of the San Francisco Examiner. He became the assistant editor of the Carmel Pine Cone and later its owner until he sold it in 1935. In 1922, he successfully ran for the Board of Trustees and became the fifth mayor of Carmel. Newberry fought to preserve the unique and rural quality of Carmel before passing away in 1938.
Helen Parkes – Helen Parkes was one of the multi-faceted women who pepper the early history of Carmel. Her accomplishments include stints on the city council and the first planning commission, service as assistant postmistress, botany instructor at Cedar Croft, and reader of the Christian Science Church. She was one of the first members of the Forest Theater Society, and wrote and produced one of its plays, The Columbine. In many of her activities she was joined by her lifelong friend, Stella Vincent.
Earl Percy Parkes – One of the early builders of Carmel, Parkes counted among his commissions the Seven Arts Building erected for Herbert Heron, the Corner Cupboard or Drummage’s Drive-in Market, and Monte Verde Inn. He also built a residence for Jo Mora on San Carlos 3 southwest of First Avenue, and a home for Charles Sumner Greene on Monte Verde between Thirteenth and Santa Lucia Avenues.
Ralph Pearson – Pearson, a noted etcher, moved to Carmel from New Mexico during the 1920s.
Charles Rollo Peters – Born in San Francisco on April 10, 1862, Peters left the insurance business to become an artist in 1885. Following five years of study in San Francisco and Paris, he settled on the Monterey Peninsula. Peter’s home was a gathering place for other artists when he was not working. He died in 1928.
Frank Powers – Generally credited as one of the founders of Carmel, Powers and James Franklin Devendorf became partners in the Carmel Development Company in 1903. An attorney, Powers loved nature and the arts. He maintained the old Murphy property on San Antonio as a vacation home for his family.
Jane Gallatin Powers – Married to Frank Powers, Jane Powers was a painter and a founding member of the Arts and Crafts Club. She was the daughter of one of California’s wealthiest industrialists, Albert Gallatin, and the sister-in-law of Ernest Seton Thompson.
Ira Remsen – An artist, Ira Remsen was a New Yorker who had studied painting in Paris. His studio on Dolores Street became the permanent home for the Carmel Art Association in 1933, five years after the artist himself had committed suicide. During his residency in Carmel (on the Highlands), Remsen was active in the Arts and Crafts Club, the Carmel Art Association, and the Forest Theater.
William Ritschel – Marine landscape artist Ritschel was born in Nuremberg, Bavaria in 1864. He came to United States in 1895 and settled in New York City. Having later visited Carmel, he returned in 1918 Attachment 3
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to build his “Castle” in the Highlands with the help of a Spanish stone mason. Ritschel was a founder the Carmel Art Association and a National Academician. His second wife was Elanora Havel.
Dane Rudhyar – Musician and philosopher, Rudhyar moved to Carmel during the 1920s.
Frederick Preston Search – An accomplished cellist and composer, Search and his wife established their home on the corner of Thirteenth and Monte Verde in 1914. From 1920 to 1933 he directed the orchestra at the Del Monte Hotel. Later he lived on Jamesburg Road in the Carmel Valley.
Catherine Comstock Seideneck – Seideneck was the daughter of Nellie Comstock, the patron of the Carmel Art Institute, and the sister of Hugh Comstock. She taught leather work at the School of Fine Arts at the University of California at Berkeley and later at the Carmel Arts and Crafts Summer School.
George Seideneck – Seideneck was born in Czechoslovakia in 1885. He moved to Chicago as a young man where he studied at the Art Institute and later became a commercial illustrator. Upon moving to California, Seideneck was a long time staff artist with the coastal laboratories of the Carnagie Institute as well as photographer and artist of landscapes and portraits. He belonged to the group which formed the Carmel Art Association and became its first president. His other cultural activities included the Carmel Music Society. Seideneck designed the walls and corners of Devendorf Park. He and his wife Catherine opened their studio in the Studio Building on Ocean Avenue August 17, 1922 and built their home in the Carmel Valley.
Father Junipero Serra – Serra was born in Petra on the Isle of Mallorca on November 24, 1713. He entered the Order of Saint Francis at a young age. At thirty-six, he was sent to Mexico where he was a missionary for nineteen years before being sent to California to establish a chain of missions. He arrived on the shores of the Monterey Bay in 1770 with the Portola exhibition and established the Carmel Mission. Serra went on to establish seven more missions and died on August 28, 1784.
William Posey Silva – An artist, Silva built the Carmelita Gallery on San Antonio north of Ocean Avenue.
Louis Slevin – An avid photographer, Slevin held the first of many posts in Carmel. A man of many facets, Slevin was a shopkeeper, postmaster, city treasurer, writer, and stamp collector, collector of rare books, and maritime historian. Ranging from 1899 to 1935, Slevin’s photographs provide important documentation of the changes in the Monterey Bay area.
Robert Stanton – Carmel architect Robert Stanton was the designer of many notable buildings in the Monterey and Santa Cruz area. A native of Torrance, California, Stanton worked for the architect Wallace Neff as a traveling superintendent during the early 1930s. In 1934, he moved to Carmel which he had developed a liking for during his honeymoon at the Highland Inn twelve years earlier. His first commission in the area was the Salinas County Courthouse in 1935. He also designed some sixteen hospitals and forty schools.
Lincoln Steffens – Political writer and social critic, Steffens was born on April 6, 1866 in San Francisco.
He received a Ph.D. from the University of California. He became a “muckraking” reporter and held several editorial positions with magazines including McClure’s Magazine and American Magazine. He and his wife, Ella Winter, moved into a cottage on San Antonio near Ocean during the 1920s where he wrote his autobiography and edited the Pacific Weekly.
George Sterling – Poet George Sterling came to California in 1890 from Sag Harbor Long Island. He studied for the priesthood for three years, then left to work for his uncle, Frank Havens, as an insurance Attachment 3
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agent. He married Carrie Rand and settled in Piedmont. His friend, Ambrose Bierce, helped him publish his first collection of poems in 1903. Jack London introduced him to Mary Austin who in turn introduced him to Carmel in the summer of 1905. He built a house in the Eighty Acres on Torres between Tenth and Eleventh. Sterling committed suicide in 1926.
Joyce Stevens – An artist, architect and environmentalist, Joyce Stevens worked as a watercolorist before earning an architecture degree at the University of Washington. After working for several firms in Alaska, she designed a building at Ladd Air Force Base near Fairbanks. She arrived in the Monterey Area in 1962, designing several buildings at Fort Ord. By 1964, she resided in Carmel, designing a modernist home for herself. A devoted Conservationist, Joyce Stevens coauthored the book, “Coastal California’s Legacy: the Monterey Pine Forest,” in 2011 as part of her decades-long effort to preserve the area’s native pine forests. She succeeded and in 2014, the Monterey Peninsula Regional Park District purchased the 851-acre Rancho Aguajito property and dedicated it as the Joyce Stevens Monterey Pine Forest Preserve.160
Saidee Van Brower – Saidee Van Brower was first elected city clerk in 1920 and won every bid for reelection thereafter. A dance instructor in Berkeley, Van Brower was one of the many artistic-minded people who moved to Carmel in 1907. She performed in the Forest Theater productions as well as directed the corps de ballet.
Stella Vincent – Like her close friend Helen Parkes, Stella Vincent was prominent in several aspects of village life. Librarian from 1911 until 1915, she was assistant postmistress during the tenure of I.E.
Payne and assumed the principal post in 1918, serving until 1929. She was one of the founding members of the Forest Theater Society, was an officer of the Bank of Carmel established in 1923, and was an early member of the Christian Science Church.
Grace Wallace – Wallace moved to Carmel during the 1920s and lived at “Wee Gables” on Camino Real near Thirteenth. She was known for her plays Sun Gazers and Poorest of the Poor.
Hazel Watrous – Watrous was a supervisor for the Alameda school system. She moved to Carmel in 1924 with her companion Dene Denny, who she met at Berkeley. They first built a studio on North Dolores, which Watrous also designed. From 1927 to 1928 they leased the Golden Bough Playhouse from Edward Kuster and presented eighteen plays. They formed the Denny Watrous Gallery in 1928 which sponsored concerts and art exhibitions. They also co-founded the Back Festival in 1935. In addition to being active in drama, music and art, they designed thirty-six houses in Carmel. Watrous also served on the city council.
Florence Wells – Wells came to Carmel in 1908. She was one-time president of San Francisco Women’s Press Club. Wells owned and built the first house on the Point, “The Driftwood.” Edward Weston – A nationally recognized photographer, Weston moved to Carmel in 1929 and established a small studio to support his children. In 1932 Weston, along with Ansel Adams, was one of the seven founding members of the F/64 Club which promoted straight photography as a true art form.
Weston is best known for his interpretations of the natural environment (Point Lobos, Big Sur, Carmel Valley and the Southwest) and for his insightful portraiture. In 1937 he relocated to a small cabin built by his son above Wild Cat Creek in Big Sur.
George W. Whitcomb – Born in 1898, Whitcomb was one of the builders who shaped early Carmel. Like many of his contemporaries in Carmel, he was not formally trained as an architect; rather, he had been an
160 “Ninety Years of Life – and 60 Years of Conservation,” Carmel Pine Cone, 1/27/2017.
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instructor in mechanical drawing and manual training in Minnesota before coming to Carmel. His first local project was the Hagemeyer studio and home, now the Forest Lodge on Mountain View, in the 1920s.
Paul and Kit Whitman – The Whitmans helped found the Carmel Art Institute in 1937.
Michael Williams – One-time city editor of the San Francisco Examiner. Williams moved to Carmel after the San Francisco earthquake. He was noted for his collaboration with Upton Sinclair on two books in 1908 as well as his own books, The Little Flower of Carmel and The Little Brother Francis of Assisi.
Harry Leon Wilson – Author of The Spenders and The Lions of the Lord and contributing editor of the Puck in New York, Wilson was one of the first writers to move to Carmel along with George Sterling.
His home, known as “Ocean Home,” was located near Sterling’s in the Eighty Acres.
Fannie Yard – The wife of Artist Sidney Yard, she was the director of Cedar Croft, the Arts and Crafts Club Summer School.
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9.9 Biographical Information on Architects Working in Carmel between 1940 and 1986 Miles Bain - Designer/builder Miles Bain is best known for building Frank Lloyd Wright’s Walker House and the Nathaniel Owings House. Bain arrived to Carmel in the 1920s to work as an estimator for contractor George Mark Whitcomb.161 In the 1930s, Bain earned his own contractor license and constructed a number of houses in Carmel. After WWII, Bain and Whitcomb partnered up again to work for Bechtel Corporation, building oil-pumping stations in Saudi Arabia. Upon his return to Carmel, Bain received building commissions for the residences of Frank Lloyd Wright, Nathaniel Owings, Ansel Adams, and Neil Weston. Bain’s Carmel office was listed in 1963 City Directories.
Richard Barrett - Born in 1943, Richard Barrett received a Master of Architecture degree from Yale University and worked for the San Francisco office of Skidmore Owings & Merrill for several years and moved to Monterey, where he was employed for Hall & Goodhue (now HGHB Architects). While employed at Hall & Goodhue, he designed the Roman House on Junipero Avenue in 1973. In 1976 he established his own practice in Carmel-by-the-Sea and continues to practice in 2022. His modernist designs reflect his principle that modern buildings should harken to past romantic movements and should not all reflect the harshness of the International Style. More recent houses utilize modern interpretations of buildings from the English Arts & Crafts Movement. Additional commissions in Carmel include The Sweeney House (1976) on Mission Street south of Thirteenth Avenue, and the MacKenzie House (1979) on Eight Avenue north of Santa Fe Street.162
Carl Bensberg - An architect, is shown in City Directories as residing in Carmel from 1947 through 1963.
Ernest and Richard Bixler - Ernest Bixler (1898-1978) was a prominent builder/contractor in Carmel in the 1940s and 1950s. Bixler was introduced to the contracting business from his father and was trained as a carpenter in Oakland.163 He began working as a builder in Carmel and Pebble Beach in 1940 while serving as Carmel’s Postmaster. After WWII, Bixler served on Carmel’s Planning Commission at a time when the community’s zoning standards were in a state of flux. He retired from contracting in 1966. His own residence in Carmel is a hipped roof, California Ranch style building. Bixler is listed in City Directories as residing in Carmel at the southwest corner of Eleventh Avenue and Junipero from 1947 to 1963.
George Brook-Kothlow – A Minnesota native, George Andrew Brook-Kothlow (1934-2012) graduated from the University of Colorado, Boulder with a degree in architecture. Following graduation, he trained for several years with Frank Lloyd Wright’s granddaughter, Elizabeth Wright-Ingraham, and with San Francisco architect Warren Callister. He moved to Big Sur in 1966 and designed his first home there in what would be termed “Bohemian Modern,” a design idiom that emanated from the Beat movement in the 1960s/1970s that emphasized a return to the land via handmade houses of natural materials that embraced the natural environment. His typical houses were designed under Wrightian Organic architectural principles combined with the use of exposed structural elements and Redwood sheathing. His buildings would be constructed “from the ground up,” using salvaged and on-site materials, such as reclaimed wood taken from demolished railroad trestles. An example of his Carmel designs is a house on Seventh Avenue east of Forest Road.164
161 Department of Parks and Recreation, Building, Structure, and Object Record, Mary D. Crile House, 2. 162 Carmel Modernism, Exhibit by the Monterey Area Architectural Resources Archive (MAARA), Carl Cherry Center for the Arts, Carmel-by-the-Sea, 2017. “Richard Barrett (Biography),” MAARA archives. 163 Department of Parks and Recreation, Building, Structure, and Object Record, Ernest Bixler House, 2. 164 “George Andrew Brook-Kothlow (obituary),” Monterey Peninsula Herald, 9/23/2012. Richard Olsen, “In Memory of George Brook-Kothlow, Architect.
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Burde, Shaw & Associates –Walter Burde (FAIA) graduated from the Miami University (Ohio) School of Architecture in 1934 and began his career locally designing hospitals and residences in the Toledo, Ohio area. Following World War II, he began his private practice in 1950, as chief designer for Robert Jones, AIA, aiding design in the award winning Monterey Airport. Walter Burde has won numerous architectural awards, including the American Institute of Architects (AIA) National Honor Award (1969), the Governor’s Design Award (1966), the Monterey Bay Chapter Awards of Merit (1959 and 1976), and became a Fellow at the American Institute of Architects in 1987. His work has been published in numerous architectural journals. Walter Burde was active in the local community and held every office in the Monterey Bay Chapter of the AIA, receiving the Robert Stanton, FAIA award in recognition of his outstanding service. He designed numerous commercial, civic and residential buildings in the region and collaborated with fellow architect Will Shaw under the firm name Burde Shaw Associates. 165
Born in Los Angeles in 1924, William Vaughn Shaw (FAIA) received his Bachelor of Architecture at the University of California, Berkeley in 1950. Shortly thereafter, he moved to Carmel, where he established his own firm. Will Shaw was admitted to the American Institute of Architects in 1957, served as president of the local Monterey Chapter in 1964 and was awarded his fellowship to the AIA in 1984. Will Shaw was active in local community development and served in various civic capacities. In 1978 Will Shaw, along with Ansel Adams and Fred Farr, founded the Big Sur Foundation, dedicated to the preservation of the Big Sur coastal environment.
Walter Burde joined Will Shaw’s practice in Carmel, California in 1953 when the latter renamed the firm Burde, Shaw and Kearns, Associates (later Burde Shaw Associates). The partners developed a symbiotic partnership, with Walter Burde reportedly being the more artistic of the two partners and Will Shaw the pragmatist. The firm designed numerous successful and significant commercial, civic and residential projects in the greater Monterey Peninsula area. In Carmel, significant commercial buildings include the Palo Alto-Salinas Savings and Loan Association building on the corner of Dolores Street and Seventh Avenue (1972); and the Shell Oil Gas Station on the corner of San Carlos Street and Fourth Avenue (1963). The latter project received a Governor’s Design Award in 1966 for its outstanding design.166 In 1969, the partners split the two firm offices, with Walter Burde retaining the Carmel office; and Will Shaw retaining the Monterey office. However, the two continued to collaborate both professionally and in their various civic endeavors.
Thomas Church - One of the leading American Modernist landscape architects active from the 1930s to the 1970s, Thomas Church is known for his pioneering Modern garden designs that were appropriated to the local environment and climate. His design approach influenced the next generation of landscape architects, including Garrett Eckbo, Robert Royston, Lawrence Halprin, Theodore Osmundson, and Douglas Baylis, acknowledged as pioneers of the “California Style” of landscape design.167 Church was educated at the University of California and Harvard, where he became fascinated with issues of California’s climate and outdoor living. 168 By 1930 Church had established his own practice in San Francisco, the neoclassical style was the prevailing approach in landscape and city planning design.
Church’s unique approach towards unifying building and landscape with particular attention towards climate context and lifestyle gave birth to Modern landscape design and planning. Church and William
165 Janick, Richard and Kent Seavey, Celebrating Walter Burde, F.A.I.A., unpublished manuscript, MAARA archives; Walter Burde, FAIA Nomination Application, 1987, MAARA archives. 166. “Architects Saluted for Design,” Monterey Peninsula Herald, 12/26/66. “Architect Association Honors 2 Peninsulans,” Monterey Peninsula Herald, 4/18/84.
167 Corbett, 19.
168 Marc Treib, editor. Modern Landscape Architecture: A Critical Review, Cambridge, MIT Press, 1992, 169.
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Wurster, of Wurster, Bernardi and Emmons, were close friends and collaborated on many house and garden projects throughout their careers.169
Elston and Cranston (Thomas S. Elston and William L. Cranston) - The architectural firm of Elston and Cranston made significant contributions to the post-WWII architectural character of Carmel with their Modernist residential work that reflect the Bay Area regionalist styles popular during their time.170 Born in Manila, Philippines and educated in the U.S., William L. Cranston (1918-1986) received his architectural degree from Princeton University.171 After World War II, Cranston arrived to Carmel and worked for developer Frank Lloyd designing speculative housing. In 1948, Cranston partnered with Thomas S. Elston, a fellow speculative housing designer. Cranston was President of the Monterey Bay Chapter of the American Institute of Architects and a member of the Carmel Valley Master Plan Committee.172 The firm is also known for their school designs in the region. Their design for the Carmel Middle School won the Northern California AIA Merit Award in 1963.173 Examples of Cranston’s work in Carmel include the L. L. Spillers Guest Cottage and the house for Dr. and Mrs. Chester Magee.174 Cranston is listed in City Directories as residing in Carmel from 1947 to 1963.
Olof Dahlstrand (1916-2014) –Born in Wisconsin, Olof Dahlstrand graduated with a degree in architecture from Cornell University in 1939. After designing buildings for the defense industry during World War II, he relocated to the San Francisco Bay area where he designed seven buildings in the Wrightian Organic idiom for individual clients. He established his architectural practice in Carmel in 1960, designing residences, schools and commercial buildings, including the 1966 Carmel Valley Shopping Center and the Wells Fargo Savings Bank (1964), extant on Dolores Street in Carmel and an example of Frank Lloyd Wright’s Organic architectural style. Dahlstrand was an active participant in Carmel’s community, having served on both the planning commission and city council. He retired in 1984, but he continued to do renderings for other architects in the latter part of his career.175 Gardner Dailey – Daily was educated at the University of California, Berkeley, Stanford University, and Heald’s College of Engineering. Dailey established his practice in San Francisco in 1926, embracing many of the stylistic tenets of the Bay Area traditions exemplified in his design of the Miller House in Carmel. One of the leading architects in the region at that time, Dailey reviewed building plans for Samuel Morse and the Del Monte Corporation of Pebble Beach.176 His work was featured in House and Home in February 1954 in which the Dailey’s three design guidelines, verticality, rhythm and outdoor enclosure, were upheld as the lessons to make “any house more livable.” In Carmel Gardner Dailey designed his own house on Ocean Avenue near Carpenter Street.177 Gordon Drake (1917-1952) – Born in Childress, Texas in 1917, Gordon Drake graduated with an architecture degree from the University of Southern California in 1941. His early influences were the work of Harwell Hamilton Harris and Carl Birger Troedsson. He designed his first structure as a U.S.
Marines combat leader during World War II and worked at designing affordable houses for veterans following the war. The latter effort was an attempt to develop an architectural training and construction
169 Corbett, 12.
170 Department of Parks and Recreation, Building, Structure, and Object Record, L. L. Spillers Guest Cottage, 2. 171 Department of Parks and Recreation, Building, Structure, and Object Record, L. L. Spillers Guest Cottage, 2. 172 Department of Parks and Recreation, Building, Structure, and Object Record, L. L. Spillers Guest Cottage, 3. 173 Department of Parks and Recreation, Building, Structure, and Object Record, L. L. Spillers Guest Cottage, 3. 174 Department of Parks and Recreation, Building, Structure, and Object Record, Dr. & Mrs. Chester Magee, 2. 175 Olaf Dahlstrand biography, Carmel Modernism, 2017. “Olaf Dahlstrand (obituary), Monterey Peninsula Herald, 7/22/2014. “Olaf Dahlstrand (1916-2014),” Environmental Design Archives, University of California, Berkeley:
https://archives.ced.berkeley.edu/collections/dahlstrand-olof. 176 Department of Parks and Recreation, Building, Structure, and Object Record, Gardner A. Dailey House. 177 House & Home, February 1954, 124-129.
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school for World War II veterans that designed simple houses along modernist design principles. When he relocated to northern California in 1951 he planned to develop the training program in earnest; however, he died in a skiing accident in 1952.178
John H. Gamble – John Howard Gamble began his design career in Monterey California in 1948. During his lifetime he created hundreds of designs for homes and commercial structures on the Monterey Peninsula. A licensed California architect, his work has been featured in Architectural Digest and many other architectural periodicals. John moved his offices to Carmel, California in 1957, where he formed John Gamble and Associates with John Cocker, a Pebble Beach architect. His son, John Beeson Gamble continues to design in the region today. John H. Gamble’s homes were designed along modernist styles, includin g Wrightian Organic and Regional Expressionist styles, modern, rarely varying from this paradigm. His Carmel projects include the Jerome Politzer House on Mission Street northeast of Tenth Avenue and the Lillian Lim House (1965) on Dolores Street at the SE corner of Second Avenue.179 Donald Goodhue (FAIA) – Donald Goodhue received his Masters Degree from Harvard University in 1956. Following graduation, worked for the San Francisco office of Skidmore Owings and Merrill before moving to Carmel to work under Olof Dahlstrand from 1958 – 1959. In 1960, Donald Goodhue opened his own firm, teaming with cofounder Gordon Hall, forming the firm of Hall and Goodhue (later Hall Goodhue Haisley and Barker, or HGHB) in Monterey. Donald Goodhue was director of the Monterey Bay Chapter of the American Institute of Architects in 1970 and 1975. He was awarded Fellow of the American Institute of Architects in 1987. The firm worked extensively on the Monterey Peninsula, developing master plans and architectural designs for a diverse client base. Architectural projects include the Carmel Center Shopping Center, the Monterey Savings and Loan Building (Salinas), and the Customs House Urban Renewal Plan. In Carmel-by-the-Sea, the firm designed the Harrison Memorial Library annex.180
Roger and Lee Gottfried - Roger Gottfried, an architect, is listed as a resident in Carmel City Directories from 1947 through 1963.
Albert Henry Hill (1913-1984) – Hill is a prominent figure in California architectural history for his contributions towards the emergence of the Second Bay Tradition style, which combined elements of the International Style with regional and vernacular influences.181 Born in England and educated at University of California, Berkeley, and Harvard University, Hill studied under Bauhaus proponents, Walter Gropius and Marcel Breuer.182 Hill worked with John Ekin Dinwiddie and Eric Mendelssohn in San Francisco in the late 1940s prior to establishing his private practice in Carmel and San Francisco. His partnership with architect Jack Kruse produced a number of “weekend houses” in Carmel, characterized by sharp and angular forms, use of traditional materials, and integration of the house into its local setting.183 The partnership lasted until Hill’s death in 1984.184 Hill moved to Carmel in 1971, designing numerous homes throughout the region and serving on Carmel’s planning commission.185 Hill’s Carmel modernist houses
178 MAARA archives and “Drake, Gordon (1917-1952),” Environmental Design Archives, University of California, Berkeley: https://archives.ced.berkeley.edu/collections/drake-gordon. 179 “John H. Gamble (obituary),” Monterey Peninsula Herald, 11/6/1997. 180 Seavey, Kent and Richard Janick, Donald Goodhue, FAIA (Unpublished Manuscript), Monterey Area Architectural Resources Archives (MAARA).
181 Dave Weinstein, “Flamboyant modernism: Henry Hill’s stellar taste and love for the arts is reflected in the homes he designed,” in San Francisco Chronicle, 11 June 2005. 182 Department of Parks and Recreation, Building, Structure, and Object Record, Henry Hill House, 2. 183 Progressive Architecture, “Three Weekend Houses,” August 1962, 120-125. 184 Progressive Architecture, “Three Weekend Houses,” August 1962, 120-125. 185 Monica Hudson, Images of America: Carmel-by-the-Sea, Arcadia Publishing, 2006, 122.
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include the three “Weekend Houses” (Vacation, Kruse and Cosmas houses - 1962) on Lopez Avenue north of Fourth Avenue, the Vivian Homes House (1962) on Mountain View Avenue, the Vivian Homes II House (1963) on Torres and Ninth, and the Golub House (1972) on San Antonio Avenue.
Robert Jones (1911-1989) –A Carmel architect for 50 years, Robert R. Jones designed numerous residences and commercial buildings in the Monterey region Born in Berkeley in 1911, he was educated at the University of California, Berkeley before locating on the Monterey Peninsula to work for architect Robert Stanton. Jones opened his own architectural practice in 1939 designing house plans for war housing and FHA apartments. By the war’s end, Jones opened additional offices in Merced and Oxnard.
On the Peninsula, his firm designed 27 canneries and reduction plants, as well as public buildings in Carmel and Pacific Grove, including an addition to the Pacific Grove Library. Jones designed several buildings the Monterey Peninsula Airport. His modernist design for the Monterey Airport Administration Building was considered won a major design award from the Smithsonian Institute. He also designed the Elk Lodge in Monterey. In Carmel, he designed the All Saints Episcopal Church and the Carmel Youth Center. Jones also designed a number of houses in the region and developed a signature, flat-roofed Modern style.
Paffard Keatinge-Clay (Born 1926) – Born in England in 1926, Paffard Keatinge-Clay moved to the United States, where he apprenticed with several important architects, such as Frank Lloyd Wright, Le Corbusier and the firm of Skidmore Owings and Merrill. His modernist designs in the San Francisco Bay area include an addition to the San Francisco Art Institute and the Student Union Building at San Francisco State University. As a Taliesen apprentice with Frank Lloyd Wright in Arizona, Keatinge-Clay designed the 1952 meditation room at the Carl Cherry Center for the Arts in Carmel.186 Jon Konigshofer (1906-1990) – Konigshofer began his career in the office of local designer, M.J.
Murphy, a practitioner of the more traditional styles popular in Carmel during the first half of the twentieth century.187 Konigshofer was an adherent of Frank Lloyd Wright and applied Wright’s philosophies to the houses he designed in Carmel. Through the use of inexpensive materials and effective budgeting, Konigshofer eventually became known for the minimalism and affordability of his designs, and is regarded as one of the foremost pioneers of Modernism in Carmel. The Monterey Peninsula Herald described Konigshofer – along with M.J. Murphy and Hugh Comstock – as having “influenced house design [in Carmel] more than any other.” Similar to Frank Lloyd Wright and Hugh Comstock, Konigshofer was neither licensed nor degreed in architecture, yet his buildings, according to the Herald, “attracted as much comment and praise in the architectural world as those designed by many a high ranking degreed architect.”188 Jon Konigshofer’s buildings include the Robert Buckner House (1947), the house at Thirteenth and Scenic (Kip Silvey), the house at Santa Lucia and Casanova (E.S. Hopkins), the Sand and Sea development (1941) on San Antonio Avenue, and the Keith Evans House (1948) on Franciscan Way.
John (‘Jack’) Walter Kruse (1918-2000) - Formed a partnership with prominent Carmel architect Albert Henry Hill in 1948 after having worked together in the San Francisco office of influential European Modernist architect, Eric Mendelssohn. Hill was known to have been the principal designer and Kruse the engineer.189 The firm of Hill and Kruse was based in San Francisco and designed over 500 commercial and residential buildings. His partnership with architect Henry Hill produced a number of residences in Carmel, characterized by sharp and angular forms, use of traditional materials, and integration of the
186 Seavey, Kent. Carl Cherry Center for the Arts (DPR523 Form), 2001, 4. Kent Seavey, Paffard Keatinge-Clay (unpublished manuscript), MAARA archives.
187 “Modern Style in Carmel Brings Cries of Anguish.”
188 “Carmel’s Architecture Both Interesting and Livable.” 189 Monica Hudson, Images of America: Carmel-by-the-Sea, Arcadia Publishing, 2006, 123.
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house into its local setting, an example being Walter Kruse’s house, one of three designs by Hill and Kruse on Lopez Avenue.
190 The partnership lasted until Hill’s death in 1984.191 Frank Lloyd - Local builder Lloyd and his family arrived in Carmel in 1911 at which time his family bought a block of property along San Carlos Street. Lloyd was educated at McGill University in Montreal, Canada where he received his Bachelor of Arts. Upon returning to Carmel in 1934, Lloyd decided to permanently settle there and built a house on his family’s property. Lloyd held various jobs throughout the 1930s and 1940s from fisherman to writer for local newspapers. He constructed 12 houses in Carmel after WWII, some designed by himself, and others designed by the architectural firm of Elston and Cranston. An active member of the community, Lloyd was a member of the Carmel Citizens Committee, an environmentalist, and elected official to the Carmel City Council.192 Rowan Perkins Maiden (1913-1957) – An architect and student of Frank Lloyd Wright, Maiden apprenticed at Taliesen West from 1939 to 1941. He settled in New Monterey on Huckleberry Hill in 1948 and designed several residences for artists in the area. Although steeped in Wright’s Organic architectural philosophy, he designed modernist homes in his own vision of the style. His design in Carmel for Dorothy Green Chapman (on the Inventory of Historic Resources) was featured in Sunset Magazine in 1952 and House Beautiful in 1957. Maiden’s most visible work is his design for Nepenthe Restaurant in Big Sur, completed just before his untimely death after falling off a roof in 1957. His Carmel commissions include the Chapman House (1949) on San Antonio Avenue southeast of Fourth Avenue.193
Clarence Mayhew - Born in 1907, Mayhew was educated at the University of California, Berkeley.194 He was employed in the San Francisco office of prominent early twentieth century architects, Miller and Pflueger, before opening his own private practice in 1934. Some of his most significant work was designed from 1934-1942. Some of his inspirations derived from the traditional craftsmanship of Japanese architecture, which led him to write the article, “The Japanese Influence,” for the 1949 catalogue of the “Domestic Architecture of the San Francisco Bay Region” exhibit.195 In Carmel, Mayhew designed the Helen Proctor House (1948) on Scenic Road near Eleventh Avenue. Mayhew retired in 1955.196 Mark Mills (1921-2007) - A native of Arizona, Mills completed his Bachelor of Science in architectural engineering at the University of Colorado prior to working in the offices of Frank Lloyd Wright as a Taliesin Fellow from 1944-1948.197 As a Taliesin Fellow, Mills worked on such projects as the Johnson Wax Building in Wisconsin. Mills eventually moved to San Francisco to work for the firm of Anshen + Allen. Other pioneering works of Modernism include his dome house in Cave Creek, Arizona designed with architect Paolo Soleri and the Eichler homes for Anshen + Allen architects in San Francisco in 1950.
Mills’ designs for the Marcia Mills House (1952) and Fairfield House (1953) on Mission Street and Rio Road in Carmel demonstrate Wrightian influences in the use of local building materials, an abstract plan, and landscape setting. His sculptural design of a residence for an artist in Carmel, featuring intersecting
190 Progressive Architecture, “Three Weekend Houses,” August 1962, 120-125. 191 Progressive Architecture, “Three Weekend Houses,” August 1962, 120-125. 192 Department of Parks and Recreation, Building, Structure, and Object Record, Frank Lloyd House, 3. 193
“Rowan P. Maiden (obituary),” Carmel Pine Cone, 1/17/1957. “Mrs. Chapman Works to Preserve Carmel,” Monterey Peninsula Herald, 4/9/1964.
194 Department of Parks and Recreation, Building, Structure, and Object Record, Helen I. Proctor House, 2. 195 Department of Parks and Recreation, Building, Structure, and Object Record, Helen I. Proctor House, 2. 196 Department of Parks and Recreation, Building, Structure, and Object Record, Helen I. Proctor House, 2. 197 NorCalMod, 282.
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barrel vaults and a sprayed Gunite exterior, was widely published and praised in 1972. Mills remained in Carmel and worked until his death in 2007.198
Charles Willard Moore (1925-1993) – Born in Benton Harbor, Michigan, Charles Moore received a bachelor’s degree in architecture from the University of Michigan, Ann Arbor in 1947. He traveled extensively, first in Europe, then in Japan while he served in the Army Corps of Engineers during the Korean conflict. He earned a master’s degree and fine art doctorate from Princeton in 1957, writing his master’s thesis on Monterey Adobe architecture. Moore relocated to the San Francisco Bay Area where he became a partner in the firm Moore, Lyndon and Turnbull – famous for their Third Bay Region residential designs at Sea Ranch (1966) in Sonoma County, which won numerous awards, both locally and from the American Institute of Architects. He designed numerous residential and commercial buildings, many steeped in a Bay Region modernist style. His final design was for the Dart Wing addition to the Monterey Museum of Art at La Mirada in 1992. Steeped in an understanding of architectural history, Moore spoke often about not replicating historic architectural designs, noting that such a practice gives a “movie set air” to the region’s genuine historic buildings. Charles Moore traveled and taught extensively throughout his career and served as chair of the architecture department at the University of California, Berkeley from 1962 to 1965. He also taught at Yale, Princeton and UCLA. The American Institute of Architects awarded him a Gold Medal in 1991. In Carmel, Moore designed the Warren Saltzman House (1966) on Palou Avenue.199
Athanase Nastovic (1888-1965) – A native of Belgrade, Serbia, Athanase N. Nastovic taught at the architecture department of Moscow University. He immigrated to Oakland, California with his wife, Olga in 1924 where the architect began designing commercial and residential buildings, including an apartment building on Kempton Avenue, where he resided. In 1927, the Monterey Herald noted the architect’s design of a number of buildings in the Hatton Fields area of Carmel in period revival styles.
He received contracts for the design/build of additional Monterey-peninsula buildings, but he went bankrupt during the Great Depression. The last known West Coast reference to the architect’s work appeared in the Los Angeles Times in 1932, where his work was being displayed in a local exhibit. He passed away in Flushing Grove, New York in 1965 and is buried in Cedar Grove Cemetery.
Guy Rosebrook - Trained as an architect in various firms in San Francisco before obtaining licensure, Rosebrook worked for many years as the supervising architect of Standard Oil of New Jersey before returning to California during the Depression. In 1940, he moved to Salinas, where he designed Moderne style commercial buildings. One of his more notable works was a Spanish Revival style house for Maria Antonio Field on Highway 68. Many of Rosebrooks’ residential designs in Carmel are extant, though have been altered.200
Marcel Sedletzky - Known for a design aesthetic that reflected his Modernist European training and exposure to the forceful Modernism of Le Corbusier, as well as the effects of the natural environment that characterized the Craftsmen and Bay Area Traditions. Born in Russia, Sedletzky lived most of his life in Monterey, California and Mexico.201 In addition to his practice, Sedletzky played an important role in the architectural department at Cal-Poly, San Luis Obispo, and helped to establish the university’s reputation
198 “Mark Mills (obituary),” Monterey Peninsula Herald, 6/20/2007. Janey Bennett, The Fantastic Seashell of the Mind: The Architecture of Mark Mills (ORO Editions, 2017). 199 Muschamp, Herbert, “Charles Moore, Innovative Post-Modern Architect, is Dead at 68,” New York Times, 12/17/1993; “Architect Charles Moore Dies,” San Francisco Examiner, 12/17/1993; Steve Hauk, “The Man Who Made Architecture Fun,” Monterey Peninsula Herald, 1993. See also: Charles Moore Foundation: Biography, http://www.charlesmoore.org/who.html.
200 Department of Parks and Recreation, Building, Structure, and Object Record, Frances C. Johnson House, 2. 201 http://www.architectureweek.com/2003/0625/next_week.html, accessed 28 March 2008.
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as a top architectural school on the West Coast.202 His design for the Esther M. Hill House in Carmel is the only known example of Sedletzky’s work in Carmel, and a representative example of the Third Bay Region Style.
David Allen Smith (Born 1935) – Born in 1935 in Detroit, Michigan, David Allen Smith earned an architecture degree from the University of Southern California. After working for several firms in Los Angeles, he moved to Carmel in 1956 to work for Burde Shaw and Associates. After opening his own firm, he designed numerous Bay Region-style modernist residences in Carmel and the Monterey Peninsula region, many of them published in architectural journals. His Garcia House in Carmel won an AIA Honor Award in 1976. His design for Reflections (1972) is a recent example of the Bay Region style constructed in Carmel.203
Edwin Snyder (1888-1969) - Born in Stockton, California, Edwin Lewis Snyder was educated at the University of California, Berkeley and the Ecole des Beaux Arts in Paris. Prior to establishing his own firm in Berkeley, Snyder worked in the offices of Day and Weeks, then one of the prominent San Francisco firms of the early twentieth-century, and the large real estate firm of Mason-McDuffie designing period revival homes. Snyder represented that group of architects who continued the traditional as opposed to modernist trends in design, as is evidenced in his Monterey Colonial Revival style design for the Spinning Wheel Restaurant in Carmel. 204
Robert Stanton - Trained as a contractor, Stanton arrived to Carmel in 1925. He was trained in the southern California office of architect Wallace Neff before returning to Carmel in 1936 to set up his own practice, housed in a Tudor Revival style French Norman chalet.205 Stanton had a profound influence in the region, training a generation of local architects. He helped establish the Monterey Bay Chapter of the American Institute of Architects in the 1950s, of which he was the first fellow.206 His many other community activities included serving as board member and president of the Monterey Peninsula Community Chest, president of the Monterey History and Art Association, the Monterey County Symphony Association, and the Monterey Peninsula Museum of Art.207 One of Stanton’s notable works in Carmel includes the Church of the Wayfarer on Lincoln and his own residence. Stanton is listed as residing in Carmel according to 1963 City Directories.
Ralph L Stean – Born in Massachusetts, Ralph Leo Stean (1918-2004) was leading building contractor for the Carmel Valley Fire District Station in 1948. Stean resided in Carmel Valley and constructed a number of post-adobe houses in the Carmel Valley region. Stean was the contractor for the hyperbolic-roofed Donna Hofsas House (1960) and resided at the property in the 1970s where he ran for City Council in 1976.208
Robert A. Stephenson – Born in Findley, Ohio, Robert Anderson Stephenson, AIA (1917-2012) studied architectural drafting at the University of Southern California and became a civilian draftsman for the United States Navy following graduation. Stephenson moved to Carmel in 1947 to work for the architect Robert Stanton and for Hugh Comstock briefly in the 1950s. He subsequently opened R.A. Stephenson Building Design, where he worked until his retirement in 1998. He was active in Carmel politics as a
202 Department of Parks and Recreation, Building, Structure, and Object Record, Esther M. Hill House, 2. 203 “David Allen Smith (unpublished biography),” MAARA archives. 204 Department of Parks and Recreation, Building, Structure, and Object Record, Spinning Wheel Restaurant, 2. 205 Monica Hudson, Images of America: Carmel-by-the-Sea, Arcadia Publishing, 2006, 84. 206 Monica Hudson, Images of America: Carmel-by-the-Sea, Arcadia Publishing, 2006, 84. 207 “Stanton to be honored by fellow architects,” Carmel Pine Cone, Carmel-by-the-Sea, Calif., 24 August 1972. 208 Richard Janick, Donna Hofsas House (DPR523 Form), 2002. “Wilder Files for Carmelo District; Three for Tularcitos,” Carmel Pine Cone, 3/14/52; “Twelve Candidates Vie for Three Seats,” Carmel Pine Cone, 2/26/76.
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member of the Planning Commission and later a City Council member. He was also active in Carmel’s music community and supported the Monterey County Symphony and the Carmel Bach Festival.
Stephenson designed homes in Carmel including his own residence at Forest Street and Eighth Avenue.209 John H. Thodos (1934 - 2009) –The son of Greek immigrants, John Harry Thodos earned a degree in architecture from the University of Oregon in 1960 and established his own firm in Portland, Oregon after working with Northwest Regional-style architect William Fletcher and Skidmore, Owings, and Merrill (SOM). He also served on the Portland Design Review Commission and the city’s Metropolitan Arts Commission. In the mid-1970’s, after rejecting a move back to his native Greece, he purchased a home in Carmel, despite having never visited previously, to use as a design studio, allowing him to get away one week per month from his Portland office. A few years after that, he purchased an empty lot on Scenic Road between Ocean Avenue and Eighth and proceeded to design and build a glass and wood home which eventually became known as the “Light House” that was widely published and won an AIA Honor Award. In 1989, Thodos moved his office to Carmel to live and work here full time. He was a modernist architect known for fitting buildings onto challenging sites and connecting indoor spaces to the outdoors with expansive, light-filled spaces. As a Carmel architect, John Thodos designed numerous awardwinning houses, as well as, commercial work in Carmel and the Monterey Peninsula area, winning 15 awards from the American Institute of Architects. His Carmel designs include the “Light House” on Scenic Road and the design for his private residence on Torres Street. These are excellent examples of his unique architectural style and can be seen as part of the Bay Region Modern-style idiom, taking the historical precedents of the Second- and Third- Bay Region influences a step further. In 2010, he was posthumously inducted into the AIA College of Fellows for design excellence. 210
George Thomson - Prior to forming his partnership with Joe Wythe, George Thomson worked in the offices of influential modernists Frank Lloyd Wright and Bruce Goff.211 Helen Warren - Although not an architect or designer by profession, Helen Warren’s design for her own house in Carmel illustrates the tradition of women working in the architectural profession in post-World War II Carmel.212 Most were not designers but real estate entrepreneurs and builders, such as Dene Denny and Hazel Watrous, contractors who designed approximately thirty residences in Carmel in the 1920s.213 Although not much information is available on Warren’s contribution to the architectural character of Carmel, her work is reflective of the times and demonstrates knowledge of using vernacular materials in the contemporary design traditions.
George Whitcomb – An architect, Whitcomb is listed in City Directories as a resident of Carmel from 1947 to 1963.
George Willox – An architect, Willox is listed in City Directories as a resident of Carmel from 1947 to 1963.
Frank Lloyd Wright (1867-1959) - Considered one of the founding fathers of Modernism, Frank Lloyd Wright has influenced generations of architects through his early Prairie Style houses, exemplified by the Robie House in Chicago, and later with his design philosophy of “organic” architecture, exemplified by
209 Department of Parks and Recreation, Building, Structure, and Object Record, Robert A. Stephenson House, 2. “Robert Anderson Stephenson (1917-2012) Obituary,” The Salinas Californian, 2/27/12. 210 Thodos, Diane, “Remembering John Thodos, Award Winning Architect – 1934-2009,” MAARA archives. “John Harry Thodos Obituary, http://www.tributes.com/obituary/show/John-Harry-Thodos-87248601; AIA Monterey Bay Arts and Architecture Lecture Series: Creating the Architecture of the Monterey Peninsula: John Thodos, FAIA presented by Erik Dyar, AIA (September 23, 2021). https;// https://www.youtube.com/watch?v=jyUcqKXzjAk 211 Department of Parks and Recreation, Building, Structure, and Object Record, Norman Rial House, 2. 212 Department of Parks and Recreation, Building, Structure, and Object Record, Helen T. Warren House, 2. 213 Department of Parks and Recreation, Building, Structure, and Object Record, Helen T. Warren House, 2.
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Fallingwater in Bear Run, Pennsylvania. Wright’s extensive body of work included a number of building types, including schools, museums, offices, and hotels. In addition to these, Wright was also known for his design of interior features including furniture and stained glass windows. Other high-profile works throughout the U.S. include the Johnson Wax Headquarters building and the Solomon R. Guggenheim Museum. The Walker House (1952) in Carmel is a representative example of Wright’s concept of “organic” architecture, with its use of native wood and stone materials, window patterns and careful siting. Wright influenced numerous Carmel architects, including Mark Mills and Jon Konigshofer.214 William Wurster (1895-1973) - Born in Stockton, California, William Wurster has been widely recognized as the father of “Everyday Modernism,” utilizing the vernacular architectural forms and materials of the California landscape in novel ways, particularly his residential designs in the 1930s to the 1950s.215 Educated at the University of California, Berkeley, Wurster began his career in the New York office of Delano and Aldrich, and subsequently in the San Francisco office of John Reid. He founded his own practice in 1924, and was later joined by Theodore Bernardi in 1934 and Donn Emmons in 1945. In addition to his practice, Wurster taught at MIT and the University of California, Berkeley. Wurster returned to California in 1950 and held the post of Dean of Architecture at U.C. Berkeley until 1963, where he is most well known for combining the architecture, landscape architecture and city and regional planning departments to create the College of Environmental Design. William Wurster, Theodore Bernardi, and Donn Emmons were named Fellows of the AIA and Wurster received the coveted AIA Gold Medal Award for lifetime achievement in 1969. The Dianthe Miller House, Nelson Nowell House, and Albert Merchant House in Carmel are representative examples of Wurster’s design aesthetic, mixing natural materials and new technologies. In Carmel, Wurster designed two houses on Scenic Rd.: the Nelson Nowell House (1947) and the Merchant House (1961). The Nelson Nowell House was featured in the First Museum Exhibition of Domestic Architecture of the San Francisco Bay region held at the San Francisco Museum of Art in 1946.216
Frank Wynkoop - Born in Denver, Colorado, Frank Wynkoop is known primarily for his school and public building designs and in the mid-twentieth century, had established offices throughout California, including San Carlos, San Francisco, Fresno, Bakersfield, and Carmel. Wynkoop’s best known work in Carmel was his sea house on Carmel Point. At the time of its construction in 1952, the building was the subject of much controversy with its U-shaped plan, lack of chimney and flue, and inverted, butterflyshaped roof.217 Joseph Henry Wythe (1920 - 2019) – Raised in San Jose and a graduate of the University of California, Berkeley with a degree in architecture, Joseph Wythe apprenticed under Bruce Goff at Oklahoma University before moving to Monterey in 1951. Following a meeting with Frank Lloyd Wright, Wythe became interested in the master’s Organic architectural designs and designed residences in partnership with George Thomsen. His best-known architectural design in Carmel is the Rial House at Lincoln Street and Fourth Avenue in 1963.218 Wythe also taught architecture at Monterey Peninsula College. After his marriage with Idaho native, Lois Renk, the couple relocated to Sandpoint, Idaho in 1977.
214 Department of Parks and Recreation, Building, Structure, and Object Record, Mrs. Clinton Walker House, 4. 215 Department of Parks and Recreation, Building, Structure, and Object Record, Helen Nelson Nowell House, 3-4. 216 Department of Parks and Recreation, Building, Structure, and Object Record, Helen Nelson Nowell House, 3-4. 217 Pete Gilman, “New Carmel Point House Has Many Novel Features,” 10 April 1952; https://digital.lib.washington.edu/php/architect/record.phtml?type=architect&architectid=410&showall=0&lname= Wynkoop&lcity=&lstateprov=&lcountry=&bionote=&award=&family=&nationality=United+States&birthdate=&d eathdate=; accessed 31 March 2008.
218 “Joseph Wythe biography, “Carmel Modernism (2017 exhibit at the Cherry Center for the Arts; Joseph Wythe obituary: https//lakeviewfuneral.com/obituaries/joseph-wythe/179/.
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9.10 Decision-Making Criteria
Section 17.32.040 of the City of Carmel-by-the-Sea’s Historic Preservation Ordinance establishes the eligibility criteria for listing on the City’s Inventory of Historic Resources. Of particular importance is Section 17.32.040.D, which addresses the criteria for properties that qualify under California Register Criterion 3 only. For consistency between the Historic Context Statement and the Historic Preservation Ordinance, Section 17.32.040 shall serve as the primary decision-making criteria when evaluating the eligibility of individual properties for the Inventory of Historic Resources. The information contained in the Significance sections (2.4.3, 3.4.3, 4.5.3, 5.6.3, and 6.5.3) at the end of each Theme is provided to supplement the decision-making criteria found in the Preservation Ordinance.
Attachment 3
CITYOF CARMEL-BY-THE-SEA
HISTORIC RESOURCES BOARD
RESOLUTION NO. 2024-008-HRB
A RESOLUTION OF THE HISTORIC RESOURCES BOARD OF THE CITY OF CARMEL-BY-THE-SEA
ACCEPTING THE UPDATED CITY OF CARMEL-BY-THE-SEA HISTORIC CONTEXT STATEMENT AND
RECOMMENDING ADOPTION BY THE CITY COUNCIL
WHEREAS, the Context Statement is a vital tool in the City’s historic preservation program, used to establish a baseline of information against which the potential historic significance of a property is evaluated. The Context Statement is maintained as directed by the Carmel General Plan and Coastal Land Use Plan (General Plan/Coastal LUP G1-4, O1-14, P1-85) and the City Municipal Code (CMC 17.32.060); and
WHEREAS, the Historic Context Statement was first adopted in 1994, with subsequent updates in 1997, 2008 and 2022; and
WHEREAS, the 2022 update was funded by a $30,000 grant from the California Office of Historic Preservation and was limited to a twenty-year extension covering the years 1966 to 1986. The City Council adopted the 2022 Historic Context Statement update on December 6, 2022, and the Coastal Commission certified the associated Local Coastal Program Amendment on July 12, 2023; and
WHEREAS, the 2022 update revealed a need for a comprehensive update of the full document to introduce consistent formatting and footnoting; chronological themes; streamlined content where possible; and photographs throughout; and WHEREAS, on January 9, 2024, the City Council passed Resolution 2024-009 approving a professional services contract with PAST Consultants, LLC, not to exceed $79,380, to update the Historic Context Statement, and passed Resolution 2024-010 accepting the $40k Certified Local Government grant award from the California Office of Historic Preservation, with a $26,667 local match; and
WHEREAS, the Historic Resource Board and the public discussed the Historic Context Statement Update and reviewed work product and drafts at the regularly scheduled Historic Resources Board meetings on March 18, May 20, August 19, and October 21, 2024; and WHEREAS, on November 18, 2024, the Historic Context Statement Final Draft was presented to the Historic Resources Board with all previously received comments considered for inclusion into the final document.
NOW, THEREFORE, BE IT RESOLVED, THAT THE HISTORIC RESOURCES BOARD OF THE CITY OF CARMEL-BY-THE-SEA DOES HEREBY accept the updated City of Carmel-by-the-Sea Historic Context Statement and recommend City Council adoption with the following revisions:
• Revision #1: Staff shall work with PAST Consultants to add additional architect biographies to Appendix B.
Attachment 4
• Revision #2: Staff shall work with PAST Consultants to add additional architectural style photographs and improve photographs where necessary.
PASSED, APPROVED, AND ADOPTED BY THE HISTORIC RESOURCES BOARD OF THE CITY OF CARMEL-BY-THE-SEA this 18th day of November , 2024, by the following vote:
AYES: Dyar, Goodhue, Gualtieri, Pomeroy, Chroman
NOES:
ABSENT:
ABSTAIN:
APPROVED: ATTEST:
Jordan Chroman Shelby Gorman
Chair Historic Resources Board Secretary
Attachment 4
CITYOF CARMEL-BY-THE-SEA
PLANNING COMMISSION
RESOLUTION NO. 2024-095-PC
A RESOLUTION OF THE PLANNING COMMISSION OF THE CITY OF CARMEL-BY-THE-SEA
RECOMMENDING CITY COUNCIL ADOPTION OF THE UPDATED CITY OF CARMEL-BY-THE-SEA
HISTORIC CONTEXT STATEMENT
WHEREAS, the Historic Context Statement is a vital tool in the City’s preservation program, used to establish a baseline of information against which the potential historic significance of a property is evaluated. The Context Statement is maintained as directed by the Carmel General Plan and Coastal Land Use Plan (General Plan/Coastal LUP G1-4, O1-14, P1-85) and the City Municipal Code (CMC 17.32.060); and
WHEREAS, the Historic Context Statement was first adopted in 1994, with subsequent updates in 1997, 2008, and 2022; and
WHEREAS, the 2022 update was authored by PAST Consultants, LLC, funded by a $30,000 Certified Local Government grant award from the California Office of Historic Preservation, and was limited to a twenty-year extension covering the years 1966 to 1986. The City Council adopted the 2022 Historic Context Statement Update on December 6, 2022, and the Coastal Commission certified the associated Local Coastal Program Amendment on July 12, 2023; and WHEREAS, the limited-scope 2022 update revealed a need for a comprehensive update of the full document to introduce consistent formatting and footnoting; chronological themes; streamlined content where possible; and photographs throughout; and WHEREAS, on January 9, 2024, the City Council passed Resolution 2024-009 approving a professional services contract with PAST Consultants, LLC, not to exceed $79,380, to update the Historic Context Statement, and passed Resolution 2024-010 accepting a $40,000 Certified Local Government grant award from the California Office of Historic Preservation; and WHEREAS, the Historic Resource Board and the public discussed the Historic Context Statement Update and reviewed work product and drafts at the regularly scheduled Historic Resources Board meetings on March 18, May 20, August 19, and October 21, 2024; and WHEREAS, on November 18, 2024, the Historic Resources Board passed Resolution 2024- 008-HRB accepting the City of Carmel-by-the-Sea Historic Context Statement Update as conditioned and recommending adoption by the City Council; and WHEREAS, the California Environmental Quality Act (California Public Resources Code §§ 21000, et seq., "CEQA"), together with State Guidelines (14 California Code Regulations §§ 15000, et seq., the "CEQA Guidelines") and City Environmental Regulations (CMC 17.60) require the review of certain projects for environmental impacts and preparation of environmental documents; and
Attachment 5
WHEREAS, the Planning Commission finds that the Historic Context Statement is exempt under Class 6 of the California Environmental Quality Act (CEQA) pursuant to Section 15306, Information Collection, of the CEQA Guidelines; and
WHEREAS, on December 11, 2024, the Planning Commission held a public hearing to receive public testimony, including without limitation, information provided to the Planning Commission by City staff and through public testimony; and WHEREAS, on November 29, 2024, notice of the public hearing was published in the Carmel Pine Cone in compliance with State law (California Government Code 65091); and WHEREAS, the facts set forth in the recitals are true and correct and are incorporated herein by reference.
NOW, THEREFORE, BE IT RESOLVED, THAT THE PLANNING COMMISSION OF THE CITY OF CARMEL-BY-THE-SEA DOES HEREBY recommend City Council adoption of the updated City of Carmel-by-the-Sea Historic Context Statement in a manner fully in conformity with the Coastal Act (CA Section 30510).
PASSED, APPROVED, AND ADOPTED BY THE PLANNING COMMISSION OF THE CITY OF CARMEL-BY-THE-SEA this 11th day of December, 2024, by the following vote:
AYES: Allen, Locke, LePage
NOES:
ABSENT: Karapetkov
ABSTAIN:
APPROVED: ATTEST:
Michael LePage, Chair Shelby Gorman, Planning Commission Secretary Attachment 5
Carmel-by-the-Sea: Historic Context Statement Final Draft 11/14/2024 PAST Consultants, LLC
2 2 INTRODUCTION
2.1 PROJECT FUNDING BACKGROUND AND OBJECTIVES
The California Certified Local Government (CLG) program, the federal government and the City of Carmel-by-the-Sea (Carmel) jointly funded this 2024 Fourth Edition of the Carmel-by-the-Sea Historic Context Statement. The 1980 amendments to the National Historic Preservation Act of 1966 created a CLG program to encourage local governments’ direct participation in identifying, evaluating, registering and preserving historic properties and integrating preservation concerns into local planning and decision-making processes. California’s CLG program is a partnership among local governments, the California Office of Historic Preservation (OHP) and the National Park Service (NPS), which administers the National Historic Preservation Program. The total project cost for this Historic Context Statement is $79,000. OHP awarded Carmel a $40,000 CLG grant for the 2023-2024 CLG funding year and Carmel contributed an additional $39,000 towards the project. The grant period for this project was December 1, 2023 through December 31, 2024.
2.1.1 PURPOSE OF HISTORIC CONTEXT STATEMENTS
One of the biggest challenges in evaluating historic resources is answering the question “What do we preserve and why?” Developing a historic context statement is the first step towards helping a community understand the significance of specific, qualified local historic resources. The Secretary of the Interior’s Standards for Preservation Planning defines three primary standards for historic preservation:
1. Standard I. Preservation Planning Establishes Historic Contexts.
2. Standard II. Preservation Planning Uses Historic Contexts to Develop Goals and Priorities for the Identification, Evaluation, Registration and Treatment of Historic Properties.
3. Standard III. The Results of Preservation Planning Are Made Available for Integration Into Broader Planning Processes.
Historic context statements are the finished product of Standard I and provide the foundation for governmental agencies to implement Standards II and III: prioritizing the identification, evaluation, registration and treatment of certain historic properties and making the process an integral component of land use planning.1
National Register Bulletin Number 15: How to Apply the National Register Criteria for Evaluation defines historic contexts as “historical patterns that can be identified through consideration of the history of the property and the history of the surrounding area.”2 National 1 U.S. Department of the Interior, National Park Service, National Register 24: Guidelines for Local Surveys: A Basis for Preservation Planning, 4. 2 U.S. Department of the Interior, National Park Service, National Register Bulletin Number 15: How to Apply the National Register Criteria for Evaluation, 7.
Attachment 6
CITY OF CARMEL-BY-THE-SEA
CITY COUNCIL
Staff Report
January 14, 2025
PUBLIC HEARINGS
TO: Honorable Mayor and City Council Members
SUBMITTED BY: Brandon Swanson, Assistant City Administrator APPROVED BY: Chip Rerig, City Administrator
SUBJECT:
Resolution 2025-08 - Consideration of a partial after-the-fact Permanent Encroachment Permit, PERM EN 23-077 (Givens), for development in the public right of way which includes a series of terraced retaining walls, a new staircase with handrail, and a new driveway retaining wall located on the southeast corner of Torres Street and 5th Avenue in the Single-Family Residential (R-1) District - Item Continued from December 3, 2024
RECOMMENDATION:
Adopt Resolution 2025-08 (Attachment 1) denying Permanent Encroachment application (EN 23077) for the installation of additional encroachments, including two terraced landscape walls and railroad tie and decomposed granite steps, the legalization of, and modification to, existing encroachments, including wood retaining walls at the northwest corner of the property, driveway river stone retaining wall and wood steps on the north side of the property in the public right-of-way, adjacent to a single-family residence located at the southeast corner of Torres Street and 5th Avenue.
BACKGROUND/SUMMARY:
The applicant is requesting to both create new and to legalize and maintain existing encroachments in the public right-of-way. On behalf of the owners, the Applicant is requesting City Council consideration of the encroachments (Attachment 2).
On March 3, 2023, the Planning Commission approved a Design Study Application, DS 22-226, Givens (Resolution 2023-014-PC), for a Final Design Study and associate Coastal Development Permit for the demolition of more than 50 percent of an existing 1,216-square-foot single-story residence and detached garage and the construction 1,470-square-foot single-story residence with a detached garage at the Southeast corner of Torres Street and 5th Avenue.
As part of the Design Study approval, staff identified the subject encroachments, which include the existing driveway, retaining wall, and garden. An encroachment permit for the subject encroachments or any associated approval was not on file. The applicant was required to obtain an encroachment permit for the right-of-way improvements to retain the existing driveway, retaining wall, and garden wall without modifications. The Planning Commission did not discuss or make any recommendations; they only agreed with the staff's condition to obtain an encroachment permit. In accordance with CMC 12.08.125, Nonconforming Existing Encroachments, Condition of Approval (“CoA” – CoA #35) was included as part of the project that was approved by the Planning Commission.
Prior to final inspection, the Applicant shall obtain an encroachment permit for existing right-ofway encroachments and provide proof of liability insurance.
Rather than removing the unpermitted work, the applicant is requesting to legalize and maintain the existing encroachments that were identified as part of the Design Study Application in addition to creating new encroachments that include a new staircase with a handrail and a series of terraced retaining walls.
The request for the encroachment has been referred to the City Council in accordance with CMC
12.08.050.D, which states: If the proposed encroachment does not conform to these standards (CMC
12.08.060), or it is the opinion of the City Administrator that the nature of the encroachment is contrary to the public interest or should be referred to the City Council for determination.
Project Description:
The Applicant is seeking approval to replace existing railroad tie steps from Fifth Avenue onto parcel add a new railroad tie and decomposed granite staircase, a series of terraced retaining walls of redwood with 2x12 boards (not to exceed 29”), stump removal and to landscape the ROW. Secondary encroachments include repairing/replacing the wood stairs in NE corner of ROW on 5th Ave, planting ROW with zero water CA natives from Carmel Plant list and maintaining the existing plants in the right-of-way. The applicant is requesting these encroachments as the right-of-way erodes into 5th Avenue and Torres Street during winter rain.
Applicable Regulations:
General Plan Policy P1-43 states,
Maintain and enhance the informal, vegetated, open space character of the City’s rights-of-way. Trees in the rights-of-way shall not be removed to provide parking. With the exception of driveways, installation of new paving in the rights-of-way by private property owners is prohibited. (LUP) CMC Section 17.34.070.B (Public Right-of-Way in the R-1 District) states that pathways paved only with decomposed granite or other soil materials are permitted and above-ground encroachments are prohibited (except paving for driveways). The full text of the section is provided below.
1. Landscaping in public rights-of-way in the R-1 district is limited to drought-tolerant plants that are native and are consistent with the character of the Monterey Peninsula environment.
2. Plants should be natural in character and informally arranged to reflect the surrounding forest atmosphere. Landscaping shall not include bedding plants, highly colorful flowering plants and “formal plant arrangements.”
3. Landscaping should consist of leafy ground covers, low shrubs and/or trees of the urbanized forest.
Natural dirt rights-of-way with pine needles is also permitted. Parking spaces may be defined in the unpaved right-of-way with landscaping.
4. Paving, gravel, boulders, logs, timbers, planters or other above-ground encroachments are prohibited, except paving for driveways. Pathways paved only with decomposed paved only with decomposed granite or other soil materials made of soil materials are permitted.
Residential Design Guideline 1.5 states,
Maintain and enhance the informal, vegetated, open space character of the right-of-way.
Use simple planting plans when right-of-way landscaping is proposed.
Emphasize native plants.
Do not add paving or boulders to the right-of-way.
Residential Design Guideline 1.7 states,
Where a parking area in the right-of-way is to be defined, use a design that will reinforce the forest image.
Natural soil, shredded bark and wood chips are preferred surface materials. Gravel is prohibited.
Separate an existing parking space in the right-of-way from any driveway with plantings.
Only the city is authorized to add paving or boulders in the public right-of-way, except in the cases of driveways and authorized encroachments.
Residential Design Guideline 2.2 states,
Maintain existing patterns of street edge design and street paving.
Avoid adding new pavement at the edge that would widen the street or create a parking space.
Maintain an informal unpaved and/ or landscaped edge where it exists.
Residential Design Guideline 10.3 states,
Planting in areas visible from the street or other public places should continue the forest character.
Locate plants in relaxed, informal arrangements that are consistent with the urban forest character.
Avoid formal, unnatural arrangements of plants and paving except in areas out of public view.
Reserve the use of bedding plants and exotic flowering plants to small accents at walkways, entries or near special site features.
Lawns visible from the street are inappropriate to the forest setting and should be avoided.
Residential Design Guideline 10.4 states,
Plants in the public right-of-way should be predominantly green foliage plants, in keeping with the design traditions of Carmel.
Leaving the right-of-way natural is encouraged.
Naturalized landscaping consistent with the City's forest character may be added to the right-of-way and be designed to blend into landscaping on site to enhance the sense of open space.
If planted, the use of native trees, ground covers and low shrubs is preferred.
Avoid the use of bedding plants and exotic species in the public right-of-way.
Note: No new paving for parking may be created in the right-of-way and when development occurs on a site any existing paving in the right-of-way must be removed unless specifically authorized through an encroachment permit.
Carmel Municipal Code Chapter 12.08 (Encroachments) states that it is the policy of the City to discourage encroachments onto public lands. When approving an encroachment, they shall be kept to a minimum and permitted only when a) consistent with the General Plan, b) preserve the public health, safety, or welfare, c) contribute to the general planning and zoning objectives of the City, and d) are characteristic with the appearance of the neighborhood and City.
A permit is required to place or maintain any encroachment in the public right-of-way. “Encroachment” is defined as, any excavation, structure or object, temporary or permanent, upon, over, or under any City property or public right-of-way, except driveways… A permanent encroachment is any encroachment that remains in the public right-of-way for more than 90 days.
Applications for encroachments are submitted to the Director of Community Planning & Building for coordination of reviews by appropriate City departments. The City Administrator is authorized to approve encroachments that conform to the standards in CMC 12.08.060. If the proposed encroachment does not conform to these standards, or it is the opinion of the City Administrator that the nature of the encroachment is contrary to the public interest or should be referred to the City Council for determination, then the application shall be scheduled for action by the City Council. Due to the nature of the encroachment, the City Administrator is referring the application to the City Council for action. Each standard is listed below, followed by the applicant’s response to the standard and the staff’s response. The City Council has the authority to exercise discretion in determining conformance with applicable review standards. Unlike the City Administrator, Council has these standards to use as a guide for review, but is not required by the code to find that the proposed encroachment all the standards.
ANALYSIS:
EncroachmentApplication ReviewStandards
There are nine (9) review standards A through I. Standard I applies only to wireless communication facilities and does not apply to this application.
A. Need. The applicant shall be determined to have a justifiable need for the encroachment, and the encroachment shall not be contrary to the public interest.
Applicant’s Response: The applicant has indicated that the homeowners manage the soil that erodes into the ROW after heavy rains. They are requesting the encroachments as a mitigation measure of the erosion concerns that arise from the hillside of Torres Street.
Staff’s Response: The applicant has not provided a justifiable need for maintaining or expanding the existing encroachments. The scope of this application would significantly expand encroachments in the public right-of-way. Staff has discussed with the applicant potential mitigation measures to prevent further erosion. The options provided included the installation of a 6" rolled AC berm at the edge of the road continuing around the north and south sides of the driveway and the installation of jute netting, filter fabric and ground cover landscaping.
B. Safety. The granting of an encroachment permit shall not create a hazard to public health or safety.
Applicant’s Response: The proposed encroachments will improve public safety by creating safer access to the property and result in the reclaiming of areas that can be impeded by soil erosion each rainy season.
Staff Response: The proposed encroachments do not create a hazard to public health or safety.
C. Drainage. The proposed encroachment shall not adversely affect the normal drainage of surface water, unless an acceptable mitigation is included that will be advantageous to the general public and meet the standards herein.
Applicant’s Response: Proposed encroachments will not disrupt current drainage patterns. The intention of the proposed work is to slow the existing drainage speeds and to prevent erosion.
Staff Response: The proposed terraced retaining walls are not in compliance with the Design Guidelines for the treatment of the right-of-way. The proposed preferred method of mitigating the erosion that is compatible with the General Plan, Carmel Municipal Code and Residential Design Guidelines would be with the use of jute netting and native plants.
The Community Planning and Building Department and Public Works Department also apply a standard Condition of Approval to projects where there is a natural slope in the right-of-way that does not accommodate the parking of vehicles. That condition requires:
Projects with a natural slope within the right-of-way immediately adjacent to the property where parking is not practical shall install jute netting and a drought tolerant ground cover to manage post-construction erosion control. Plants installed within the drip line of trees shall be selected from the City’s “List of Compatible Plants Under and Around Native Trees” located in the Forest Management Plan.
D. Circulation and Parking.
a. The proposed encroachment shall not adversely affect vehicular and/or pedestrian traffic nor the parking of vehicles.
b. The proposed encroachment shall not adversely impact existing rights-of-way nor preclude or make difficult the establishment or improvement of existing or potential streets or pedestrian ways.
Applicant’s Response: The proposed encroachment will not adversely impact existing right-of-way or preclude existing right-of-way. The encroachment will improve vehicular traffic by preventing soil erosion into the street during rain events. There are no sidewalks or pedestrian areas in the right-of-way Staff’s Response: The existing encroachment does not substantially affect vehicular access. The proposed terraced retaining walls may improve vehicular and pedestrian access as vehicles can be located further off the roadway onto portions of the unimproved right-of-way.
E. Public Use and Enjoyment.
a. The proposed encroachment shall not diminish public use or enjoyment, either visual or physical, of the City property or public right-of-way to be encroached upon. b. The encroachment and enjoyment shall be in the public interest. c. The length of time an encroachment has existed shall not by itself prejudice a decision.
Applicant’s Response: The applicant is proposing landscaping that will increase visual interest along an area that is not landscaped near the downtown area. The proposed encroachments include flowering CA Native landscaping that will increase the public enjoyment of the right-of-way.
Staff’s Response: The proposed encroachments diminish public use and enjoyment but reducing the amount of public open space of the right-of-way. The proposed encroachment effectively creates an extension of the property into the right-of-way. The landscape walls create a barrier between the roadway and the remainder of the right-of-way. The terraced retaining walls act to close off a portion of the right-ofway to create an extension of a private yard.
F. Compatibility.
a. The proposed encroachment and its mitigation shall be consistent with the General Plan and the adopted ordinances of the City. Particular attention shall be given to Section P1-48 of the General Plan, which prohibits the construction of sidewalks and concrete curbs in the R-1 district, unless necessary for drainage and/or pedestrian safety.
b. The encroachment shall not create, extend, or be reasonably likely to lead to an undesirable land use precedent.
c. Granting of a permit shall not adversely affect the usability or enjoyment of one or more adjoining parcels.
d. The proposed encroachment and its mitigation shall be compatible with the surrounding area and adjoining properties.
Applicant’s Response: The proposed encroachment follows the General Plan. The stairs are a natural material that allow for safe access pedestrian access to the parcel. The proposed encroachment does not create a undesirable land use precedent as there are similar encroachments present in the City. The proposed encroachment would not adversely affect adjoining parcels. The proposed encroachments and their mitigation are compatible with the surrounding area and adjoining properties.
Staff’s Response: The City has adopted clear standards that guide the treatment of the right-of-way that are described and adopted in the General Plan, zoning code, and Residential Design Guidelines. The proposed encroachment is contrary to the policy direction, design objectives, and standards of the zoning code. The addition of the proposed encroachments would bring the property further out of compliance for the treatment of the right-of-way.
General Plan Policy P1-43 states, Maintain and enhance the informal, vegetated, open space character of the City’s rights-of-way. The current property frontage treatment is a natural finish, without landscaping, and a rolled asphalt berm at the street edge to keep surface water from flowing from the street onto private property.
CMC Section 17.34.070.B (Public Right-of-Way in the R-1 District) states that above-ground encroachments are prohibited (except paving for driveways). Logs, timbers, planters or other above-ground encroachments are prohibited. Defining the boundary of a landscaped area with stones, rocks, logs, etc. are typically discouraged in favor of a natural, informal forest edge.
G. Public Property/Greenbelt.
a. The proposed encroachment shall not adversely affect any public property, including existing vegetation or its root structure, and shall not significantly reduce greenbelt area that may be used for tree planting. b. Significant trees which would be affected by the proposed encroachment shall be identified by the Director of Forest, Parks and Beach and approval for removal shall follow City policy.
Applicant’s Response: The encroachment will retain the existing trees and bushes in the right-of-way. A large tree stump will be removed, at the request of the Planning Commission. The right-of-way will be planted with flowering CA Natives. Significant trees were identified by the City Forester during the planning phase of the home remodel in 2022. The trees are marked on the site plan and will be protected during encroachment work.
Staff’s Response: The General Plan describes the right-of-way as an important open space resource that contributes to the city’s parklike environment. As described in the General Plan:
The city of Carmel has nine formally designated park, open space, and recreational areas as well as the Rio Park, which is located outside of the City limits, but is owned by the City. The parks and open space amount to over 68 acres of land. In addition, the City has approximately 67 acres of other areas that can be considered an important open space resource, but are not available for the traditional park and recreation use. Unimproved Right of Way, otherwise known as a linear greenbelt, as well as miniature parks are examples of such resources. (Open Space and Conservation Element, Page 7-6)
The General Plan further defines the greenbelt area as:
An unimproved right-of-way (ROW), where roadway width is reduced and a certain percentage of the ROW is dedicated to self-sufficient landscaping. Linear greenbelt landscaping might include shrubbery, decorative rocks, occasional benches, and trees that may also act as traffic calming features. Management of these areas is limited.
The City Forester has visited the site and has determined the existing trees in the right-of-way are not impacted by the maintenance of the encroachment or the removal of the encroachment, provided the trees are appropriately protected during construction activities. The significant trees are designated on the site plan and will be protected during encroachment work. No removal of any significant trees is proposed.
H. Mitigation. When deemed appropriate by the City, the applicant shall include those measures appropriate to compensate the City for the loss of the use of City property or the public right-of-way, or to repair damage thereto.
Applicant’s Response: The applicant agrees to measures appropriate to compensate the City for the loss of the use of City property or the public right-of-way, or to repair damage thereto.
Staff’s Response: As staff has recommended denial of the encroachment, mitigation has not been proposed. If the City Council is inclined to grant the encroachment, or a similar encroachment, mitigation may be considered to compensate the city for the loss of the use of the city’s property or the public right-ofway.
FISCAL IMPACT:
The applicant has paid an encroachment permit fee, which covers the costs associated with processing the permit. The adjacent property owner is responsible for maintaining approved encroachments.
PRIOR CITY COUNCIL ACTION:
None.
ATTACHMENTS:
Attachment 1) Resolution 2025-08
Attachment 2) Plans
Attachment 3) Applicant Letter
CITY OF CARMEL-BY-THE-SEA
CITY COUNCIL
RESOLUTION NO. 2025-08
A RESOLUTION OF THE CITY COUNCIL OF THE CITY OF CARMEL-BY-THE-SEA DENYING A PERMEANT ENCROACHMENT APPLICATION (EN 23077, GIVENS) FOR THE INSTALLATION
OF ADDITIONAL ENCROACHMENTS, INCLUDING TWO TERRACED LANDSCAPE WALLS
AND RAILROAD TIE AND DECOMPOSED GRANITE STEPS, LEGALIZATION OF, AND
MODIFICATION TO, EXISTING ENCROACHMENTS, INCLUDING WOOD RETAINING WALLS
AT THE NORTHWEST CORNER OF THE PROPERTY, A DRIVEWAY RIVER STONE
RETAINING WALL, AND WOOD STEPS ON THE NORTH SIDE OF THE PROPERTY, IN THE
PUBLIC RIGHT-OF-WAY, ADJACENT TO A SINGLE-FAMILY RESIDENCE LOCATED AT THE SOUTHEAST CORNER OF TORRES STREET AND 5th AVENUE. APN: 010-092-012-000.
WHEREAS, on March 27, 2024, Jay Auburn, (“Applicant”) submitted an application on behalf of Troy and Sharyl Givens (“Owner” & “Permittee”) requesting approval of a Permeant Encroachment Permit application EN 24-077 (Givens) described herein as (“Application”); and WHEREAS, the Application has been submitted for the property located at the southeast corner of Torres Street and 5th Avenue in the Single-Family Residential (R-1) District; and WHEREAS, at the March 8, 2023 Planning Commission meeting, the commission approved DS 22- 226 (Givens), through Resolution 2023-014-PC, for the demolition of a single-story residence and detached garage and construction of a new single-story residence and detached garage; and WHEREAS, staff included Condition of Approval (“CoA” – CoA #35), requiring the applicant obtain an encroachment permit for existing right-of-way encroachments; and WHEREAS, the Applicant is proposing to create additional encroachments, legalize and maintain the existing non-conforming encroachments in the public right-of-way; and WHEREAS, in accordance with Carmel Municipal Code (CMC) Section 12.08.030 (PermitRequired), a permit is required to create, erect, construct, place, operate, or maintain any obstruction, structure, or encroachment, including utility lines, sanitary system transmission lines, or reclaimed water system lines in, over, under or on any sidewalk area, street, public right-of-way, park or parkway; and
WHEREAS, in accordance with CMC Section 12.08.050 (Permit-Process and Determination), the City Administrator or his/her designee may approve the application if it conforms to the standards set forth in CMC 12.08.060 (Encroachment Application Review Standards); and WHEREAS, if the proposed encroachment does not conform to these standards, or it is the opinion of the City Administrator that the nature of the encroachment is contrary to the public interest or should be referred to the City Council for determination, then the application shall be scheduled for action by the City Council; and
WHEREAS, on November 22, 2024, a notice of the public hearing scheduled for December 3, 2024, was published in the Carmel Pine Cone in compliance with State law (California Government Code
Attachment 1
Resolution 2025-08