Agenda packet — Palm Springs City Council, November 9, 2023 (part 6 of 7)

Item 1BB - Page 48 7. Owners/Investors with a 5% beneficial interest in the Applicant Entity or a related entity EXAMPLE JANE DOE 50%, ABC COMPANY, Inc. [name of owner/investor] [percentage of beneficial interest in entity and name of entity] A. [name of owner/investor] [percentage of beneficial interest in entity
and name of entity]
B.
[name of owner/investor] [percentage of beneficial interest in entity
and name of entity]
C.
[name of owner/investor] [percentage of beneficial interest in entity
and name of entity)
D.
[name of owner/investor] [percentage of beneficial interest in entity
and name of entity]
E.
[name of owner/investor] [percentage of beneficial interest in entity and name of entity]

I DECLARE UNDER PENAL TY OF PERJURY UNDER THE LAWS OF THE STATE OF CALIFORNIA THAT THE FOREGOING IS TRUE AND CORRECT.

Signature of Disclosing Party, Printed Name, Title Date (Revised 09 13 18)

CITY OF PALM SPRINGS - PUBLIC INTEGRITY DISCLOSURE

APPLICANT DISCLOSURE FORM

Page 2 of 2 ends

CITY COUNCIL STAFF REPORT
11/09/2023
SUBJECT:

SECOND READING AND ADOPTION OF ORDINANCE NO. 2072 TO AMEND SECTION 16.36.020 OF THE PALM SPRINGS MUNICIPAL CODE RELATING TO

THE CONDUCT AND APPEARANCE OF AIRPORT COMMERCIAL VEHICLE

OPERATORS
RECOMMENDATION:

Waive the second reading of text in its entirety, read by title only, and adopt Ordinance No. 2072, “AN ORDINANCE OF THE CITY COUNCIL OF THE CITY OF PALM SPRINGS, CALIFORNIA, AMENDING SECTION 16.36.020 OF THE PALM SPRINGS

MUNICIPAL CODE RELATING TO THE CONDUCT AND APPEARANCE OF AIRPORT COMMERCIAL VEHICLE OPERATORS.”
Attachments
Item 1CC

CITY COUNCIL STAFF REPORT
DATE: NOVEMBER 9, 2023 CONSENT CALENDAR
SUBJECT: SECOND READING AND ADOPTION OF ORDINANCE NO. 2072 TO AMEND SECTION 16.36.020 OF THE PALM SPRINGS MUNICIPAL

CODE RELATING TO THE CONDUCT AND APPEARANCE OF AIRPORT

COMMERCIAL VEHICLE OPERATORS
FROM: Scott C. Stiles, City Manager
BY: Office of the City Clerk
SUMMARY:

This is the second reading of an ordinance amending the Palm Springs Municipal Code Section 16.36.020 Vehicle Operator Conduct and Appearance in order to provide operators flexibility in attire in the hot summer months while maintaining a professional look and appearance and remove the specific language requiring commercial vehicle operators to wear a collared and clean shirt and pants, shoes, and socks, year-round.

RECOMMENDATION:

MUNICIPAL CODE RELATING TO THE CONDUCT AND APPEARANCE OF AIRPORT COMMERCIAL VEHICLE OPERATORS.”
STAFF ANALYSIS:

On October 27, 2022, Ordinance No. 2072 was introduced for first reading, as noted below:

MOTION BY COUNCILMEMBER HOLSTEGE, SECOND BY MAYOR PRO TEM GARNER, CARRIED 5-0 to waive the reading of the ordinance text in its entirety, read by title only, and introduce Ordinance No. 2072 entitled, “AN ORDINANCE OF THE CITY

COUNCIL OF THE CITY OF PALM SPRINGS, CALIFORNIA, AMENDING SECTION

16.36.020 OF THE PALM SPRINGS MUNICIPAL CODE RELATING TO THE CONDUCT AND APPEARANCE OF AIRPORT COMMERCIAL VEHICLE OPERATORS.” Item 1CC - Page 1
City Council Staff Report
November 9, 2023 -- Page 2
Second Reading & Adoption – Ordinance No. 2072
City Attorney’s Summary: This ordinance amends Section 16.36.020 of the Municipal Code related to the Palm Springs International Airport Commercial Vehicle Operator Conduct and Appearance by removing certain language related to the appearance of commercial vehicle operators.

This report provides for the City Council to waive further reading and adopt the ordinance.

The ordinance shall be effective 30-days from adoption.

REVIEWED BY:

Department Director: Brenda Pree
Department Director: Harry Barrett Jr.

City Manager: Scott Stiles
ATTACHMENTS:

A. Ordinance No. 2072
B. City Council Meeting Minutes of October 27, 2022
Item 1CC - Page 2

ATTACHMENT A
Item 1CC - Page 3
ORDINANCE NO. 2072

AN ORDINANCE OF THE CITY COUNCIL OF THE CITY OF

PALM SPRINGS, CALIFORNIA, AMENDING SECTION

16.36.020 OF THE PALM SPRINGS MUNICIPAL CODE

RELATING TO THE CONDUCT AND APPEARANCE OF

AIRPORT COMMERCIAL VEHICLE OPERATORS
City Attorney’s Summary
This ordinance amends Section 16.36.020 of the Municipal Code related to the Palm Springs International Airport
Commercial Vehicle Operator Conduct and Appearance by
removing certain language related to the appearance of
commercial vehicle operators.

WHEREAS, Section 16.36.020 of the Palm Springs Municipal Code provides that Commercial Vehicle Operators doing business within the Airport must comply with certain dress requirements; and
WHEREAS, the City has received complaints regarding the feasibility of these dress requirements during the summer months; and
WHEREAS, the City desires to provide Commercial Vehicle Operators flexibility in their choice of dress during the summer months while still requiring Commercial Vehicle Operators to maintain a professional appearance.

NOW, THEREFORE, THE CITY COUNCIL OF THE CITY OF PALM SPRINGS DOES ORDAIN AS FOLLOWS:

SECTION 1. Recitals. The recitals reflected above are true and correct, and are incorporated by this reference herein as the cause and foundation for the action taken by the City Council and through this Ordinance.

SECTION 2. Code Amendment. Section 16.36.020 of the Palm Springs Municipal Code Vehicle Operator Conduct and Appearance is hereby amended to read as follows:
“16.36.020. Vehicle Operator conduct and appearance. (a) Commercial Vehicle Operators shall remain in their Vehicles or in the immediate vicinity (immediately adjacent to the Vehicle) at all times while at or on the Airport except in those areas designated by the Director of Aviation. (b) Commercial Vehicle Operators are prohibited from loitering or standing inside the Airport Terminal Building while their Vehicle is in position in the Commercial Lane.

Item 1CC - Page 4
Ordinance No. 2072

Page 2 ends

(c) Commercial Vehicle Operators shall not solicit, persuade or urge any person (by words, gestures, or other form of communication) to use or hire any Commercial Vehicle Operator.
(d) Commercial Vehicle Operators shall maintain a professional look and appearance (i.e., collared and clean shirt and pants, shoes, and socks) and shall display an identification badge which includes a photograph and the name of the operator and the name of the operator’s company at all times while conducting Commercial Activities at the Airport. (e) Commercial Vehicle Operators shall conduct themselves in a courteous and professional manner and treat members of the traveling public with the utmost respect at all times.
(1) Commercial Vehicle Operators shall not intentionally obstruct the movement of any person or Vehicle.
(2) Commercial Vehicle Operators shall not use offensive, abusive, or obscene language, gestures, or other forms of communication while at or on the Airport.
(3) Commercial Vehicle Operators shall be fully familiar with the provisions of the Passenger Bill of Rights and shall fully abide by the terms and requirements of the Passenger Bill of Rights.

SECTION 3. Effective Date. This Ordinance shall become effective 30 days after its adoption.

SECTION 4. Certification. The Mayor shall sign, and the City Clerk shall certify to the passage and adoption of this Ordinance and shall cause the same, or the summary thereof, to be published and posted pursuant to the provisions of applicable law; this Ordinance shall take effect thirty (30) days after passage.

SECTION 5. Severability. If any section or provision of this Ordinance is for any reason held to be invalid or unconstitutional by any court of competent jurisdiction, or contravened by reason of any preemptive legislation, the remaining sections and/or provisions of this ordinance shall remain valid. The City Council hereby declares that it would have adopted this Ordinance, and each section or provision thereof, regardless of the fact that any one or more section(s) or provision(s) may be declared invalid or unconstitutional or contravened via legislation.

Item 1CC - Page 5
Ordinance No. 2072

Page 3 ends

PASSED, APPROVED AND ADOPTED BY THE PALM SPRINGS CITY
COUNCIL THIS 9TH DAY OF NOVEMBER 2023.

GRACE GARNER
MAYOR
ATTEST:

BRENDA PREE

CITY CLERK

CERTIFICATION

STATE OF CALIFORNIA )
COUNTY OF RIVERSIDE ) ss.

CITY OF PALM SPRINGS )
I, BRENDA PREE, City Clerk of the City of Palm Springs, do hereby certify that Ordinance No. 2072 is a full, true, and correct copy, and was introduced by the City Council at a regular meeting held on the 27th day of October 2022, and adopted at a regular meeting of the City Council held on the 9th day of November 2023, by the following vote:

AYES:

NOES:

ABSENT:

ABSTAIN:

IN WITNESS WHEREOF, I have hereunto set my hand and affixed the official seal of the City of Palm Springs, California, this ______ day of ______________, 2022.

BRENDA PREE

CITY CLERK
Item 1CC - Page 6

ATTACHMENT B
Item 1CC - Page 7
Item 1CC - Page 8
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Monday, October 27, 2022
!Vlinutes of the Regular Meeting of the City Council
of the City of Palm Springs
Pursuant to Assembly Bill 361 this meeting was conducted in part by teleconference.

CALL TO ORDER:

A Regular Meeting of the Palm Springs City Council was called to order by Mayor Middleton on Thursday, October 27, 2022, at 6:00 p.m.

PLEDGE OF ALLEGIANCE:

Mayor Middleton led the Pledge of Allegiance.

ROLL CALL:

Present:

Absent:

City Staff

Present:

Councilmembers Christy Holstege, GeoffKors, Dennis Woods; Mayor Pro Tern Grace Elena Garner; and Mayor Lisa Middleton
None.

Teresa Gallavan, Interim City Manager, Jeffrey Ballinger, City Attorney; Brenda Pree, City Clerk and Monique Lomeli, Chief Deputy City Clerk, were present at Roll Call. Other staff members presented reports or responded to questions as indicated in the minutes.

PRESENTATIONS, PROCLAMATIONS, AND OTHER NOTICES: None.

ACCEPTANCE OF THE AGENDA:

By ~onsensus, the City Council agreed to accept the agenda as presented.

REPORT OF CLOSED SESSION:

The Regular Closed Session of the City Council of October 27, 2022, was called to order by Mayor Middleton at 3:30 p.m., with all members present. ·
The meeting convened into Closed Session to discuss the following items as listed on the Regular Closed Session Meeting Agenda:

CONFERENCE WITH LEGAL COUNSEL - MATTERS CREATING SIGNIFICANT EXPOSURE TO LITIGATION, Pursuant to Government Code Section 54956.9(d)(2):

Three (3) matters that, in the opinion of the City council on the advice of the City Attorney, based on existing facts and circumstance, there is significant exposure to litigation against the City.

Item 1CC - Page 9
City Council Minutes October 27, 2022
Claim No. 22-0903, dated April 27, 2022, filed by Law Offices of Monrow Mabon and I Barry J. Bennett, on behalf of Pearl Devers, Survivors & Descendants of Section 14.

CONFERENCE WITH LEGAL COUNSEL - DISCUSSION TO CONSIDER INITIATION OF LITIGATION, Pursuant to Governrnent Code Section 54956.9( d)( 4):

Under existing facts and circumstances, there is one (1) matter the City Council has decided or may decide to initiate litigation.

CONFERENCE WITH LEGAL COUNSEL - DISCUSSION OF EXISTING LITIGATION, Pursuant to Government Code Section 54956.9(d)(l):

Name of cases: Emil John Paska v. City of Palm Springs, Riverside Superior Court, No.

CVPS2000019
CONFERENCE WITH REAL PROPERTY NEGOTIATOR, Pursuant to Governrnent Code Section 54956.8
Property Description:

Agency:

City Negotiator:

Negotiating Parties:

Under Negotiation:
2990 E. Tahquitz Canyon Way (APN: 502-143-004)
Palm Springs, CA
City of Palm Springs
Teresa Gallavan, Interim City Manager
Tahquitz Housing Associates, LP
Price and Terms of Payment for Real Property Covenants
CONFERENCE WITH LEGAL COUNSEL- PUBLIC EMPLOYEE APPOINTMENT, Pursuant to Governrnent Code Section 54957:

Title: City Manager
PUBLIC COMMENT:

Brad Anderson, Rancho Mirage
Joe Jackson

1. CONSENT CALENDAR:

MOTION BY COUNCILMEMBER HOLSTEGE, SECOND BY MAYOR PRO TEM GARNER, CARRIED 5-0, to approve the consent calendar.

A. FINDINGS TO CONDUCT CITY COUNCIL AND BOARD, COMMISSION, AND COMMITTEE MEETINGS VIRTUALLY UNDER ASSEMBLY BILL 361

MOTION BY COUNCILMEMBER HOLSTEGE, SECOND BY MAYOR PRO TEM GARNER, CARRIED 5-0, to find that the City Council has considered the circumstances City of Palm Springs Page2
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City Council Minutes October 27, 2022
of the state of emergency during a proclaimed state of emergency, and state or local officials have imposed or recommended measures to promote social distancing, and as a result, the Palm City Council and all of Palm Springs Board, Commission, and Committee meetings may be held by videoconference, in accordance with AB 361 B. APPROVAL OF PAYROLL WARRANTS, CLAIMS AND DEMANDS

MOTION BY COUNCILMEMBER HOLSTEGE, SECOND BY MAYOR PRO TEM GARNER, CARRIED 5-0, to adopt Resolution No. 25063 entitled, "A RESOLUTION

OF THE CITY COUNCIL OF THE CITY OF PALM SPRINGS, CALIFORNIA,

APPROVING PAYMENT OF PAYROLL WARRANTS/ DISBURSEMENTS FOR THE PERIOD ENDING 09-03-22 AND 09-17-22 TOTALING $4,273,065.59 AND ACCOUNTS PAYABLE WARRANTS DATED 09-01-22 AND 09-15-22 TOTALING $6,027,934.94, IN THE AGGREGATE AMOUNT OF $10,301,000.53, DRAWN ON BANK OF AMERICA."
C. STAFF AUTHORIZED AGREEMENTS AND PURCHASE ORDERS FOR THE PERIOD OF AUGUST 1 THROUGH AUGUST 31, 2022

MOTION BY COUNCILMEMBER HOLSTEGE, SECOND BY MAYOR PRO TEM GARNER, CARRIED 5-0, to receive and file the report of Staff Authorized Agreements and Purchase Orders for the period of August 1 through August 21, 2022.

D. INTRODUCTION OF AN ORDINANCE TO AMEND SECTION 16.36.020 OF THE

PALM SPRINGS MUNICIPAL CODE RELATING TO THE CONDUCT AND APPEARANCE OF AIRPORT COMMERCIAL VEHICLE OPERATORSMOTION BY COUNCILMEMBER HOLSTEGE, SECOND BY MAYOR PRO TEM GARNER, <:;ARRIED 5-0 to waive the reading of the ordinance text in its entirety, read by title only, and introduce Ordinance No. 2072 entitled, "AN ORDINANCE OF THE

CITY COUNCIL OF THE CITY OF PALM SPRINGS, CALIFORNIA, AMENDING SECTION 16.36.020 OF THE PALM SPRINGS MUNICIPAL CODE RELATING TO

THE CONDUCT AND APPEARANCE OF AIRPORT COMMERCIAL VEHICLE OPERATORS."
E. SECOND READING AND ADOPTION OF ORDINANCE NO. 2068 OF THE CITY OF

PALM SPRINGS, CALIFORNIA, AMENDING PALM SPRINGS MUNICIPAL CODE SECTION 9.62.055 AND PALM SPRINGS ZONING CODE SECTION 93.23.21

RELATIVE TO THE DEVELOPMENT STANDARDS FOR URBAN LOT SPLITS AND TWO-UNIT RESIDENTIAL DEVELOPMENTS (CASE 5.1548 ZT A)

MOTION BY COUNCILMEMBER HOLSTEGE, SECOND BY MAYOR PRO TEM GARNER, CARRIED 5-0, to waive the second reading of text in its entirety, read by title only, and adopt Ordinance No. 2068, "AN ORDINANCE OF THE CITY COUNCIL OF THE CITY OF PALM SPRINGS, CALIFORNIA, AMENDING SECTION 9.62.055 OF THE PALM SPRINGS MUNICIPAL CODE AND SECTION 93.23.21 OF THE PALM

SPRINGS ZONING CODE RELATING TO URBAN LOT SPLITS AND TWO-UNIT City of Palm Springs Page 3
Item 1CC - Page 11
City Council Minutes October 27, 2022

PROJECTS AND DETERMINING THE ORDINANCE TO BE EXEMPT FROM CEQA."
F. SECOND READING AND ADOPTION OF ORDINANCE NO. 2069 CHANGING THE ZONING DESIGNATION OF 'SINGLE FAMILY RESIDENTIAL (R-1-D)' TO 'SINGLE-FAMILY RESIDENTIAL (R-1-E)' FOR THE SUBDIVISION OF A 6.44- ACRE LOT INTO THIRTY-ONE (31) SINGLE-FAMILY RESIDENTIAL PARCELS

FOR FUTURE DEVELOPMENT AT THE EAST TERMINUS OF VERONA ROAD

MOTION BY COUNCILMEMBER HOLSTEGE, SECOND BY MAYOR PRO TEM GARNER, CARRIED 5-0, to waive the second reading of text in its entirety, read by title only, and adopt Ordinance No. 2069, "AN ORDINANCE OF THE CITY COUNCIL OF THE CITY OF PALM SPRINGS, CALIFORNIA, APPROVING CASE 5.1527 CZ,

CHANGE OF ZONE, TO AMEND THE CURRENT ZONING DESIGNATION OF 'SINGLE FAMILY RESIDENTIAL (R-1-D)' (7,500-SQUARE FOOT LOT) TO 'SINGLE-FAMILY RESIDENTIAL (R-1-E)' (5,000-SQUARE FOOT LOT) FOR THE SUBDIVISION OF A 6.44-ACRE LOT INTO THIRTY-ONE (31) SINGLE-FAMILY

RESIDENTIAL PARCELS FOR FUTURE DEVELOPMENT AT THE EAST
TERMINUS OF VERONA ROAD."PURCHASE OF LIBRARY DOWNLOADABLE

MUSIC WITH LIBRARY IDEAS FOR A FIVE-YEAR, NOT-TO-EXCEED AMOUNT OF $40,000
G. A LETTER OF SUPPORT - CV RAIL FEDERAL GRANT APPLICATIONS

MOTION BY COUNCILMEMBER HOLSTEGE, SECOND BY MAYOR PRO TEM GARNER, CARRIED 5-0, to approve the letter of support.

H. ARCTIC WOLF SECURITY OPERATIONS CLOUD AND CONCIERGE

SECURITY OPERATIONS CENTER SOLUTIONS AGREEMENT '

MOTION BY COUNCILMEMBER HOLSTEGE, SECOND BY MAYOR PRO TEM GARNER, CARRIED 5-0 to authorize the Interim City Manager to execute all necessary documents.

I. SECOND APPROVE AN AGREEMENT WITHR.E. CHAFFEE CONSTRUCTION, INC. (A9243) FOR SEWAGE PUMP SYSTEM

MOTION BY COUNCILMEMBER HOLSTEGE, SECOND BY MAYOR PRO TEM GARNER, CARRIED 5-0, to:

1. Approve Contract Services Agreement A9243 with R.E. Chaffee Construction, Inc., in an amount not to exceed $103,438.51 to provide a new basement sewage pump system at the Palm Springs Police Department.

2. Authorize the Interim City Manager or designee to execute all necessary documents.

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J. APPROVE SERVICES AGREEMENT WITH OTIS ELEVATOR COMPANY I (A9252) FOR ELEV ATOR MAINTENANCE, MANAGEMENT AND
City of Palm Springs Page 4
Item 1CC - Page 12
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City Council Minutes October 27, 2022

PREVENTATIVE MAINTENANCE PROGRAM IN AN AMOUNT NOT TO
EXCEED $21,852.52

MOTION BY COUNCILMEMBER HOLSTEGE, SECOND BY MAYOR PRO TEM GARNER, CARRIED 5-0, to:

1. In accordance with Palm Springs Municipal Code Section 7.09.010, "Cooperative Purchasing Programs," approve Contract Service Agreement A9252 (Attachment A) with Otis Elevator Company in an amount not to exceed $21,852.52, beginning November 1, 2022, through October 31, 2023.

2. Authorize the Interim City Manager or designee to execute all necessary documents.

K. APPROVAL OF LICENSE AGREEMENT NO. A9239 WITH READY CREDIT

CORPORATION FOR THE OPERATION OF AN AUTOMATED PREPAID DEBIT

CARD DISPENSING MACHINE AT THE PALM SPRINGS INTERNATIONAL

AIRPORT

MOTION BY COUNCILMEMBER HOLSTEGE, SECOND BY MAYOR PRO TEM GARNER, CARRIED 5-0 to:

I. Approve a License Agreement (A9239) with Ready Credit Corporation for the operation of an automated prepaid debit card dispensing machine at the Palm Springs International Airport for a three-year term beginning October I, 2022, through September 30, 2025, with two one-year extension options.

2. Authorize the Interim City Manager to execute all necessary documents.

L. APPROVE SERVICE AGREEMENT NO. A9241 WITH J & L AUTO BODY INC.

FOR AUTO BODY REP AIR SERVICES

MOTION BY COUNCILMEMBER HOLSTEGE, SECOND BY MAYOR PRO TEM GARNER, CARRIED 5-0 to:

1. Approve Contract Services Agreement A9241 with J & L Auto Body Inc., to provide auto body repair services in an amount not to exceed $300,000, for the initial threeyear term beginning October 27, 2022, through October 26, 2025, with two one-year e_xtension options at the City's sole discretion.

2. Authorize the Interim City Manager or their designee to execute all necessary documents.

M. APPROVE PURCHASE AGREEMENT NO. A9248 WITH HI-GRADE MATERIALS CO. FOR CONCRETE PRODUCTS

MOTION BY COUNCILMEMBER HOLSTEGE, SECOND BY MAYOR PRO TEM GARNER, CARRIED 5-0 to:

I. Approve Purchase Agreement No. A9248 (Attachment A) with Hi-Grade Materials Co. to provide concrete products for an amount not to exceed $90,000 beginning November 1, 2022 through October 31, 2025, with two one-year extension options at the City's sole discretion.

2. Authorize the Interim City Manager or their designee to execute all necessary documents.

City of Palm Springs Page 5
Item 1CC - Page 13
City Council Minutes October 27, 2022
N. A WARD OF A CONSTRUCTION CONTRACT TO GRANITE CONSTRUCTION COMPANY, A CALIFORNIA CORPORATION, IN THE AMOUNT OF $6,962,696 I AND A PURCHASE ORDER TO DUDEK INC., IN THE AMOUNT OF $170,000, FOR THE 2022 PAVEMENT REHABILITATION, CITY PROJECT NO. 22-08

MOTION BY COUNCILMEMBER HOLSTEGE, SECOND BY MAYOR PRO TEM GARNER, CARRIED 5-0 to:

1. Award a construction contract to Granite Construction Company, a California corporation, in the amount of $6,962,696 for the 2022 Pavement Rehabilitation, City Project 22-08; and,

2. Authorize the Interim City Manager to approve a purchase order with an 'on-call' firm, Dudek Inc., for construction management and inspection services in the amount of $170,000 for the 2022 Pavement Rehabilitation, City Project 22-08; and

3. Authorize the Interim City Manager to execute all necessary documents.

0. APPROVE SERVICE AGREEMENT NO. A9230 WITH DOWNTOWN SHELL FOR

VEHICLE MAINTENANCE AND REP AIR SERVICES
. MOTION BY COUNCILMEMBER HOLSTEGE, SECOND BY MAYOR PRO TEM GARNER, CARRIED 5-0 to:

1. Approve Contract Services Agreement A923 0 with Downtown Shell to provide vehicle maintenance and repair services for a three-year term in an amount not to exceed I $300,000, beginning October 27, 2022 through October 26, 2025, with two one-year extension options at the City's sole discretion.

2. Authorize the Interim City Manager or their designee to execute all necessary documents.

P. APPROVE EXPENDITURE OF PUBLIC ART FUNDS IN THE AMOUNT OF $286,000 TO RESTORE THE "DESERT HIGHLAND MURAL" BY ARTIST RICHARD WYATT, JR. ON THE SOUTHWEST EXTERIOR WALL OF THE JAMES 0. JESSIE DESERT HIGHLAND UNITY CENTER

MOTION BY COUNCILMEMBER HOLSTEGE, SECOND BY MAYOR PRO TEM GARNER, CARRIED 5-0 to:

1. Approve the expenditure of Public Art Funds in the amount of$286,000 for the restoration of the "Desert Highland Mural" by artist Richard Wyatt, Jr.

2. Appropriate $286,000 from Fund 150 Public Arts Fund Balance.

3. Authorize the Interim City Manager to execute all necessary documents to facilitate restoration of the "Desert Highland Mural".

Q. APPROVAL OF AGREEMENT WITH THE CITY OF DESERT HOT SPRINGS

FOR SIGNAL MAINTENANCE OF FOUR SHARED TRAFFIC SIGNALS ALONG

NORTH INDIAN CANYON DRIVE

MOTION BY COUNCILMEMBER HOLSTEGE, SECOND BY MAYOR PRO TEM GARNER, CARRIED 5-0 to:

City of Palm Springs Page 6
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City Council Minutes October 27, 2022

1. Approve Agreement with the City of Desert Hot Springs for the traffic signal. maintenani;e of four shared traffic signals along North Indian Canyon Road.

2. Authorize the Interim City Manager to execute all necessary documents R. APPROVAL OF A GROUND LEASE AGREEMENT WITH T-MOBILE WEST,

LLC, FOR NON-EXCLUSIVE USE OF GROUND SPACE WITH AN EXISTING WIRELESS COMMUNICATIONS TOWER AT 4375 EAST MESQUITE AVENUE

MOTION BY COUNCILMEMBER HOLSTEGE, SECOND BY MAYOR PRO TEM GARNER, CARRIED 5-0 to:

I. Approve Wirel~ss Communications Facilities Site Lease Agreement by and between TMobile West, LLC, and the City of Palm Springs for non-exclusive use of ground space at City-owned property at 4375 East Mesquite Avenue.

2. Authorize the City Manager or designee to execute all the necessary documents. s. AMENDMENT NO. 1 TO NON-EXCLUSIVE OPERATING ~D LEASE
AGREEMENT NO. A9011 WITH COVID CLINIC, INC. '

MOTION BY COUNCILMEMBER HOLSTEGE, SECOND BY MAYOR PRO TEM GARNER, CARRIED 5-0 to:

1. Approve Amendment No. 1 to Agreement No. A901 l with Covid Clinic, Inc. to address the business entity change from Covid Clinic, Inc. to Rume Health, LLC; the relocation of their facility from the Airport holiday-overflow parking lot south of Kirk Douglas Way to an Airport parking lot located west ofE. Baristo Road effective September 1, 2022; and the reduction in size of demised premises from 40,410 square feet to 15,387 square feet (sq. ft) and a reduction in rent from $12,392.40 per month ($148,708.80 per year) to $4,723.80 per month ($56,685.60 per year).

2. Authorize the Interim City Manager or designee to execute all necessary documents.

2. PUBLIC HEARINGS: None

3. BUSINESS & LEGISLATIVE:

A. CONSIDER PROPOSAL FROM BLUE ZONES, LLC TO PARTICIPATE IN A FEASIBILITY STUDY FOR $85,000
MOTION BY COUNCILMEMBER KORS, SECOND BY COUNCILMEMBER · HOLSTEGE, CARRIED 4-1 (WOODS voting no) to:

I. Consider proposal from Blue Zones, LLC. to provide a feasibility study in the amount of $85,000.

2. If supportive of the proposal, authorize the Interim City Manager or designee to execute an Agreement and Statement of Work in form and content acceptable to the City Manager and City Attorney.

City of Palm Springs Page 7
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City Council Minutes October 27, 2022
B. CONSIDERATION AND POSSIBLE ADOPTION OF A POLICY LIMITING THE NUMBER OF PUBLIC MEETINGS THAT CITY LEGISLATIVE BODIES MA y I

HOLD ON THIRD PARTY APPLICATIONS

MOTION BY COUNCILMEMBER KORS, SECOND BY MAYOR PRO TEM
GARNER, CARRIED 5-0, to adopt Resolution No. 25064 entitled, "A RESOLUTION

OF THE CITY COUNCIL OF THE CITY OF PALM SPRINGS, CALIFORNIA,

LIMITING THE MAXIMUM NUMBER OF PUBLIC MEETINGS THAT CITY LEGISLATIVE BODIES MAY HOLD ON THIRD PARTY APPLICATIONS," as amended.

C. PROPOSED TURF CONVERSION MATCHING REBATE

MOTION BY COUNCILMEMBER HOLSTEGE, SECOND BY COUNCILMEMBER KORS, CARRIED 5-0, to approve an appropriation of $250,000 from the Sustainability Fund to provide a match to DWA's rebate of $3/square foot, ensuring that a total of $6/square foot would be available to eligible projects, with the following limitations:

Projects would receive no more than $5,000 in City rebate funding per project; Projects using artificial turf would not receive the rebate funding; $ 100,000 will be allocated for HO As, $100,000 would be allocated for individual residences, $50,000 will be allocated to low-income applicants; and the program will continue to be administered by OW A.

D. DISCUSSION REGARDING FILLING AN UNSCHEDULED VACANCY ON THE

CITY COUNCIL
The City Council requested additional information regarding election options, voter turnout, and best practices for navigating the process of fi lling an unscheduled vacancy.

PUBLIC COMMENT:

Brad Anderson, Rancho Mirage

CITY COUNCIL AND CITY MANAGER REQUESTS AND UPCOMING AGENDA

DEVELOPMENT
Interim City Manager Gallavan provided an update on staffs intent to resume in-person board, commission, and committee meetings; announced the hiring of a new Public Works Director; and provided the tentative upcoming meeting schedule and agenda items.

ADJOURNMENT:

The City Council adjourned on Thursday, October 27, 2022, at 9:04 p.m.

Respectfully submitted,
B/Jf}~
City Clerk
APPROVED BY CITY COUNCIL: 11/28/22
City of Palm Springs Page 8
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CITY COUNCIL STAFF REPORT
11/09/2023
SUBJECT:

AN APPLICATION BY ERIC ELLENBOGEN, JOHN ENGELMAN AND THOMAS

ENGELMAN REPRESENTED BY THE PALM SPRINGS PRESERVATION
FOUNDATION FOR HISTORIC DESIGNATION OF “THE
BLANKENHORN/GILMORE RESIDENCE” LOCATED AT 1850 SMOKE TREE LANE, CASE HSPB #148 (APN #510-104-002, 510-104-006)
RECOMMENDATION:

1. Open the Public Hearing and receive public testimony.

Close the public hearing and adopt Resolution entitled, “A RESOLUTION OF

2. Attachments
Item 2A

CITY COUNCIL STAFF REPORT
DATE: NOVEMBER 9, 2023 PUBLIC HEARING
SUBJECT: AN APPLICATION BY ERIC ELLENBOGEN, JOHN ENGELMAN AND

THOMAS ENGELMAN REPRESENTED BY THE PALM SPRINGS

PRESERVATION FOUNDATION FOR HISTORIC DESIGNATION OF
“THE BLANKENHORN/GILMORE RESIDENCE” LOCATED AT 1850
SMOKE TREE LANE, CASE HSPB #148 (APN #510-104-002, 510-104- 006)
FROM: Scott C. Stiles, City Manager
BY: Department of Planning Services
SUMMARY:

The Blankenhorn/Gilmore residence is a single-family home in the Smoke Tree Ranch development. The original home was designed by architect Garrett Van Pelt for McLaughlin Blankenhorn and architect Albert Frey designed the subsequent additions to the home for the Gilmore family from 1947-1990. The proposed period of significance is 1947-1990 when the home was owned by the Blankenhorn family and the Gilmore family.

If designated as a historic resource, the property would be subject to the regulations outlined in Section 8.05 of the Palm Springs Municipal Code (PSMC).

The Historic Site Preservation Board (HSPB) and staff have evaluated the request in accordance with the historic designation ordinance and applicable state/federal regulations, and determined it qualifies as a Class 1 (Landmark) site.

RECOMMENDATION:

1. Open the public hearing and receive public testimony.

2. Close the public hearing and adopt Resolution No. _____, “A RESOLUTION OF

THE CITY COUNCIL OF THE CITY OF PALM SPRINGS, CALIFORNIA, DESIGNATING “THE BLANKENHORN/GILMORE RESIDENCE” LOCATED AT 1850 SMOKE TREE LANE, AS A CLASS 1 (LANDMARK) HISTORIC RESOURCE HSPB #148, SUBJECT TO CONDITIONS (APN #510-104-002, 510-104-006).” Item 2A - Page 1
City Council Staff Report
November 9, 2023 – Page 2
Historic Designation – The Blankenhorn/Gilmore Residence BACKGROUND AND SETTING:

The attached historic resources report dated November 2022, prepared by the Palm Springs Preservation Foundation (“the report”), and a site visit with HSPB members are the basis of this staff report.

Related Relevant City Actions by HSPB, Planning, Fire, Building, etc.

August 2023 Site inspection by members of the HSPB and City Staff.

September 2023 HSPB considered the case at a public hearing and voted 6 to 0 to recommend Class 1 designation.

Ownership Status
June 2021 Purchased by current owners.

Smoke Tree Ranch is a 375-acre subdivision created in the 1930s. As one of the original “dude ranch” resorts of Palm Springs, this property continues to place an importance on the rustic desert atmosphere. The architectural aesthetic of the Blankenhorn/Gilmore residence became the precedent for residential design within the development.

ANALYSIS AND FINDINGS:

The analysis of the application relative to the criteria for the designation of historic resources is detailed in the attached HSPB resolution and staff report dated September 5, 2023. In order to be designated a historic landmark, a resource must exhibit exceptional historic significance and meet one or more of the criteria listed in PSMC Section

8.05.070.C.1.a. The HSPB made findings in support of Class 1 (Landmark) designation based on the following criteria:

PSMC 8.05.070, (C,1,Part a). The site, structure, building or object exhibits exceptional historic significance and meets one or more of the criteria listed below:
(Criterion 2) The resource is associated with the lives of persons who made a meaningful contribution to national, state or local history; (Criterion 3) The resource reflects or exemplifies a particular period of national, state or local history;
(Criterion 5) The resource presents the work of a master builder, designer, artist, or architect whose individual genius influenced his age, or that possesses high artistic value;
The Board also made findings pursuant to PSMC 8.05.070, (5,C,1,Part b); “Historic Integrity” that the Blankenhorn/Gilmore Residence possesses sufficient historic integrity to qualify as a Class 1 (Landmark) historic site.

Item 2A - Page 2
City Council Staff Report
November 9, 2023 – Page 3
Historic Designation – The Blankenhorn/Gilmore Residence CONCLUSION:

The Blankenhorn/Gilmore residence meets the definition of a historic resource based on Criterion 2, 3 and 5 of the Palm Springs Historic Preservation Ordinance. The property possesses sufficient historic integrity to qualify as a Class 1 (“Landmark”) site. The HSPB recommendation to the City Council reflects these findings which are outlined in the attached draft City Council resolution.

ENVIRONMENTAL ASSESSMENT
The proposed historic resource designation is not subject to the California Environmental Quality Act (CEQA) pursuant to Sections 15060(c)(2) (the activity will not result in a direct or reasonably foreseeable indirect physical change in the environment) and 15060(c)(3) (the activity is not a project as defined in Section 15378) of the CEQA Guidelines, California Code of Regulations, Title 14, Chapter 3, because it has no potential for resulting in physical changes to the environment, directly or indirectly.

NOTIFICATION
Pursuant to Section 94.09.00 (Public Hearing) of the Palm Springs Zoning Code, written notice has been mailed to all property owners and residents within five hundred (500) feet of the subject property and notice was published in a newspaper of general circulation.

FISCAL IMPACT:

None.

REVIEWED BY:

Department Director: Christopher Hadwin
Deputy City Manager: Flinn Fagg
City Manager: Scott Stiles
ATTACHMENTS:

A. Vicinity Map.

B. Draft Resolution.

C. Application, related background materials, photos.

D. HSPB resolution, staff report, minute excerpt.

Item 2A - Page 3

ATTACHMENT A
Item 2A - Page 4
Department of Planning Services
Vicinity Map

CITY OF PALM SPRINGS
HSPB #148 – The Blankenhorn/Gilmore Residence
1850 Smoke Tree Lane
Item 2A - Page 5
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ATTACHMENT B
Item 2A - Page 6
RESOLUTION NO._____

A RESOLUTION OF THE CITY COUNCIL OF THE CITY OF PALM
SPRINGS, CALIFORNIA, DESIGNATING “THE
BLANKENHORN/GILMORE RESIDENCE” LOCATED AT 1850
SMOKE TREE LANE, A CLASS 1 HISTORIC SITE, (HSPB #148),
APN# 510-104-002, 510-104-006.

THE CITY COUNCIL FINDS AND DETERMINES AS FOLLOWS:

A. WHEREAS, Chapter 8.05 of the Palm Springs Municipal Code allows for the designation of historic sites and districts; and
B. WHEREAS, Eric Ellenbogen, John Engelman and Thomas Engelman, represented by the Palm Springs Preservation Foundation, submitted an application seeking historic site designation of the Blankenhorn/Gilmore Residence located at 1850 Smoke Tree Lane; and C. WHEREAS, in August, 2023, members of the Historic Site Preservation Board (HSPB) and City staff conducted site inspections of the proposed historic resource; and D. WHEREAS, on September 5, 2023, a noticed public hearing of the Palm Springs Historic Site Preservation Board to consider Case HSPB #148 was held in accordance with applicable law; and
E. WHEREAS, at the said hearing, the HSPB carefully reviewed and considered all the evidence presented in connection with the hearing on the project, including, but not limited to, the staff report and all written and oral testimony and voted unanimously to recommend that the Council designate the Blankenhorn/Gilmore Residence a Class 1 (Landmark) historic resource; and
F. WHEREAS, on November 9, 2023, a noticed public hearing of the Palm Springs City Council to consider Case HSPB #148 was held in accordance with applicable law; and G. WHEREAS, at the said hearing, the City Council carefully reviewed and considered all the evidence presented in connection with the hearing on the project, including, but not limited to the staff report and all written and oral testimony.

THE CITY COUNCIL OF THE CITY OF PALM SPRINGS RESOLVES:

SECTION 1: FINDINGS – PART “A”, CRITERIA FOR HISTORIC RESOURCES.

Evaluation of the Application. Pursuant to Municipal Code Section 8.05.070 (C,1,a), the City Council shall evaluate the application and make findings in conformance with the following criteria:

Page 2 of 7 ends

November 9, 2023
and “b”) are met:
a. The site, structure, building or object exhibits exceptional historic significance and meets one or more of the criteria listed below:

The Blankenhorn/Gilmore residence is a unique example of a rustic ranch-style home with a rambling floor plan that tells the history of residential development in the Smoke Tree Ranch community. The home demonstrates exceptional historic significance because of its association with the history of “dude ranch” resorts in Palm Springs and its association with respected master architects Garrett Van Pelt, Jr., and Albert Frey.
(Criterion 1) The resource is associated with events that have made a meaningful contribution to the nation, state or community;
No information was provided indicating any significant event was directly associated with this site. The site does not qualify under Criterion i.
(Criterion 2) The resource is associated with the lives of persons who made a meaningful contribution to national, state or local history; The report describes the two main owners associated with the property: Louis “L. Mac” McLaughlin Blankenhorn and Donald S. Gilmore. Blankenhorn, one of the original developers of Smoke Tree Ranch and the city of Rancho Mirage, hired architect Garrett Van Pelt, Jr. to design the home which he owned from 1929 to 1935. The house was then sold to Donald S. Gilmore in 1935 and stayed in the family’s possession until 1990. It was during this time Donald Gilmore became the president and general manager of the leading pharmaceutical company in the United States, Upjohn. Architect Albert Frey designed any additions or remodels made to the home during the years of 1947 to 1990.

Blankenhorn made meaningful contributions to the desert communities and specifically played a critical role in setting the development standards for Smoke Tree Ranch, and Gilmore was a nationally recognized business leader that made important advancements in the pharmaceutical world during the time he owned and stayed at the home, thus, the City Council finds Criterion ii is met.
(Criterion 3) The resource reflects or exemplifies a particular period of national, state or local history;
Smoke Tree Ranch was a subdivision developed during the time of the Great Depression. The home was designed as a ranch-style home with strong rustic elements such as low-pitched roofs, board-and-batten siding, wood or steel encased windows, and asymmetrical plans and elevations. The rambling floor plan is also considered a characteristic of a ranch style home. As one of the earliest examples of a residential structure in the subdivision, the scale, form and exterior building palette utilized at this home set the tone for the rest of the development.

Additions to the home were made during the post World War II period but the overall aesthetic of the ranch was embraced. The additions continued the use of simple forms and paid close attention to scale and proportions. The building is an example of how a ranch style home was Item 2A - Page 8
Resolution No.____

Page 3 of 7 ends

November 9, 2023
intended to expand and adapt to the needs of the owner. The home exemplifies a specific time period of development in Palm Springs is a historically significant community, thus, the site qualifies as a historic resource under Criterion iii.
(Criterion 4) The resource embodies the distinctive characteristics of a type, period or method of construction;
Unlike the National Register criterion concerning construction, the Palm Springs evaluation of construction addresses the type (of construction), the period (of construction) and the method (of construction). It appears that standard wood frame construction methods were used to construct the building and the additions. The construction methods are conventional; therefore, contrary to the report, the City Council finds the project does not qualify for this criterion. (Criterion 5) The resource presents the work of a master builder, designer, artist, or architect whose individual genius influenced his age, or that possesses high artistic value;
The original home was designed by master architect Garrett Van Pelt, Jr. who was based in Pasadena and Santa Barbara. He was recognized and praised by his colleagues for his understanding of residential design. (The report goes into more detail about his contributions to the field of architecture and design.)
The additions to the home were completed by the renowned architect Albert Frey who is recognized for his contributions to the mid-century modern movement. The Blankenhorn/Gilmore residence embodies the design talent of both architects and demonstrates their understanding of mass/scale, form, and site planning. The report also reveals the unique relationship of employee and employer between the two architects. Frey had an advantage in understanding the design intent surrounding the original home since he worked for the original architect prior to designing the new additions. Both architects influenced the field with their designs, therefore, Criterion v is met.
(Criterion 6) The resource represents a significant and distinguishable entity whose components may lack individual distinction, as used in evaluating applications for designation of historic districts, for parcels on which more than one entity exists; or
No information has been provided that the resource qualifies under Criterion vi. (Criterion 7) The resource has yielded or may be likely to yield information important to national, state or local history or prehistory.

No information has been provided on any pre-historic significance of the site.

SECTION 2: PART “B” ANALYSIS OF HISTORIC INTEGRITY.

Analysis of Integrity. (PSMC 8.05.070 (C,1,b). The site, structure, building or object retains one or more of the following aspects of integrity, as established in Item 2A - Page 9
Resolution No.____

Page 4 of 7 ends

November 9, 2023
the Secretary of the Interior’s Standards: integrity of design, materials, workmanship, location, setting, feeling, or association.

Beginning on page 38 of the report is an evaluation of the site relative to the seven aspects or qualities of historic integrity, as recognized by the National Register of Historic Places. The seven aspects or qualities include location, design, setting, materials, workmanship, feeling, and association. The report concludes that the site retains a high degree of integrity and is further analyzed below:

1. Location:

The resource remains in its original location of construction, therefore, retains its integrity of location.

2. Design:

The mass/scale, form and building materials of the home are consistent with the original design intent. The irregular footprint of the home evolved from an L-shaped floor plan to a U-shaped floor plan, however, the idea of a rambling/asymmetric design remains consistent. While there are certain elements on the newer additions that reflect contemporary building solutions to address the owner’s needs, the architect demonstrates an understanding of the original design and emulates the rustic style of the original design and does not compete with the main facades of the home, therefore, the design integrity remains intact.

3. Setting:

Located within the Smoke Tree Ranch development, the desert setting around the home has been maintained and remains relatively unchanged. The open and rural setting not only preserves views, but it also highlights the site placement of the home, thus the integrity of setting is intact.

4. Materials:

The use and rhythm created by the board-and-batten siding, steel casement window details and openings, and wood roof shingles are key components of the exterior façade that remain consistent throughout the home; therefore, the integrity of materials is intact.

5. Workmanship:

Conventional construction methods were utilized and the aesthetic for the home emphasizes simplicity rather than craft. The exterior of the home is well maintained, and the original workmanship is evident.

6. Feeling:

The home is in a preserved rural setting and the design of the building represents the time period in which it was originally constructed. The rustic, ranch-style home remains integrated with the Item 2A - Page 10
Resolution No.____

Page 5 of 7 ends

November 9, 2023
desert landscape, thus the original feeling of the site remains intact.

7. Association:

The design and condition of the property is an excellent example of a rambling ranch style home associated with the “dude ranch” aesthetic of Smoke Tree Rach is maintained through the use of simple forms, building materials and its integration into the desert context. The home’s association with the two architects, Pelt and Frey, are visible in the overall form and fenestration of the home; therefore, the home’s association to the time periods it represents, and the architects remain intact.

SECTION 3: DEFINING HISTORIC CHARACTERISTICS
In considering a recommendation for historic resource designation it is important to distinguish those physical elements that are original or from the period of significance that contribute to the resource’s historic significance from alterations, additions or features that were added at a later time that may be sympathetic to the original character, but which may create a false sense of historicity. Distinguishing original character-defining features from non-original elements aids the City Council when it is tasked with evaluating future alterations to the historic resource.

Page 25 ends

following is a list of character-defining features identified by the City Council:

Character-defining features of the resource are as follows:
• One-story ranch home with an emphasis on horizontality • Low pitched wood shake roof
• Board-and-batten wood siding
• Deep roof eaves with extended roof rafters
• Covered front porch, patios and arcades
• Two shed roofs on either side of the low pitch gable roof of the original home1 • Masonry chimney along the roof ridge of the low-pitched gable roof visible on the west facade
• Irregular/rambling floor plan
• Steel-framed windows
• Natural desert setting
Non-contributing elements:
• Large swimming pool and spa in the central courtyard of the home • Hardscaped walkways, patios and driveways
• Rooftop mounted mechanical equipment and screening
• Parcel across the street is owned by the current owners but does not contain any part of the historic resource
• Fruit trees and lawn area
1 The original shed roof on the north side of the home, which was visible from the front elevation, was removed as part of an alteration completed by architect Albert Frey in 1947.

Item 2A - Page 11
Resolution No.____

Page 6 of 7 ends

November 9, 2023
SECTION 4: ENVIRONMENTAL ASSESSMENT
The proposed historic resource designation is not subject to the California Environmental Quality Act (CEQA) pursuant to Sections 15060(c)(2) (the activity will not result in a direct or reasonably foreseeable indirect physical change in the environment) and 15060(c)(3) (the activity is not a project as defined in Section 15378) of the CEQA Guidelines, California Code of Regulations, Title 14, Chapter 3, because it has no potential for resulting in physical changes to the environment, directly or indirectly.

SECTION 5: CONDITIONS THAT APPLY TO HISTORIC SITES:

According to Section 8.05 of the Municipal Code, the following shall apply to a Class 1 Historic Resource:

1. It shall meet the definition of a Class 1 historic site as outlined in Municipal Code Section

8.05.020.

2. An archival file on the property shall be maintained by the City.

3. It may be qualified as ‘historic’ at the federal, state, and/or county level.

4. The structure/site may not be modified nor objects removed without following the procedures outlined in Municipal Code Section 8.05.110 “Demolition or Alteration of Class 1 and Class 2 Historic Resources – Certificate of Appropriateness”.

5. A marker explaining the historic nature of the site may be installed at the site in a location viewable from the public way.

6. Compliance with all rules and regulations for Historic Sites and Historic Districts under Chapter 8.05 of the Municipal Code shall be required.

7. The site shall not be further subdivided.

8. The City Clerk shall submit the Council Resolution to the County recorder for recordation within 90 days of the effective date of the Council’s resolution.

Based upon the foregoing, the City Council hereby designates “The Blankenhorn/Gilmore Residence” located at 1850 Smoke Tree Lane, a Class 1 (Landmark) Historic Resource (Case HSPB #148).

ADOPTED THIS NINTH DAY OF NOVEMBER, 2023.

SCOTT STILES

CITY MANAGER
ATTEST:

BRENDA PREE, MMC

CITY CLERK
Item 2A - Page 12
Resolution No.____

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November 9, 2023

CERTIFICATION

STATE OF CALIFORNIA )
COUNTY OF RIVERSIDE ) ss.

CITY OF PALM SPRINGS )
I, BRENDA PREE, City Clerk of the City of Palm Springs, hereby certify that Resolution No. ____ is a full, true and correct copy, and was duly adopted at a regular meeting of the City Council of the City of Palm Springs on _______________________, by the following vote:

AYES:

NOES:

ABSENT:

ABSTAIN:

IN WITNESS WHEREOF, I have hereunto set my hand and affixed the official seal of the City of Palm Springs, California, this ______ day of ______________, _________.

BRENDA PREE, MMC

CITY CLERK
Item 2A - Page 13

ATTACHMENT C
Item 2A - Page 14
0 DRADRADRAFTFTDDDD

DO
The
Blankenhorn/Gilmore
Residence

Smoke Tree Ranch
1850 Smoke Tree Lane
Palm Springs, CA 92264

Nomination Application
for City of Palm Springs
Class 1 Historic Resource
Prepared by
Steve Vaught
for the
Palm Springs Preservation Foundation
July 2022, Revised November 2022
Item 2A - Page 15
1 Acknowledgements
The author gratefully wishes to thank
the following individuals/organizations for
their professional expertise and/or editing assistance:

Eric Ellenbogen; Barbara and Ron Marshall; Gary Johns; Tracy Conrad; Ron Duby; Thomas Morbitzer; Maria Franco; Frank Lopez of the Architecture and Design Collection, Palm Springs Art Museum; Nancy Hadley of the American Institute of Architects; Orange Coast Title Co.; Christina Rice of the Los Angeles Public Library; Renee Brown of the Palm Springs Historical Society.

Front cover: Blankenhorn/Gilmore Residence, as photographed by Maynard Parker. (© Huntington Library)
Above: Still frame from a 1941 home movie by Martha Gilmore (Parfet) via the documentary Smoke Tree Ranch: A Way of Life.
(Courtesy Tracy Conrad)
Item 2A - Page 16
2 THE

BLANKENHORN/GILMORE

RESIDENCE
Class 1 Historic Resource Nomination
Table of Contents
INTRODUCTION: PAGE 3
EXECUTIVE SUMMARY: PAGE 4
CLASS 1 HISTORIC RESOURCE DESIGNATION APPLICATION FORM: PAGE 6 STATEMENT OF SIGNIFICANCE: PAGE 11
BACKGROUND/HISTORIC CONTEXT: PAGE 34
EVALUATION FOR CLASS 1 RESOURCE DESIGNATION: PAGE 35
INTEGRITY ANALYSIS: PAGE 38

APPENDICES
I Owners’ Notarized Letter of Support
II Assessor’s Map
III Google Earth Image
IV Louis MacLaughlin Blankenhorn, Jr. Biography
V Donald S. Gilmore Biography
VI Garrett Van Pelt, Jr. Biography
VII Albert Frey Biography
VIII Maynard Parker Images
Item 2A - Page 17
3 Introduction
The Palm Springs Preservation Foundation (PSPF) is a non-profit organization whose mission is “to educate and promote public awareness of the importance of preserving the historical resources and architecture of the city of Palm Springs and the Coachella Valley area.”
In November 2021, the homeowner, Eric Ellenbogen engaged Steve Vaught to prepare the Blankenhorn/Gilmore Residence’s Class 1 Historic Resource nomination. The Board of Directors of the Palm Springs Preservation Foundation subsequently voted to sponsor the nomination.

The Owner’s Letter of Support is at Appendix I.

View looking towards west (front) façade.

Note the shed roof, deep porch and original fireplace chimney. (Author photo. April 2022)
Prepared by Steve Vaught on behalf of:

The Palm Springs Preservation Foundation
1775 East Palm Canyon Drive, Suite 110-195
Palm Springs, CA 92264
760-837-7117
[email protected]
Item 2A - Page 18
4 Executive Summary
SIGNIFICANCE:

The property that is the subject of this historic resources report, the Louis McLaughlin Blankenhorn/Donald S. Gilmore Residence (hereinafter referred to as the “Blankenhorn/Gilmore Residence”) is a single-family residence in Smoke Tree Ranch (hereinafter referred to as “STR.”), a private gated community located south of East Palm Canyon Drive and east of South La Verne Way. The very first private home built in the colony, its rustic, Ranch-style design has served as a model for the nearly 100 homes that have followed. The Blankenhorn/Gilmore Residence has the unique cachet of having been the work of two master architects, with its original design by Garrett Van Pelt, Jr., FAIA, a major figure in Southern California architecture during the period, and Albert Frey, FAIA, one of Palm Springs’ iconic architectural masters, who sensitively added on to the house over a period of decades.

The Blankenhorn/Gilmore Residence’s significance further extends to its association with its original builder, Louis McLaughlin “L. Mac” Blankenhorn, principal developer of not only Smoke Tree Ranch, but the future city of Rancho Mirage as well, and to Donald S. Gilmore (1895-1979), a transformational figure in the pharmaceutical industry, whose family occupied the home from 1935-2021.

The home’s period of significance is lengthy (1930-1990), which covers its original period of design as well as the extensive later work by Albert Frey from 1947-1990.

Therefore, it may be argued that the Blankenhorn/Gilmore Residence bridges two distinct periods as defined in the Citywide Historic Context Statement & Survey Findings created by Historic Resources Group: “Palm Springs between the Wars (1919-1941)” and “Post World War II Palm Springs (1945-1969).”
DESIGNATION CRITERIA:

The Blankenhorn/Gilmore Residence has not been previously evaluated for Class 1 historic resource eligibility.

Criteria for the Designation of a Class 1 Historic Resource: Pursuant to the Palm Springs Municipal Code (PSMC) Section 8.05.070(C.1): A site, structure, building or object may be designated as a Class 1 historic resource, provided one or more of the criteria in subsections “a” and “b” are met:

FINDING 1: The site, structure, building or object exhibits exceptional historic significance and meets one or more of the criteria listed below:

8.05.070 (C.1.a.) paragraph (ii) - The resource is associated with the lives of persons who made a meaningful contribution to national, state, or local history: In this nomination, the Blankenhorn/Gilmore Residence is associated with Louis “L. Mac” McLaughlin Blankenhorn (1884-1943), principal developer of not only Smoke Tree Ranch, but the future city of Rancho Mirage as well, and to Donald S. Gilmore (1895- 1979), an internationally known businessman who guided the Upjohn Co. of Kalamazoo, MI (hereinafter referred to as “Upjohn), from a small family concern into a pharmaceutical empire. Under Gilmore’s leadership, Upjohn became the leading pharmaceutical company in the nation, responsible for numerous live-saving innovations such a method for mass producing cortisone and penicillin.

Item 2A - Page 19
5 The Blankenhorn/Gilmore Residence is associated with Louis McLaughlin Blankenhorn and Donald S. Gilmore, persons who had influence in local and national history. Therefore, the Blankenhorn/Gilmore Residence qualifies for listing as a Class 1 Historic Resource under Criterion 2.

8.05.070 (C.1.a.) paragraph (iii) - The resource reflects or exemplifies a particular period of national, state, or local history: The Blankenhorn/Gilmore Residence exhibits a number of stylistic markers which identify it as being of Ranch architecture.

This style, which was popular both in the Pre War and Post War periods, may well have been first introduced to Palm Springs by Garrett Van Pelt’s design of the Blankenhorn/Gilmore Residence and other original STR structures. They are among the earliest, if not the earliest Palm Springs examples of the Ranch style, putting them at the vanguard of what would become one of the village’s most popular traditional building types of the 1930s through the 1950s. The home’s style, original build date and subsequent additions allow it to bridge two distinct historic periods as defined in the Citywide Historic Context Statement & Survey Findings created by Historic Resources Group: “Palm Springs between the Wars (1919-1941)” and “Post World War II Palm Springs (1945-1969). The Blankenhorn/Gilmore Residence may be viewed as an important component of the historical trends that have come to define Palm Springs’ image as a center of notable architecture, i.e., a historical trend that exemplifies a particular period of the national, state, or local history. The structure qualifies for listing as a Class 1 Historic Resource on the local registry under Criterion 3.

8.05.070 (C.1.a.) paragraph (iv) - The resource embodies the distinctive characteristics of a type, period or method of construction: The Blankenhorn/Gilmore Residence embodies the distinctive characteristics of a type of construction reflective of the period in which it was built. Although board-and batten construction had been used in earlier decades including on some of Palm Springs’ pioneer buildings, it had largely been superseded by other methods. The use of boardand-batten construction on the Blankenhorn/Gilmore Residence represented a renewed interest in this form, which was to become commonplace on homes of similar style over the ensuing years. The board-and-batten construction used on the Blankenhorn/Gilmore Residence exhibits the distinctive characteristics of a type of construction popularly employed during the time of the home’s period of significance. As such, it qualifies as a Class 1 Historic Resource under Criterion 4.

8.05.070 (C.1.a.) paragraph (v) - High Artistic Value - The resource presents the work of a master builder, designer, artist, or architect whose individual genius influenced his or her age, or that possesses high artistic value: The Blankenhorn/Gilmore Residence has the unique distinction of being the work of two separate master architects, each of whom contributed meaningfully to the artistry of its design. Garrett Van Pelt, Jr. produced the original plan, which was intended to evoke the pioneer western ranch houses of the previous century. These structures were born of pure necessity, not artistry, and were constructed out of the simplest materials available in the simplest forms practicable. Aside from modern interior features such as plumbing and lighting, Van Pelt stayed true to concept for the Blankenhorn/Gilmore Residence, using the same type of materials and basic architectural styling as its pioneer inspirations. The result showed how even something ostensibly as utilitarian as a pioneer ranch house could be made beautiful in the hands of as a talented practitioner as Van Pelt. Although his contributions to the house began nearly two decades later, Albert Frey Item 2A - Page 20
6 had a deep and unique understanding of Van Pelt’s vision and carefully tailored his designs for various additions to retain the spirit of Van Pelt’s intentions. Even though the house was to grow considerably over the decades, Frey skillfully managed to keep the proportions and the feeling of Van Pelt’s original design intact. Therefore, for the wellproportioned simplicity of its design as the combined work of master architects Garrett Van Pelt, Jr. and Albert Frey, the Blankenhorn/Gilmore Residence qualifies as a Class 1 Historic Resource under Criterion 5.

8.06.070 (C,1,b) – Integrity: The site, structure, building or object shall be evaluated for integrity of location, design, setting, materials, workmanship, feeling and association according to the United States Department of the Interior, National Park Service’s National Register Bulletin titled: “How to apply the National Register Criteria for Evaluation” as revised from time to time.

SUMMARY:

Based on the analysis outlined in this Historic Resources Report, the site qualifies as a Class 1 (Landmark) historic site eligible for listing as a Palm Springs Historic Resource under 8.05.070 C.1.a.(ii), (iii), (iv) and (v) of the local ordinance’s seven criteria.

Additionally, the Blankenhorn/Gilmore Residence retains a “high degree” of integrity (see Section 7, “Integrity Analysis”).

Item 2A - Page 21
7 Item 2A - Page 22

CITY OF PALM SPRINGS
Department of Planning Services
3200 East Tahquitz Canyon Way, Palm Springs, CA 92262
Phone 760 323 8245
Fax 760 322 8360
Historic Preservation Officer 760 322 8364 x8786

HISTORIC RESOURCE DESIGNATION (HRD)
WHEN TO USE THIS APPLICATION:

Use this application if you are seeking Class 1 or Class 2 historic designation for a property or parcel or for historic district applications.

Use the MINOR ARCHITECTURAL APPLICATION FORM (MAA) if you are seeking approval for alterations to Class 1, Class 2, Class 3 or Class 4 historic sites. (Contact the Planning Department if you are unsure of the classification of your property.) WHO MAY APPLY:

Any individual or organization may apply to the City for consideration of a request for historic resource designation. Applications must be signed and notarized by the owner(s) of record of the site, structure, building or object for which the designation is sought.

PROCEDURE:

1. For proposed historic sites or resources: Refer to Palm Springs Municipal Code ("PSMC") Section 8.05.070 for Procedures and Criteria for the Designation of Class 1 and Class 2 Historic Resources. Visit: www. palmspringsca/gov/government/departments/planning/municipal code/ title Bisection 8.05 "Historic Preservation").

2. For proposed historic districts: Refer to Municipal Code Section 8.05.090 for Procedures and Criteria for Designation of Historic Districts. Visit: www.palmspringsca.gov/government/ departments/planning/municipal code/Title Bi section 8.05 "Historic Preservation.

3. Complete all parts of the application and include related reports, mailing labels and back up information in support of the application. Denote "NA" for any line item that is not applicable.

4. Once the application is complete, contact the Planning Department and schedule a preapplication conference with the City's Historic Preservation Officer ("HPO").

5. Submit the completed application and related materials to the Department of Planning Services.

A Planning Department case number will be assigned to the application.

6. Applications for historic site / resource or historic district designation are evaluated by staff in the City Planning Department who will prepare the application for consideration by the City's Historic Site Preservation Board ("HSPB") at a noticed public hearing. Applicants should plan on attending the hearing. City staff will schedule site visits for members of the HSPB to become familiar with the site prior to the public hearing. (Exterior review only, interiors are not subject to HSPB review.)

7. At the public hearing, the HSPB will evaluate the application and make a recommendation for City Council action. The City Council will consider the application and the HSPB's recommendation at a second noticed public hearing. The applicant should again attend that hearing.

8. The final action of the City Council to designate will be recorded on the property title with the County Recorder's office.

FOR HISTORIC SITE/ RESOURCE APPLICATIONS, SEE CHECKLIST FOR CLASS 1 AND 2.

FOR HISTORIC DISTRICT APPLICATIONS, SEE CHECKLIST FOR HISTORIC DISTRICTS.

HISTORIC RESOURCE DESIGNATION APPLICATION (4-10-19) KL 1 or 1 8 Item 2A - Page 23
- ~ t,-LM $ CITY OF PALM SPRINGS m I .:- t ~ : I Department of Planning Services \J ~ 3200 E. Tahquitz Canyon Way, Palm Springs, CA 92262 -1t1FO'-~ Tel 760-323-8245 - FAX 760-322-8360
- For Staff Use Only
Case Number:

In-Take Planner:

Date:

HISTORIC RESOURCE DESIGNATION

PLANNING / ZONING GENERAL INFORMATION FORM
TO THE APPLICANT: Complete all parts of this application. Denote "NA" for lines that are not applicable. project lotormatjon;
Applicant's Name: Eric Ellenbogen, John Engelman & Thomas Engelman Applicant's Address: 1850 Smoke Tree Lane, Palm SQrings, CA 92264 Site Address: 1850 Smoke Tree Lane, Palm SQrings, CA 92264 APN: 510-104-002· 510-104-006· 510-105-002
Phone 307-200-9443 (Ellenbogen) Email: [email protected] Zone: GP: Section/Township/Range: __ /__ / ___
Description of Project:

The Blankenhorn/Gilmore Residence is Smoke Tree Ranch's first and most historic residence. It was built for the ranch's original developer, Louis Maclaughlin Blankenhorn and later became the long-time winter retreat of the head of Upjohn pharmaceutical, Donald S. Gilmore. The home was designed by master architect Garrett Van Pelt, Jr. and continued to evolve under the masterful hand of Albert Frey.

Note: For Historic District applications: on a separate page provide a list of all sites/parcels within the proposed historic district boundaries with the same information listed above.

Is the project located on the Agua Caliente Band of Cahuilla Indians Reservation?Yes/No: No (Refer to the Land Status Map under Tribal Resources on the Planning Department home page) Construction Date: 1930 • Estimated D Actual (denote source, i.e. building permits) Architect: Garrett Van Pelt, Jr. with extensive additions/alterations by Albert Frey Original Owner: Louis Macl aughlin Blankenhorn, Jr.

Common/Historic Name of Property: Blankenhorn/Gilmore Residence Other historic associations: Donald S. Gilmore
Attach to this application any information, photos, drawings, newspaper articles, reports, studies, or other materials to fully describe the characteristics or conditions that support this application for historic designation.

Architectural Style: Ra n c h
Refer to the Architectural Styles chapter of Citywide Historic Context Statement, under Historic Resources on the Planning Department Home Page: www.palmspringsca.gov.
9 Item 2A - Page 24
HISTORIC RESOURCE DESIGNATION APPLICATION (CONT.)
Criteria for the Designation of a Class 1 Historic Resource:

Pursuant to the Palm Springs Municipal Code (PSMC) Section 8.05.070(C,1): A site, structure, building, or object may be designated as a Class 1 historic resource or a Contributing Resource in a proposed historic district by the Palm Springs City Council, provided both of the following findings are met. Refer to the US Department of the Interior National Register Bulletin "How to Apply the National Register Criteria for Evaluation" of potentially historic resources for further information.

Provide a written description of how the site qualifies as a historic resource per the following Findings. Please provide answers on a separate sheet or report.

FINDING 1: The site, structure, building or object exhibits exceptional historic significance and meets one or more of the criteria listed below:
a. The resource is associated with events that have made a meaningful contribution to the nation, state, or community. 1
b. The resource is associated with the lives of persons who made a meaningful contribution to national, state or local history.
c. The resource reflects or exemplifies a particular period of national, state or local history. d. The resource embodies the distinctive characteristics of a type, period, or method of construction. e. The resource presents the work of a master builder, designer, artist, or architect whose individual genius influenced his age, or that possess high artistic value. f. The resource represents a significant and distinguishable entity whose components may lack individual distinction, as used in evaluating applications for designation of historic districts, for parcels on which more than one entity exists.

FINDING 2: The site, structure, building or object retains one or more of the following aspects of integrity, as established in the Secretary of the Interior's Standards. Provide a written description for each element as listed: Design; Materials; Workmanship; Location; Setting; Feeling; and Association. 2 Criteria for the Designation of a Class 2 Historic Resource:

Pursuant to the Palm Springs Municipal Code (PSMC) Section 8.05.070(C,1): A site, structure, building, or object may be designated as a Class 2 historic resource of a Contributing Resource in a proposed historic district by the Palm Springs City Council, provided the site, structure, building, or object exhibits significance and meets one or more of the criteria listed in Finding 1 above. A Class 2 historic resource is not required to meet the findings for integrity as described in Finding 2.

Criteria and Findings for Designation of Historic Districts:

In addition to the criteria listed in Finding 1, to be considered for designation as a Historic District, a defined area must:
a. Contain contributing resources on a majority of the sites within the proposed district which individually meet the criteria in Finding 1. The defined area may include other structures, buildings, or archaeological sites which contribute generally to the overall distinctive character of the area and are related historically or visually by plan or physical development. Provide a separate list by address and Assessor Parcel Number (APN) for each site/parcel that meets the criteria outlined in Finding 1. b. Identify non-contributing properties or vacant parcels to the extent necessary to establ ish appropriate, logical or convenient boundaries. Provide a separate list by address and APN number for each site/parcel within the proposed historic district that is considered non-contributing to the overall historic significance of the historic district.
1 NOTE: Unlike the National Trust criteria, the City's criterion does not consider "patterns of events". For consideration of "patterns of events", use Criterion "C", reflecting a particular period.
2 NOTE: Refer to the U.S. Department of the Interior Bulletin for "How to Evaluate the Integrity of a Property". 10 Item 2A - Page 25

CITY OF PALM SPRINGS

PLANNING DEPARTMENT APPLICATION

HISTORIC RESOURCE DESIGNATION
CLASS 1 AND CLASS 2

APPLICANT'S REQUIRED MATERIAL CHECKLIST
The following items must be submitted before a Historic Resource Designation application will be accepted. Please check off each item to assure completeness. Provide twelve (12) hard copies and one (1) PDF copy of the following materials unless otherwise noted:

Application Information:
• General Information form (1 copy)
• Notarized letter from property owner consenting to Historic Designation (1 copy) • Ownership and Address History ("Chain of Title") (1 copy) Historic Resource Report:

The following items shall be included in a historic resources report describing the site, structure, buildings, or objects eligible and appropriate for designation per PSMC 8.05.070.
• Photographs of the exterior of the proposed site, structure, buildings or objects . • Aerial photo of the site/resource (from Google Maps or equal). • Information on the architect, designer, and/or developer. • Date and method of construction. Provide copies of building permits. • A detailed assessment of the character defining features describing materials, architectural details/style, landscape elements, or other relevant descriptors. • Evaluation of the site relative to the Criteria and Findings for Designation of Class 1 and Class 2 Historic Resources.

Additional Information:
• Site Plan: 8-1 2" x 11" or 11" x 17"
• Public Hearing labels per PSZC Section 94.09.00.
• Any other documentation or research as may be necessary to determine the qualifications of the site, structure, building, or objects.

Applicant
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Applicants are encouraged to review the bulletin from the U.S. Department of the Interior titled "How to Apply the National Register Criteria for Evaluation". (National Register Bulletin 15 (http://www.ns.gov/history/nr/publications/bulletins/nrb15/)).

Revised 6/5/19 GM
11 Statement of Significance
Summary
The Blankenhorn/Gilmore Residence is located within the historic Smoke Tree Ranch development. As is the case with all Smoke Tree Ranch homes, it bears the official address of 1850 Smoke Tree Lane, although internally it is located at RL2, Ranch House Road (alternately known as Saturmino Road).

The property consists of 2 separate parcels. Parcel 1 consists of Lot 6 and the northern half of Lot 11. Parcel 2, which is where the residence is located, consists of Lots 7 and

8. The legal description per the Riverside County Assessor is LOT 8 MB 018/029 SMOKE TREE RANCH 1. The “1” is in reference to the different sections of the ranch, which was laid out and developed in four distinct parcels. The Blankenhorn/Gilmore Residence was built in Smoke Tree Ranch No. 1., which had been officially opened for subdivision in 1931.

The generally accepted construction date is 1929, however, based on related documentation, the actual date would more likely appear to be 1930. It should be noted that the Riverside County Assessor states the build date as 1947, which is incorrect and is presumably based on Albert Frey’s major addition of that year. The estimated build date of 1930 is based on newspaper references to construction activities at STR as well as references to Blankenhorn staying in the colony. While the tract map for STR was not officially filed until January 1931, there is clear documentary evidence, including photographic, that construction was underway throughout the latter part of 1930, with the colony’s official grand opening taking place on January 2, 1931. By this time, the initial colony structures, including the school house, were fully operational. How the colony came to be prior to the official tract map filing is presently unclear, but county rules regarding such filings may have been different in that early period of development.

The tract map for Smoke Tree Ranch No. 1, January 1931.

The Blankenhorn/Gilmore property is shown in yellow.

Item 2A - Page 26
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12 L. Mac Blankenhorn and the Founding of Smoke Tree Ranch L. Mac Blankenhorn (1884-1943), principal developer of Smoke Tree Ranch and co-founder of Rancho Mirage.

Courtesy Pasadena Historical Museum
Today, Smoke Tree Ranch, a picturesque private retreat of Ranch-styled residences, is considered not only one of the finest and most exclusive enclaves in Palm Springs, its reputation extends nationally and even internationally as well. For decades, Smoke Tree Ranch has been home to some of the most recognized names in business, finance, society, and motion pictures, each of whom have been drawn to the rustic, low key atmosphere of this desert hideaway. Names like Disney, Weyerhaeuser, Upjohn, Helms, Trousdale, Janss, Hoover, Haldeman, among many others, have all found Smoke Tree Ranch to be a place of peace and relaxation. Even President Dwight D.

Eisenhower enjoyed the ranch’s hospitality during his 1954 trip to the desert.

Smoke Tree Ranch came into existence right on the cusp of Palm Springs’ transformation from a minor regional resort into its ultimate destiny as one of the world’s foremost leisure destinations. And it did not merely benefit from this transformation, it was a major contributor. Prior to the ranch’s opening, wealthy winter visitors had only Item 2A - Page 27
13 two options: They could stay at a hotel during the season or could build a home for themselves. While the latter may have offered privacy and freedom, it also came with expenses, maintenance, staff and caretaking issues. Smoke Tree Ranch offered both options, providing guest accommodations as well as the ability to build private homes.

But here, home owners would have the unique advantage of hotel amenities as well as full community features such as a restaurant/club house, tennis, swimming, horse stables and the trails on which to ride them, even a private school. All of this was the result of farsighted thinking on the part of the ranch’s original developers, led by Pasadena businessman, L. Mac Blankenhorn (see Blankenhorn biography in Appendix IV).

A member of one of Pasadena’s pioneering families, Blankenhorn, known as “L. Mac” or simply “Mac,” was a leading figure in real estate and development for more than 30 years. While Mac focused principally on Pasadena, he kept an eye out for opportunities wherever they might turn up. One was in the oil fields near Bakersfield, another was in Palm Springs.

The Pasadena Post took note of Mac’s activities out in the desert.

April 8, 1930.
(Via newspapers.com)
According to author and historian Tracy Conrad, an authority on the history of Smoke Tree Ranch, Mac and his wife Kathryn were frequent visitors to Palm Springs, staying weekends at Nellie Coffman’s Desert Inn. It was on one of those sojourns that Mac may have discovered the 450-acre parcel about 2 miles from Palm Springs. The property had been known locally as the Smoke Tree Forest owing to the profusion of the eponymous trees dotting the landscape. There was also an old ruin on the grounds, a sole surviving relic of “Palmdale,” a failed attempt to develop the property from the 1880s.

Mac was entranced by the site’s natural beauty, its spectacular mountain backdrop, all within close proximity to the heart of Palm Springs. And he was further intrigued to learn that the Palm Springs-Indio Road, running in front of the property (today’s South Palm Canyon Drive) was soon to be paved.

Mac dreamed of a beautiful and private residential development where the natural feeling was retained, a place where a select group of residents and guests could relax and get a true sense of rustic, Old West-style living.

Item 2A - Page 28
•
•
r
I 11
14 Learning that the site’s elderly absentee owner, Judge Cyrus Huling of Columbus, Ohio, would consider selling, Mac assembled a group of investors that included Charles F.

Doyle, former owner of the nearby Deepwell Ranch, Robert Furst, Nicholas Harrison, George L. Alexander, Dudley Coye, L.J. Kingsley, and John Chaffey. Another investor, architect Garrett Van Pelt, Jr., proved to be of great importance to the venture, serving as the ranch’s master architect (see Van Pelt biography in Appendix V).

Originally known as Smoke Tree Tavern, the tract was to be laid out in one to five-acre plots as homesites to a “selected group of professional and business men.” Plans were immediately put underway for the construction of a tract office/community building, which would ultimately include a dining room and kitchen, stables, a set of small guest cottages, and even a one-room school. All of these structures, and more, were to be designed by Van Pelt.

In selecting the venture’s architect, Mac had the good fortune of being able to pick from a group that included some of the finest architects ever to practice in Southern California. Mac not only knew them by reputation, he knew many personally, even serving as an usher at Wallace Neff’s 1923 wedding. In the end, he chose Van Pelt.

They had worked together before, from as early as 1918 when Mac’s brother David had engaged Marston Van Pelt to design a house on East California in Pasadena. Later, they designed a set of four bungalows for Blankenhorn & Hunt.

At Smoke Tree Ranch, the talented Van Pelt was able to put into physical form, the rustic, Old West feeling envisioned by Mac in a way that has proven timeless rather than dated. Nowhere was this more readily visible than in the very first private home built in Smoke Tree Ranch, the home of L. Mac Blankenhorn.

Blankenhorn/Gilmore Residence and Ranch House Revival
As the very first of its kind built at the Smoke Tree Ranch, the Blankenhorn/Gilmore Residence’s architectural design was intended to literally set the tone for what would follow, serving as a de facto model for subsequent construction. In its rustic yet solid form, the house expressed the developers’ intentions both spiritually and physically in a way no words or drawings could do.

The developers’ goal was to capture the romance of the Old West, even if it were the Hollywood version rather than the often less-than-romantic reality of the pioneering days. No aspect of the development would demonstrate this image more potently than the colony’s architecture and great care was taken to ensure structures that promoted the desired effect.

Therefore, the choice of Ranch-styling was obvious and it was made the official and mandated style for all structures built within the colony from the beginning to the present.

On the surface, these restrictions may have seemed short-sighted, dooming the colony to acres of monotonous repetition, but in the hands of talented architects such as Garrett Van Pelt, Albert Frey and others to follow, limitations were seen not as drawbacks, but Item 2A - Page 29
15 rather as exciting challenges to find ways to produce something wholly unique while remaining in harmony with the others.

The Ranch-style, which would later go on to considerable popularity in the post-World War II era, did offer a variety of options and, as Cliff May, the undisputed master of the California Ranch House was later to write:

The form called a ranch house has many roots. They go deep into the Western soil. Some feed directly on the Spanish period. Some draw upon the pioneer years. But the ranch-house growth has never been limited to its roots. It has never known a set style. It was shaped by needs for a special way of living – informal, yet gracious.

While May wrote this 15 years after the completion of the Blankenhorn/Gilmore Residence, his description of the style offering a lifestyle both informal, yet gracious, is wholly apt in the design of the home itself and of Smoke Tree Ranch in general.

The Architecture
The home was sited on a multi-acre parcel a short distance to the west from the ranch’s club house. Located on what was originally known as Saturmino Road (Today’s Ranch House Road), the main portion of the house faced and ran parallel to the road. However, great care was given, as was to be the case with future Smoke Tree Ranch homes, that the house be set back away from the road, allowing generous space between house and streetside. The home was initially sited almost squarely on Lot 8. Over time, as the home would grow, it would ultimately extend into the adjoining Lot 7 as well.

In its original form as designed by Garrett Van Pelt, Jr., the Blankenhorn/Gilmore Residence was created in the form of an L, with a central core running on an east-west axis, and a wing running perpendicularly north to south outwards from the eastern end of the central mass. The home’s interior spaces were divided into two distinct zones.

The central portion was devoted to the main family living and bedroom areas, while the southern wing was given over to 2 ensuite guest (or staff) bedrooms and a garage.

Prior to embarking on any additions, Albert Frey made a careful study of the home in its original form. This drawing of the front (west elevation) shows Van Pelt’s clean lined simplicity. Façade remains much the same today.
(Courtesy Albert Frey Collection. Palm Springs Art Museum) Item 2A - Page 30
\I\JE"ST ELEVATIO N
16 Van Pelt geared the design to blend indoor-outdoor living, beginning with a wide and welcoming front porch intended to serve as an informal outdoor living room. On the interior side, the architect added a set of doors off the living room to access the outdoors as well as picture windows in the dining room and master bedroom.

Architecturally, Van Pelt had the choice of either sheathing the residence in stucco (to simulate adobe) for a more Spanish look, or in board and batten to match more of an American pioneer feel. He chose the latter, although there was some stucco used in certain places. The windows were simple, wood-framed casement types, which were enhanced in some places by wooden shutters.

The split shake covered roof was low pitched for the most part, but special interest was provided by sloping shed sections which bookended the eastern and western ends.

Shed roofs, a common feature of early western homes, became a signature element of the houses at Smoke Tree Ranch, later becoming a common choice of John Porter Clark and Albert Frey during the 1930s. A picturesque whitewashed brick fireplace chimney completed the design.

In its original form, the Blankenhorn/Gilmore Residence was extremely simple and modest, not the typical residence of a millionaire, but this was exactly what Mac Blankenhorn and the millionaires to follow loved, a feeling of “roughing it” in the wild west.

While records from the intervening years are not available, it does not appear the residence underwent any notable alterations or additions from the time of its initial construction to Albert Frey’s first major addition in 1947.

Blankenhorn Ownership
While the actual date of its construction cannot be verified with complete certainty, it appears the house was ready by the time of Smoke Tree Ranch’s official opening on January 2, 1931. What might have been a joyous occasion for Mac, was doubtless tempered by the loss of his beloved wife Kathryn, who had died unexpectedly in September 1930, leaving him a widower with two young daughters. According to Tracy Conrad, Mac had planned the home as a retreat for himself and Kathryn, regularly escaping the busy world of Pasadena into the quiet desert with a few close friends.

As it was, Mac used the home frequently and hosted numerous gatherings, one of which was to open a new chapter in his life. According to the recollections of her granddaughter, Ruth Anderson Wheeler was a young Pasadena society matron who had recently (1932) lost her husband. Perhaps drawn by mutual loss, she and Mac began seeing each other at various events in Pasadena and at Smoke Tree Ranch.

Ruth’s granddaughter recalled a memorable dinner party hosted by Mac at Smoke Tree Ranch. The date was March 10, 1933. The guests, all Republicans, were grumbling over the actions of newly-elected president Franklin Delano Roosevelt, particularly his order of a national bank closure. But their focus quickly changed when it was announced Item 2A - Page 31
17 over the radio that a major earthquake had struck in Long Beach. As most everyone at the party had business interests in Long Beach, the dinner broke up and everyone headed back to Pasadena to find more information.

The bond between Ruth and Mac, however, continued to grow and the pair were married in June 1935. By this time, Mac had become involved in a new business venture, a new residential development 10 miles to the south of Smoke Tree Ranch, a place Ruth had named “Rancho Mirage.” As a result, Blankenhorn sold his interests in Smoke Tree Ranch and his home as well. Its buyer was Donald S. Gilmore.

Gilmore Ownership
Donald S. Gilmore had yet to rise to preeminence in the American pharmaceutical industry when he first started coming to Smoke Tree Ranch in 1933, but he was climbing rapidly (see full bio in Appendix IV). According to Gilmore’s daughter, Martha Gilmore Parfet, it had been Gilmore’s mother Carrie who first spotted the ranch while on a tour of Palm Springs. She thought it would be a perfect getaway spot for the Gilmores and convinced them to go and see it. They did and wholeheartedly agreed.

For the first two years, they rented a cottage, but in 1935 they jumped at the chance to purchase when the Blankenhorn residence came up for sale. They loved the house, which was to remain their winter home for the remainder of their long lives and continuing in Gilmore family hands all the way up until 2021.

Martha Gilmore Parfet, who became the family historian, left a vivid picture of her first trip to Smoke Tree Ranch in her book Keep the Quality Up (2014) as well as how much their home at the ranch meant to them all, writing “Smoke Tree Ranch found a permanent place in the hearts of the entire family.” Adding further:

Smoke Tree Ranch became a perfect respite for my mother and dad. They spent more and more time at the ranch during the winter, and enjoyed the many friendships they formed with other colonists. Mom and dad generously shared their cottage, which in time grew into more of a comfortable home, with plenty of room for family visits.

The Gilmores found much-needed respite from their busy schedules back in Michigan and the freedom to pursue hobbies and interests they had little time for at home. Donald found he greatly enjoyed silversmithing, even studying under an expert artisan in Los Angeles. Gilmore’s hobby was reflected in the 1947 addition to the home, which included a well-equipped workshop adjacent to the garage. On the other side of the house, Genevieve pursued her own hobbies of painting, photography and sculpting in a purpose-built studio at the end of the southern wing. Later, when Donald became fascinated by antique cars, the garage was expanded and remodeled to provide a proper setting to both work on and showcase his latest treasures.

Item 2A - Page 32
18 Donald S. Gilmore stands proudly in front of his new desert retreat. 1935. (Courtesy Palm Springs Historical Society)
Additions During the Gilmore Years
The Gilmore hobbies were one of the main impetuses to adding on to their beloved winter cottage. The other was an ever-increasing influx of family and friends. Ranch houses, by their very spirit, were expected to “ramble” as needs and finances allowed.

Between the years 1947-1992, the Blankenhorn/Gilmore Residence did just that through a series of additions and alterations which more than doubled the home’s original size. Yet, the overall integrity was not compromised owing to the fact that all the changes were made by the hand of one architect, Albert Frey. While the original design had been the work of Garrett Van Pelt, Jr., no other architect proved to have a better understanding of Van Pelt’s Smoke Tree Ranch work both in spirit and execution than Frey, and he was able to sensitively add on to the residence while still maintaining Van Pelt’s vision.

Item 2A - Page 33
19 1947 Additions
This schematic, based on a study by Ammor Architecture, LLP, shows the original layout and Albert Frey’s 1947 additions. Note Frey’s inclusion of a wraparound porch on the inner court.

Frey’s first known work on the residence was also the most significant in terms of overall structure. Frey transformed the home from its initial L-shape into a U-form through the addition of a new wing which ran on an east-west axis on the southern side of the structure. This wing encompassed a new master suite for the Gilmores, which included a sitting-bedroom with fireplace, an adjoining office-bedroom, as well as two dressing room/bathrooms. Additionally, Frey extended the existing northern wing through the creation of a new multi-vehicle garage and altering the former garage space into a workshop and storage. The new wing also created an inner courtyard, enclosed on three sides, which was both a traditional and useful addition in and of itself.

Utilizing the same board-and-batten sheathing and window types as found on the original Van Pelt design, Frey skillfully and seamlessly harmonized the new with the old, creating a near symmetry between the new southern wing and its northern original. Yet, Frey wisely resisted making a mirror copy of the northern wing as this would have run contrary to traditional ranch house/hacienda design, which featured a more rambling, asymmetrical effect.

Frey further sought to unify the new wing to the original through the addition of a covered walkway/patio, running the length of the interior-facing facades. This was not only aesthetically pleasing; it also served a very useful function in shielding the home’s interior from the direct summer sun. As each of the major rooms opened out onto the walkway, it allowed for a greater freedom of movement between spaces, which also harkened back to traditional hacienda design. The addition of the covered walkway necessitated extending the original roofline outwards, which was sheathed in shakes to match the existing roof.

Item 2A - Page 34
- - - _._ __ __,
1930
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I I L _____ J
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1947
20 In what was a Frey trademark, the architect kept the rafters exposed to the sky in the section directly outside the living room. Not only did this provide more light to the interior, it offered an ever-changing play of light and shadows as the sun moved across the sky.

Frey had been fascinated by the relation of light and shadow ever since his early days with Le Corbusier. He used this same motif on certain other designs at least back to his days with Van Pelt & Lind and would use it again in various forms for the remainder of his career.
1954 Addition/Alterations
Albert Frey’s next known work on the Gilmore Residence was a relatively minor addition principally consisting of two new “cooler yards,” fenced sections intended to disguise the home’s air conditioning systems. One of these was positioned at the northwest corner of the home, while the other was at the southwest. Discretion was the byword for the work and Frey carefully ensured the additions would blend into the home’s existing design by matching the board-and-batten design featured throughout the exterior. The fencing was composed of a combination of 2”x4”-4”x4” posts and boards built to a height of 5’6.”
The work did not involve any changes to the existing dwelling other than the removal of a small closet window on the southwest façade as well as new soffits on the northwestern cooler yard, which was built adjacent to the existing drying yard.

Item 2A - Page 35
I
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___ _._ __ .,.......
1954
I
I I L _____ J
___ _,_ __ ___.
1956
21 1956 Addition
Frey’s 1956 addition to the residence was more extensive than the 1954 work. This addition principally consisted of a new art studio space for Mrs. Gilmore, which was constructed on the end of the southern wing and opening from the Gilmore’s master bedroom suite.

The studio consisted of a main room, 16’x21’, with an adjoining bathroom and various built-ins such as a wardrobe and counter space. This created a flexible space that could serve multiple functions as desired including as a bedroom suite.

Frey gave the addition a steeply sloped shed roof intended to match the look of the existing residence and he also added a covered porch running the length of the addition on the east. While these visually and spiritually connected the addition to the main house, he gave the space a wholly distinct feel through how he positioned it, boldly angling it away from the main structure so it directly faced the eastern sunrise. Frey ensured the studio would get the maximum amount of light by making the entire eastern façade glass. Frey used a wall of glass with sliding panels to allow access to the porch.

The architect completed the wall of glass effect by filling the space above the porch with a bank of clerestory windows.

The 1956 addition work also included a revision to the garage located at the end of the northern wing. On the southern façade of the garage, Frey added a distinct group of three full-length louvered panels intended to shade the existing windows. The 1956 plans also showed a reorientation of the garage entrance. Originally, vehicles entering the garage would do so at the eastern end, which necessitated a U-turn from the driveway. Frey created a new entrance on the northern side, which allowed vehicles to enter by merely turning to the right. The former opening on the east was redesigned to give a more residential feel with windows, a set of double glass doors, and a peaked roof with vertical boards designed to match other parts of the home. It is unclear if this portion of the work was done as, by 1964, the main entrance to the garage remained on the east end.

During this time, Frey’s attention also focused on the property’s hardscape and landscape features, working with two of Palm Springs’ foremost landscape designers, Earl Neel of Neel’s Nursery and Slim Moorten. Among the additions made were a new blacktop driveway running along the northern side of the house, a new brick pathway running from the driveway to connect to the existing brick entry walk, a brick and cement walkway to and from the garage and connecting with a new terrace built in front of the art studio. Desert planting at the new terrace were provided by Earl Neel, while a new garden was created by Slim Moorten to fill in the area on the western side of the art studio where it connected to the original house. Finally, Frey also added new lighting in certain places as well as providing new glass for the home’s entrance sign.

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22 1964 Addition
Frey’s 1964 work saw a return to the garage, which coincided with Donald Gilmore’s new passion for classic cars. Frey extended the length of the garage and returned the entrance/exit orientation back to the east end. On the northern part of the garage space, Frey added steel framed sliding glass doors. He also made some minor additions to the hardscaping on the property, most notably creating a new brick walkway leading from the street to the front porch, which was also given a new brick floor. 1965 Alterations
This work was restricted mostly to an interior remodel in the north wing, principally converting one of the 2 dressing rooms into a sitting room. One new window was added on the west wall.
1967 Guest House
While not an addition to the residence itself, it should be noted that the Gilmores engaged Albert Frey to build an entirely separate, full-sized residence to be used as a guest house for the property. This house is located on Rock 6 (Algodones Trail).

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I I L _____ _J
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1964
I
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._____,_ - - - - --- 1977
23 1977 Addition
This was restricted mostly to a kitchen addition on the western façade, which extended the space outwards in line with the edge of the front porch. One original window was relocated while a second, new window, of a style to match the home’s other windows, was added. Additionally, the work involved extending the roof outwards to conform with the addition.
1978 Addition
A jacuzzi was added for the Gilmores’ use by Albert Frey. It was located just beyond the studio patio. This was removed when the swimming pool was installed in 1992. 1980 Addition
This was largely restricted to an interior alteration of the former shop space into a chauffeur’s apartment with bedroom, sitting room and bath. 1981 Alterations
This work was a minor addition of cabinets to the south wing hall in addition to some minor maintenance work.
1982 Alterations
Further minor interior alterations to the south wing apartment and a garage window. It also included an addition of a second brick walkway from driveway to porch. 1984 Alterations
Minor interior alterations in the north wing.
1989 Alterations
Restricted to repaving the driveway and replacing redwood headers. 1990 Addition
This was a relatively minor addition involving exterior fencing near the studio as well as work on the roof and glazing the previously outdoor walkway on the western façade of the northern wing. This was the first work done on the house by Frey since the death of Mrs. Gilmore, being done for Carol Gilmore Boudeman, and would prove to be his final alteration to the house over a 43-year period.

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24 1992 Addition
In 1992, a private swimming pool and spa was added to the home for the first time in its long history. The work was the first known addition made by someone other than Albert Frey, being done by the team of Kurt & Audrey Dalskov, landscape contractors and designers. In addition to the pool, the Dalskovs redesigned much of the hardscape and landscape features within the central interior court where the pool was positioned. All of this involved removing the former jacuzzi as well as the studio’s concrete patio.

Ownership History
Two attempts at locating the chain of title for the residence made by Orange Coast Title revealed only a few documents. However, based on other documentation, the ownership history is largely known to have been:
1929-1935
Louis McLaughlin Blankenhorn
1935-1979
Donald S. & Genevieve Gilmore
1979-1990
Genevieve Gilmore
1990
Carol Gilmore Boudeman
1991-2021
Tom & Martha Boudeman Vandermolen
2021-Present
Eric Ellenbogen, Thomas Engelman, John Engelman
Documentation that was located by the Title Co. shows the following:
1960
By Deed of Transfer dated February 25, 1960, Smoke Tree, Inc. grants to Donald S.

Gilmore and Genevieve Gilmore all right, title and interest (with certain restrictions) to all of Lot 6 and the northern half of Lot 11, Smoke Tree Ranch. 1976
Grant Deed dated February 24, 1976 whereby Donald S. Gilmore and Genevieve Gilmore grant to First Kalamazoo Co., all of their right, title and interest in certain real property including the Smoke Tree Ranch property.

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25 1996
Grant Deed dated May 20, 1996 whereby First Kalamazoo Co. grants to Martha B.

Vander Molen, as trustee of the Martha B. Vander Molen Living Trust, all of its right, title and interest in the Smoke Tree Ranch property.
2021
Grant Deed dated March 26, 2021 whereby Martha B. Vander Molen, as trustee of the Martha B. Vander Molen Living Trust, grants all of her right, title and interest in the Smoke Tree Ranch property to John Engelman, a married man, an undivided 60%; to Thomas Engelman, a married man, an undivided 33 1/3%, and to Eric Ellenbogen, a married man, 6 2/3% interest.

Character Defining Features of the Blankenhorn/Gilmore Residence The Blankenhorn/Gilmore Residence is an exceptional example of Ranch House architecture, a style which began to appear in Palm Springs during the 1930s and which would reach its peak of popularity in the 1950s-1960s. The Blankenhorn/Gilmore Residence exhibits classic Ranch House elements including:
• An emphasis on horizontality
• Blending of indoor and outdoor spaces
• Informal, asymmetrical layout
• Board and batten exterior wall treatments
• Overhanging eaves
• Covered patios and arcades
• Steel casement windows
Contributing Elements
• Main residence
Non-Contributing Elements
• 1992 Swimming pool and spa
• Walkways/patios/driveway
Local Architectural Context
Because of its unique architectural pedigree, the Blankenhorn/Gilmore Residence may be viewed under two separate contexts as defined by the Citywide Historic Context Statement & Survey Findings created by Historic Resources Group. The first is within the context of the period between World Wars I and II, when Palm Springs was becoming established as a fashionable winter resort for wealthy and/or famous people. According to the Citywide Historic Context Statement & Survey Findings, “In the 1930s important figures in finance and business continued to flock to the desert in the winter, helping to cement the village's reputation as one of the nation's top winter Item 2A - Page 40
26 resort destinations.” Louis Mac Blankenhorn and Donald S. Gilmore were among those figures. Architecturally, the Spanish and Mediterranean Revival styles were the village’s dominant architectural expression during this period. However, the Ranchstyle began to gain in popularity.

The Ranch-style emerged from the 1930s designs of Southern California architects and designers such as Cliff May who merged modernist ideas with traditional elements of the working ranches of the American West and in particular, the rustic adobe houses of California’s Spanish and Mexican-era ranchos. In 1930s Palm Springs the Ranch house took on the simpler, more rustic style of traditional southwestern adobe, hacienda, and wood vernacular types that was believed to be better suited to the desert climate and casual lifestyle. These tended to be informal one-story houses finished in plaster, brick, or board and batten siding, with irregular or rambling plans, low-pitched tile or wood shake roofs, wide verandas, wood or steel windows, and minimal ornamentation.

And contextually the Blankenhorn/Gilmore Residence may also be considered as part of “Post World War II Palm Springs (1945-1969)” owing to its long-time association with Albert Frey who did extensive additions to the home from 1947 to 1990, and the continuing evolution and refinement of the Ranch-style in postwar Palm Springs.

The Ranch-style house proved popular both before and after the war, combining as it did modernist ideas of open interior space with traditional imagery of working ranches and Spanish ranchos.

Site Description
Location. The Blankenhorn/Gilmore Residence is located on a prominent multi-acre lot in the Smoke Tree Ranch colony, one of the desert’s most historic and exclusive residential districts. The home was the very first private residence in the colony and its fortuitous positioning was intended to showcase the charm of its Ranch-style architecture as envisioned by the colony’s first master architect, Garrett Van Pelt, Jr., FAIA. The home’s charm was enhanced further through the work of master architect Albert Frey. The topography of the lot is level. The site is largely left to natural landscaping on its front portion with some added cacti, succulents, etc. With the exception of the interior court where the pool is located, which has a grass lawn, the rear portion of the acreage is left largely in its natural state.

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27 Item 2A - Page 42
5 I
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7 10
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Photo Key
Blankenhorn/Gilmore
Residence
28 Photo 1. General view as seen from street looking east towards western façade. (Thomas Morbitzer Photo. April 2021)
Photo 2. Closer view showing front porch, desert landscaping, brick walks. Note, 1977 kitchen extension on left.
(Thomas Morbitzer Photo. April 2021)
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29 Photo 3. Looking north along porch. Note board-and-batten sheathing. (Thomas Morbitzer Photo. April 2021)
Photo 4. Looking west from entry.
(Thomas Morbitzer Photo. April 2021)
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30 Photo 5. View on southeast looking up north wing towards garage. (Thomas Morbitzer Photo. April 2021)
Photo 6. Garage view looking westwards. Note, glass display doors. (Thomas Morbitzer Photo. April 2021)
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31 Photo 7. Looking westwards along north wing. Pool is on the left. (Thomas Morbitzer Photo. April 2021)
Photo 8. Looking east from patio across pool.
(Thomas Morbitzer Photo. April 2021)
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32 Photo 9. Looking across pool from studio towards north wing. (Thomas Morbitzer Photo. April 2021)
Photo 10. Looking across pool to southern wing. Note glass doors where outdoor patio was enclosed by Albert Frey
(Thomas Morbitzer Photo. April 2021)
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33 Photo 11. View of 1956 studio addition looking west.

Note shed roof designed to match original 1930 design.
(Thomas Morbitzer Photo. April 2021)
Photo 12. View of south wing facing north.
(Thomas Morbitzer Photo. April 2021)
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34 BACKGROUND / HISTORIC CONTEXT
The relatively short history of Palm Springs can be organized into several distinct periods, as defined by the Historic Resources Group’s Citywide Historic Context Statement & Survey Findings. It is within the context of the period “Palm Springs between the Wars” that the Blankenhorn/Gilmore Residence will be evaluated. The following context statement is edited from Historic Resource Group’s Citywide Historic Context Statement & Survey Findings: Palm Springs Between the Wars (1919-1941):

This context explores the transformation of Palm Springs from a modest spa town into a luxury winter resort in the years between the First and Second World Wars. By 1918 Nellie Coffman and her sons (George Roberson and Earl Coffman) understood the town’s potential as an exclusive winter resort for the well-to-do. They set about transforming their sanatorium into the luxurious Desert Inn, one of the most renowned hostelries in the country.

In the 1920s, business tycoons, industrialists, and other wealthy businessmen, along with the Hollywood elite discovered the desert and began to transform Palm Springs into an international resort. While the movie stars primarily stayed at the resort hotels when visiting Palm Springs, other wealthy residents and seasonal visitors started building architect-designed estates and drawing increased attention to the growing resort town. The 1930s saw Palm Springs blossom, as more and more celebrities made it their winter weekend getaway, and more development sprang up to house and entertain them. By the start of World War II, Palm Springs had so long been thought of as a movie star's playground that some of the neighborhoods were described as "Beverly Hills in the desert."
In the 1930s important figures in finance and business continued to flock to the desert in the winter, helping to cement the village's reputation as one of the nation's top winter resort destinations.

One of their favorite neighborhoods was the Smoke Tree Ranch. Smoke Tree Ranch is a 375-acre resort and housing development that was one of the few subdivisions developed in Palm Springs during the Great Depression. Originally developed as a dude ranch resort, Smoke Tree Ranch was started in 1930 by L. Mac Blankenhorn and named after the characteristic trees that dot the landscape. Early advertisements for the guest ranch emphasized an exclusivity that continues to this day. “Designed for those wishing to escape from the turmoil of weekend resorts…introductions or satisfactory references are required.” In 1936, Fred and Maziebelle Markham (operating as the Mardo Corporation) bought Smoke Tree Ranch. With the help of local educator and real estate investor Raymond Cree, Markham subdivided the ranch into parcels for single-family residences.

Under the Markhams, the guest ranch did not advertise or seek publicity. The Smoke Tree way of life (for guest ranch patrons as well as homeowners who are historically known as “Colonists”) was simple without the need to impress, as “most who have come here have been every place, seen everything and done most things.” Smoke Tree Ranch purposefully maintained a rustic atmosphere. Homes were required to be one Item 2A - Page 49
35 story and sit apart on large lots with no large lawns or non-native shade trees. They were to be built in a traditional Ranch style with a pitched shingle roof. Streets were intentionally left as dirt roads groomed by a sprinkler wagon and scraper. There were no street signs, and instead roads were indicated with rock markers.

In his book The Frontier of Leisure, historian Lawrence Culver identifies Smoke Tree Ranch as looking unlike much of Palm Springs architecture of the time and instead reflecting the Ranch-style architecture in California and across America. “They were clear early examples of the ranch house—the domestic architectural style that would carpet the floor of the San Fernando Valley after World War II, writes Culver, “and appear in every community in the United States in the 1950s and 1960s.” EVALUATION:

Criterion 1: Significant Events. The resource is associated with events that have made a meaningful contribution to the nation, state or community: The Blankenhorn/Gilmore Residence is not affiliated with significant events and does not qualify under Criterion 1.

Criterion 2: Significant Persons. Criterion 2 recognizes properties associated with the lives of persons who made meaningful contributions to the national, state or local history: The Blankenhorn/Gilmore Residence was built by Louis Mac Blankenhorn (1884-1943), a prominent Pasadena businessman who was the leading figure in the creation of one of Palm Springs’ most notable residential tracts, Smoke Tree Ranch. Blankenhorn was the driving force behind the venture, with day-to-day involvement with its creation and management from the time it was first planned in 1929 until selling his interests in 1935. It was Blankenhorn who personally designed the street grid for the colony and it was he who brought in Garrett Van Pelt, Jr. as the colony architect. Further, Blankenhorn established the colony’s unique guest ranch/residential tract business model, which proved to make the colony a great success. Blankenhorn’s influence is easily recognized today as all of the features he planned in the beginning remain in place at Smoke Tree Ranch. In 1935, Blankenhorn, along with partner Louis Macomber, established a second residential development, Ranch Mirage. As with Smoke Tree, Blankenhorn personally supervised the area’s early development, laying out the street grid, naming the streets, and building the first homes. It was his wife Ruth who named the development and the street names they conjured are still evident today.

For these noteworthy achievements, Louis Blankenhorn stands as an influential figure in the history of Palm Springs and the Coachella Valley.

Additionally, the Blankenhorn/Gilmore Residence holds significance for its longtime association with Donald S. Gilmore (1895-1979) and the Upjohn/Gilmore family, which lasted from 1935 until 1991. Gilmore was a businessman and philanthropist who led the Upjohn Company of Kalamazoo, Michigan from the 1930s until his retirement in 1961.

Under his leadership, Upjohn became a household name as the leading pharmaceutical company in the nation. Gilmore invested heavily in research and his team produced numerous critically important and influential innovations most notably a method for large scale production of cortisone, penicillin, and, during World War II, the Sulfa Sterile Item 2A - Page 50
36 Packet, credited as saving literally millions of lives. Upjohn’s best-known drugs include Halcion, Xanax, Motrin and Rogaine. One of the country’s most prominent business leaders of his day, Donald S. Gilmore was an influential and well-known figure on a national and international level. The residence is affiliated with significant persons and qualifies under Criterion 2.

ARCHITECTURE (Criteria 3 – 6)
Criterion 3: The resource reflects or exemplifies a particular period of national, state or local history: Estimated to have been completed in 1930, the Blankenhorn/Gilmore Residence exhibits many stylistic markers which identify it as being of the Ranch-style. This style was to gain popularity throughout the 1930s before becoming even more popular in the Post War building boom, not just in Palm Springs, but elsewhere in California and nationwide as well. The Blankenhorn/Gilmore Residence and the other original structures built at Smoke Tree Ranch designed by Garrett Van Pelt, Jr., may have been the very first, or at least among the earliest, examples of the Ranch-style to be produced in Palm Springs. As such, the residence and the associated Smoke Tree Ranch structures served as the vanguard of the future popularity of Ranch architecture that was to follow soon after. Beginning in 1947 and continuing over the next several decades, the residence was added on to by master architect Albert Frey who sensitively produced additions that retained the original look and feel of the house as designed by Garrett Van Pelt, Jr. As such, it may be argued that the Blankenhorn/Gilmore Residence bridges two distinct periods as defined in the Citywide Historic Context Statement & Survey Findings created by Historic Resources Group: “Palm Springs between the Wars (1919-1941)” and “Post World War II Palm Springs (1945-1969).” The Blankenhorn/Gilmore Residence may be viewed as an important component of the historical trends that have come to define Palm Springs’ image as a center of notable Ranch architecture, i.e., a historical movement that exemplifies a particular period of the national, state, or local history. The Blankenhorn/Gilmore Residence qualifies for listing as a Class 1 Historic Resource on the local registry under Criterion 3.

Criterion 4: The resource embodies the distinctive characteristics of a type, period or method of construction: The Blankenhorn/Gilmore Residence embodies the distinctive characteristics of a type of construction reflective of the period in which it was built. Although board-and batten construction had been used in earlier decades including on some of Palm Springs’ pioneer buildings, it had largely been superseded by other methods. The use of board-and-batten construction on the Blankenhorn/Gilmore Residence represented a renewed interest in this form, which was to become commonplace on homes of similar style over the ensuing years. The boardand-batten construction used on the Blankenhorn/Gilmore Residence exhibits the distinctive characteristics of a type of construction popularly employed during the time of the home’s period of significance. The residence qualifies for listing as a Class 1 Historic Resource on the local registry under Criterion 4.

Criterion 5: (That (a): represents the work of a master builder, designer, artist, or architect whose individual genius influenced his age; or (b): that possesses high artistic Item 2A - Page 51
37 value):
5a: Work of a Master: In the case of the Blankenhorn/Gilmore Residence, the dual work of Garrett Van Pelt, Jr., FAIA, and Albert Frey, FAIA, two of Southern California’s most important and influential architects of their day, can certainly be described as the work of masters in view of their combined histories of architectural excellence. (See appendices V and VI.)
5b: Properties possessing high artistic values: High artistic values may be expressed in many ways, including areas as diverse as community design or planning, engineering, and sculpture. The Blankenhorn/Gilmore Residence was intended to showcase the type of Ranch-style architecture that would be mandated for all future construction. The desire was to create a feeling of relaxed informality through simple, rustic design, and providing a sense of “roughing it,” in the “Wild West” to those accustomed to far grander residences.

The home’s original architect, Garrett Van Pelt, Jr., wanted to show the ways such simple styling could also be aesthetically pleasing. The home’s artistry derives from how he was able to produce a design that was both authentic to its pioneer roots and yet subtly elegant. The emphasis on horizontality was furthered by the board-and-batten sheathing and low-pitched shake roof. A near symmetry was created by the mirrored shed roofs bracketing each end of the main (west) façade, however, Van Pelt was careful to avoid an exact match as this would have gone against the rusticity of the Ranch-style. Aside from the shed roofs, enhanced the charm of the design with a picturesque whitewashed fireplace and the deeply inset covered porch, which invited one inward and away from the hot desert sun.

Van Pelt’s mastery of the ranch-style was further evidenced in his understanding that ranch houses were intended to grow as needs and means allowed and he arranged the layout of the Blankenhorn/Gilmore Residence to anticipate later expansion. This is one of the main reasons why the home, in spite of later expanding to double its original size, does not feel out of proportion. And it was here that the second master architect, Albert Frey, achieved the difficult balancing act of increasing the mass without altering the home’s original feel of casual openness. Frey’s artistry is most evident in how he chose to address the addition of an artist’s studio for Mrs. Gilmore in 1956. An extension of the southern wing, Frey matched features of Van Pelt’s original design in the use of a covered porch, board-and-batten sheathing, and shed shake roof. Yet, Frey showed his mastery with how he sited the new addition. Rather than following straight with the existing wing, Frey boldly angled it, achieving both the practical effect of maximizing the morning light in the studio as well as aesthetically, breaking up the U of the mass, giving visual interest and charm and avoiding a mirrored look of matching masses between the southern and northern wings.

The Blankenhorn/Gilmore Residence was intended not only as a comfortable and attractive home for its occupants, it was intended to act as an informal prototype for what an idea ranch-style home could and should look like. The home certainly articulates the best of what made Ranch House architecture so popular to a level of Item 2A - Page 52
38 excellence that, in total, could easily be considered an aesthetic ideal. Therefore, for its distinctive characteristics representing the Ranch-style, as the work of two master architects and its high artistic values, the Blankenhorn/Gilmore Residence qualifies as a Class 1 Historic Resource under Criterion 5.

Criterion 6: (That represents a significant and distinguishable entity whose components may lack individual distinction). This Criterion was created to address the resources contained within a potential historic district and as such it does not apply to this nomination. Hence, the residence does not qualify under Criterion 6.

Criterion 7: (That has yielded or may be likely to yield information important to the national, state or local history or prehistory.) The Blankenhorn/Gilmore Residence is not likely to yield information important to the national, state or local history or prehistory.

Hence, the residence does not qualify under Criterion 7.

SUMMARY: This evaluation finds The Blankenhorn/Gilmore Residence eligible for listing as a Palm Springs Historic Resource under 8.05.070 C.1. a., paragraphs ii, iii, iv, and v of the local ordinance’s seven criteria.

INTEGRITY ANALYSIS
Integrity is the ability of a property to convey its significance. To be listed in the local registry, a property must not only be shown to be significant under the criteria, but it also must have integrity. The evaluation of integrity is sometimes a subjective judgment, but it must always be grounded in an understanding of a property's physical features and how they relate to its significance. Historic properties either retain integrity (that is, convey their significance) or they do not. The definition of integrity includes seven aspects or qualities. To retain historic integrity a property will always possess several, and usually most, of the aspects. The retention of specific aspects of integrity is paramount for a property to convey its significance. Determining which of these aspects are most important to a particular property requires knowing why, where, and when the property is significant. The following sections define the seven aspects and explain how they combine to produce integrity.

LOCATION
Location is the place where an historic property was constructed or the place where an historic event occurred. The relationship between the property and its location is often important to understanding why the property was created or why something happened.

The actual location of a historic property, complemented by its setting, is particularly important in recapturing the sense of historic events and persons. Except in rare cases, the relationship between a property and its historic associations is destroyed if the property is moved. The Blankenhorn/Gilmore Residence remains in its original location and therefore qualifies under this aspect.

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39 DESIGN
Design is the combination of elements that create the form, plan, space, structure, and style of a property. It results from conscious decisions made during the original conception and planning of a property and applies to activities as diverse as community planning, engineering, architecture, and landscape architecture. Design includes such elements as organization of space, proportion, scale, technology, ornamentation, and materials. A property’s design reflects historic functions and technologies as well as aesthetics. It includes such considerations as the structural system; massing; arrangement of spaces; pattern of fenestration; textures and colors of surface materials; type, amount, and style of ornamental detailing. The Blankenhorn/Gilmore Residence reflects a unique design history that spanned 60 years between the home’s initial construction in 1930 and the last credited addition/alteration by Albert Frey. With one exception, the 1964 glassed-walled garage at the end of the northern wing, the home reflects the same rustic Ranch-style architecture, design elements such as board-and-batten sheathing, shake-type roofing, casement windows, etc., first introduced by master architect Garrett Van Pelt, Jr. While the home has been greatly enlarged, it was done so in a manner that matched the original design in materials as well as scale and proportion. Frey had been both mentored by and employed by Van Pelt and he possessed a unique understanding of Van Pelt’s intentions in the home’s design and he honored those intentions throughout his multiple later additions/alterations. As such, the home’s essential characteristics of form, plan, space, structure, and style have remained largely intact. Similarly, the structural system; massing; arrangement of spaces; pattern of fenestration; and the type, amount, and style of detailing have survived largely intact. The only modern addition, the 1964 garage, was added by Frey during the home’s second period of significance to showcase Donald Gilmore’s growing rare car collection. Walled entirely in floor-to-ceiling glass, both in fixed and sliding forms, the addition was integrated into the overall design through its roofline, which copies the same low-pitched shake style as the rest of the house.

SETTING
Setting is the physical environment of a historic property. Whereas location refers to the specific place where a property was built or an event occurred, setting refers to the character of the place in which the property played its historical role. It involves how, not just where, the property is situated and its relationship to surrounding features and open space. Setting often reflects the basic physical conditions under which a property was built and the functions it was intended to serve. In addition, the way in which a property is positioned in its environment can reflect the designer’s concept of nature and aesthetic preferences. The Blankenhorn/Gilmore Residence was built at a prominent spot in the newly-developing Smoke Tree Ranch colony. Like all future Smoke Tree Ranch homes, it was set back away from the road to foster a more rural rather than suburban atmosphere and to bring it more in harmony with its natural surroundings and expansive vistas. Located a short distance from the main ranch facilities, the home was intended to be visible and serve as a Item 2A - Page 54
40 showcase for the Ranch-style of architecture mandated as the sole type allowed within the colony. The surrounding landscape and hardscape features were mandated to be minimal and of native plantings only, an edict that remains the same today (Grass is allowed in the rear only). While there have been additions/expansions on rear wings, the setting of the Blankenhorn/Gilmore Residence continues to reflect the architects’ original design relationship of site and structure.

MATERIALS
Materials are 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. The choice and combination of materials reveals the preferences of those who created the property and indicate the availability of particular types of materials and technologies.

The Blankenhorn/Gilmore Residence’s exterior surface materials, which consist primarily of redwood clapboard board-and-batten sheathing, shake roof, wooden and steel casement windows, picture windows, sliding glass doors, wooden shutters, brick fireplace chimney, have remained essentially intact and continue to express the physical elements as designed during the building’s period of significance; the pattern and configuration that today forms the residence survives intact.

WORKMANSHIP
Workmanship is the physical evidence of the crafts of a particular culture or people during any given period in history or prehistory. It is the evidence of artisans’ labor and skill in constructing or altering a building, structure, object, or site. Workmanship can apply to the property as a whole or to its individual components. It can be expressed in vernacular methods of construction and plain finishes or in highly sophisticated configurations and ornamental detailing. It can be based on common traditions or innovative period techniques. Workmanship is important because it can furnish evidence of the technology of a craft, illustrate the aesthetic principles of a historic or prehistoric period, and reveal individual, local, regional, or national applications of both technological practices and aesthetic principles. Examples of workmanship in historic buildings include tooling, carving, painting, graining, turning, and joinery. The fine workmanship of the Blankenhorn/Gilmore Residence is evidenced by how well various materials have been integrated into the whole structure even though the house was added onto multiple times over several decades. This is most notable in how skillfully the wooden sheathing has been applied across the multiple facades in both horizontal and vertical manners. The same may be said of the rooflines, eaves and shakes, all presenting a unified whole rather than a patchwork of placement and quality. The Blankenhorn/Gilmore residence continues to express a high degree of contemporary period workmanship.

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41 FEELING
Feeling is a property’s expression of the aesthetic or historic sense of a particular period of time. It results from the presence of physical features that, taken together, convey the property’s historic character. For example, a rural historic district retaining original design, materials, workmanship, and setting will relate the feeling of agricultural life in the 19th century. When it was completed, circa 1930, the Blankenhorn/Gilmore Residence was intended to provide a rustically casual lifestyle allowing its occupants to have a sense of life in the pioneering western days and connect meaningfully with the natural environment which surrounded it. More than 90 years later, the Blankenhorn/Gilmore Residence continues to reflect that exact same aesthetic, with later additions following the same style and philosophy of the original. Accordingly, the residence retains its original integrity of feeling.

ASSOCIATION
Association is the direct link between an important historic event or person and a historic property. A property retains association if it is the place where the event or activity occurred and is sufficiently intact to convey that relationship to an observer. Like feeling, association requires the presence of physical features that convey a property’s historic character. For example, a Revolutionary War battlefield whose natural and man-made elements have remained intact since the 18th century will retain its quality of association with the battle. Because feeling and association depend on individual perceptions, their retention alone is never sufficient to support eligibility of a property for the National Register. The Blankenhorn/Gilmore Residence is not only an important example of a custom-designed traditional Ranch-style private residence in Palm Springs, its design helped establish the very look of the colony architecturally and aesthetically. Each of the nearly 100 homes to have been built in Smoke Tree Ranch over the ensuing years have had this home as their base inspiration/model, with Albert Frey involved in various ways with no less than 30 of those homes. As such, the Blankenhorn/Gilmore Residence could be characterized as the quintessential Smoke Tree Ranch residence and, accordingly, it continues its association with a pattern of events that have made a meaningful contribution to the community.

INTEGRITY SUMMARY: The Blankenhorn/Gilmore Residence appears to be in excellent condition partially due to the use of construction materials suitable for the harsh desert environment. This integrity analysis confirms that the building and site of the Blankenhorn/Gilmore Residence still possesses all seven aspects of integrity. As noted, the Blankenhorn/Gilmore Residence retains a remarkable amount of original details from both the Garrett Van Pelt, Jr. design from 1930 and later work by Albert Frey. In summary, the Blankenhorn/Gilmore Residence still possesses a high degree of integrity sufficient to qualify for designation as a Class 1 Historic Resource.

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42 Bibliography
Attached is a list of books, articles, and other sources cited or used in preparing this application and other documentation that may be relevant.

Books
Culver, Lawrence. The Frontier of Leisure. New York, NY; Oxford University Press, 2010.

Hess, Alan. Ranch House. New York, NY; Harry N. Abrams, Inc., 2004.

Koenig, Gloria. Albert Frey 1903-1998: A Living Architecture of the Desert. Köln, Germany; Taschen GmbH. 2008.

McAlester, Virginia & Lee. A Field Guide to American Houses. New York, NY; Alfred A. Knopf. 1998.

Palm Springs City Directory. Long Beach, CA; Western Directory Co., Various dates.

Parfet, Martha Gilmore and Corcoran, Mary B. Keep the Quality Up: The Story of the Upjohn, Gilmore, Van Zant & Parfet Families. Privately published, 2014.

Rosa, Joseph. Albert Frey, Architect. New York, NY; Rizzoli Publishing Co., 1990.

Sunset Magazine Editorial Staff in collaboration with Cliff May. Sunset Western Ranch Houses. San Francisco, CA; Lane Publishing Co., 1946.

Tuttle, Kathleen. Sylvanus Marston: Pasadena’s Quintessential Architect.

Santa Monica, CA; Hennessey + Ingalls, 2001.

Collections
Albert Frey Papers, Architecture and Design Collection, University of California, Santa Barbara
Albert Frey Papers, Architecture and Design Collection, Palm Springs Art Museum American Institute of Architects (AIA), Washington D.C.

Garrett Van Pelt, Jr. membership files and related documents Item 2A - Page 57
43 Newspapers
Various issues of:

Desert Sun
Detroit Free Press
Hollywood Daily Citizen
Limelight (Palm Springs)
Los Angeles Evening Express
Los Angeles Herald-Examiner
Los Angeles Times
New York Times
News Tribune (Tacoma, WA)
Pasadena Evening Post
San Bernardino County Sun
Internet Resources
Accessingthepast.org
Ancestry.com
Californiarevealed.com
Findagrave.com
Newspapers.com
Pspreservationfoundation.org
Smoketreeranch.com
Realtor.com
Upjohn.net
Interviews
Tracy Conrad
Ruth Blankenhorn Wheeler Oral History Interview,
Historical Society of Palm Desert 2/23/1981
Via californiarevealed.org
Ruth Blankenhorn Wheeler granddaughter (name withheld at interviewee’s request) Via e-mail 4/13/2022
Videos
Smoke Tree Ranch: A Way of Life. Directed by Tracy Conrad. Produced by Bill Bailey.

Digital Rain Films
Item 2A - Page 58
44 Other Sources Consulted
Palm Springs Historical Society
City of Palm Springs (Planning and Building Departments) Historic Resources Group. City of Palm Springs Citywide Historic Context Statement; Survey Findings. Pasadena, 2015 (Final Draft, December 2018).

Riverside County Assessor’s Office
Item 2A - Page 59
45 Appendix I
Owners’ Notarized Letters of Support
Item 2A - Page 60
April 14, 2022
City of Palm Springs
Historic Site Preservation Board
3200 Tahquitz Canyon Way
Palm Springs, CA 92262

ERIC ELLENBOGEN
611 North Phillips Road
Palm Springs, CA 92262
(917) 400-6262
[email protected]
RE: Class 1 Historic Site Nomination- Blankenhorn/Gllmore Residence, Smoke Tree Ranch Ladies and Gentlemen:

As an owner of the Blanken horn/Gilmore Residence located at Smoke Tree Ranch, I enthusiastically support t he Class 1 Historic Site designation of my residence by the City of Palm Springs.

I am also the owner of the James Logan Abernathy Residence, which received a Class 1 designation now almost a decade ago. Accordingly, I am very familiar with the review and designation process and the essential importance of preserving and protecting the heritage of such properties.

I have again enlisted the Palm Springs Preservation Foundation to assist me in the preparation of the required documentation.

Thank you in advance for your consideration. If you have any further questions that PSPF is unable to answer, please contact me at the email address above.

Respectfully,
::ld~ NOTARY PUBLIC-ST,-TE OF NEW YORK
No. 01 FR6365253
Qualified in Queens County
My Commission Expires 10-02-2025
46 Item 2A - Page 61
July 12, 2022
City of Palm Springs
Historic Site Preservation Board
3200 Tahquitz Canyon Way
Palm Springs, CA 92262
Re: Class 1 Historic Site Nomination
Dear Honorable Board:

John Engelman
Tom Engelman
Blankenhorn/Gilmore Residence
Smoke Tree Ranch
1850 Smoke Tree Lane
Palm Springs, CA 92264
As co-owners with Eric Ellenbogen of the Blankenhorn/Gilmore Residence located at Smoke Tree Ranch, we enthusiastically support the Class 1 Historic Site designation of our property by the city of Palm Springs. In view of the historical significance of the property, the Palm Springs Preservation Foundation has generously offered to assist us in this submission.

Thank you in advance for your favorable consideration .

Sincerely,
,Cv-z ... J,~
Tom Engelman
47 Item 2A - Page 62

ACKNOWLEDGMENT CERTIFICATE
State of New York
)ss.:
)
On the I 2... day of JU L-:J in the year 20 Z2.. before me, the undersigned, a Notary Public in and for said State, personally appeared, ___ _ 1tl9VVl ~S E-N(qEUVIAr\J
personally known to me or proved to me on the basis of satisfactory evidence to be the individual(s) whose name(s) is (are) subscribed to the within instrument and acknowledged to me that he/she/they executed the same in his/her/their capacity(ies), and that by his/her/their signature(s) on the instrument, the individual(s), or the person upon behalf of which the individual(s) acted, executed the instrument.

MARIA M FRANCO BARRERO

NOTARY PUBLIC-STATE OF NEW YORK
No. 01 FR6365253
Qualified in Queens County
My Commission Expires 10-02-2025
48 Item 2A - Page 63

ACKNOWLEDGMENT CERTIFICATE
State of New York
County of GuG-G=-N~
)ss.:
)
On the I 2- day of _-l~v-=-L--~.__ ___ in the year 20 22. before me, the undersigned, a Notary Public in and for said State, personally appeared, ___ _ JOf-tN ~Ny6-L-W1Al\l
personally known to me or proved to me on the basis of satisfactory evidence to be the individual(s) whose name(s) is (are) subscribed to the within instrument and acknowledged to me that he/she/they executed the same in his/her/their capacity(ies), and that by his/her/their signature(s) on the instrument, the individual(s), or the person upon behalf of which the individual(s) acted, executed the instrument.

Notary Public, State of New York

MARIA M FRANCO BARRERO
NOTARY ,ueuC-STATE OF NEW YORK
No. 01FR6365253
Qualified in Queens County
My Commission Expires 10-02·2025
49 Appendix II
Assessor’s Map
Item 2A - Page 64
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50 Appendix III
Google Earth Image
Item 2A - Page 65
51 Appendix IV
Louis MacLaughlin Blankenhorn, Jr.

Biography
Louis MacLaughlin Blankenhorn, Jr. (1884-1943) holds the unique distinction of being a driving force behind two important Coachella Valley communities – Smoke Tree Ranch and Rancho Mirage – a legacy of significant achievement. Yet, ironically, his name is little known today in the desert he loved and helped to develop.

Known throughout his life as “L. Mac” or just “Mac” to his friends, family and associates, Mac was a pioneer from the moment of his birth in Pasadena, California on November 3, 1884. While today, Pasadena is one of Southern California’s best known and most important cities, it had not yet even formed into an official municipality at the time of Blankenhorn’s arrival, making him one of Pasadena’s true pioneers. According to his widow, Ruth, Mac had been the very first child baptized at Pasadena’s All Saints Episcopal Church.

Item 2A - Page 66
New Model Home at Rancho Mirage
(Lkwn M,k, Out on lnJ,o H,~hw,I)')
( l1w of Thrr? Ju,t Buil1 (One Aln-.1ur So!J)
$7000.00
•
Tastefully Furnished Ready to Occupy
•
Open for Imped Ml hy l.ou" M Bld11~c11hom, Ot{'t1er
52 Mac’s parents, Louis Blankenhorn, Sr. (1848-1922) and Lillian Stevens Blankenhorn (1858-1936) had come to the Southland in 1882 from their former home in Poughkeepsie, New York. An ambitious man of drive and talent, the elder Blankenhorn sensed great opportunities in the west and his belief proved prescient.

Blankenhorn’s arrival came just ahead of the great “Boom of the Eighties,” a period when real estate prices throughout the Southland rose at a frenzied pace, making millionaires virtually overnight. Yet, the same millions vanished just as quickly for those either not savvy or lucky enough to know when to buy and when to sell. Louis Blankenhorn was one who emerged from the boom/bust a wealthy man, forming the basis of the family fortune that would continue to grow over the next decades.

By 1886, when Pasadena officially incorporated as a city, the Blankenhorns were already well established among its leading citizens, both socially and in business. The family’s longtime residence, a Queen Anne Victorian treasure at 346 Markham Place, stands today as a Pasadena Historic landmark. It also holds a place in the hearts of movie buffs as the location for the 1968 Lucille Ball, Henry Fonda film Yours, Mine & Ours.

While growing up in the house, Mac Blankenhorn attended Pasadena public schools before moving on the Throop Institute, today’s CalTech. Mac followed his father into business and investments, involved in real estate and bonds from as early as 1910. By 1913, he had joined the realty firm of his older brother David, at Blankenhorn, Hunter & Dulin. Mac would remain with the firm for at least a decade before branching out on his own in the mid-1920s.

When the U.S. entered the First World War, Mac joined the U.S. Navy as an apprentice seaman. By war’s end, he had distinguished himself enough to have been promoted up to lieutenant junior grade. Although he returned to civilian service, Mac remained attached to the Navy, joining the reserves and later becoming a member of the U.S.

Coast Guard.

After returning to civilian life, Mac continued to build a reputation as a top broker and developer. He kept active in business, civic and social affairs, serving on the board of directors of the Pasadena Realty Board, the Oak Knoll branch of the Los Angeles First National Trust & Savings Bank, as well as president of the Oak Knoll-San Marino Improvement Association. Mac and his family had relocated to the exclusive Oak Knoll section in 1915, residing in a Myron Hunt-designed mansion at 1234 Hillcrest Road.

Mac was very active socially, an avid tennis player and a member of the Valley Hunt Club. He also joined other notable young men as a member of the Bachelor’s Club, but was forced to resign in 1921 after he violated the club’s number one rule – he got married. His bride, the former Kathryn Elizabeth Simmons, was the daughter of a prominent Chicago family and a popular winter resident. Ultimately, the couple would have two daughters.

Item 2A - Page 67
53 The latter part of the 1920s proved to be an exceedingly busy and productive time for Mac. While he focused principally on Pasadena, he kept an eye out for opportunities wherever they might turn up. As it turned out, he found one in Palm Springs. Mac had been coming out to the desert for years and, according to the recollections of his widow Ruth, loved hiking in the canyons and enjoying the healthy desert air, making the Desert Inn his base of operations.

It was on one of those sojourns that Mac first spotted the area known as the Smoke Tree Forest, a 450-acre parcel about 2 miles from Palm Springs. Mac immediately saw the potential for an unusual private residential development where the natural feeling was retained, a place where a select group of residents and guests could relax and get a true sense of rustic, Old West-style living.

Finding the property could be purchased, Mac formed the Smoke Tree Forest Company, Ltd., which was made up of a group of experienced investors from Pasadena. Before handing over the $500,000 purchase price, however, the savvy Mac had ensured there would be adequate water, having bankrolled a well on the property, which was assessed to produce a flow capable of supporting a population of 5,000.

Originally known as Smoke Tree Tavern, the tract was to be laid out in one to five-acre plots as homesites to a “selected group of professional and business men.” Plans were immediately put underway by noted Pasadena architect Garrett Van Pelt, Jr. for the construction of a tract office/community building, stables, a set of small guest cottages and a private residence, the latter serving as an unofficial model for homes to follow. It was to be the home of L. Mac Blankenhorn and his family.

But while he was in the midst of preparing the new development, Mac was visited by tragedy. His beloved wife Kathryn died after a short illness in September 1930, leaving him a widower with two young daughters. Mac had envisioned the new home he was building to be a retreat for himself and his wife, but now he would be moving in alone.

Smoke Tree Ranch officially opened on January 2, 1931. Over the next years, Mac helped oversee the nascent district’s development from dream into reality, even laying out the ranch’s street grid himself. Over the next few years, he traveled regularly back and forth between Pasadena and Palm Springs, overseeing operations and planning for future expansions. In 1935, he decided to sell his interests in the ranch to seek new opportunities elsewhere. By the time of his departure, the ranch had gone from raw desert into a going concern with community structures completed as well as more than a half-dozen homes completed or underway.

With the money he made from the sale of his Smoke Tree Ranch interests, Mac invested in a new development. He and a partner, Laurence Macomber, purchased a tract of raw desert land approximately 11.5 miles south of Palm Springs with plans to create a new community. As he had in his previous venture, Mac laid out the streets and then began building a tract office and a few model homes. The question over what to name the new development was answered by his new wife, the former Ruth Anderson Wheeler, whom he had married on June 1, 1935. She later recalled that she, Mac and Macomber were Item 2A - Page 68
54 sitting on the tract house steps trying to think of a name when she came up with “Rancho Mirage.”
The Blankenhorns built a house for themselves on Sahara Road and later a second on Anza during the development’s first years. A few others followed, including Wizard of Oz star Frank Morgan, but the Depression, the remoteness of the setting and then the coming of World War II caused Rancho Mirage to grow very slowly.

When war came, Mac and Ruth left the desert for the time being, dividing their time between Pasadena and Ruth’s hometown of Tacoma, WA. Mac, who had remained active with the Navy Reserve, became a member of the U.S. Coast Guard as well as helping to organize the Civil Defense efforts in the region. He also began teaching classes in astronomy at CalTech for naval recruits.

Mac Blankenhorn maintained a very busy schedule of work and travel up to the time he began being sidelined by blinding headaches. The diagnosis was dire, a brain tumor. An operation was attempted but it was not successful and Mac died on April 6, 1943 at the age of 59.

Mac Blankenhorn had lived long enough to see Smoke Tree Ranch begin to grow into the famous and fashionable development it was to become, but not Rancho Mirage, which did not start booming until after the Second World War. Had he lived, he would no doubt have been stunned at its success as one of the great golf capitals of the world and home to U.S. presidents. Today (2022), a resort city of nearly 20,000, Rancho Mirage stands as a testament to the foresight of its founder who looked at raw desert and saw a city.
(S. Vaught 6/2022)
Item 2A - Page 69
55 Appendix V
Donald S. Gilmore Biography
Donald S. Gilmore and Genevieve Upjohn Gilmore
(Via Mlive.com)
Had it not been for the unexpected death of his brother-in-law Harold Upjohn in 1928, Donald S. Gilmore may have had a long and successful career in the department store business. But fate intervened and Gilmore’s father-in-law (and step-father) the venerable Dr. W.E. Upjohn (1853-1932) urged Gilmore to come over and work instead for his business – the Upjohn Company of Kalamazoo, MI. At the time, Upjohn was a moderately successful enterprise producing pills and other pharmaceuticals to be distributed to various locations. It had been W.E. and his siblings who had founded the enterprise back in 1886 as the Upjohn Pill & Granule Co.

A young country doctor in Hasting, Michigan, Upjohn was deeply dissatisfied at how medicines were made and distributed and sought to make changes to standardize doses and ease ingestion through better pills. After numerous attempts, Upjohn and his siblings, all doctors too, found a way to create a Friable pill, one that dissolves easily and could be broken up by a thumb. The invention was a huge success and the company began to grow. They continued to score with welcome innovations, most notably the first pleasant-tasting laxative in 1906. By 1914, the company had opened its Item 2A - Page 70
56 own research and development lab where the first heart therapy tablets were created, later they began producing early antibiotics.

Throughout all this, the company continued a slow, steady growth under Dr. Upjohn and his only son Harold. Upjohn was greatly proud that it was a family-built and family-run business, making Harold’s death doubly devastating. Having been impressed by his son-in-law’s business acumen, Dr. Upjohn offered him a place with the company. In 1929, Gilmore switched his trajectory from one family business to another. The Gilmore Bros. Department Store may long be forgotten, but the Upjohn Company, even though it too has merged away, is known as a giant. Much of the credit for this success may be given to Gilmore, who led the company from a modest affair into an international behemoth.

Donald Sherwood Gilmore was born in 1895 in Kalamazoo, MI. His family owned and ran a successful department store chain known as Gilmore Bros. founded by his father and an uncle in 1881. It was expected that once he came of age, he too would become a part of the family business. To prepare him for his future in business, he was sent to the prestigious Lawrenceville School in New Jersey before moving on to Yale University.

A young Donald S. Gilmore at the dawn of his brilliant career. (Via Mlive.com)
Item 2A - Page 71
57 In 1916, Gilmore got married and the choice of a bride no doubt raised a few eyebrows.

It was his stepsister Genevieve Upjohn (1894-1990) who had won his heart. She had become his stepsister after his widowed mother, Carrie Gilmore had married the widower, Dr. W.E. Upjohn in 1913. The union proved an enduring one with the couple later having three children together – Carol Gilmore Boudeman (1917-1991); Jane Gilmore Maloney (1919-1996): and Martha Gilmore Parfet (1925-2017), who would become the family historian.

With marriage, Gilmore may have felt he needed to pursue a career over education and he left Yale, joining Gilmore Bros. full time. After a short apprenticeship, he was named to the firm’s board of directors, and then to vice president, where he helped to make Gilmore Bros. one of the largest department store chains in southwestern Michigan. His dynamic work ethic and innovations not only impressed the Gilmore management, it did not go unnoticed by his father-in-law/step-father who urged him to join Upjohn.

Gilmore had certain hesitations in making the move, not just that he was leaving an established business where he was on track to become president, but also because he had absolutely no knowledge of either medicine or pharmaceuticals. Finally, however, after some serious discussions, he agreed to make the switch.

Gilmore started on the Upjohn board of directors in 1929. The elderly Dr. Upjohn, who was in increasingly weak health, saw his son-in-law/step-son as rightful heir to the family business. Gilmore moved quickly in his new duties. He had to. Many businesses were going under as the devastation of the Great Depression took hold. While other companies cut back, Gilmore expanded, enlarging Upjohn branches from 3 to 11. He also devoted a great deal of resources into research and development, increasing the department from a small number to more than 1,000.

Gilmore’s innovations paid off, and the company not only survived the Depression, it exploded in size and influence, becoming a pharmaceutical giant. The company had a great influence on medicine during World War II, ramping up production of penicillin and the creation of the sulfa sterile wound-dressing packet, which has been credited as saving literally millions of lives during the war.

By war’s end, Gilmore had been named president and general manager, and over the next two decades continued building success after success. A tangible example of how much Upjohn grew under Gilmore’s leadership is in its sales totals. In 1936, when he was named vice president, sales were $11.7 million. In 1961, the year of Gilmore’s retirement as chairman of the board, they were $166 million.

As busy as he was, Gilmore somehow found time for relaxation and travel. For years, he did silversmithing, and even made sure that Albert Frey designed a proper work space for his hobby. Palm Springs and Smoke Tree Ranch proved to be a great source of relaxation not only for Gilmore but his entire family. The Gilmores made many close friendships through their stays at Smoke Tree Ranch. One of the closest was with Hollywood studio chief Walt Disney.

Item 2A - Page 72
58 Their relationship extended to business when Disney asked Gilmore to invest in his new theme park, which was to be called Disneyland. As a result, the Upjohn Company sponsored the creation of a turn of the century pharmacy on the park’s Main Street. To honor his friend’s generosity, Disney had the window painted above the pharmacy with the names “D.S. Gilmore M.D.” and “E.G. Upjohn M.D.” Although the pharmacy has long since disappeared, the names on the window are still visible just as they have been since 1954.

In 1963, Genevieve bought her husband a classic car – a 1920 Pierce-Arrow. On the surface, it may have seemed an odd gift as her husband had not previously shown any special interest in antique cars. But Genevieve was onto something. At first, sticking the car under an old tarp at the rear of his Smoke Tree Ranch home, Gilmore slowly began tinkering with it. The car needed a great deal of work. By the time he had finished restoring it, he was hooked and began buying other antique cars. A hobby became an obsession, and by 1966, he had acquired an impressive collection of 45 vintage vehicles.

Donald & Genevieve proudly tooling around in his 1910 Stanley Steamer. Gilmore loved driving his classic cars not only in Michigan but at Smoke Tree Ranch as well. (Via Hemmings.com)
Item 2A - Page 73
59 That year, he and Genevieve began the non-profit Gilmore Car Museum after purchasing 90 acres in Hickory Corners, MI. Gilmore had three antique barns moved and reassembled onto the property to serve as showrooms. He also added 2 miles of paved roads running around the property. Today (2022), the collection has grown to more than 300 and is considered one of the finest antique car museums in the country.

Perhaps a love of automobiles ran through Genevieve and Gilmore’s blood. Father (his step-father and father-in-law) had bought the very first automobile in Kalamazoo, MI, a Locomobile in 1899. This exact car is now on display at the Gilmore Car Museum.

The Gilmore Car Museum is only one of many examples of the Gilmores’ philanthropy which extended to numerous charities through the family foundations. One noteworthy effort was their donation of the new building for the Kalamazoo Institute of Arts, built in 1961 and designed by the famed Chicago firm of Skidmore, Owings & Merrill. That same year, the firm that designed Upjohn’s new corporate headquarters (demolished in 2007), which had been hailed as a Midcentury modern masterpiece.

Although he officially retired as chairman of the board in 1961, Donald S. Gilmore remained on as vice chairman. In 1969, he left that post, but remained on the board of directors. Gilmore continued with the Upjohn board for 50 years, resigning only months before his death at age 84 on December 21, 1979. His beloved wife Genevieve would outlive her husband by another decade, passing away in 1990 at age 95.

Upjohn’s Midcentury masterpiece, Building 88, Kalamazoo, MI. Demolished in 2007. Photo by Ezra Stoller © Esto.
(Via som.com)
Item 2A - Page 74
- -
,.~er
60 (Via upjohn.net)
Item 2A - Page 75
Bue, it's fantastic .. . Upjohn in Disneyland? Why should a pharmaceutical houSe want to create a turn.of-the-cenrury•type drug store in W alt Disney's fabulous fair)'lao<l ' The answer: it iJ famastic . .. fancasdcaHy geed advertising! Upjoho is venmring inco an adverdsing medium neve.r before cried by che Company. Our pare of this 1pecrncular show will be a Victorian design apothecary shop on Disneyland's ninerecmh ccnrury Maio Sucet. Signs on the building will introduce all inccming visitors ,o the Upjoho Ph:1rmacy.

Disneyland, an honest-to-goodness fairyland built on Worlc's Fair scale, will draw ac lcasr five million visitors each year, eighry per cent of them adults . , , And, Upjoh-11 iJ going along for the f>romotional ride!
This latest Disney brain-child has been in the offing for scme time. Sixteen yenrs ago Disney began menrnlly planning this huge project which will become a realiry in July when irs first visicors enter through che Victorian rttilroad smrion.

This is Disney's masterpiece. H is life is a success story and Disneyland may well be rhe biggest chapter in it. With the single exception of "Fanrnsia," all his major projects have been profitADventure in DISN EV LAND!
able. A ,nan of amazing foresight an<l experience, Disney scudied numerous variables before iniciacing the Disneyfand venwre. He had rhe Stanford Research lnsricute conduce a com• plere srod)' on rhe economic risks of rhis giganric projecr. From these studies of ti:ansporrncion, .rainfaH, courisc dam, and pop• ulatioo ceorers, the ideal location- a 160-acre plor abouc rwenry miles from Los Angeles-was selecred. Disney believes -and his record iodicaces he"s usu:.tUy right-chat this venture will be a huge success.

Upjohn NEWS VOLUME IX NUMBER ll
A M()tllhly p1,1b lk()t ior1 fr,r $1'1'lploy$9$
of The U5>johr1 Cor1\pQ!'ly • Copyrigh t
1955, The, Ur,johr1 Co,l'l!)()l' Y· KQl(IM(I•
xoo, Ml<higc,n • Pri1u9d in U,$.A ,
COVER PICJURE ii <irfot'i conception of Upiohn Phormocy in Oisneylond, O ri9inol $ketch i$ $hown in pict1.1re to the right.

EDITORIAL $TAFF
MARV £LEANOR STODDARD, Editor • BARBARA S. HA.MlOW • AllCE SCHARFF The fobulo-vs Mr. Disn1:y, Director of Advt,rtising Jock Gountlen, ond Chairman and Ma1,aging Diredor 0onold Gilmore ore pleased with original sk~tch of the Upjohn Pharmo<y- and proboble su<:<eH of 0iineyland. Cover picture i, orti,t', pointing of the shop. 61 Appendix VI
Garrett Van Pelt, Jr.

A rare image of Garrett Van Pelt as seen in the book Sylvanus Marston: Pasadena’s Quintessential Architect by Kathleen Tuttle.

Garrett Van Pelt, Jr., FAIA, was a major figure in Southern California architecture for more than a half century. Principally based in Pasadena and later Santa Barbara, Van Pelt was responsible for the designs of a wide variety of notable structures from residences to schools, churches, clubs and public buildings. During the most productive periods of his career he was associated in major partnerships, the first, with Sylvanus Marston (1916-1923); Marston, Van Pelt & (Edgar W.) Maybury (1923-1926), and finally with George Lind (1935-1941). Together and individually, Van Pelt has left behind an impressive legacy of design with his talent recognized by his own fellow architects. As one such colleague, Henry L. Eggers, was to state:

The work of Mr. Van Pelt has been, for a great many years, outstanding in Southern California…His work was largely in residential design and invariably exhibited those qualities which do not grow old. His houses are still some of the best in Southern California.

Item 2A - Page 76
t . 3 Garrett Van Pelt on the far left, c. t 9 3 0
62 Although his work in Palm Springs may not be as well-known as elsewhere in Southern California, Van Pelt has left a solid legacy, both in structures, mostly at Smoke Tree Ranch, but also in people. It was Van Pelt who engaged two talented young architectural designers, John Porter Clark and Albert Frey, to serve as the Palm Springs representatives of Van Pelt & Lind. It was during this time (1935-1937), the pair began to build a reputation for architectural excellence that ultimately elevated them to the top tier of the desert’s most talented and influential architects. As Frey was later to write:

I had the privilege to work for [Van Pelt] from 1935-1937 and came to admire his design ability and integrity, and his serious study of architectural forms. He has always recognized the importance of relating buildings to their surroundings, and thus his works have attained a timeless quality.

It appears that Van Pelt allowed his two young associates, neither of whom were licensed at the time, to use the prominent Van Pelt & Lind name while producing designs from their own ideas. And it was during this fruitful period that Frey was able to complete 8 projects including the much-admired Brandenstein Study, Guthrie House, San Jacinto Hotel (all 1935); Halberg House, La Siesta Court, and Kellogg Studio (1936), among others. The time Clark and Frey spent working for Van Pelt was a critical moment in both careers allowing them to explore architectural solutions to the challenges of desert living.

It was also Van Pelt who provided entrée into Smoke Tree Ranch. Clark and Frey began designing homes there as early as 1936 under the Van Pelt & Lind name, with Frey later becoming the unofficial “in house” architect for Smoke Tree Ranch, much as Van Pelt had been in the colony’s first few years.

Garrett Beekman Van Pelt, Jr. was born on August 8, 1879 in Milwaukee, Wisconsin into a prominent family whose lineage included the famous Van Pelt and Beekman families of New York. Little is known of Van Pelt’s childhood, but it appears his father, who ran a local dry goods store, “disappeared early” leaving young Van Pelt in the care of his mother, Sarah. Known affectionately as “Vinnie,” she and her son formed a tight bond, particularly after the death of a baby daughter left him as her sole surviving child.

They would remain close, even living together for much of the remainder of Vinnie’s life.

After graduation from high school in Milwaukee, Van Pelt decided to pursue architecture as a career, entering the famed Chicago School of Architecture. However, he remained for only a year before dropping out and there is no record indicating he ever attained a degree. Van Pelt later hinted that it was illness that caused him to drop out of school.

Not to be deterred, Van Pelt began working at the prominent Milwaukee firm of Perry & Clas. According to a relative, Van Pelt “loved drawing” and was excellent at it. His talent earned him a place as a draftsman at the firm. He later switched over to Brust & Philipp, the biggest architectural firm in Wisconsin at the time.

Van Pelt was to enhance his hands-on office education with extensive travel throughout Europe and South America where he studied classical architecture up close. This firstItem 2A - Page 77 63 hand study helped him to understand classical design in a way books could not and it greatly aided his later work as an architect, particularly in period revival design.

Van Pelt made his way to Southern California while traveling with his mother to Pasadena for the winter, starting at least as early as 1910. It was there that he first connected with architect Sylvanus Marston (1883-1946) who hired him as draftsman.

By 1914, he had done so well, he was elevated into a full partnership by Marston. The successful pairing of two such talented young architects created what was to become one of the most important firms in the history of Pasadena’s architectural development.

Marston & Van Pelt (and subsequently Marston, Van Pelt & Maybury) turned out an impressive array of designs during its existence that ranged from churches, to schools, banks, country clubs, apartments, stores, hotels, mortuaries, mausoleums, libraries, warehouses, and laundries, as well as numerous important residences throughout the Southland.

Some of the most significant works Van Pelt was involved with during his time with Marston included the main mausoleums for the Hollywood Memorial Park Cemetery (1917 and 1929), the Turner & Stevens Mortuary (1922), Hill Avenue Branch of the Pasadena Public Library (1924), the Pasadena Athletic Club (1925), Westminster Presbyterian Church (1927), major structures for the Huntington and Vista Del Arroyo hotels, among others. Perhaps the most visually arresting landmark principally designed by Van Pelt during his time with Marston was the Grace Nicholson Treasure House of Oriental Art (now Pacific Asia Museum) (1924). Nicholson, a well-known art dealer, commissioned the firm to build a combination residence and art gallery on Los Robles Avenue in downtown Pasadena that would reflect her love of Asian art and antiquities.

Marston and Van Pelt responded with an authentic Chinese palace modeled after ancient architecture found in the Forbidden City.

Both Marston and Van Pelt were masters of period revival styles, and as the Grace Nicholson Treasure House demonstrates, they were not restricted to just one type as a number of others were, but able to produce a wide range of whatever the client may have desired. In fact, Marston and Van Pelt are credited with one of the first Spanish Colonial Revival homes to be built in Pasadena – the Arthur L. Garford Residence (1916). They also produced what has been described as the “first truly Tudor Revival House in Pasadena,” the Samuel Hinds Residence at 880 La Loma Road (1915). They also worked with ease in American Colonial, Italianate, French Revival, Neoclassical, English country and variations on the Arts & Crafts movement. It had been Marston who had created the very first bungalow court with the St. Francis Court in Pasadena in 1908.

The works of Marston & Van Pelt were highly praised and well published in the various architectural publications of the day including a dozen times in The Architectural Digest.

Van Pelt would later publish a book of his own, Old Architecture of Southern Mexico, based on his extensive travels in the region.

Item 2A - Page 78
64 In 1927, Van Pelt ended his long association with Sylvanus Marston and struck out on his own in independent practice. This proved to be an extremely active period with a number of notable commissions, not the least being a home for himself and his mother at 1212 South El Molino, which he had started while still with Marston. The Gothicinspired home drew much praise and was well published, including a full layout in The Architectural Digest. It was not the only one, however, two other Van Pelt designs – the Leroy D. Kellogg Residence in Pasadena and the D.W. Norris home in San Marino, were also featured in the magazine. And it was during this time Van Pelt became involved in Palm Springs and Smoke Tree Ranch. He had not only had known both L.

Mac Blankenhorn and his uncle David Blankenhorn for years, he had designed homes for them including a group of speculative homes for the Blankenhorn-Hunt realty firm.

In 1935, Van Pelt partnered with George J. Lind (1891-1963) to create the firm of Van Pelt & Lind, a highly successful arrangement. Among the many designs produced by the firm were the Robert D. Bassett Residence in Pasadena (1935) and the John Rodgers Residence in the Los Feliz section of Hollywood (1936). But their best-known work was in the Santa Anita Oaks development in Arcadia where they designed numerous homes including the original Demonstration model. The firm also branched out to Palm Springs, opening an office in the desert, however, with the exception of the M.J. Harrison Residence in today’s Movie Colony, it appears most all the work done under their name was actually produced by their talented young associates John Porter Clark and Albert Frey.

Van Pelt & Lind closed after the start of World War II, which began a period of semiretirement for Van Pelt, who had been in the field for more than three decades. After the death of his beloved mother in 1944, Van Pelt left Pasadena and returned to Mexico, where he had spent much time over the years, buying a home in San Miguel de Allende.

Ultimately, he returned to California, building a home for himself in Montecito and taking commissions from time to time. His last major commission before full retirement was a residence for an heir to the Armour meat packing family.

Although having been a member of the AIA since 1916 and decades of distinguished design work, Van Pelt had never been honored by elevation to “Fellow” by the organization. This oversight was belatedly corrected through the efforts of a group of his fellow architects including Wallace Neff, H. Roy Kelley, Thornton Abell, Albert Frey and John Porter Clark, and in 1964, he became Garrett Van Pelt, Jr. FAIA. Van Pelt died, October 31, 1972, at the age of 93.

Bio by S. Vaught 6/2022
Item 2A - Page 79
65 Appendix VII
Albert Frey
(psmuseum.org)
(The following obituary, written by architecture critic Nicolai Ouroussoff, appeared in the Los Angeles Times newspaper on November 17, 1998) Albert Frey, Modernist Architect, Dies
Design: His series of landmark buildings helped define Palm Springs as a hotbed of experimental work. He was 95.

Albert Frey, the Swiss-born architect who became one of the leading California Modernists of his generation and recently enjoyed a revival of sorts with the sudden popularity of mid-century Modernist work, died Saturday night at his home in Palm Springs. He was 95.

Item 2A - Page 80
66 During the 1940s, '50s and '60s, Frey designed a series of Modernist landmarks that eventually came to define Palm Springs as a hotbed of architectural experimentation.

Among them were a house for industrial designer Raymond Loewy, the Palm Springs City Hall and the Tramway gas station. The houses, in particular, were remarkable for their sleek, almost surrealistically futuristic forms and their experimental use of materials.

But Frey, generally underappreciated at the height of his career, only recently achieved international recognition, when modern design became fashionable again. In recent years, images of Frey and his houses became fixtures in fashion and design magazines.

Last year, several of his buildings were designated city landmarks in Palm Springs after his design for a gas station was temporarily threatened with demolition.

Frey was born in Zurich, Switzerland, on Oct. 18, 1903. He was 25 when he began working in the Paris office of Le Corbusier, who would soon emerge as one of the great architects of the century. Le Corbusier was then at work on the seminal works of his early career. Frey spent 10 months working for Le Corbusier as one of only two paid design assistants, yet he contributed to two Modernist landmarks: the design for the Centrosoyuz building in Moscow, which was never built, and the Villa Savoye (1929-31) in Poissy, France, which, along with Frank Lloyd Wright's 1936 Fallingwater, ranks among the most famous 20th century buildings in the world. "That was one of the things that separates him from others of his generation, his association with Le Corbusier," said Joseph Rosa, the author of a 1990 monograph of Frey's work. "He was the first disciple of Le Corbusier to build in the United States." Frey moved to the United States in late 1930. It was a time when America was seen as the home of all that was modern, from jazz to skyscrapers to industrial and technological invention. Frey joined with A. Lawrence Kocher, a central figure on the New York cultural scene, and began what was to become an extraordinarily inventive and longlived career. Together, the two designed the Aluminaire House, an experimental prototype for a modern house that incorporated an ingenious use of industrial materials and Corbusien notions about mass production and the open plan. (In 1987, the house was moved to the New York Institute of Technology's Islip, New York, campus from its original site in Huntington, N.Y., where it is now under renovation.)* Later, Frey worked briefly on Philip L. Goodwin and Edward Durrell Stone's design for New York's Museum of Modern Art and was largely responsible for the building's auditorium.

But Frey never felt completely at ease in the congested, bustling metropolis, and in 1936 he moved to Palm Springs, the city with which he would be most identified. There, he produced a body of work that melded the Modernist obsession with the machine and mass production techniques with a deep sensitivity to natural surroundings.

In his design for Raymond Loewy, completed in 1947, Frey created an L-shaped house overlooking a rough desert landscape, with an ameoba-shaped swimming pool that flowed into the living room. Later projects were perhaps more Expressionist, even Item 2A - Page 81
67 flamboyant, among them the North Shore Yacht Club in Salton Sea (1958-59), whose stylized facade includes protruding, porthole-like windows.

Among Frey's greatest creations was a house that he designed for himself at a mountainside site overlooking Palm Springs, completed in 1964. The house is tiny-- 1,200 square feet--yet it encapsulates all of Frey's ideas about nature and the manmade, about the poetic beauty of living a life intimately connected to the human scale.

The house was designed as a narrow glass box and is set lengthwise along the side of the mountain. Frey used the tough industrial materials that marked much of his work-- steel frame, glass walls, corrugated metal roof. But the refined, Cartesian-inspired order of the house is intentionally distorted by the rugged mountain landscape. Inside, the house's floor is divided into two levels to reflect the mountain's steep slope, and a boulder seemingly crashes through the living room, cunningly separating living space from the lone bedroom. It is that tension--between the order of man and the order of nature--that came to define Frey's best work.

The house established Frey's reputation as a leading figure of the Modernist avantgarde. Yet its immediate ambitions were more humble. This was still the postwar building boom, the architectural photographer Julius Shulman noted. "Young married couples could afford to build small houses," Shulman said, "And this little house had a million ideas. He had designed space for everything, the compact kitchen, the bathroom was oriented towards the morning light--everything he did was meticulously oriented towards design. It was the efficiency of the Swiss mind." In many ways, the image of Frey became entwined with the image of that house. High above the city, Frey, a vegetarian and nature lover who said that the clean mountain landscape reminded him of his native Switzerland, would regularly do his yoga exercises or wander outside to feed quail, squirrels and lizards. "He was gentle," Shulman said. "He did not want to produce big, glamorous images of his work like [his contemporary Richard] Neutra, for example. He was a quiet, nonaggressive person. That's maybe why people didn't know his work until later years." By the mid-'80s, Frey was semiretired, although he continued to consult on local architectural projects, including some design work for the Smoke Tree Ranch…a ranchstyle residential community in Palm Springs. Nearly a decade passed before Palm Springs was rediscovered. Suddenly, it was touted as the West Coast's answer to Miami's Art Deco tradition. Worshipful students and curious reporters began to make the pilgrimage to Frey's mountainside house for interviews. His house was repeatedly used for fashion shoots. Frey is survived by a sister, Emma, and his longtime companion, Jean Farrar.
*Since the publication of this obituary, the Aluminaire House has been relocated to Palm Springs.

Item 2A - Page 82
68 Appendix VIII
Maynard Parker Images
As part of their major 1947 Albert Frey addition, the Gilmores engaged the noted furniture and interior design firm of Barker Brothers to decorate their expanded residence. Famed architectural photographer Maynard Parker was brought in to photograph the finished results.
(All images (c) Henry E. Huntington Library)
Item 2A - Page 83
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70 Item 2A - Page 85
IJ
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Accustomed as it IS to the an gan, Mr. Gilmore has for the past nu.ti visits of old guests and resi, three years abandoned summer va c.kuts. Smoke Tree Ranch, never, cauons for winters m the suttslunc 1hde$S. felt ,n unusual happiness of the California Doscrt. Owners last week ,ll the news that the of the first private home in CaliDonalJ G,lmores would again fomia's most famous guest ranch, ~ocnJ their wmtcr vacation at the Gtlmores are the. pioneers m their home on the ranch. A husy the exclusive colony. Each year executive of the Upjohn Chemical this charmmg family has become Corporation m Kalama,,oo, Michi, more a part of the ranch. That Smoke Tree .Ranch has also he·
come a part of thetr live.s may
modestly be assumed from chm recent letter to the Resident Dtr· ecror, Charles Francis Doyk
"It always seems to us like go·
in;: home to get back to Smoke
Tree. No doubt tt IS the excel
lent care taken of us by your
orgamUtuon when Wt! are there.

It was such a satisfanion last win• atmosphere. During the [a.,c thrtt. ter to find our house completely years since we have been comin6 ready for occupation down to the to the ranch and have been watch, last detail, a delicious breakfast mg your growth we have often waiting at the ranch hous.: dm, marveled at the way you have u1g room and even the £,res light• !.:en able 10 retatn this llllllple cd in our fireplace when we ar, hfe. You have somehow kept a. nved from the depot. It com, gracious hospitality and courteousplct.lly removed that fcdi.ng of ncss by your ranch employ= strangeness to new cnvuonmcnt without ohsequ1ousncss or the vh1ch one usually t.!Xpcricnces when forms of hotel atmosphere and that lrawlin~. [t 1-; little won<lcr that i.'- the J!fC:ll attra..:tton to us who w~ rda tu it ,ts "our rani.h at \\ant r,mi.:h lik
P,1lm Spnn~ .... " ()ur lni:nJ:- i.::.rn ··Tht... dnklrc:n arl! 1nqumng not 1'dh.·\·C t:hcrc 1s a rlai.::i:: a,vay \\IWtha the Ill"\\' hi:::.H~"J ~\\un1mng nut nn the JcSt..·rt whl'rc ~u,h can: pool \\ 111 ~ rl'.1.<ly whi:n we a.r- ,, l,1kfn nf 11ur \\'lntl'r home \\h1le n,·..:- \\'e :-.hall, of (our:;e, want ,,..:- ,lrl.." 1h:-:t.·1n. ~ • lntlc n.>•prn1.a;1 thl"m tci c trf} tin tlw1r ":)c.hool work !,1Jity wh-.:n \\~ ,m_• there, ,rnJ :-tl n } ,ur r.ini.h ~h 1-.. Jurin~ l)Ur 11n1,,.h llml'" tnr iun
1 \ u: mon . .1.nJ ,t,i,;. )'<,ur h1... 1J wr,ing
· M~ mntha, Mr, l r1uhn, h.1s 1 1 to .... 1\c th1.· "'ilme hor~ h.lr all 1'cl'.'n ll·,ltllll~ tlii.; ,.11tt.-1.~i.; to P.t::..l o u • J,11,1 f m·nJ, this f.,11, anJ the1·
,ill l!'I\L' i.:~-..win).! n:p,1rt, <.lf th!.!
111.1nr 1mr,ru\·i:111...-nts )OU .1r~ m.1k
lilt:_
··\\'~ arc, h,,\,·...-vc:r, mo-.t hap·
py to hc.1r th,,t for all the aJJi
t1011s t~> th~ l.'.:omforts ,'\nJ rc,n:1t
tmn-:,, nnnC' o( thr simplactty of
the. r.,ni.:h has hce:n sacnficcd anJ
th.it you ar~ ma1nt.1mtng che ranch
TR,'\DITIO:'\~
Happ}' mJ.: .. xl ,rn: the crl!ators
nt a..ny lln~mal 1Jc,\ ,tt Wf\rds ot
.,pproval, hut partKui.lrl1• pl,ascd
\\Crc thl.-'" 1.1\,nc-rs ,,f Smoke. Tree
Rani.::h to r..:c~v1c arrn~atton for
tho,:::t c.hara1..t...-rf..-,Ut~ whit:h ha\'e
hc.:omc :t tradmnn

A NEW IDEA
Unde r a Warm Sun

LARGE LOTS ALL UTILITIES
FEE OWNERSHIP OR 40-YEAR LEASES WITH OPTION

TO BUY DURING FIRST THREE YEARS
H ,ghly Rwncud r,o Desirable fam,!tcs
SMOKE TREE RANCH, Inc., F. S. Markham Charles F. Doyle
Pres., Altodena Vice-Pres., Ranch Office

ATTACHMENT D
Item 2A - Page 90
Item 2A - Page 91
RESOLUTION NO. HSPB #148

A RESOLUTION OF THE HISTORIC SITE PRESERVATION

BOARD OF THE CITY OF PALM SPRINGS, CALIFORNIA,

RECOMMENDING THAT THE CITY COUNCIL DESIGNATE
"THE BLANKENHORN/GILMORE RESIDENCE" LOCATED
AT 1850 SMOKE TREE LANE, A CLASS 1 HISTORIC SITE,
(HSPB #148), APN #510-104-002, 510-104-006.

THE HISTORIC SITE PRESERVATION BOARD ("HSPB") FINDS AND DETERMINES AS FOLLOWS:

A. WHEREAS, Chapter 8.05 of the Palm Springs Municipal Code allows for the designation of historic sites and districts; and
B. WHEREAS, on November, 2022, Eric Ellenbogen, John Engelman and Thomas Engelman filed an application with the City pursuant to Article Ill, Section 8.05.070 (Procedure and Criteria for Designation of Historic Resources) of the Palm Springs Municipal Code requesting historic resources designation for the "Blankenhorn/Gilmore Residence" located at 1850 Smoke Tree Lane. The application included a historic resources report ("the report").

C. WHEREAS, on August 15th and August 29th , 2023, members of the Historic Site Preservation Board (HSPB) conducted site inspections of the proposed historic resource, accompanied by City staff; and
D. WHEREAS, on September 5, 2023, a noticed public hearing of the Palm Springs Historic Site Preservation Board ("HSPB") to consider Case HSPB #148 was held in accordance with applicable law; and
E. WHEREAS, The HSPB carefully reviewed and considered all of the evidence presented in connection with the hearing on the project, including, but not limited to, the staff report and all written and oral testimony presented.

THE HISTORIC SITE PRESERVATION BOARD OF THE CITY OF PALM SPRINGS RESOLVES:

SECTION 1: FINDINGS - PART "1 ", CRITERIA FOR HISTORIC RESOURCES.

Evaluation of the Application. Pursuant to Municipal Code Section 8.05.070 (C, 1,a), the HSPB shall evaluate the application and make findings in conformance with the following criteria:

1. Criteria for the Designation of Class 1 Historic Resources. A site, structure, building or object may be designated as a Class 1 historic resource, provided both of the following findings ("a" and "b'? are met:

Item 2A - Page 92 Resolution No. HSPB #148 - "The Blankenhorn/Gilmore Residence" Page 2 of 6 September 5, 2023 a. The site, structure, building, or object exhibits exceptional historic significance and meets one or more of the criteria listed below:

The Blankenhorn/Gilmore residence is a unique example of a rustic ranch-style home with a rambling floor plan that tell the history of residential development in the Smoke Tree Ranch community. The home demonstrates exceptional historic significance because of its association with the history of "dude ranch" resorts in Palm Springs and its association with respected master architects Garrett Van Pelt, Jr., and Albert Frey. (Criterion i) The resource is associated with events that have made a meaningful contribution to the nation, state or community; No information was provided indicating any significant event was directly associated with this site. The site does not qualify under Criterion i. (Criterion ii) The resource is associated with the lives of persons who made a meaningful contribution to national, state or local history; The report describes the two main owners associated with the property: Louis "L. Mac" Mclaughlin Blankenhorn and Donald S. Gilmore. Blankenhorn, one of the original developers of Smoke Tree Ranch and the city of Rancho Mirage, hired architect Garrett Van Pelt, Jr. to design the home which he owned from 1929 to 1935. The house was then sold to Donald S. Gilmore in 1935 and stayed in the family's possession until 1990. It was during this time Donald Gilmore became the president and general manager of the leading pharmaceutical company in the United States, Upjohn. Architect Albert Frey designed any additions or remodels made to the home during the years of 1947 to 1990.

The home was designed as a ranch-style home with strong rustic elements such as lowpitched roofs, board-and-batten siding, wood or steel encased windows, and asymmetrical plans and elevations. The rambling floor plan is also considered a characteristic of a ranch style home. As one of the earliest examples of a residential structure in the subdivision, the scale, form and exterior building palette utilized at this home set the tone for the rest of the development. Additions to the home were made during the post World War II period but the overall aesthetic of the ranch was embraced.

The additions continued the use of simple forms and paid close attention to scale and proportions. The building is an example of how a ranch style home was intended to Item 2A - Page 93
Resolution No. HSPB #148 - "The Blankenhorn/Gilmore Residence"

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September 5, 2023
expand and adapt to the needs of the owner. The home exemplifies a specific time period of development in Palm Springs is a historically significant community, thus, the site qualifies as a historic resource under Criterion iii.
(Criterion iv) The resource embodies the distinctive characteristics of a type, period or method of construction;
Unlike the National Register criterion concerning construction, the Palm Springs evaluation of construction addresses the type (of construction), the period (of construction) and the method (of construction). It appears that standard wood frame construction methods were used to construct the building and the additions. The construction methods are conventional; therefore, contrary to the report, staff finds the project does not qualify for this criterion.
(Criterion v) The resource presents the work of a master builder, designer, artist, or architect whose individual genius influenced his age, or that possesses high artistic value;
The original home was designed by master architect Garrett Van Pelt, Jr. who was based in Pasadena and Santa Barbara. He was recognized and praised by his colleagues for his understanding of residential design. (The report goes into more detail about his contributions to the field of architecture and design.) The additions to the home were completed by the renowned architect Albert Frey who is recognized for his contributions to the mid-century modern movement. The Blankenhorn/Gilmore residence embodies the design talent of both architects and demonstrates their understanding of mass/scale, form, and site planning. The report also reveals the unique relationship of employee and employer between the two architects. Frey had an advantage in understanding the design intent surrounding the original home since he worked for the original architect prior to designing the new additions. Both architects influenced the field with their designs, therefore, Criterion v is met.
(Criterion vi) The resource represents a significant and distinguishable entity whose components may lack individual distinction, as used in evaluating applications for designation of historic districts, for parcels on which more than one entity exists; or
No information has been provided that the resource qualifies under Criterion vi. (Criterion vii) The resource has yielded or may be likely to yield information important to national, state or local history or prehistory.

No information has been provided on any pre-historic significance of the site.

Item 2A - Page 94 Resolution No. HSPB #148 - "The Blankenhorn/Gilmore Residence" Page 4 of 6 September 5, 2023 SECTION 2: PART "B" ANALYSIS OF HISTORIC INTEGRITY. Analysis of Integrity. (PSMC 8.05.070 (C, 1,b). The site, structure, building or object retains one or more of the following aspects of integrity, as established in the Secretary of the Interior's Standards: integrity of design, materials, workmanship, location, setting, feeling, or association. "The Blankenhorn/Gilmore Residence" is evaluated in terms of its historic integrity as follows:

Location.

The resource remains in its original location of construction, therefore, retains its integrity of location.

Design.

The mass/scale, form and building materials of the home are consistent with the original design intent. The irregular footprint of the home evolved from an L-shaped floor plan to a U-shaped floor plan, however, the idea of a rambling/asymmetric design remains consistent. While there are certain elements on the newer additions that reflect contemporary building solutions to address the owner's needs, the architect demonstrates an understanding of the original design and emulates the rustic style of the original design and does not compete with the main facades of the home, therefore, the design integrity remains intact.

Setting.

Located within the Smoke Tree Ranch development, the desert setting around the home has been maintained and remain relatively unchanged. The open and rural setting not only preserves views, but it also highlights the site placement of the home, thus the integrity of setting is intact.

Materials.

The use and rhythm created by the board-and-batten siding, steel casement window details and openings, and wood roof shingles are key components of the exterior fac;ade that remain consistent throughout the home; therefore, the integrity of materials is intact.

Workmanship.

Feeling.

Association.

The design and condition of the property is an excellent example of a rambling ranch style Item 2A - Page 95
Resolution No. HSPB #148 - "The Blankenhorn/Gilmore Residence"

Page 5 of 6 ends

September 5, 2023
home associated with the "dude ranch" aesthetic of Smoke Tree Rach is maintained through the use of simple forms, building materials and its integration into the desert context. The home's association with the two architects, Pelt and Frey, are visible in the overall form and fenestration of the home; therefore, the home's association to the time periods it represents, and the architects remain intact.

SECTION 3: DEFINING HISTORIC CHARACTERISTICS
In considering a recommendation for historic resource designation it is important to distinguish those physical elements that are original or from the period of significance that contribute to the resource's historic significance from alterations, additions or features that were added at a later time that may be sympathetic to the original character, but which may create a false sense of historicity. Distinguishing original character-defining features from non-original elements aids the HSPB when it is tasked with evaluating future alterations to the historic resource.

Character-defining features of the resource are as follows:
• One-story ranch home with an emphasis on horizontality • Low pitched wood shake roof
• Board-and-batten wood siding
• Deep roof eaves with extended roof rafters
• Covered front porch, patios and arcades
• Shed roofs against the low pitch gable roof of the original home1 • Masonry chimney along the roof ridge of the low-pitched gable roof visible on the west facade
• Irregular/rambling floor plan
• Steel-framed windows
• Natural desert setting
Non-contributing elements:
• Large swimming pool and spa in the central courtyard of the home • Hardscaped walkways, patios and driveways
• Rooftop mounted mechanical equipment and screening
• Parcel across the street is owned by the current owners but does not contain any part of the historic resource
• Fruit trees and lawn area
SECTION 4: ENVIRONMENTAL ASSESSMENT
The proposed historic resource designation is not subject to the California Environmental Quality Act (CEQA) pursuant to Sections 15060(c)(2) (the activity will not result in a direct or reasonably foreseeable indirect physical change in the environment) and 15060(c)(3) 1 The original shed roof on the north side of the home, which was visible from the front elevation, was removed as part of an alteration completed by architect Albert Frey.

Item 2A - Page 96 Resolution No. HSPB #148 - "The Blankenhorn/Gilmore Residence" Page 6 of 6 September 5, 2023 (the activity is not a project as defined in Section 15378) of the CEQA Guidelines, California Code of Regulations, Title 14, Chapter 3, because it has no potential for resulting in physical changes to the environment, directly or indirectly.

SECTION 5: CONDITIONS THAT APPLY TO CLASS 1 HISTORIC SITES.

According to Section 8.05 of the Municipal Code, the following shall apply to a Class 1 Historic Resource:

1. It shall meet the definition of a Class 1 historic site as outlined in Municipal Code Section 8.05.020.

2. An archival file on the property shall be maintained by the City.

3. It may be qualified as 'historic' at the federal, state, and/or county level.

4. The structure/site may not be modified nor objects removed without following the procedures outlined in Municipal Code Section 8.05.11 O "Demolition or Alteration of Class 1 and Class 2 Historic Resources - Certificate of Appropriateness".

5. A marker explaining the historic nature of the site may be installed at the site in a location viewable from the public way.

6. Compliance with all rules and regulations for Historic Sites and Historic Districts under Chapter 8.05 of the Municipal Code shall be required.

7. The site shall not be further subdivided.

8. The City Clerk shall submit the Council Resolution to the County recorder for recordation within 90 days of the effective date of the Council's resolution.

Based upon the foregoing, the Historic Site Preservation Board recommends that the City Council designate "The Blankenhorn/Gilmore Residence" located at 1850 Smoke Tree Lane, a Class 1 Historic Resource (HSPB #148). ·
ADOPTED THIS FIFTH DAY OF SEPTEMBER, 2023.

AYES:

NOES:

ABSENT:

ABSTAIN:

ATTEST:

Hough, Nelson, Hansen, Bachman, Herr, Moruzzi.

None.

Rosenow.

None.

CITY OF PALM SPRINGS, CALIFORNIA
Christopher Hadwin
Director of Planning Services

HISTORIC SITE PRESERVATION BOARD

STAFF REPORT
DATE: September 5, 2023 PUBLIC HEARING
SUBJECT: AN APPLICATION BY ERIC ELLENBOGEN, JOHN ENGELMAN AND

THOMAS ENGELMAN REPRESENTED BY PALM SPRINGS

PRESERVATION FOUNDATION FOR HISTORIC DESIGNATION OF
“THE BLANKENHORN/GILMORE RESIDENCE” LOCATED AT 1850
SMOKE TREE LANE, CASE HSPB #148. (APN #510-104-002, 510-104- 006, 510-105-002) (SY).

FROM: Department of Planning Services

SUMMARY
An application for historic designation of the “Blankenhorn/Gilmore Residence” was submitted by the current owners: Eric Ellenbogen, John Engelman and Thomas Engleman. This property is identified as one of the first private homes built in the Smoke Tree Ranch gated community. The period of significance spans from 1935 to 1990 when the home was owned by the Blankenhorn family and the Gilmore family. Architect Garrett Van Pelt, Jr. designed the home for Louis McLaughlin Blankenhorn in 1935 and Albert Frey worked on the house for the Gilmore family from 1947-1990, a duration of 43 years.

If designated as a historic resource, the property would be subject to the regulations outlined in Section 8.05 of the Palm Springs Municipal Code.

RECOMMENDATION:

1. Open the public hearing and receive public testimony.

2. Close the public hearing and adopt Resolution HSPB #148, “A RESOLUTION OF

THE HISTORIC SITE PRESERVATION BOARD OF THE CITY OF PALM

SPRINGS, CALIFORNIA, RECOMMENDING THAT THE CITY COUNCIL DESIGNATE “THE BLANKENHORN/GILMORE RESIDENCE” LOCATED AT 1850 SMOKE TREE LANE, AS A CLASS 1 (LANDMARK) HISTORIC RESOURCE HSPB #148, SUBJECT TO CONDITIONS (APN #510-104-002, 510-104-006, 510- 105-002).”
Item 2A - Page 97
Historic Site Preservation Board Staff Report: September 5, 2023 HSPB-148 – The Blankenhorn/Gilmore Residence

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BACKGROUND AND SETTING:

The Blankenhorn/Gilmore residence is a single-family home on two separate parcels in the Smoke Tree Ranch development. The 375-acre property was a subdivision created in the 1930s and marketed as a “dude ranch” resort. Unlike other similar resorts, Smoke Tree Ranch emphasized the rustic atmosphere of a desert as an exclusive experience.

The aesthetic of the subdivision is closely managed down to the dirt roads and rock markers and internally, they have a separate addressing convention that uses the rocks as an identifier. This property is also known as RL2, Ranch House Road. The Blankenhorn/Gilmore residence is considered an early example of a single-family home built in this development which became the precedent for residential design.

BELOW IS AN AERIAL VIEW OF THE SITE.

BELOW IS A VIEW OF THE WEST (FRONT) ELEVATION.

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Related Relevant City Actions by HSPB, Planning, Fire, Building, etc.

August, 2023 Site inspection by members of the HSPB and City Staff.

Ownership Status
June, 2021 Purchased by the current owner.

ANALYSIS:

A historic resources report (“the report”) and a site visit by staff and members of the HSPB are the basis of this staff report.

The rambling one-story ranch home was carefully integrated into the natural desert landscape. According to the report, the approximate completion date for the home is 1930 by architect Garrett Van Pelt Jr. Subsequent additions expanded behind the front façade and remained subservient to the original massing of the home. The building forms and exterior materials for the additions were derived from the existing home and designed by architect Albert Frey, who worked for the original architect Garrett Van Pelt Jr. in his youth.

Historic Preservation activities in Palm Springs are regulated under Municipal Code Section 8.05 (“Historic Preservation”). The purpose of the Historic Preservation Ordinance is:
“…to stabilize and improve buildings, structures or areas which are considered to be of historical, architectural, archaeological or ecological value, to foster civic beauty, to strengthen the local economy and to promote the use of historic resources for the education and welfare of the citizens.” Conditions that apply to Class 1 historic sites or resources:

1. It shall meet the definition of a historic site as outlined in Municipal Code Section

8.05.020.

2. An archival file shall be maintained on the property by the City.

3. It may be qualified as ‘historic’ at the federal, state, and/or county level.

4. A marker explaining the historic nature of the site may be installed in a location viewable from the public way.

5. Compliance with all rules and regulations for Historic Resources and Historic Districts under Chapter 8.05 of the Municipal Code.

6. If designated, the findings in support of designation shall be stated in a resolution of the City Council that shall be recorded with the County Recorders’ office within 90 days of the effective date of the Council’s resolution.

Evaluation of the Application. Pursuant to Municipal Code Section 8.05.070 (C,1,a), the HSPB shall evaluate the application and make findings in conformance with the following criteria:

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Criteria for the Designation of Class 1 Historic Resources. A site, structure, building or object may be designated as a Class 1 historic resource, provided both of the following findings (“a” and “b”) are met:
a. The site, structure, building or object exhibits exceptional historic significance and meets one or more of the criteria listed below:

The Blankenhorn/Gilmore residence is a unique example of a rustic ranch-style home with a rambling floor plan that tell the history of residential development in the Smoke Tree Ranch community. The home demonstrates exceptional historic significance because of its association with the history of “dude ranch” resorts in Palm Springs and its association with respected master architects Garrett Van Pelt, Jr., and Albert Frey. (Criterion i) The resource is associated with events that have made a meaningful contribution to the nation, state or community; No information was provided indicating any significant event was directly associated with this site. The site does not qualify under Criterion i. (Criterion ii) The resource is associated with the lives of persons who made a meaningful contribution to national, state or local history; The report describes the two main owners associated with the property: Louis “L. Mac” McLaughlin Blankenhorn and Donald S. Gilmore. Blankenhorn, one of the original developers of Smoke Tree Ranch and the city of Rancho Mirage, hired architect Garrett Van Pelt, Jr. to design the home which he owned from 1929 to 1935. The house was then sold to Donald S. Gilmore in 1935 and stayed in the family’s possession until 1990. It was during this time Donald Gilmore became the president and general manager of the leading pharmaceutical company in the United States, Upjohn. Architect Albert Frey designed any additions or remodels made to the home during the years of 1947 to 1990.

The home was designed as a ranch-style home with strong rustic elements such as lowpitched roofs, board-and-batten siding, wood or steel encased windows, and asymmetrical plans and elevations. The rambling floor plan is also considered a characteristic of a ranch style home. As one of the earliest examples of a residential Item 2A - Page 100
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structure in the subdivision, the scale, form and exterior building palette utilized at this home set the tone for the rest of the development. Additions to the home were made during the post World War II period but the overall aesthetic of the ranch was embraced.

The additions continued the use of simple forms and paid close attention to scale and proportions. The building is an example of how a ranch style home was intended to expand and adapt to the needs of the owner. The home exemplifies a specific time period of development in Palm Springs is a historically significant community, thus, the site qualifies as a historic resource under Criterion iii.
(Criterion iv) The resource embodies the distinctive characteristics of a type, period or method of construction;
Unlike the National Register criterion concerning construction, the Palm Springs evaluation of construction addresses the type (of construction), the period (of construction) and the method (of construction). It appears that standard wood frame construction methods were used to construct the building and the additions. The construction methods are conventional; therefore, contrary to the report, staff finds the project does not qualify for this criterion.
(Criterion v) The resource presents the work of a master builder, designer, artist, or architect whose individual genius influenced his age, or that possesses high artistic value;
The original home was designed by master architect Garrett Van Pelt, Jr. who was based in Pasadena and Santa Barbara. He was recognized and praised by his colleagues for his understanding of residential design. (The report goes into more detail about his contributions to the field of architecture and design.) The additions to the home were completed by the renowned architect Albert Frey who is recognized for his contributions to the mid-century modern movement. The Blankenhorn/Gilmore residence embodies the design talent of both architects and demonstrates their understanding of mass/scale, form, and site planning. The report also reveals the unique relationship of employee and employer between the two architects.

Frey had an advantage in understanding the design intent surrounding the original home since he worked for the original architect prior to designing the new additions. Both architects influenced the field with their designs, therefore, Criterion v is met. (Criterion vi) The resource represents a significant and distinguishable entity whose components may lack individual distinction, as used in evaluating applications for designation of historic districts, for parcels on which more than one entity exists; or
No information has been provided that the resource qualifies under Criterion vi.

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(Criterion vii) The resource has yielded or may be likely to yield information important to national, state or local history or prehistory.

No information has been provided on any pre-historic significance of the site.

Analysis of Integrity. (PSMC 8.05.070 (C,1,b). The site, structure, building or object retains one or more of the following aspects of integrity, as established in the Secretary of the Interior’s Standards: integrity of design, materials, workmanship, location, setting, feeling, or association.

The Blankenhorn/Gilmore Residence is evaluated in terms of its historic integrity as follows:

Location.

The resource remains in its original location of construction, therefore, retains its integrity of location.

Design.

Setting.

Materials.

Workmanship.

Feeling.

The home is in a preserved rural setting and the design of the building represents the Item 2A - Page 102
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time period in which it was originally constructed. The rustic, ranch-style home remains integrated with the desert landscape, thus the original feeling of the site remains intact.

Association.

The design and condition of the property is an excellent example of a rambling ranch style home associated with the “dude ranch” aesthetic of Smoke Tree Rach is maintained through the use of simple forms, building materials and its integration into the desert context. The home’s association with the two architects, Pelt and Frey, are visible in the overall form and fenestration of the home; therefore, the homes association to the time periods it represents, and the architects remain intact.

DEFINING HISTORIC CHARACTERISTICS
In considering a recommendation for historic resource designation it is important to distinguish those physical elements that are original or from the period of significance that contribute to the resource’s historic significance from alterations, additions or features that were added at a later time that may be sympathetic to the original character, but which may create a false sense of historicity. Distinguishing original character-defining features from non-original elements aids the HSPB when it is tasked with evaluating future alterations to the historic resource.

On page 25, the report identifies the physical character-defining historic features of this site as follows:
• One-story ranch home with an emphasis on horizontality • Low pitched wood shake roof
• Board-and-batten wood siding
• Deep roof eaves with extended roof rafters
• Covered front porch, patios and arcades
• Shed roof building mass against the low pitch gable roof • Masonry chimney along the roof ridge of the low-pitched gable roof visible on the west facade
• Irregular/rambling floor plan
• Steel-framed windows
Non-contributing elements:
• Large swimming pool and spa in the central courtyard of the home • Hardscaped walkways, patios and driveways
• Rooftop mounted mechanical equipment and screening
• Parcel across the street is owned by the current owners but does not contain any part of the historic resource

ENVIRONMENTAL ASSESSMENT
The proposed historic resource designation is not subject to the California Environmental Item 2A - Page 103
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Quality Act (CEQA) pursuant to Sections 15060(c)(2) (the activity will not result in a direct or reasonably foreseeable indirect physical change in the environment) and 15060(c)(3) (the activity is not a project as defined in Section 15378) of the CEQA Guidelines, California Code of Regulations, Title 14, Chapter 3, because it has no potential for resulting in physical changes to the environment, directly or indirectly.

NOTIFICATION
Pursuant to section 8.05.140 of the Municipal Code of Palm Springs, all residents within five hundred (500) feet of the subject property have been notified and notice was published in a newspaper of general circulation.

CONCLUSION:

The Blankenhorn/Gilmore Residence meets the definition of a historic resource based on Criterion 2, 3 and 5 of the Palm Springs Historic Preservation Ordinance; therefore, staff recommends Class 1 designation. The property possesses historic integrity to qualify as a Class 1 (“Landmark”) site.

PREPARED BY: Sarah Yoon, Associate Planner/Historic Preservation Officer REVIEWED BY: David Newell, AICP, Assistant Director of Planning Attachments:

A. Vicinity Map
B. Draft Resolution
C. Application, related background materials, photos.

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EXCERPTS OF MINUTES
At the Historic Site Preservation Board meeting of the City of Palm Springs, held September 5, 2023, the Historic Site Preservation Board took the following action:

2.A. APPLICATION BY THE APPLICANT ERIC ELLENBOGEN, JOHN ENGELMAN,

AND THOMAS ENGELMAN, REPRESENTED BY THE PALM SPRINGS

PRESERVATION FOUNDATION FOR POSSIBLE HISTORIC DESIGNATION OF THE BLANKENHORN/GILMORE RESIDENCE LOCATED AT 1850 SMOKE TREE LANE (HSPB 148) (SY).

Staff member Yoon provided the background analysis for the application and summarized the staff report.

Member Hansen asked if recognition of the site plan, landscape and view sheds could be included as character-defining features since they are integral to the design of the parcel.

Chair Hough supported this suggestion.

Vice Chair Nelson requested clarification on why Criterion 4 was not met for the use of board and batten siding. Staff member Yoon clarified that the use of board and batten was a conventional method of construction for the time period.

Member Moruzzi asked for clarification of the shed roofs and timeline for construction, noting the removal of one of the shed roofs as an important alteration to record. He also wanted to know if the existing chimney was in its historic location. Applicant representative Steve Vaught clarified that one of the shed roofs was subsumed in an early alteration by Albert Frey. Staff member Yoon concurred that this detail will be noted on the record and that the chimney is in its original location.

Chair Hough opened the public hearing.

Steve Vaught described the history of Smoke Tree Ranch, noting this home as the prototype for ranch style homes at Smoke Tree. While Gary Van Pelt Jr. is not as well known locally, he was notable in Pasadena and other southern California communities.

Eric Ellenbogen identified himself as the owner of the home. He also owns the Abernathy house, which was designated previously by the Board. He described the landscape changes and kitchen addition, noting his intention to restore original details using the original drawings from the Frey office.

David Pritchard and Clifford Bunch are the neighbors to the subject home and appreciate the owner’s efforts to restore the home and support the designation. They expressed concern with the maintenance of the view lot owned by the applicant and requested that the non-indigenous trees be removed.

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EXCERPTS OF MINUTES
Tracy Conrad, spoke with the descendants of Mac Blankenhorn and said they are delighted at the idea of the designation. She clarified that the view lots are deed restricted and will remain in their current condition.

Chair Hough closed the public hearing.

Vice Chair Nelson asked Mr. Ellenbogen if a historic color analysis was conducted as part of the planned restoration. In response, Mr. Ellenbogen said that they will be using historical documentation and research to make an informed decision, with the help of Mr.

Vaught. Mr. Vaught mentioned that they will also need to consider the color palette allowed as Smoke Tree Ranch. Ms. Conrad believed it is very close to the original color with trim being yellow and body being ivory-beige color.

Member Hansen thanked the applicants for their stewardship of the property and Mr.

Vaught for his thoughtful and thorough report. She noted that in Alan Hess’ book The Ranch House Albert Frey is credited for doing half of the remodels inside Smoke Tree and questioned whether a historic district might be considered by the community. She went into more details about the various types of ranch houses. Ms. Hansen supports the designation and would like to incorporate the natural desert setting as a characterdefining feature and include lawn and fruit trees as non-contributing features.

Chair Hough supports this nomination and appreciates the families being recognized as important members of our community.

Vice Chair Nelson said Garrett Van Pelt’s local office still stands along North Palm Canyon Drive.

Member Moruzzi supports the nomination and suggests the shed roof alteration be identified in the nomination.

Member Hansen requests the previously discussed modifications to the characterdefining features and the non-character-defining features be included in the nomination.

Motion by Member Moruzzi to adopt the resolution, seconded by Member Herr to adopt the revised findings that note the loss of the shed roof, add desert landscape as a contributing element, and add fruit trees and lawn area as non-contributing elements, and recommend that the City Council designate the Blankenhorn/Gilmore Residence, (HSPB #148) as a Class 1 historic site.

AYES: Hough, Nelson, Hansen, Bachman, Herr, Moruzzi.

NOES: None.

ABSTAIN: None.

ABSENT: Rosenow.

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CITY COUNCIL STAFF REPORT
11/09/2023
SUBJECT:

AN APPLICATION BY DAVID AND KATHERINE WRIGHT REPRESENTED BY THE

PALM SPRINGS PRESERVATION FOUNDATION FOR HISTORIC DESIGNATION OF “THE KOERNER RESIDENCE” LOCATED AT 1275 SOUTH CALLE DE MARIA, CASE HSPB #150. (APN #508-403-003)
RECOMMENDATIONS:

1. Open the public hearing and receive public testimony.

2. Close the public hearing and adopt Resolution entitled, “A RESOLUTION OF

CITY COUNCIL STAFF REPORT
DATE: NOVEMBER 9, 2023 PUBLIC HEARING
SUBJECT: AN APPLICATION BY DAVID AND KATHERINE WRIGHT

REPRESENTED BY THE PALM SPRINGS PRESERVATION
FOUNDATION FOR HISTORIC DESIGNATION OF “THE KOERNER
RESIDENCE” LOCATED AT 1275 SOUTH CALLE DE MARIA, CASE
HSPB #150. (APN #508-403-003)
FROM: Scott C. Stiles, City Manager
BY: Department of Planning Services
SUMMARY:

The Koerner Residence is a contemporary ranch-style home designed by the renowned architect E. Stewart Williams, and the surrounding garden landscape was designed by Garrett Eckbo and Francis H. Dean. Located in the Deepwell Estates neighborhood, the property is an exceptional example of Modernist design concepts capturing the casual desert lifestyle representative of the 1950s. The property was recognized as a national landmark and listed on the National Register of Historic Places in 2016.

If designated as a historic resource, the property would be subject to the regulations outlined in Section 8.05 of the Palm Springs Municipal Code (PSMC).

RECOMMENDATION:

1. Open the public hearing and receive public testimony.

2. Close the public hearing and adopt Resolution No. _____, “A RESOLUTION OF

THE CITY COUNCIL OF THE CITY OF PALM SPRINGS, CALIFORNIA, DESIGNATING “THE KOERNER RESIDENCE” LOCATED AT 1275 SOUTH CALLE DE MARIA, AS A CLASS 1 (LANDMARK) HISTORIC RESOURCE HSPB #150, SUBJECT TO CONDITIONS (APN #508-403-003).”
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City Council Staff Report
November 9, 2023 – Page 2
Historic Designation – The Koerner Residence
BACKGROUND AND SETTING:

The attached historic resources report dated October 25, 2022, prepared by the Palm Springs Preservation Foundation (“the report”), and a site visit with HSPB members are the basis of this staff report.

Related Relevant City Actions by HSPB, Planning, Fire, Building, etc.

August 2023 Site inspection by members of the HSPB and City Staff.

September 2023 HSPB considered the case at a public hearing and voted 6 to 0 to recommend Class 1 designation.

Ownership Status
April, 2018 Purchased by current owners.

The Koerner Residence is a custom-designed home built during the post World War II period in Palm Springs. The one-story structure uses vertical board-and-batten walls and “slumpstone” to create seamless transitions between interior and exterior spaces, and the expansive use of glazing brings in natural light. The current owners restored the property to its original 1955 floor plan and garden design.

ANALYSIS AND FINDINGS:

The Board made findings in support of Class 1 (Landmark) designation based on the following criteria:

PSMC 8.05.070, (C,1,Part a). The site, structure, building or object exhibits exceptional historic significance and meets one or more of the criteria listed below:
(Criterion 3) The resource reflects or exemplifies a particular period of national, state or local history;
(Criterion 4) The resource embodies the distinctive characteristics of a type, period, or method of construction;
(Criterion 5) The resource presents the work of a master builder, designer, artist, or architect whose individual genius influenced his age, or that possesses high artistic value;
The Board also made findings pursuant to PSMC 8.05.070, (5,C,1,Part b); “Historic Integrity” that the Koerner Residence possesses sufficient historic integrity to qualify as a Class 1 (Landmark) historic site.

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City Council Staff Report
November 9, 2023 – Page 3
Historic Designation – The Koerner Residence
CONCLUSION:

The Koerner Residence meets the definition of a historic resource based on Criterion 3, 4 and 5 of the Palm Springs Historic Preservation Ordinance. The property possesses sufficient historic integrity to qualify as a Class 1 (“Landmark”) site. The HSPB recommendation to the City Council reflects these findings which are outlined in the attached draft City Council resolution.

FISCAL IMPACT:

None.

REVIEWED BY:

Department Director: Christopher Hadwin
Deputy City Manager: Flinn Fagg
City Manager: Scott Stiles
ATTACHMENTS:

A. Vicinity Map.

B. Draft Resolution.

C. Application, related background materials, photos.

D. HSPB resolution, staff report, minute excerpt.

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ATTACHMENT A
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Department of Planning Services
Vicinity Map

CITY OF PALM SPRINGS
HSPB #150 – The Koerner Residence
1275 South Calle de Maria
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1-- --i---+--i-----1--_J i ' 1---- I--- i------+-__Jl ,_ 1 ICACTUS RD
•--+-----1

ATTACHMENT B
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RESOLUTION NO._____

A RESOLUTION OF THE CITY COUNCIL OF THE CITY OF PALM
SPRINGS, CALIFORNIA, DESIGNATING “THE KOERNER
RESIDENCE” LOCATED AT 1275 SOUTH CALLE DE MARIA, A
CLASS 1 HISTORIC SITE, (HSPB #150), APN# 508-403-003.

THE CITY COUNCIL FINDS AND DETERMINES AS FOLLOWS:

A. WHEREAS, Chapter 8.05 of the Palm Springs Municipal Code allows for the designation of historic sites and districts; and
B. WHEREAS, David and Katherine Wright, Represented by the Palm Springs Preservation Foundation, submitted an application seeking historic site designation of the Koerner Residence located at 1275 South Calle de Maria; and
C. WHEREAS, in August, 2023, members of the Historic Site Preservation Board (HSPB) and City staff conducted site inspections of the proposed historic resource; and D. WHEREAS, on September 5, 2023, a noticed public hearing of the Palm Springs Historic Site Preservation Board to consider Case HSPB #150 was held in accordance with applicable law; and
E. WHEREAS, at the said hearing, the HSPB carefully reviewed and considered all the evidence presented in connection with the hearing on the project, including, but not limited to, the staff report and all written and oral testimony and voted unanimously to recommend that the Council designate the Koerner Residence a Class 1 (Landmark) historic resource; and F. WHEREAS, on November 9, 2023, a noticed public hearing of the Palm Springs City Council to consider Case HSPB #150 was held in accordance with applicable law; and G. WHEREAS, at the said hearing, the City Council carefully reviewed and considered all the evidence presented in connection with the hearing on the project, including, but not limited to the staff report and all written and oral testimony.

THE CITY COUNCIL OF THE CITY OF PALM SPRINGS RESOLVES:

SECTION 1: FINDINGS – PART “A”, CRITERIA FOR HISTORIC RESOURCES.

Evaluation of the Application. Pursuant to Municipal Code Section 8.05.070 (C,1,a), the City Council shall evaluate the application and make findings in conformance with the following criteria:

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Resolution No.____

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November 9, 2023
a. The site, structure, building or object exhibits exceptional historic significance and meets one or more of the criteria listed below:

The restored Koerner residence is brought back to its period of significance and is an outstanding example of Modern architecture from the mid-twentieth century that demonstrates exceptional historic significance because of its association with master architect E. Stewart Williams and landscape designer Garrett Eckbo and Francis H. Dean.
(Criterion 1) The resource is associated with events that have made a meaningful contribution to the nation, state or community;
No information was provided indicating any significant event was directly associated with this site. The site does not qualify under Criterion i.
(Criterion 2) The resource is associated with the lives of persons who made a meaningful contribution to national, state or local history; The report provides a robust history of the first owners, Leon and Thea Koerner, and lists their important contributions to British Columbia. The Koerners are recognized as a “Person of National historic Significance”, but the report does not expand on their contributions to local, state or national history of the United States. Unlike the applicant, the City Council finds the site does not qualify for Criterion ii.
(Criterion 3) The resource reflects or exemplifies a particular period of national, state or local history;
The home was constructed during the context of “Post-World War II Palm Springs.” The rise in wealthy tourists and seasonal residents during this time was a clear indicator of the growing prosperity following the wars. Modernist ideals and a newfound concern for landscape design became important for designers. Although E. Stewart Williams was not formally trained in Modernism, he was highly influenced by Scandinavian Modern design and the principals of using “organic forms” and “natural materials.” The Koerner residence integrates natural materials with Modernist ideas regarding light, fenestration and form. E. Steward Williams uses building details and materials to extend the interior space to the exterior. Additionally, the site placement of the home places an emphasis on the landscape design. The restored earth mounds and the different fountain features are a few of the qualities identified as significant to the landscape design. The City Council finds the site qualifies as a historic resource under Criterion iii. (Criterion 4) The resource embodies the distinctive characteristics of a type, period or method of construction;
Unlike the National Register criterion concerning construction, the Palm Springs evaluation of construction addresses the type (of construction), the period (of construction) and the method (of construction). The post-and-beam construction was a conventional method of construction; however, the structural use of “slumpstone”, which was a relatively new building material at that time, was innovative. It was used in such a way that the material transitioned from an interior wall to an exterior garden wall. The Item 2B - Page 8
Resolution No.____

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November 9, 2023
surface texture of the “slumpstone” gave the appearance of a more natural material like adobe, yet it was lightweight and cost efficient. The City Council concurs with the applicant’s analysis and finds that Criterion iv is met. (Criterion 5) The resource presents the work of a master builder, designer, artist, or architect whose individual genius influenced his age, or that possesses high artistic value;
The site planning and the design of the home was by master architect E. Stewart Williams and the landscape design was by Garrett Eckbo and Francis H. Dean. Architect E. Stewart Williams, one of the most influential architects from that time period, designed other notable buildings such as the Palm Springs Art Museum and the Edris House. His work is based on the notion that the site generates the form of the building and that all aspects of design must be compatible with the surrounding landscape. Garrett Eckbo and Francis H. Dean created a lush landscape design around the home utilizing large natural stone retaining walls, planters, fountains and earthen mounds. Both the architect and the landscape architects were highly influential, and their work at the Koerner Residence possesses high artistic value, thus the City Council finds Criterion v is met.
(Criterion 6) The resource represents a significant and distinguishable entity whose components may lack individual distinction, as used in evaluating applications for designation of historic districts, for parcels on which more than one entity exists; or
No information has been provided that the resource qualifies under Criterion vi. (Criterion 7) The resource has yielded or may be likely to yield information important to national, state or local history or prehistory.

No information has been provided on any pre-historic significance of the site.

SECTION 2: PART “B” ANALYSIS OF HISTORIC INTEGRITY.

Beginning on page 37 of the report is an evaluation of the site relative to the seven aspects or qualities of historic integrity, as recognized by the National Register of Historic Places. The seven aspects or qualities include location, design, setting, materials, workmanship, feeling, and association. The report concludes that the site retains a high degree of integrity and is further analyzed below:

1. Location:

The resource remains in its original location of construction, thus, retains integrity of location.

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Resolution No.____

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November 9, 2023

2. Design:

The layout of the building on an 8x8 foot grid dictates the spatial layout of the home. The postand-beam construction is clad with vertical board-and-batten wood siding that was sandblasted to better reveal the natural wood grain and textures. This treated wood siding transitions seamlessly from the inside of the home to the exterior. The “slumpstone” walls also extend from the interior to the exterior. The home incorporates design queues found in ranch homes, such as a low-slung roof and wood siding, giving it a modest appearance; however, the use of expansive glass doors/windows, clerestory windows, and asymmetrical rooflines clearly demonstrate Modernist design principals. The recent remodel removed all non-historic additions made in 1973 and brought it back to the original 1955 floor plan.

3. Setting:

The setting of the property was maintained by preserving the landscape design surrounding the home. Since the original construction of the home in 1955, the Deepwell subdivision has been developed, however, the setting immediately surround the property has been maintained and virtually unchanged. The integrity of setting remains intact.

4. Materials:

The restoration included replacement of original materials that were deteriorated and/or altered.

This work was done using historic documentation and existing original material. The existing vertical wood siding was sandblasted and painted as part of the restoration, and areas with missing or damaged siding was matched to the original material. The “slumpstone” walls were re-painted and the fenestration remains a single pane glass.

5. Workmanship:

The construction of the building appears to use conventional construction methods but the attention to detail, particularly the seamless transition of materials from the interior to the exterior, demonstrates high-quality workmanship. The City Council finds the integrity of workmanship is clearly visible.

6. Feeling:

The property remains a single-family home designed with Modernist design principals that remain the focal point. The site placement of the home remains unchanged in a landscape design that includes two gardens and a recreational area. The overall expression, design aesthetic and setting are maintained allowing the feeling of the site to remain intact.

7. Association:

The property is associated with the renowned architect E. Stewart Williams and landscape architects Garrett Eckbo and Francis Dean. Both groups are highly respected designers that have contributed in a meaningful way to their respective professions. Their notable design Item 2B - Page 10
Resolution No.____

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November 9, 2023
traits/features associate the designers to the site.

Page 34 ends

following is a list of character-defining features identified by the City Council:

Character-defining features of the resource are as follows:
• Overall site design
• Low slung contemporary ranch-style home designed on a modular eight-foot grid • Open carport design with deep overhangs
• Indoor/outdoor atrium space adjacent to primary bedroom • Thin steel-framed sliding glass doors, windows, and casement doors • Large expanses of glazing and clerestory windows
• Sandblasted board-and-batten vertical wood details
• Formica-covered front door
• Original “slumpstone” block walls that extend beyond the interior of the home becoming the exterior walls
• Open beam terrace on the rear of the house
• Swimming pool
• Flagstone paving and white concrete exposed aggregate paving around the slatted bench feature under the trellis
• Trellis and slatted curved bench and planter box
• Landscape/outdoor design features that include the following details:
o Sculpted earth mounds in rear garden
o Native stone retaining walls in rear garden
o Planting beds on three sides of the house
o Shallow steel tank ends used for planters and fountains Non-contributing elements:
• Photovoltaic Panels on the roof
• Mechanical and pool equipment
• Hedge blocking the front elevation

SECTION 4: ENVIRONMENTAL ASSESSMENT
The proposed historic resource designation is not subject to the California Environmental Quality Act (CEQA) pursuant to Sections 15060(c)(2) (the activity will not result in a direct or reasonably Item 2B - Page 11
Resolution No.____

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November 9, 2023
foreseeable indirect physical change in the environment) and 15060(c)(3) (the activity is not a project as defined in Section 15378) of the CEQA Guidelines, California Code of Regulations, Title 14, Chapter 3, because it has no potential for resulting in physical changes to the environment, directly or indirectly.

SECTION 5: CONDITIONS THAT APPLY TO HISTORIC SITES:

According to Section 8.05 of the Municipal Code, the following shall apply to a Class 1 Historic Resource:

1. It shall meet the definition of a Class 1 historic site as outlined in Municipal Code Section

8.05.020.

2. An archival file on the property shall be maintained by the City.

3. It may be qualified as ‘historic’ at the federal, state, and/or county level.

5. A marker explaining the historic nature of the site may be installed at the site in a location viewable from the public way.

6. Compliance with all rules and regulations for Historic Sites and Historic Districts under Chapter 8.05 of the Municipal Code shall be required.

7. The site shall not be further subdivided.

8. The City Clerk shall submit the Council Resolution to the County recorder for recordation within 90 days of the effective date of the Council’s resolution.

Based upon the foregoing, the City Council hereby designates “The Koerner Residence” located at 1275 South Calle de Maria, a Class 1 (Landmark) Historic Resource (Case HSPB #150).

ADOPTED THIS NINTH DAY OF NOVEMBER, 2023.

SCOTT STILES

CITY MANAGER
ATTEST:

BRENDA PREE, MMC

CITY CLERK

CERTIFICATION

STATE OF CALIFORNIA )
COUNTY OF RIVERSIDE ) ss.

CITY OF PALM SPRINGS )
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Resolution No.____

Page 7 of 7 ends

November 9, 2023
I, BRENDA PREE, City Clerk of the City of Palm Springs, hereby certify that Resolution No. ____ is a full, true and correct copy, and was duly adopted at a regular meeting of the City Council of the City of Palm Springs on _______________________, by the following vote:

AYES:

NOES:

ABSENT:

ABSTAIN:

IN WITNESS WHEREOF, I have hereunto set my hand and affixed the official seal of the City of Palm Springs, California, this ______ day of ______________, _________.

BRENDA PREE, MMC

CITY CLERK
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ATTACHMENT C
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Prepared by
Steven Keylon
For the
Palm Springs Preservation
Foundation
December 1, 2019
FIUN
The Leon and Thea Koerner
Residence, 1955
1275 South Calle de Maria
Palm Springs, California, 92264
1275
275 S Calle de Maria Drive
Palm Springs, CA 92264
Nomination Application For
City of Palm Springs
Class 1 Historic Resource
Prepared by Steven Keylon
For the Palm Springs Preservation Foundation
FINAL October 25, 2022
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1 590ivrings, CA 92262

A C K N O W L E D G E M E N T S
The author would like to thank
the following individuals and organizations for
their professional expertise and/or editing assistance:

Tracy Conrad; Barbara Marshall; Sidney Williams; Historic landscape architect JC Miller; Lauren Bricker and Robert K. Alexander (ENV Archives-Special Collections, Cal Poly Pomona); Krisztina Laszlo, Weiyan Yan, and Chelsea Shriver (University of British Columbia Library, Rare Books & Special Collections); Henry Blackman and Maureen Erbe.

Special thanks to Ron Duby, copy editor.

Cover illustration: Drawing of the Koerner Residence by E. Stewart Williams, 1962. Courtesy Leon Koerner fonds, University of British Columbia Library, Rare Books & Special Collections. (Note: The term “Fond” is a word used in Canada to describe an archival collection. According to the Queen’s University archives website:
“Fonds (pron. fohn) - archival documents that have been naturally accumulated (made or received) by an individual, company, institution, etc. as a byproduct of business or day-to-day activities.” This word is frequently used in this nomination, as the bulk of archival material came from Leon Koerner’s archives, which are held at the the University of British Columbia archives.) Item 2B - Page 16
2 C L A S S 1 H I S T O R I C R E S O U R C E N O M I N A T I O N TABLE of CONTENTS
INTRODUCTION: PAGE 3
EXECUTIVE SUMMARY: PAGE 3
CLASS 1 HISTORIC RESOURCE DESIGNATION APPLICATION FORM: PAGE 5 STATEMENT OF SIGNIFICANCE: PAGE 9
CHAIN OF TITLE: PAGE 10
FIRST OWNERS: LEON AND THEA KOERNER: PAGE 11
BACKGROUND/HISTORIC CONTEXT: PAGE 35
EVALUATION: PAGE 35
INTEGRITY ANALYSIS: PAGE 37

APPENDIXES
I Owner’s Letter of Support: Page 41
II Assessor’s Map: Page 42
III Building Permits: Page 43
IV The Development of the Koerner Residence: Page 44
V Biographies: Page 53
VI The Development of Deepwell Estates: Page 70
VII Subsequent Owners of the Koerner Residence: Page 82 VIII Leon and Thea Koerner House, Palm Springs, 1955. By Sidney Koerner Williams:

Page 88 ends

IX Blueprints: Page 91
X Historic Images: Page 93
XI Contemporary Images: Page 109
XII Landscape Photographs by Henry Blackham: Page 128
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3 I N T R O D U C T I O N
The Palm Springs Preservation Foundation (PSPF) is a non-profit organization whose mission is “to educate and promote public awareness of the importance of preserving the historical resources and architecture of the city of Palm Springs and the Coachella Valley area.” In April 2021, the PSPF board of directors assigned the task of writing the Koerner Residence Class 1 Historic Resource nomination to Steven Keylon.

E X E C U T I V E S U M M A R Y
SIGNIFICANCE:

The Koerner Residence is a house and garden at 1275 South Calle de Maria in Palm Springs’ Deepwell Estates neighborhood. The house was designed in 1955 by architect E. Stewart Williams, collaborating with landscape architects Eckbo, Royston, & Williams, and interior designer Arthur Elrod. A masterpiece of environmental design, the house and garden have long been one of the finest estates in the Coachella Valley. The house was recently restored using the original blueprints, reducing the square footage to bring the design back to its original configuration. The landscape was rehabilitated using Eckbo, Royston, & William’s landscape drawings.

The Koerner Residence exhibits numerous character-defining features that place it within the historical context of the Palm Springs Modern period. It is the work of master designers at the top of their game. The house has significance for architecture and landscape architecture. A period of significance for the house has been established as 1955-1973, the years the house was owned by Leon Koerner.

DESIGNATION CRITERIA:

Criteria for the Designation of a Class 1 Historic Resource: Pursuant to the Palm Springs Municipal Code (PSMC) Section 8.05.070(C.1.): A site, structure, building, or object may be designated as a Class 1 historic resource or a Contributing Resource in a proposed historic district by the Palm Springs City Council, provided both of the following findings are met. Refer to the US Department of the Interior National Register Bulletin “How to Apply the National Register Criteria for Evaluation” of potentially historic resources for further information.

As outlined in the analysis beginning on page 20, the Koerner Residence qualifies as a City of Palm Springs Class 1 historic site.

The house and grounds possess exceptional historic significance and meet the following four of seven of the eligibility criteria outlined in Municipal Code Section 8.05.070(C,1,a): (ii): Association with persons of significance who made a meaningful contribution to Canadian history, (iii): Exemplifying a particular period in local history, (iv): Embodies the distinctive characteristics of a type, period or method of construction, and (v) Presents the Item 2B - Page 18
4 work of a master architect, landscape architect and interior designer, each whose individual genius influenced their age (i.e. peers, profession), and possess high artistic value.

Furthermore, the site possesses a high degree of historic integrity as outlined in Municipal Code Section 8.05.070 (C,1,b) in terms of Design, Materials, Workmanship, Location, Setting, Feeling and Association.

The historic context within which the Koerner Residence was evaluated as outlined in the Citywide Historic Context Statement & Survey Findings is The Post-World War II period 1945 – 1969. Its period of significance is associated with the timeframe in which the Koerner’s owned the property beginning with their purchase of the parcel in 1955 through Mr. Koerner’s passing in 1972.

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9 STATEMENT OF SIGNIFICANCE
Infrared photograph of the Koerner Residence, 1956. Julius Shulman photograph, © J. Paul Getty Trust. Getty Research Institute, Los Angeles (2004.R.10).

Summary
The Koerner Residence was designed for Leon and Thea Koerner by a team of master designers which included architect E. Stewart Williams, landscape architects Garrett Eckbo and Francis Dean, and interior designer Arthur Elrod. The contemporary house and garden have long been one of the Coachella Valley’s most beautifully designed estates. This was enhanced when the current owners undertook a painstaking, authentic restoration of the house, using the original plans. The square footage that was added later was removed, restoring the original footprint. The garden was given the same attention, and today, the Koerner garden, perhaps the best example of a modernist landscape in the Coachella Valley, has been faithfully restored.

Location
The Koerner Residence is located at 1275 Calle de Maria in Palm Springs’ Deepwell Estates neighborhood.

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10 CHAIN OF TITLE
Primary sources show the chain of ownership for the Koerner Residence (Lots 2, 3, 10, and 11 of Deep Well Ranch Estates Unit #10), as shown by Map recorded on file in Book 28 page 69 of Maps, records of Riverside County, California:
04-15-1955 Harry A. Dart and Gladys M. Dart, husband and wife, to Deep Well Colony Estates, Inc., a California Corporation.
04-15-1955 Deep Well Colony Estates, Inc., a California Corporation, to Leon J. Koerner and Thea Koerner, husband and wife as joint tenants.
11-22-1955 Leon J. Koerner and Thea Koerner, husband and wife, to Miosogno Holdings, Ltd. 09-05-1973 Miosogno Holdings, Ltd., to Estelle Brown Stewart, an unmarried woman. 08-12-1992 Estelle Brown Stewart, a married woman (who acquired title as an unmarried woman), to Estelle Brown Stewart, or her successors, as Trustee of THE ESTELLE BROWN STEWART LIVING TRUST, U/A DATED AUGUST 11, 1992.
05-27-1997 Estelle Brown Stewart, or her successors, as Trustee of the Estelle Brown Stewart Living Trust, U/A dated August 11, 1992, to Henry Lamb, an unmarried man. 08-05-2004 Henry Lamb, an unmarried man, to Henry B. Lamb and Allan R. Lamb, Trustees of the Henry B. Lamb and Allan R. Lamb Trust Dated August 5, 2004. (Quitclaim Deed)
10-07-2005 Henry B. Lamb, an Unmarried Man, to Henry B. Lamb and Allan R. Lamb, Trustees of the Henry B. Lamb and Allan R. Lamb Trust Dated August 5, 2004. (Trust Transfer Deed)
04-05-2018 Allan R. Lamb, Trustee of The Henry B. Lamb and Allan R. Lamb Trust, to Sawtooth Investments, a Massachusetts Limited Liability Partnership. (Affidavit of Death of Allan R. Lamb attached)
NOTE: There is a April 20, 1955 “Subdivision Right of Way” document in the Chain of Title which indicates that the California Water and Telephone Company acknowledge the four parcel assembled lot: “Poles, with related anchors, shall be placed only at the common corner of (a) Lots 1, 2, 11, and 12, and at the common corner of (b) Lots 5, 6, 7, and 8.”
No overground right of way or easement is granted between the common corners of Lots (a) and Lots (b) above set forth.

Lots 1, 2, 3, 10, 11, and 12 shall be served underground from the pole at the common corner of Lots (a) and Lots 4, 5, 6, 7, 8, and 9 shall be served underground from the pole at the common corner of Lots (be) above set forth.”
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11 FIRST OWNERS – LEON AND THEA KOERNER
“On behalf of the Government of Canada, I am pleased to commemorate the national historic significance of Leon Joseph Koerner. His commitment to philanthropy, conservation, and safe workplaces made BC a better place to live and work. I encourage all Canadians to learn more about Leon Joseph Koerner and his contributions to Canada’s rich forestry heritage.” -Joyce Murray. Parliamentary Secretary to the President of the Treasury Board, Member of Parliament for Vancouver Quadra. Spoken at the ceremony to recognize Koerner by the federal government of British Columbia, as a Person of National Historic Significance, May 14, 2018.

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12 EARLY LIFE
Leon Joseph Körner (later changed to Koerner) was born May 24, 1892, to Isidor and Maria Körner in Novy Hrozenkov, in the Czech Republic. The town was 150 miles from Prague in the province of Northern Moravia, which was, at that time, part of the old Austro-Hungarian Empire. Koerner was the eighth of ten children, four boys, and six girls.

His father Isidor Körner (1848-1925) owned a forestry business, Isidor Körner Forest Industry, Ltd (IKAG).1 “Isidor Korner was a powerful man, whose cosmopolitan aspirations and inquisitive personality affected the whole family; he influenced the lives of all of his children, especially the careers of his four sons. Like other middle-class patriarchs of Moravia and Bohemia, Isidor enjoyed the good life: good food, good theatre and good companionship. He traveled regularly throughout Europe on business, was always well dressed and rarely seen without a cigar. Walter Koerner described his father as always having an ‘aura of distinction about him.’”2
The Koerner family lived in a large house with a garden and adjacent agricultural property. They had a maid and a cook, and the house was always full of children, friends, visitors, and poor students—who were regularly invited to dinner. Adjacent to the house was a large wholesale and retail lumber yard.3 The Koerners were not profoundly religious; thus, the children were taught to respect Judaism as the religion of their forebearers. “The family atmosphere seems to have been one of rational humanism where knowledge of the Jewish tradition and moral standards were taught and exemplified by Maria Korner.”4 According to a lengthy profile in Maclean’s magazine in 1956, Koerner:
was reared in a society devoted to high ceremonial and caste, and he circulated in the orbit of Emperor Franz Josef’s court. J. Koerner Lumber Industries Ltd., the family business, was the biggest lumber company in what is now Czechoslovakia. After the fashion of the Rothschilds, the Koerner boys were schooled for the priestcraft of international finance. Leon Koerner graduated from the Export Academie in Vienna, absorbed the progressive theories of the London School of Economics and learned some philosophy at the Sorbonne in Paris. His education was topped off by a couple of years' practical experience in the banking and brokerage houses of several European capitals. He was no sooner ready for work than World War 1 broke out. As an artillery officer in the AustroHungarian Army he fought on the Russian, Balkan and Italian fronts, was wounded once, and on another occasion, he was buried alive by falling debris from a shell burst. Among the eight decorations he won are two equivalent to the DSO and MC. The division of the Austro-Hungarian Empire in 1918 left him a citizen of Czechoslovakia.5
1 Raincoast Jews, Lillooet Nördlinger McDonnell, Midtown Press, Vancouver, BC, 2014, 83. 2 Raincoast Jews, 84.
3 Koerner, Walter. The Tree May Prefer Calm, But the Wind Will Never Subside, Vancouver, W.C. Koerner, 1988, 6. 4 Raincoast Jews, 83.
5 “Leon Koerner’s One Man Giveaway Program,” Maclean’s, August 4, 1956, 35.

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13 As the most educated of the ten Koerner children, Leon Koerner was considered his mother’s favorite. “So it is perhaps not surprising that when Isidor Korner retired in 1920, his four sons took over the business, and Koerner became the de facto head of the firm, although officially his eldest brother Theodore Koerner was the senior partner.”6
Employing their business acumen and public service to organizations dedicated to the recovery of the forest industry, Koerner and his brothers played a significant role in Czechoslovakia’s return to economic prosperity during the mid and late 1930s. They built an empire that at its height employed 15,000 people in its forests, mills, and offices throughout central Europe.7

THEA ROSENQUIST
Leon met Thea Rosenquist in post-World War I Vienna, and after a courtship of several years, they married in 1922. Thea was born in Germany in 1896 to Polish and Swedish parents. Before her marriage, she was a thriving and well-known actress on the stage of the Deutschen Volkstheater in Vienna. She was also involved in film production and was occasionally photographed modeling women’s fashions because of her popularity and beauty. Although she gave up her career when she married, she remained a prominent figure in Vienna’s vibrant cultural life and maintained her love of the arts in all their forms throughout her lifetime.8 In the Maclean’s profile, Thea Koerner was said to have “quit the stage in 1922 but never lost her theatrical spirit, was one of the ringleaders of the revel. A full-length portrait of her, painted at the age of twenty-four, shows her to have been a radiantly beautiful woman. In her veins, two volatile racial strains explode. Although she was born in Germany, her parents were of Polish and Swedish descent. She is given, on occasion, to swinging rapidly between tears and laughter.”9
6 Raincoast Jews, 84-85.
7 Leon and Thea Koerner biography, Leon and Thea Koerner Foundation website. Accessed February 2, 2022 (https://ltkaward.com/about/leon-and-thea-koerner/).
8 Ibid.
9 Maclean’s, 35.

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14 Actress Thea Rosenquist, at right, starring in the 1919 film “Die Jüdin von Toledo [The Jewess of Toledo].” Actress Thea Rosenquist, 1916, left; 1919, right. Courtesy Jurgen Reich Item 2B - Page 29
15 The Koerners and friends at the Koerner Residence in Vienna, where they lived from 1922-1938. The house was at Kahlenberger Strasse 141. Thea Koerner, far left, with Leon Koerner in checked jacket at right. Photo courtesy Jurgen Reich.

Between 1920 and 1938, Leon Koerner continued to develop both his reputation and the family firm's reputation, helping mold it into a critical player in the European forest industry. “During the 1930s, the family firm generated a considerable profit margin, thus not only amassing a significant amount of financial wealth for the family but also making considerable contributions to the Czechoslovakian economy by employing upwards of 15,000 workers in mills, factories, and offices throughout Czechoslovakia and Europe. Walter Koerner commented that ‘wherever charm, force of personality, and enthusiasm could carry the day, [Leon] Koerner triumphed.’”10
During the Depression, while his brothers ran the family business, Leon Koerner took on an international task. He was one of the European Timber Exporters’ Convention architects, which, from headquarters in 10 Raincoast Jews, 85.

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16 Stockholm, associated the lumber industries of Czechoslovakia, Austria, Rumania. Poland, Yugoslavia, Denmark, Sweden, Finland, Latvia, and Russia, who were all in a joint fight for survival.

When Hitler marched into Czechoslovakia in 1938, Koerner was in the uniform of a reserve captain and ready for the fight. When the Czechoslovakian government, deserted by Britain and France, was forced to capitulate, he knew nothing was left for his family but flight.

Koerner called himself a Protestant, although he was half-Jewish, half-Slav by blood. As he was later described, “He is not a member of any Vancouver church but in Europe he worshipped at a Lutheran church. Because his grandmothers were Jews — though married to Gentiles — the Nazis rated Koerner and his brothers as Jews and confiscated their property. “
11 With the Czech capitulation, and before the Nazis could seize them, the brothers dispersed to collect all outstanding accounts due to J. Koerner Lumber Industries. They also sought to safeguard their foreign investments.

CANADA
By late September 1938, the alarming territorial ambitions of the German Reich and its anti–Semitic policies made it imperative that Koerner and his siblings leave Czechoslovakia without further delay. Leon and Walter Koerner, the last of the brothers to leave the country, made a timely escape by air from Prague to London on September 23, 1938, departing only hours before the airport was closed to all but military traffic. Thea Koerner, a Lutheran, remained in Vienna until December 1938, hoping in vain that the political situation would improve and allow her husband to return to their home. The Koerner brothers had to abandon their business and most of their possessions and leave behind those family members who could not be persuaded they should also go. No monetary compensation was ever received.12 Three of Koerner’s sisters, twins Irma and Ida, and Kamilla, stayed behind with their husbands. All died at Auschwitz.

Although safe in London, Koerner was despondent over the inevitable fate of his relatives, his country, and the loss of a fortune. In January 1939, he and his wife embarked on an extended trip for much-needed diversion. When German troops occupied Prague on March 15, 1939, Leon and Thea Koerner were in Vancouver, waiting for Mrs. Koerner to recover from a severe case of the mumps before they could leave for California. During that month's delay, Koerner learned something about British Columbia’s coastal forest and lumber industry. He advised his brothers, who were still abroad, that the family should choose this province as a suitable place to begin their new life and business.13 TURNING HEMLOCK INTO “ALASKA PINE”
At New Westminster, twelve miles south of Vancouver, Koerner bought a derelict mill, hired forty-five men, and, against all local logic, began to saw hemlock, a wood then regarded by most builders as junk. Because 11 Maclean’s, 35.
12 Leon and Thea Koerner biography, Leon and Thea Koerner Foundation website. Accessed February 2, 2022 (https://ltkaward.com/about/leon-and-thea-koerner/).
13 Ibid.

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17 hemlock contained much more moisture than other Canadian woods, it was twice as heavy, cost more to ship, and frustrated workers. Failure to dry the hemlock correctly resulted in severe warping and discoloration during shipping overseas.

Undaunted, Koerner submitted the hemlock to unique processes he had learned in Europe, changed its name to “Alaska Pine,” and successfully sold it worldwide. Soon, he absorbed a neighboring company and, before long, was producing 75 percent of the ammunition and ration boxes used by British Commonwealth forces during World War II. “The business was extremely successful and brought acceptance, respect, and renewed wealth to the Koerners.”14
When Canadian citizenship was introduced in 1947, Koerner was one of the first four hundred people in the country to receive his certificate. He was invited to attend a formal Vancouver ceremony where prominent men became the first Canadian citizens. His certificate, number 0388, hung on the wall of his office. “That,” he says, “is the most valuable document in my possession.”15 Leon and Thea Koerner, ca. 1955. Courtesy University of British Columbia Archives 14 Leon and Thea Koerner biography, Leon and Thea Koerner Foundation website. Accessed February 2, 2022 (https://ltkaward.com/about/leon-and-thea-koerner/)
15 Maclean’s, 35.

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18 Leon Koerner, ca 1965. Courtesy University of British Columbia Archives

LATER YEARS AND PHILANTHROPY
By the early 1950s, Koerner was ready to slow down and retire, but instead, devoted the rest of his life to giving back. The good fortune Leon and Thea Koerner shared instilled in them profound and lasting gratitude for the opportunity they had been given to start their life over again in a free and democratic country. The couple decided “the best way they could express their deep feelings was by embarking on a program of philanthropy to enrich the province they felt had been so good to them.” Both believed in the benefits of higher education for young people and the importance of the arts to the community as nourishment for the human spirit. Their recognition that these and other enterprises of a social welfare nature needed encouragement in their new land prompted them to establish the Leon and Thea Koerner Foundation with an endowment of $1,000,000 in 1955. It was the third private foundation in the province and the first to be founded by immigrants.16
16 Leon and Thea Koerner biography, Leon and Thea Koerner Foundation website. Accessed February 2, 2022 (https://ltkaward.com/about/leon-and-thea-koerner/)
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19 The Koerners were present at the first meeting of the Board of Governors on May 6, 1955, to present their cheque. Until the end of his life, Koerner’s keen interest in the deliberations of the Foundation was evidenced by his attendance at many meetings. Over the years commitment to their common goal resulted in the formation of deep bonds of camaraderie and personal friendship between the founders and the Governors, greatly enhanced by the generosity of the Koerners. “To show their appreciation to the Governors, Koerner invited them and their spouses to a winter meeting in Palm Springs, California, all expenses paid, on four occasions between 1957 and 1962, and hosted a formal dinner for them every year after the spring, and often the fall, meeting of the Board in Vancouver until 1970.”17 Following the creation of the Foundation, Dr. and Mrs. Koerner continued their philanthropic activities in a manner that not only benefited the University of British Columbia but also permanently established their names in association with it. In 1957 they pledged over half a million dollars to the University of British Columbia’s Capital Gifts fundraising campaign to build a Faculty Club on the campus. This building is known today as the Leon and Thea Koerner University Centre. After the death of Mrs. Koerner on July 26, 1959, Dr. Koerner donated his share of her estate to the Foundation on the condition that it be offered with his own contribution to the University of British Columbia for the construction of a graduate student center to be known as Thea Koerner House as a memorial to Mrs. Koerner. The Centre is now known as the Thea Koerner House Graduate Student Centre. When it opened on May 24, 1961, it was, and still is, a unique center among Canadian university campuses, and was chosen by Dr. Koerner as an affirmation of his conviction that the graduate schools of Canada’s universities would produce the country’s future leaders.18 Another memorial was established in Mrs. Koerner’s name by a group of her friends after her death:
the Thea Koerner Memorial Scholarship is still offered each year to a UBC student proceeding to an undergraduate degree in creative writing, fine arts, music, or theatre.19 The top floor of Thea Koerner House was a penthouse designed for Dr. Koerner into which he moved in May 1961; he resided there from May to early October each year and spent the winter months at his home in Palm Springs, California. In 1966 Dr. Koerner, whose health was not robust, suffered a stroke; thereafter he lived in failing health until his death on September 25, 1972. Under the provisions of his will the Foundation received the residue of his estate which, together with his share of Mrs. Koerner’s estate, brought his personal contribution to over one and a half million dollars.20 Leon Koerner received many honors during his lifetime, including an honorary LLD. from the University of British Columbia in 1957 and an honorary PhD from Simon Fraser University in 1967. Posthumously, he was inducted into the Canadian Business Hall of Fame in 1983, and in 1999 he was one of fifty men and women 17 Leon and Thea Koerner biography, Leon and Thea Koerner Foundation website. Accessed February 2, 2022 (https://ltkaward.com/about/leon-and-thea-koerner/)
18 Ibid.
19 Ibid.
20 Ibid.

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20 named as British Columbia’s business leaders of the century. Many tributes were paid to him in the press after his death in 1972, none more fitting than an editorial in the Vancouver Sun, which read, in part:

Leon Koerner had a consuming sense of debt, and it was not warranted … He contributed a whole new forest industry of immense value to the Canadian economy… His feeling of obligation persisted …and … became a magnificent obsession … The account he ran with Canada was a private affair, a thing of the heart. By any reckoning — except perhaps Leon Koerner’s — he died, this week, a debtfree man.21 Architects Roger Williams, left, and E. Stewart Williams at a party at the Koerner Residence, circa 1960. Courtesy Sidney Williams.

THE DESIGN OF THE KOERNER RESIDENCE

SITE PLAN
Collaborating with landscape architects Eckbo, Royston, and Williams, architect E. Stewart Williams sited the house to maximize the garden areas and provide ample space for outdoor living. They did this by arranging all the primary rooms of the house facing west toward the spectacular views and landscaped areas for both passive and active recreation. The home was situated in a north/south configuration along the two parcels (equaling half an acre) facing Calle de Maria. Doing so also meant that the rear garden was a half-acre private 21 “Paid in Full,” Vancouver Sun, 27 September 1972, p. 4 Item 2B - Page 35
21 oasis. Compared with the transparency of the rear of the house, the front of the house was relatively opaque, and is where secondary or tertiary spaces were placed. A motor court was accessed from Calle de Maria, leading to an open carport with adjacent storage and closets with louvered doors. From Calle de Maria, an axial central spine, paved in Arizona sandstone flagstones was created. The wide flagstone path began at the street and led to the woodgrain pattern Formica-covered front door. Here, an outdoor pool featured three shallow steel disks graduating in size, which served as a fountain. These were made from tank ends and were a Garrett Eckbo signature. Other similar shallow disks were used around the garden as planters. From the front door, the flagstone spine continued through the house, extended through the rear garden along the rectangular swimming pool, and terminated at a large, curved slat bench and shade structure (another Eckbo feature). The mountains beyond served as a stunning borrowed vista.

The entire arrangement of the site plan, residence, and landscape design was built using a precise eight-foot modular grid.22 A cross-axis was created from the flagstone spine inside the house. Facing south was a large 22 While the use of a grid system to organize architectural space is often considered a “Miesian” device in International Style architecture, in fact, it is an ancient way of defining spaces and organizing axes. Grid formulas in architecture go back to the Greeks and Romans, as well as the Japanese. While Williams was studying architecture at Cornell University, his training in the Beaux-Arts curriculum would have exposed him to the design grid modules of Jean-Nicolas-Louis Durand (1760–1834), one of the creators of the École des Beaux-Arts. In “Delirious Façade,” authors Wei-Han Vivian Lee and James MacGillivray explain: “From its formalization at the École Polytechnique and the École des Beaux Arts in the 19th Century, architectural composition was understood as a procedural act which entailed of a series of sequential design decisions. The process of design was taught as moving through three forms of representation, the plan, section and elevation more or less in that order. In his Precis, Jean-Nicolas-Louis Durand describes the order of representation as follows: ‘the first [plan] represents the horizontal direction of the building, the second [section] its vertical disposition or its construction and finally the third [elevation] - which could not be anything but the result of the two others - represents the exterior.’ Durand emphasized that the order was an essential logical progression and that to begin with the elevation and proceed to the plan would be tantamount to deducing ‘the cause from the effect, a notion whose absurdity speaks for itself.’”
Describing Durand’s grid process, author Jeroen Goudeau observed: “The overall grid determines the layout of the whole design, starting with the positioning of the walls and columns: but next to the lines of this screen there is a second set of axial lines in the voids of the designs. Here Durand draws as a second layer the axes of symmetry, which bind together the plan as a whole. The overall grid arranges the spaces and forms as a combination of the various architectural elements in two stages — first the disposition of the elements and then the formation of the larger parts. The axes of symmetry then organize the functional parts of the building — the rooms and the successions of the inner spaces; in short, they define the composition of the building.” (“The Matrix Regained: Reflections on the Use of the Grid in the Architectural Theories of Nicolaus Goldmann and Jean-Nicolas-Louis Durand.” Architectural Histories, January 2015, 7).

In 1938, Williams traveled to Europe to study European Modernism. Though he had been exposed to the International Style and admired Le Corbusier and Mies van der Rohe, he was more interested in the organic modern architecture he found in Norway, Sweden, Denmark, Holland, Germany, and Switzerland. (An Eloquent Modernist: E. Stewart Williams, Architect. Edited by Sidney Williams, 2014, 26). In 1986, Williams told his son Erik, in an interview for the Palm Springs Historical Society: “I was never a devotee of the International Style per se. I knew about it, and it was a great influence on contemporary architecture in the sense that it broke loose from traditional forms and taught everybody to think from the ground up and to invent your own forms and so forth. But the International Style had a series of rather rigid tenets and rules…absolute geometric forms and…Corbusier saying the house was a machine for living. But I have always felt that architecture should be approached with an open mind.” Architectural historian Alan Hess, in his chapter on Williams in Julius Shulman: Palm Springs Modern, wrote of Stewart’s trip to Europe in 1938: “Taking in the severe Modern icons of Gropius and others, he found himself drawn more to Scandanavian design.

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22 living room and dining room in an “L.” The adjacent kitchen featured folding floor-to-ceiling walnut doors that could be closed for dinner parties. A maid’s room was off the galley kitchen, and next to that, storage spaces in a roofed service yard. Returning to the flagstone entry hall and turning north down the flagstone hallway running on the cross-axis was a hallway lined with closets with walnut doors. Another walnut door led to a guest room and bathroom. The bathroom had walls of obscure glass, with a steel casement obscure glass door leading to the rear garden. On the other side of the flagstone hallway was a floor-to-ceiling fixed pane of glass looking into an indoor/outdoor atrium patio. This unique room was under the house’s roof, but the roof was slatted and open to the sky over this section. Inside was a planting area, flagstone patio, and tiled pool.

Three shallow, rectangular steel trays were mounted to the Slumpstone walls, and served as fountains.

A door leading to the Koerners’ separate bedroom suites was at the end of the flagstone hallway. The long (now carpeted) hall continued through the door, with a sliding glass door leading to the atrium patio. Thea Koerner’s bedroom suite (with dressing room, closets, and bathroom) faced the rear garden, with a dynamic angled flagstone patio outside a large, fixed pane of glass and panel of jalousie windows adjacent to steel sliding glass doors. The hallway continued to Leon Koerner’s bedroom, a dressing room, and bathroom. The room had a large floor-to-ceiling fixed panel of glass, jalousie windows, and sliding glass doors leading to the north part of the garden. Another angled flagstone patio was just outside.

ARCHITECTURE
The elegantly low-slung house was wholly modern in design and function. Still, it was rooted to the site with a palette of richly textured materials such as sandblasted wood board-and-batten and Slumpstone resembling old adobe—materials that referenced the “Old West” vocabulary which defined early Palm Springs. Earlier examples of this vernacular architecture include the structures at Smoke Tree Ranch, with their humble materials and board-and-batten construction, as well as 1930s homes designed by Cliff May and Clark and Albert Frey, which are scattered through Palm Springs and Rancho Mirage. The Spanish-Colonial Revival buildings which utilized Adoblar brick, a hard-fired rustic brick meant to resemble adobe, were the influence for Williams choosing Slumpstone brick, a relatively new material developed by General Concrete of Van Nuys, for the Koerner Residence.23
Europeans like Frey and Neutra found the rigorous clarity of the Bauhaus and Le Corbusier appealing, but the young American found the greatest influence in his life in the softer, often organic forms and warm natural materials of Scandinavians like Aalto and Asplund.” In an interview with Hess, Stewart remarked: “They did things for human habitation, not like Le Corbusier [who designed] according to his own mathematical formulas…I wanted my buildings to have soul, a place where people were part of the human race, not an exercise in geometry.”
23 Cliff May, the “Father of the California Ranch House,” was also a consultant on the early development of the Deep Well Ranch Estates tract, and set the tone for the early ranch-style homes that were built in Deep Well Ranch Estates. As reported in the Desert Sun on January 31, 1952: “Adjoining, as it does, the Deep Well Guest Ranch, oldest guest ranch in the valley, the Deep Well Ranch Estates will carry on the tradition by having ranch-type houses and by using street names which tie in with the activities of ranch life. Mr. Cliff May, the outstanding architect and builder of Ranch houses in America, is on Mr. Grant’s planning and advisory, committee, which ensures the high quality of the new development.” Adoblar brick had been developed by Fritz Ruppel in the 1920s, to be used to restore one of the California Missions. It became a popular building material from the 1920s until after World War II, used for Ranch structures, as well as Spanish-Colonial and Monterey-Colonial buildings. Modernist architects also began using it, admiring the warmth and texture it provided. In the late 1940s, General Concrete Products of Van Nuys developed Item 2B - Page 37
23 An advertisement of products offered by General Concrete Products, Inc., of Van Nuys, includes their recently introduced Slumpstone. Ad from “A New Home at the Old Address,” Remodeling Contractor’s Association, n.d., ca. 1951.

The design of the house is organized on the same modular eight-foot grid. The wing of the house with the public rooms featured a shed roof that angled west from the maid’s room at its lowest point, rising and soaring over the living room and outdoor terrace. At the terrace, a section of the roof was left open so that a cluster of three Washingtonia filifera palm trees could pierce the roof. On the opposite side of the house, facing Calle de Maria, a shorter span of roof angled east over the storage areas, creating an asymmetrical butterfly roofline.

The bedroom wing had a gabled roofline, which created a most dynamic composition of opposing planes when viewed from the rear terrace. The roof fascia all around angled downward and was sandblasted wood.

Board-and-batten walls were sandblasted to create an additional interesting texture. Adjacent to the front door, a wall of board-and-batten transitioned between outdoors and indoors, separated only by a floating pane of glass. A brushed brass sconce with pinhole detail, designed by Paavo Tynel for Finland House, New York, was placed on the exterior board-and-batten wall. A matching sconce was positioned on the interior portion of the same wall. A third sconce was on the opposite side of that wall, facing the living room. To further maximize the indoor/outdoor relationship, a long planting bed began outside under the kitchen Slumpstone, a 6-inch by 6-inch by 16-inch rough-textured concrete brick, designed to “utilize masses and shadows for architectural beauty.” (“Concrete Gets Face Lifted,” Los Angeles Mirror, December 30, 1949, 64.) Item 2B - Page 38
24 windows, ran underneath the glass panel, and continued inside. The same board-and-batten walls were used inside the house on some walls, further maximizing the indoor/outdoor relationship.

Other walls were Slumpstone, extending beyond the boundaries of the house, becoming the walls that enclosed the garden, further blurring the indoor/outdoor relationship. 24 This was indeed the plan's genius
move, a collaboration between the landscape architects and the architect. The Slumpstone walls surrounding the rear garden were positioned so that a wide buffer between the Koerners’ garden and the surrounding development assured privacy. In addition, decreasing the size of the massive acre site created a garden on a much more human scale. On the facade facing Calle de Maria, other than some high clerestory windows, a relatively opaque wall afforded privacy.

The west facade, facing the rear garden and Mount San Jacinto, was almost entirely glazed, using a combination of floor-to-ceiling fixed panes of glass, narrower panels of jalousie windows, and steel-framed casement doors and sliding glass doors.

Landscape architect Francis Dean’s rendering of the Koerner garden, seen through the windows of the living room. Courtesy Francis Dean Collection, ENV Archives-Special Collections, Cal Poly Pomona.

LANDSCAPE ARCHITECTURE
In collaboration with his partner Francis Dean, the landscape by master landscape architect Garrett Eckbo primarily used a plant palette of Mediterranean-climate species known to grow well in the harsh desert 24 The extending of walls beyond the roofline, and into the landscape, had been used in the 1920s by architects like Richard Neutra, Mies van der Rohe, and by Albert Frey in the 1940s in Palm Springs.

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25 climate. These hardy species provided the architecture of the landscape. Succulents and annual flowering color were contained in beds and planters. Landscape architect Francis Dean later recalled that, “the Koerner garden expresses the desire of the clients who had been coming to Palm Springs for many years to escape the cold weather of western Canada. They enjoyed the mountains, the desert, and the unique plant material of the region. The garden, therefore, tended to be a reflection of these elements and located in a fashion to be appreciated from anywhere in the house.”25 A landscape buffer between the garden walls and the property lines was planted in a mix of native species. The landscape for the Koerner Residence was one of the finest examples of modern landscape architecture in the Coachella Valley and is now one of the very few remaining.

The front of the house along Calle de Maria was planted simply, with a pair of Olea europea trees (European olive) in a large rectangular panel of turf to the left of the Arizona flagstone pathway. A custom mailbox was installed here. Along the Slumpstone walls of the house, white oleander was planted in a continuous hedge.

To the right of the pathway was a square lawn, with a row of juniper planted near the carport. The north side of the grass panel had a hedge of pineapple guava, terminating at another long row of white oleander at the property line along the street. More white oleander was on the north side of the motor court, with a cluster of three Platanus racemosa (California sycamore) adjacent.

At the pool and fountain near the front door, a cluster of three Erythea armata (Mexican blue palm) was planted in the raised bed next to the pool and was underplanted by colorful petunias.

The rear garden had two zones—to the south was a recreation area with a large rectangular swimming pool and shuffleboard court. A long rectangular planting bed between the two was planted with white petunias.

Landscape lighting throughout was green-painted mushroom-shaped steel shades attached to steel poles, and was designed by Maurizio Tempestini and Joseph Douglas Weiss, AIA, for Lightolier as part of their Lytescape collection. Some lights had double shades on a single pole. Along the west edge of this area was a long, curved wood slat bench mounted to a curved concrete wall that supported a raised planting bed filled with seven bottle brush plants, underplanted with a mass planting of Santolina chamaecyparissus (Lavender Cotton).

Overhead was a long curved shade structure, some squares open to the sky, some filled with wood slats for filtered shade. This area was paved in white concrete exposed aggregate. According to landscape architect Francis Dean, “the overhead structure at the far end of the pool was a recall of the extension of the house where the use of Washingtonia Palms projected through the structure and helped to relate the house and garden where other palms were used as mainstays of the garden.”26 A jacaranda tree was planted next to the bench and shade structure. Along the south perimeter, a long raised serpentine planting bed was created using a retaining wall built from undulating stacked native ledge stones, naturally varnished a deep coppery brown.

Dean explained, “the rocks were used in this form to reflect some of the dry creek channels in the lower portion of the San Jacinto Mountains.”27 Some of these stones were dramatically cantilevered over the adjacent grass panel, others embedded in the lawn. Large steel disk tank ends were used as planters. The 25 “Koerner Garden – 1955,” typewritten sheet dated January 14, 1991, Francis Dean Collection, ENV Archives-Special Collections, Cal Poly Pomona.
26 Ibid.
27 Ibid.

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26 upper portion of this planting area had a long row of ten citrus trees underplanted with a lively mix of plant materials.

On the north side of the swimming pool was a large lawn, with a mature, multi-trunk olive planted outside the guest room. Adjacent to the slat bench and shade structure, a raised planting bed was constructed using vertical redwood two-inch by two-inch posts set into the earth. In the northwest corner of the garden, a raised circular concrete platform was built, which provided an ideal vantage point from which to view the garden, with the mountains and canyons beyond. As Dean later described it, this platform was designed for, “observing the view to the mountains where the continually changing hues of the mountains becomes an exciting experience just after sunset.”28 Three Washingtonia filifera palms encircled this. The west and north perimeters of the lawn were enclosed by undulating earthforms, large dirt mounds, which Dean later said were designed to, “capture the subtleties of the forms in the San Jacinto Mountains. The simple use of African Daisy and White Alyssum over most of the mounds was intended to draw attention to some of the native material used in strategic spots. The unique structure of Ocotillo, the twisted branching quality of Cat Claw Acacia with its red seed pods in the fall and the Palo Verde trees with their yellow green branches, all are very striking in contrast to those plants that have been introduced into the low desert areas.”29 On the other side of the Slumpstone wall, in the buffer between the wall and the property lines, native plants were used. Twenty-four five-gallon Prosopis glandulosa, (Honey mesquite) were planted in clusters on two corners of the property, eleven on the southwest corner and ten on the northwest corner. Seven more were planted in a staggered row along the wall behind the shade structure, while seven Rhus ovata (Sugarbush) were planted just north of this. Three Acacia greggi (Catclaw acacia) and seven more Rhus ovata completed the west portion of the perimeter. More Rhus ovata, Salvia apiana (White sage), and six Parkinsonia aculeata (Jerusalem thorn) were planted along the northern edge, while three existing sycamores were retained. Scattered underneath the plantings in the buffer were Abronia villosa (Desert sand verbena), which would provide a carpet of lilac-pink flowers during much of the season the Koerners would be enjoying the garden.

INTERIOR DESIGN
Wall-to-wall beige wool looped carpeting was laid throughout the house. French-pleated draperies were made of hand-woven casement cloth and hung from traverse tracks concealed behind wood pelmets. In the bedrooms, the semi-sheer casement cloth was lined.

Elrod had a custom sectional sofa in the living room made with latex foam cushions, covered in hand-woven fabric with a beige plaid textured design. A lounge chair and ottoman were covered in green hand-woven fabric. A custom corner table was designed to accommodate a remote-control chassis, while a cocktail table, end table, and floor lamp completed this simply designed room. Elrod created a custom table in the dining room that could seat eight when the leaves were inserted and a sideboard to match. Six dining chairs with latex cushions were upholstered in a stripe textured green hand-woven fabric. Suspended from the center of 28 Ibid.
29 “Koerner Garden – 1955,” typewritten sheet dated January 14, 1991, Francis Dean Collection, ENV Archives-Special Collections, Cal Poly Pomona.

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27 the dining room, the brushed brass adjustable hanging light with counterweight was designed by Paavo Tynell for Finland House, New York.

The guest room was the only room photographed by Julius Shulman. A pair of twin beds, pushed together, are covered in hand-woven stripe textured bedspreads, woven through with metallic Lurex threads. A pair of high-back lounge chairs upholstered in beige hand-woven fabric and magazine table, a swivel stool upholstered in coral, and a Widdicomb desk and chair, with coral textured hand-woven fabric designed by T.H. RobsjohnGibbings, completed the room. E. Stewart Williams had designed the built-in walnut cabinetry as part of the architecture.

In Thea Koerner’s bedroom, a full-sized bed was covered with a bedspread in green hand-woven fabric. A desk chair, day bed, and swivel stool also had green upholstery. The walls were covered in grass cloth wallpaper. Leon Koerner had similar furniture in his bedroom, upholstered in brown hand-woven fabrics. Both bedrooms had built-in walnut cabinetry in the dressing areas. Over each of the Koerners nightstands, a pair of Lightolier adjustable wall lamps with counterweight and plug-in cord was installed. These featured a brass stem and straw shades, and were designed by Gerald Thurston.

The patio furniture was manufactured by Brown Jordan. For the pool area, the chaise lounges and small glasstopped tables were constructed of painted aluminum tube laced with plastic straps, which were from Brown Jordan’s Leisure and Lido collections. Patio dining furniture was from the “Morning Glory” collection of cast iron and steel, and was painted black with coral vinyl cushions.

Before the Koerners moved in, Elrod brought in all the accessories to complete the home’s interior.30 30 Arthur Elrod’s specifications sheets and correspondence with the Koerners. Leon Koerner fonds, University of British Columbia Library, Rare Books & Special Collections.

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28 CHANGES OVER TIME
E. Stewart Williams’s drawing for the interior modifications, 1961.

After his wife Thea died in 1959, Koerner asked E. Stewart Williams to reconfigure the entry into their bedroom suites, to better accommodate guests. Previously, the flagstone hallway, which led from the entrance to the bedrooms, terminated at a door which led to both Koerner bedroom suites. The middle bedroom was turned into another guest room, which required that the door to the bedrooms be pushed further down the hallway. The existing door was pushed back eight feet, forming an entrance to the primary bedroom north of the wing. A new entry was created to enter the middle bedroom, the flagstone hallway extended, and the existing carpet removed. All walnut veneered doors and wall panels were either retrofitted and refinished or created new to match the original. In the new guest room, jalousie windows were installed. This work was completed in October 1961 at the cost of $1,700. Arthur Coffey was the contractor.31 31 E. Stewart Williams plans, and correspondence between Williams and Koerner, October 1961. Leon Koerner fonds, University of British Columbia Library, Rare Books & Special Collections. The contractor/builder for the Koerner Residence is not known. The building permit on file with the city has a signature that is illegible but looks like “Parm.” According to Sidney Williams (email to author October 1, 2022), Williams often used Coffey as contractor. In Steve Vaught’s Class 1 report for the Sutter House, next door to the Koerner, he notes about Coffey: “One of Palm Springs’ premiere contractor/builders, Arthur J. Coffey (1918-1965), was responsible for a number of homes and commercial structures throughout his long time in the desert. The Kentucky-born Coffey had fallen in love with Palm Springs during his time recuperating at Torney General Hospital after an injury during World War II.

Mustered out of the Army Air Corps in 1946, Coffey stayed in the village and became part of the vanguard of builders launching the post-war building boom. Coffey often built homes of his own design but also worked as a contractor for local architects as well. A few of the projects he was associated with include the Lyons Residence (Clark & Frey,1948), Lily Pons house (Poper & Lockett, 1955), parish hall for St. Paul’s in the Desert (Clark & Frey,1950), and the Ernest Alschuler home (Lapham & Iwata,1960). Coffey Item 2B - Page 43
29 Architect Roger Williams’s 1973 drawing showing the areas where the house would be expanded underneath the existing roof.

In 1973, architect Roger Williams, E. Stewart Williams’s brother, was called back by the second owner of the house, Brownie Stewart, a wealthy socialite who loved to entertain on a grand scale. Williams enlarged the living and dining areas of the home to facilitate that while honoring the original design and materials.

Landscape designer Matthew Sumich removed Eckbo’s sculptured earth mounds, making the lawn a vast, open area with more flat space for large-scale parties.
collaborated with Williams on a number of occasions and was not just a professional colleague but also a family friend. One his biggest Williams-related projects was building the Coachella Valley Savings and Loan (1961).” Item 2B - Page 44
30 In 1996, when Adele Cygelman was researching her book Palm Springs Modern, she and photographer David Glomb began looking for homes that were in original condition and preferably still being lived in by their original owners. Cygelman recalls:

Stewart Williams gave us a list of about six houses he had designed, and we started contacting the homeowners. We had photographed Stewart and Mari’s own house, and we knew we wanted to include the Edris House, which was his favorite. Of the Koerner house, he said, ‘It has nice details, but it’s been remodeled.’
Brownie Stewart had purchased the Koerner house directly from them, fully furnished. She was a nononsense, matter-of-fact blonde who led us into the living room. She had been living in the house for about twenty-five or thirty years, and it showed. There was wall-to-wall carpeting (brown shag, if I recall correctly), heavy drapes over the windows, and every surface and shelf was filled with objects and bric-a-brac. But she still had the Robsjohn-Gibbings for Widdicomb furniture that Arthur Elrod had provided in the ‘50s, and, as she said, ‘I know what I have.’ David and I knew that we couldn’t photograph the house and do it any justice without removing most of the knickknacks and trying to de-clutter it. So we just thanked her and left. But we probably should have taken snapshots.32
Photographer David Glomb remembered, “trying to look through all the rubble into the bones of the place and what it had to offer without all the distraction. But I guess I was distracted because I remember it being attractive, but I couldn’t tell you why, it was a feeling. I guess in hindsight it should’ve been documented just as it was.”33

RESTORATION
After the home was purchased in 2018, the new owners restored the house, removing the 1973 additions done for Brownie Stewart, using the original drawings. Overseen by Henry Blackham and Maureen Erbe, with M Design Group Architects, the interiors were mostly dismantled and safely stored, while all infrastructure was replaced. After the later additions were removed, materials and finishes were matched to repair the damage from demolition. The original color palette was carefully matched. The walls are a slightly different shade of off-white than the ceilings, eaves, and fascia. Off-white stain is used on woodwork instead of paint, which enhances the sandblasted wood grain, providing textural interest in varying light. The steel-framed sliding glass and casement doors and Slumpstone walls are painted.34 Except for historic trees, the landscape was removed and restored using Eckbo, Royston, & Williams’s landscape plans from 1955. Landscape architect JC Miller, who had worked with Robert Royston for years, oversaw the garden's restoration.
32 Email from Adele Cygelman, February 2, 2022.
33 Ibid.
34 Email from Henry Blackham, July 11, 2022.

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31 RESTORATION PHOTOGRAPHS COURTESY HENRY BLACKHAM
A dining room addition was removed, as was a small, screened porch. The former maid’s room and storage areas were repurposed into guest rooms.

The interiors were carefully removed and safely stored while all the infrastructure work took place.

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32 Where later additions were removed, new sandblasted board-and-batten, matching the original, was replicated.

Walnut paneling throughout was restored.

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33 Landscape architect Garrett Eckbo’s signature sculptural earth mounds were replicated, and the rear garden planted using Mediterranean-climate species specified by Eckbo and Dean, or with more drought-tolerant species that provided the same look and feel. Landscape architect JC Miller created the replicated landscape.

Paint was carefully scraped down to the first layer, and the paint palette matched. Walls have a slightly different off-white stain than ceilings, eaves, and fascia.

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34 Character-Defining Features of the Koerner Residence (from the period of significance, 1955- 1973)
Contributing Elements that are extant or restored:

The Koerner Residence is an exceptional example of a custom-designed Midcentury Modern house and garden.

It exhibits numerous character-defining features including:
• Contemporary interpretation of Ranch-style residence. • Sandblasted board-and-batten vertical wood detail.
• Open carport.
• Slumpstone walls used for structure and to enclose the rear garden. • Panels of turf at front of house and rear garden.
• Sculpted earth mounds in rear garden (lost feature that has been restored). • Native stone retaining walls in rear garden.
• Native planting in landscaped buffer on three sides of the house. • Arizona flagstone pathway serving as spine along east–west axis (this was restored like for like to replace damaged existing flagstone).
• Rectangular swimming pool (replastered but original footprint, with spa added to interior of footprint). • Curved poured concrete retaining wall with slatted bench attached; Overhead shade structure. (lost feature that has been restored).
• Flagstone, white concrete exposed aggregate paving (lost feature that has been restored). • Mature multi-trunk olive trees, two in front, one in rear lawn. • Steel-framed sliding glass doors and casement doors.
• Cluster of three Washingtonia filifera palm trees piercing roof at rear of house. (These three replace three original palms that had badly damaged trunks. The species were replaced like for like). • Blue palms at entry pool.
• Indoor/outdoor atrium adjacent to primary bedroom.
• Shallow steel tank ends used for planters and fountains. • Formica-covered front door.
• Off-white stains and paint.

Contributing elements that no longer exist:
• Shuffleboard court
• Jalousie windows
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35 BACKGROUND / HISTORIC CONTEXT
The relatively short history of Palm Springs can be organized into several distinct periods, as defined by the Historic Resources Group’s Citywide Historic Context Statement & Survey Findings. These include the following:
• Native American Settlement to 1969
• Early Development (1884-1918)
• Palm Springs between the Wars (1919-1941)
• Palm Springs During World War II (1939-1945)
• Post-World War II Palm Springs (1945-1969)
EVALUATION:

CRITERION 1 – Significant Events - The resource is associated with events that have made a meaningful contribution to the nation, state or community: The Koerner Residence is not affiliated with significant events and does not qualify under Criterion 1.

CRITERION 2 – Significant Persons - The resource is associated with the lives of persons who made a meaningful contribution to national, state or local history: The Koerner Residence, completed in 1955, was the winter home of Leon and Thea Koerner. Leon Joseph Koerner (May 24, 1892 – September 26, 1972) was a Czechoslovakian-born industrialist and philanthropist in British Columbia. When he retired in 1955, he and his wife created a foundation, the Leon and Thea Koerner Foundation, which contributed to education, the creative arts, and social programs, particularly in British Columbia. Because of his philanthropy, Koerner was recognized by the government of British Columbia as a Person of National Historic Significance in 2018. The Koerner Residence is affiliated with significant persons and qualifies under Criterion 2.

CRITERION 3 - The resource reflects or exemplifies a particular period of national, state or local history: The Koerner Residence, completed in 1955, exhibits many stylistic markers which place it directly in the historic context of Palm Springs’ “Post-World War II Palm Springs” period. The custom-designed residence represents a prime example of significant Postwar architecture for which Palm Springs is internationally known.

The home was designed by a top-notch team of designers, working in collaboration, for wealthy owners with refined taste and receptive to the design team’s ideas. This confluence of talent produced one of the masterpieces of environmental design in the Coachella Valley. E. Stewart Williams designed a custom contemporary interpretation of a classic California Ranch House, by using materials associated with the Ranch Style, as well as the long, low, horizontality. However, the form and detailing are wholly modern in design. While modern in spirit and function, Williams used materials that rooted it to the site, honoring the roots of early Palm Springs. The modernist landscape, designed by Garrett Eckbo and Francis Dean, represents the best of modernist American landscape design. Eckbo was one of the main protagonists who defined the twentiethcentury modernist landscape, and his influence had international reach. The landscape for the Koerner Residence exemplified Eckbo at the height of his influence, and since its restoration, is one of the best extant examples of an Eckbo landscape in the country. The undulating earthen mounds; the native stonework rooting it to the site Item 2B - Page 50
36 and the mountains beyond; the wide palette of drought-tolerant Mediterranean species; the slat bench with overhead shade structure; the steel tank ends used as planters and fountains: these features define an Eckbo garden, and as one of the few places left one can experience this in person, make it important. The Koerner Residence may be viewed as an essential component of the historical trends that have come to define Palm Springs’ image as a center of notable Modern architecture and landscape architecture, i.e., a historical movement that exemplifies a particular period of the national, state, or local history. The Koerner Residence qualifies for listing as a Class 1 Historic Resource on the local registry under Criterion 3.

CRITERION 4 - The resource embodies the distinctive characteristics of a type, period or method of construction: The Koerner Residence is eligible under the theme of Modern architecture and landscape architecture because it possesses numerous distinct features and methods of construction that exemplify the Midcentury Modern style. This home designed by master architect E. Stewart Williams exemplifies the construction type used for high-end custom residential structures in the Coachella Valley during the Midcentury period. Using an 8x8 foot grid, the post-and-beam construction was typical of other housing being produced in the Coachella Valley at the same time. The materials and detailing, however, while deceptively simple, are of a quality not seen in mass-produced tract housing of the same time. For example, one of the home’s signature features was board-and-batten wood siding. But here, the board-and-batten is wood of the highest quality, sandblasted and scrubbed with a wire brush to emphasize the grain. And instead of being a full board with a smaller vertical batten used to seal the gap, here it is a distinctly decorative treatment, nearly equal width board and batten, used to provide a lively textured surface. Then, instead of paint, the wood is stained with a light neutral buff tone, further emphasizing the dramatic wood grain. The board-and-batten detail is used both indoors and out, and walls merge seamlessly through large panes of glass. More warmth and texture was achieved by the use of a relatively new product, Slumpstone, which had been developed by General Concrete of Van Nuys in the late 1940s. “Slumpstone Structure - hollow concrete block, irregular texture on both sides, for adobe or stone appearance at about half-cost.”35 Williams used the Slumpstone ingeniously, constructing walls of the residence in the adobe-like material, which extended beyond the roofline to become the walls that enclosed the rear garden of the house. Glazing is elegantly installed using frameless panes of glass which appear to disappear into the ceiling and surrounding walls or supporting posts. The superb garden, designed by internationally known and significant landscape architecture firm Eckbo, Royston, & Williams, is equally evocative and a prime example of a modernist masterwork of landscape architecture. Custom features like giant steel tank ends, used as fountains and planters, and undulating earthen forms, show the high caliber of the type of construction utilized at the Koerner Residence. Both the house and garden have significance for their distinctive characteristics, both of which have been beautifully restored. The Koerner Residence qualifies for listing as a Class 1 Historic Resource on the local registry under Criterion 4.

Criterion 5: The resource presents the work of a master builder, designer, artist, or architect whose individual genius influenced his or her age; or that possesses high artistic value. 35 Advertisement for General Concrete Products, Arts & Architecture, June 1954, 42.

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37 High artistic values may be expressed in many ways, including areas as diverse as community design or planning, engineering, and sculpture. Master architect E. Stewart Williams is one of the Coachella Valley’s most admired and designers, who influenced the other architects and building designers working at the time. Because of his own influence and admiration for the more organic modern architecture of Scandanavian designers, his designs gave his structures a human quality, with warm materials and colors that worked with the desert setting.

Williams’s designs inspired other designers to think beyond the rigidity of the International Style and the postand-beam construction method so prevalent in the Coachella Valley at the time. Because of this, as well as his reputation as one of the most important and influential figures in Palm Springs architecture from the 1940s1990, Stewart was named a Fellow of the AIA. In addition, the landscape was created by one of the most influential and important landscape architects of the twentieth-century, a pioneer in modern landscape architecture, Garrett Eckbo, with his partner Francis H. Dean. The work of Eckbo, Royston, & Williams was internationally known and respected. Garrett Eckbo was one of modern landscape architecture’s earliest and most influential designers. His work in the field and books on landscape architecture influenced the entire profession of landscape architecture around the world. The landscape of the Koerner Residence features many Eckbo signatures—curved slat bench with overhead shade structure; earthen landforms; shallow steel disks used as fountains and planters; complex plant palette of primarily Mediterranean species—features that influenced his peers around the world, through his writing. Therefore, for its distinctive characteristics representing the Midcentury Modern style, as a master architect's work and its high artistic values, the Koerner Residence qualifies as a Class 1 Historic Resource under Criterion 5.

Criterion 6: (That represents a significant and distinguishable entity whose components may lack individual distinction). This Criterion was created to address the resources contained within a potential historic district, and as such, it does not apply to this nomination. Hence, the Koerner Residence does not qualify under Criterion 6.

Criterion 7: (That has yielded or may be likely to yield information important to the national, state or local history or prehistory.) The Koerner Residence is not likely to yield information important to the national, state or local history or prehistory. Hence, the Koerner Residence does not qualify under Criterion

7. SUMMARY: This evaluation finds The Koerner Residence eligible for listing as a Palm Springs Historic Resource under

8.05.070 C.1. a., paragraphs ii, iii, iv, and v of the local ordinance’s seven criteria.

Integrity Analysis (using US Secretary of Interior Standards)

INTEGRITY
Integrity is the ability of a property to convey its significance. To be listed in the local registry, a property must not only be shown to be significant under the criteria, but it also must have integrity. The evaluation of integrity is sometimes a subjective judgment, but it must always be grounded in an understanding of a property's physical Item 2B - Page 52
38 features and how they relate to its significance. Historic properties either retain integrity (that is, convey their significance) or they do not. The definition of integrity includes seven aspects or qualities. To retain historic integrity a property will always possess several, and usually most, of the aspects. The retention of specific aspects of integrity is paramount for a property to convey its significance. Determining which of these aspects are most important to a particular property requires knowing why, where, and when the property is significant. The following sections define the seven aspects and explain how they combine to produce integrity.

DESIGN
Design is the combination of elements that create the form, plan, space, structure, and style of a property. It results from conscious decisions made during the original conception and planning of a property and applies to activities as diverse as community planning, engineering, architecture, and landscape architecture. Design includes such elements as organization of space, proportion, scale, technology, ornamentation, and materials. A property’s design reflects historic functions and technologies as well as aesthetics. It includes such considerations as the structural system; massing; arrangement of spaces; pattern of fenestration; textures and colors of surface materials; type, amount, and style of ornamental detailing. The Koerner Residence has been meticulously restored, using the original plans from 1955. Later additions have been recently removed, restoring the original footprint. The modernist landscape, designed by the iconic firm Eckbo, Royston, & Williams has many of the firm’s signature elements, and is also recently restored.

MATERIALS
Materials are the physical elements that were combined or deposited during a period and in a particular pattern or configuration to form a historic property. The choice and combination of materials reveals the preferences of those who created the property and indicate the availability of types of materials and technologies. The Koerner Residence’s materials successfully represent the best of Midcentury Modern design, with high-quality but simple Slumpstone brick, stone, steel, sandblasted board-andbatten, and glass. The materials in the landscape, such as Arizona sandstone, high-quality and laborintensive white concrete exposed aggregate, innovative shallow steel tank ends, and native boulders, all contributed to this masterpiece of architecture and landscape architecture. These original materials survived largely intact before restoration. The recent restoration sought to restore those intact materials, and to accurately replicate others that had been lost over time, using identical materials called out in the original drawings.

WORKMANSHIP
Workmanship is the physical evidence of the crafts of a culture or people during any given period in history or prehistory. It is the evidence of artisans’ labor and skill in constructing or altering a building, structure, object, or site. Workmanship can apply to the property as a whole or to its individual components. It can be expressed in vernacular methods of construction and plain finishes or in highly sophisticated configurations and ornamental detailing. It can be based on common traditions or innovative period techniques. Workmanship is important because it can furnish evidence of the technology of a craft, illustrate the aesthetic principles of a historic or prehistoric period, and reveal individual, local, regional, or national applications of both technological practices Item 2B - Page 53
39 and aesthetic principles. Examples of workmanship in historic buildings include tooling, carving, painting, graining, turning, and joinery. The Koerner Residence displays Williams’s meticulous attention to detail in methods of workmanship.
36 While we don’t have a record of the individual craftsmen who worked on the Koerner Residence, the proof of this is in their results: the quality of their workmanship ensured the details, like the sandblasted wood, stained with transparent washes, added to the overall success of the home. The house was completely custom in every detail, which required craftspeople able to deliver exacting products with the highest level of quality. In collaboration with Earl Neel of Neel's Nursery, the superb landscape design by Eckbo, Royston, & Williams used high-end custom materials and innovations in modern landscape architecture to create a spectacular work of modernist landscape design. In the recent restoration, many of those important details that had been lost over time were authentically and accurately replicated, by studying the original design drawings, as well as extant details at the house.

LOCATION
Location is the place where a historic property was constructed or the place where a historic event occurred.

The relationship between the property and its location is often important to understand why the property was created or why something happened. The actual location of a historic property, complemented by its setting, is particularly important in recapturing the sense of historic events and persons. Except in rare cases, the relationship between a property and its historic associations is destroyed if the property is moved. The Koerner Residence remains in its original location and therefore qualifies under this aspect. Though there were still vacant lots dotting the Deepwell Estates tract by the time the home was completed in 1955, most were under construction, and the concept of a high-end residential tract of custom residences, as planned, was soon realized. Thus, the setting remains intact.

Developed after the land surrounding the famous Deep Well Guest Colony was sold, a new subdivision of first-class contemporary homes was built. The Koerner Residence sits on four contiguous parcels, which total an acre. The setting of the Koerner Residence continues to reflect E. Stewart Williams’s 36 As described in E. Stewart Williams’ biography in this document, unlike some of his contemporaries, he also lauded the craftsmen who built his projects. “They are responsible [for the work] as much I am. That’s the way architecture is. It’s a team effort...we dream them up and design them but it’s a collaborative effort.” In researching the Koerner Residence, no contractor could be determined. The 1955 building permit has a sloppy signature that looks like “Pam,” which doesn’t match known builders working in the desert at that time. Contractor Bill Foster was hired to do small additions in 1956.

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40 and Eckbo, Royston, & Williams’s original designed relationship of site, structure, and garden. Though several open parcels had yet to be developed at the time the Koerner Residence was completed, those lots were soon built out and the Deepwell Estates setting as it exists today has the same character.

FEELING
Feeling is a property’s expression of the aesthetic or historic sense of a particular period. It results from the presence of physical features that, taken together, convey the property’s historic character. For example, a rural historic district retaining original design, materials, workmanship, and setting will relate the feeling of agricultural life in the nineteenth century. The Koerner Residence’s design was carefully considered by the master design team working to create a first-class home for the Koerners to enjoy during their winter stays.

The Koerner Residence, especially after its recent restoration, has a scale and presence which still blends well into this unique neighborhood. As one of two large home sites equaling an acre (the Barrett Residence being the other), the Koerner Residence’s designed feeling as an elegant modernist home set into a unique and important masterpiece of modernist landscape design, remains intact.

Accordingly, the Koerner Residence retains its original integrity of feeling.

Because feeling and association depend on individual perceptions, their retention alone is never sufficient to support the eligibility of a property for the National Register. Architectural signatures such as the long, low, flat-roofed home with sandblasted board-and-batten and Slumpstone walls, walls of glass, and elegant detailing, allow one to recognize the structure as the work of E. Stewart Williams. The landscape by Eckbo, Royston, & Williams exhibits many of the firm’s character-defining features (as outlined elsewhere in this document), for which they became internationally known and respected. It is one of the few significant landscapes left of this great firm in the Coachella Valley, and in its restored state, a very rare example of the finest in modern landscape architecture in the country.

INTEGRITY SUMMARY: This integrity analysis confirms that the site, structures, and landscape of the Koerner Residence still possess seven aspects of integrity. The Koerner Residence’s home and garden are the best of the best. The site represents a successful restoration that respects and honors the essential design features of the past, while bringing the systems and infrastructure up to current standards.

Later additions were removed, restoring the original footprint from 1955. In summary, the Koerner Residence still possesses an exceptionally high degree of integrity sufficient to qualify for designation as a Class 1 Historic Resource.

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42 A P P E N D I C E S
I. Owner’s Letter of Support
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43 II. Assessor’s Map and Aerial
Property Address 1275 S CALLE DE MARIA, PALM SPRINGS, CA 92264 APN 508-403-003
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44 III. Building Permits
Date Owner Permit Type Description of Work
06-20-55 Mr. and Mrs.

Leon J. Koerner
Building 7 room dwelling, 8” concrete block. Frame
and board-and-batten. Tropicool roof. Double
carport. Lot size 210x205. 3250 sq. ft. house;
400 sf carport; 764 sf porches.
06-22-55 Koerner Electrical Temporary service.

Month/day
illegible,
1955
Koerner Electrical 223 outlets; 121 fixtures; 4 heaters; 3 ranges. 07-01-55 Leon Koerner Electrical 1 outlet; 1 fixture; 1 ½ to 2 hp. Motor.

Paddock Construction Co. (pool)
07-01-55 Leon Koerner Plumbing 1 cesspool; 1 floor drain; 1 gas piping; 1 sewer piping; 1 water heater; 1 water piping.

Paddock Construction Co. (pool)
07-01-55 L.J. Koerner Plumbing 1 bathtub; 2 gas outlet; 1 gas furnace; 4 lavatories; 2 sinks; 4 toilets; 1 water heater; 1
water piping.
07-15-55 Leon Koerner Building Swimming pool, 24x40 ft. Paddock Pools.

Month/day
illegible,
1955
Mr. Koerner Plumbing 2 cesspools; 1 sewer piping.
11-23-55 Leon J. Koerner Plumbing 126 sprinklers.
12-11-56 Mr. & Mrs.

Leon J. Koerner
Building Addition of storage rooms and bathroom.

Frame, stucco and masonry, compo roof. 390
sf. Bill Foster, general contractor.
01-02-57 Leon J. Koerner Electrical 8 outlets; 1 light fixture. 05-08-58 Koerner Building Masonry wall.
09-05-61 L.J. Koerner Plumbing 1 cesspool; 1 sewer piping. 06-04-64 Koerner Sewer Partial hookup – 1 cesspool.
01-13-69 L.J. Koerner Mechanical Repair, alter, or add to heating appliance, refrig. unit, etc.
10-15-73 Mrs. E. Brown
Stewart
Building Extend living room 8x32’ installing steel beam to carry existing ceiling & roof. Extend dining
room 8x16’ under existing roof. 416 sf.
12-28-73 Stewart Electrical 2 outlets.
09-20-78 B. Stewart Electrical 3 outlets; 1 light fixture; 1 all fixed appliance – 110 volt.
09-20-78 Brownie
Stewart
Building Install 6’ x 7 ½’ fiberglass spa-pool.

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45 01-06-89 Mrs. Bear Building Remove existing roof and reroof with 4-ply built up roof per U.B.C. 32.
03-28-11 Henry Lamb Building Replace existing patio cover with new freestanding alum. patio structure in back yard
(lattice). “Duralam products.”
08-08-18 Mrs. Wright Building Tear off roof to substrate and install new built up asphalt roof.
08-28-18 Sawtooth
Investments,
LLC
Building Remodel pool, re-plumb, re-locate equipment
and add new spa.
11-19-18 Sawtooth
Investments,
LLC
Building Remodel guest suite, new elec, plumb &
HVAC, convert storage area to extension of
guest suite.
01-09-19 Allan Lamb
(incorrectly
named as
owner)
Building 30 PV Panel Array – 9.9 kW Solar System.

IV. The Development of the Koerner Residence
On their seasonal visits to Palm Springs (where they stayed at the Biltmore), the Koerners had become friends with Arnold and Muriel Rumwell.37 Rumwell was an attorney in Palo Alto, and when the couple visited Palm Springs, they would stay at the Ingleside Inn. In 1953, the Rumwells bought a house at 250 Lilliana Drive, and he opened an office in Palm Springs at the newly built Williams, Williams, and Williams-designed Oasis Commercial Building. Their reason for moving to Palm Springs was explained by Arnold Rumwell, “because to us it is the greatest place in the world.”38 The Rumwell’s enthusiasm was contagious, and Koerner would later credit Arnold Rumwell with advising him to build his own house so that Leon and Thea could spend more extended periods in the desert they had grown to love.39 Once they considered it, things happened quite rapidly. They met with Bill Boggess, the realtor representing Deep Well Colony Estates. Boggess showed them four contiguous parcels in the newly subdivided Unit No.

10. He was enthusiastic about the new development. He told them about the new house he was having built on a plot kitty-corner from theirs across Calle de Maria, designed by Wexler and Harrison. Along Driftwood, a block over from the parcels the Koerners were looking at, a substantial home—also on a four-lot acre 37 The Desert Sun reported on the Koerners’ month-long stays in 1954 and again in 1955. It isn’t known if they visited earlier than that.
38 “Arnold Rumwell Opens New Office in Village,” Desert Sun, June 18, 1953, 3a. 39 Typewritten speech by Leon Koerner from his 1955 housewarming party. Leon Koerner fonds, University of British Columbia Library, Rare Books & Special Collections.

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46 parcel—was being built for George and Martha Barrett. His intensity must have also been infectious because the Koerners agreed on the spot to buy the four lots within two hours of meeting Boggess.40 Almost immediately, even before signing purchase contracts, they contacted architect E. Stewart Williams, who met with them at the site and got to work on preliminary plans. Knowing that the most exemplary projects are achieved by close collaboration between client, architect, landscape architect, and interior designer, Williams recommended that the Koerners contact the firm of Eckbo, Royston, and Williams, landscape architects from Los Angeles with whom he had worked before. He also told them about interior designer Arthur Elrod, who had recently returned to Palm Springs from San Francisco, opening a showroom at 886 North Palm Canyon. Elrod had recently completed the interior design for Lucille Ball and Desi Arnaz’s new Paul R. Williams-designed home at Thunderbird Country Club.

In a letter dated February 26, 1955, Elrod explained to Koerner, “Mr. Stewart Williams, the architect, has told me of your interesting plans for a new Palm Springs residence. I would be most pleased to have the opportunity to talk with you, that possibly I could assist you with the color coordination and furnishing of the new residence. As you undoubtedly know, if the interior designer can work with the architect and his client from the inception of the planning, a more satisfactory way of living can usually be attained. By this I mean that if we may plan furniture arrangement now, we may place the electric facilities in their proper place to avoid the necessity of extra cordage on your floor. Also, inasmuch as floor covering materials are made on standard size looms, unless you select a hand-woven fabric, by adjusting room sizes by possibly an inch or two, we would be able to aid you in having a seamless area, rather than having to supply you with a necessary, but unattractive, seam in an awkward place.”41
Koerner reached out to Garrett Eckbo and his partner Francis Dean.42 Though both landscape architects worked collaboratively from their Los Angeles office, Dean was the point person on the ground for the firm’s Palm Springs projects because Dean lived in El Monte, which was closer to Palm Springs than Eckbo’s home in the Hollywood Hills. Dean traveled to Palm Springs and met the Koerners and E. Stewart Williams at the site in March. They discussed the Koerners’ objectives for the garden, and Dean then conferred with Stewart, who gave Dean a set of preliminary drawings of a site plan to take back to Los Angeles.

On March 21, 1955, Dean wrote to the Koerners, including a fee schedule for the proposed design of their garden. He said that once approved, the firm would get to work on plans. “This plan will name and locate all physical features not covered by the architects. It will be a very serious effort to prepare a garden which will satisfy your needs and desires so that you can completely enjoy your annual visits to Palm Springs. Be assured that we will work very closely with Mr. Stewart Williams and Mr. Earl Neel of Neel’s Nursery to produce for 40 Ibid.
41 Letter from Arthur Elrod, to Leon Koerner, February 26, 1955. Leon Koerner fonds, University of British Columbia Library, Rare Books & Special Collections.
42 In 1955, only Garrett Eckbo and Francis Dean are called out in the letterhead as the landscape architects in the Los Angeles office, working out of 8942 Wonderland Park Avenue in Los Angeles.

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47 you the very best of our combined efforts.”43 Koerner must have sent an approval because two days later, the first set of plans for the garden was complete.44
On Thursday, March 24, Dean and his wife Myrtle returned to Palm Springs to bring the preliminary plans for the Koerners to review. E. Stewart Williams and his wife Mari invited the Deans to dinner afterward. In a letter to Williams, Dean thanked him for their “very enjoyable evening,” and then apologized, saying, “I’m afraid we weren’t our scintillating best after spending an enjoyable but tough day with the Koerners. I believe that you were going to send some elevations of the Koerner house for our information. These would be very helpful. I have not sat down to review the cost on the garden, but I think it would be wise to indicate to the Koerners that the cost of the garden would probably be within the $10,000 to $15,000 bracket. I believe I left the impression with them that this was only an estimated cost based on the preliminary plan and that adjustments would certainly be forthcoming. I believe I am clear now on the charges as the plans proceed; namely, that we are to bill you directly for our fee and supervision charges on the construction and planting operations. As per our letter to Mr. and Mrs. Koerner we are requesting a $100 retainer and $250 for preliminary studies which we are billing separately.”45 After getting the preliminary floor plans and discussing the project with Williams, Elrod got to work to pull together the interior design quickly. On March 23, 1955, Elrod sent eleven pages of detailed inventory sheets documenting the proposed interior furnishings and hand-woven draperies and fabrics, which he addressed to Leon Koerner at the Biltmore. In the cover letter, Elrod wrote, “We will work closely with Mr. Stewart Williams, your architect, that all our mutual plannings may be carried out to your satisfaction. Dependent on construction progress, we expect to have your residence completed, ready for you, shortly prior to the first day of October. We will plan to install the home furnishings shortly after your return to the desert. Please know that we are pleased to have the opportunity to assist you in the decoration of your new residence, and candor compels me to state that when completed, you will have one of the outstanding homes in the area.

We will continue in our efforts to work on your home that it may be done in the utmost of good taste, and that it will suit your convenience and comfort.”
46 The estimated total to furnish the house was $35,587.30.

On March 31, Stewart sent Dean the requested elevations. In response to a proposed fee schedule, Stewart opined, “I also believe that you should make up a complete estimate, based on the prices Neel gave you, plus your estimate of the garden structures, paving, rock work, etc. and send me two copies, one of which I can send Mr. Koerner. In this way, we will have everything set up in black and white and not have to depend on our memory of discussions taking place early in the work.”47 43 Leon Koerner fonds, University of British Columbia Library, Rare Books & Special Collections. 44 Preliminary drawing of first iteration of the garden is dated March 23, 1955. Francis Dean Collection, ENV Archives-Special Collections, Cal Poly Pomona.
45 Letter from Francis Dean to E. Stewart Williams, March 29, 1955. Francis Dean Collection, ENV Archives-Special Collections, Cal Poly Pomona.
46 Typewritten “Estimates for the Residence of Mr. & Mrs. Leon J. Koerner. Palm Springs, California.” Typewritten cover letter and eleven-page inventory of contents of furnishings for Koerner residence, bound in black fiberboard covers. Leon Koerner fonds, University of British Columbia Library, Rare Books & Special Collections. 47 Letter from Stewart to Dean, March 31, 1955. Francis Dean Collection, ENV Archives-Special Collections, Cal Poly Pomona.

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48 It wasn’t until April 15, 1955, that Harry and Gladys Dart deeded four parcels, Lots Two, Three, Ten, and Eleven, of Deep Well Ranch Estates Unit No. 10 to their company Deep Well Colony Estates, Inc. The company sold the four parcels to Leon and Thea Koerner that same day.48 On April 20, an easement allowing the acre parcel to be free from utility wires was executed, indicating that the design team had the foresight to ensure the view of the mountains from the Koerners’ house and garden was free from unsightly wires.

On April 26, 1955, Eckbo and Dean completed the planting plan for the second version of the design. On this iteration, a raised planting bed comprised of vertical two-by-two redwood posts on the north side of the garden was omitted, and replaced by a boldly biomorphic series of sculpted earthen mounds, which would be planted with a large Schinus mole (California pepper) and a dynamic mix of flowering color, sculptural succulents, and spiky Ocotillo. Eckbo had used similar earthen mounds at an earlier Palm Springs residence, in a more restrained manner. Here, they would be an exuberant punctuation mark to enliven the rear garden.

In late April and early May 1955, Elrod went to New York on a business trip. While there, he made a separate trip to Grand Rapids, Michigan, to visit the Widdicomb furniture factory to check in on the large order, with its several custom pieces, to ensure “that there will be no error—no delay.”49 Final architectural drawings dated June 1, 1955, show all the landscape architect’s features incorporated.

Construction began by the end of June, with Elrod noting, “I stopped by your property this morning to find it ‘alive’ with workmen who are really getting started on the building of your new residence here.”50 On June 7, Elrod wrote to Koerner to inform him that many of the hand-woven fabrics were off the looms and would soon be on their way to the various furniture manufacturers. He also promised to take some photographs of the progress of the house, noting, “they have made some good progress in the planting. I had a pleasant and successful trip to New York, but am glad to be back in Palm Springs, where I can keep a careful eye on your fine house.”51 Once the fabrics had been delivered to Elrod, Williams approved them and shipped them to the manufacturers.52
On June 29, 1955, Bill Boggess wrote to Leon Koerner: “Hello neighbor (and Thea). Great and wonderful things are going on in our neighborhood and the workmen are busy as beavers on the handsome Koerner establishment. The George Barrett house (across the street) is completed and couldn’t be more beautiful.53 All of us are fortunate to be situated amongst the finest properties in our area. My own house is an absolute 48 In November 1955, the Koerners granted the deed to their corporation Miosogno Holdings, Ltd. “Miosogno” was the nickname Thea gave the house. It translates to “My Dream.”
49 Letter from Barbara Wills of the Elrod office to Leon Koerner, April 30, 1955. Leon Koerner fonds, University of British Columbia Library, Rare Books & Special Collections.
50 Letter from Elrod to Koerner, June 27, 1955. Leon Koerner fonds, University of British Columbia Library, Rare Books & Special Collections.
51 Letter from Elrod to Koerner, June 7, 1955. Leon Koerner fonds, University of British Columbia Library, Rare Books & Special Collections.
52 Letter from Elrod to Koerner, June 24, 1955. Leon Koerner fonds, University of British Columbia Library, Rare Books & Special Collections.
53 The George and Martha Barrett residence was at 1323 Driftwood. Like the Koerner residence, it was sited on four contiguous parcels, equaling an acre. Designed and built by Joe Pawling, it later became the home of actor William Holden.

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49 knockout and I couldn’t be happier with it or in it.” Boggess’s new Asian-inspired contemporary home was across Calle de Maria at 1366, designed by Wexler and Harrison, with interiors by Arthur Elrod and landscape by “Cactus Slim” Moorten. The builder was Joe Pawling.54 Boggess continued, “After seeing what is going on with the planting, etc., and how your new home is situated on your four lots it has occurred to me that you really ought to have (for proper protection) the two corners on the north of your property.” Priced at $6,500 each, the two parcels were immediately north of the Koerners’ four parcels. Koerner declined, and on October 11, 1955, the parcels were sold to William H. Wright & Wiltrud Greta Wright.55 They sold a few years later, and in 1960, E. Stewart Williams designed the Sutter Residence for the northeast parcel. Arthur Elrod did the interiors.

Eckbo and Dean completed the final planting plan on July 7, and the plans were forwarded to the Koerners.

Dean wrote to Koerner shortly afterward, explaining some of the modifications:

I’m sure by now you’ve received the latest planting plan and the general design plan showing the structural items in the garden. I hope the sketch of the garden has clarified some of the points about the general appearance of the garden. I talked with Earl Neel this morning about the cost of the installation and it appears that, everything considered, it will be less than quoted to you by Mr. Stewart Williams.

I would like to make a few comments about the final plan insofar as our thinking on the total lay-out is concerned. As you will recognize, much of the basic material which we discussed when you were in Palm Springs has remained, and I think to good advantage. We are still having a little problem locating some of the specimen material, but I am sure this will be solved shortly. We have introduced quite a bit of annual and perennial [sic] color in the mound areas to the north of the garden which will be something of a maintenance factor but which, I believe, will enhance the beauty of the garden generally.

I believe you will recall the wood retaining boxes on the north side of the garden which we have since eliminated in favor of a mounding arrangement of the soil so it will have a more pleasing setting in relation to the 6’ garden wall and the mountains beyond as well as the adjacent landscape. In addition to the introduction of carefully planned color in the garden, we have also brought in some rather large native boulders to blend into the general mound areas. The main point of emphasis here, we feel, should be to provide a usable and pleasing garden for you and a good relationship between the garden and the mountains beyond.

We have a few points to determine on the indoor planting when we get to those areas because the ultimate placement of the planting material should be done when all the component parts of the pool are in place. When you return to Palm Springs we will then have to determine whether we should introduce any ornamental material outside the garden wall. It is my personal feeling that it could all be left to a desert area since the garden seems self-sufficient without the introduction of this extra material.
54 “Oriental Mood on the Desert,” Los Angeles Times Home Magazine, January 1, 1956. 55 Vaught, Steven. Sutter Residence Class 1 Historic Resource nomination, PSPF, 2020, 24.

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50 As you may have heard from Mr. Williams, the Olive trees, the Oleanders, the citrus and the Sycamores are in place at present and we are proceeding as rapidly as the house construction will allow us.56
By August, the house was coming along so well that Elrod took color stereo slides of the progress and sent them to Koerner.57 Elrod updated Koerner on the progress of the furnishings, stressing that he was keeping on top of things so “you and Mrs. Koerner move into your new home at the end of October” that all would be livable. He pointed out that nothing had been done to equip the kitchen, and knowing that the Koerners wanted to move into a “really completed home,” he offered to shop for “toasters, waffle irons, pots, pans, and sets of dishes and glasses—that would be most appropriate for your decor.” He also asked them what soaps they preferred.58 Koerner responded that Thea would like to do that shopping when she arrived in Palm Springs, but would undoubtedly ask for Eldrod’s assistance if necessary. The Koerners were planning to move into the Biltmore when they came, expecting the house wouldn’t entirely be livable by the end of October.59 By October 15, most furniture had arrived and was at Elrod’s storage facility. Elrod updated Koerner about the details, assuring him that things would be ready to be installed shortly after the Koerners arrived, and sent more photographs of the progress. Koerner responded a bit concerned, saying “everything still seems very unfinished but we know that the last finishing work shows very best progress, especially when more cleanliness is around the place.” He let Elrod know they would be arriving in Palm Springs on Halloween, and checking in to the Biltmore. He stated that they hoped “to move as quickly as possible into our new home and it will be your job and Mr. Williams’s responsibility to get us in without further delay. We hope that your assumption that all the pieces of furniture etc. will have arrived in Palm Springs before us is correct and that there will be no disappointment in that respect. We are sure that you are doing your best to achieve this goal.”60
On November 11, the house was ready, and Elrod ordered bouquets from the Palm Springs Florist to enhance the beautiful interiors for the first time the Koerners would see the house completed.

Before the Koerners moved in, Elrod brought in all the accessories to complete the home’s interior.61 On Wednesday, December 14, 1955, at 6 p.m., the Koerners hosted a housewarming party. The couple invited many artists, artisans, craftsmen, and tradespeople who had worked on the creation their new home.

Leon Koerner addressed the guests:
56 Leon Koerner fonds, University of British Columbia Library, Rare Books & Special Collections. 57 Letter from Elrod to Koerner, August 22, 1955. Leon Koerner fonds, University of British Columbia Library, Rare Books & Special Collections.
58 Letter from Elrod to Koerner, August 26, 1955. Leon Koerner fonds, University of British Columbia Library, Rare Books & Special Collections.
59 Letter from Koerner to Elrod, September 2, 1955. Leon Koerner fonds, University of British Columbia Library, Rare Books & Special Collections.
60 Letter from Koerner to Elrod, October 18, 1955. Leon Koerner fonds, University of British Columbia Library, Rare Books & Special Collections.
61 Arthur Elrod’s specifications sheets and correspondence with the Koerners. Leon Koerner fonds, University of British Columbia Library, Rare Books & Special Collections.

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51 May I, in the name of my better half and myself, welcome you all to our new abode and thank you for the pleasure of having you with us.

This year we are especially privileged to celebrate already the third Thanksgiving Day.

The first one we celebrated in Vancouver in October, when we thanked our Lord for all the blessings he bestowed on us in our adopted country, our beloved Canada.

The second we spent here last month amid the loveable people of this grand country, thanking Him for the goodness of their wonderful neighbourliness.

Today is the third and our particular Thanksgiving Day. Thanksgiving to Him for the blessing of having moved into this new home, thanksgiving to all those who have been responsible for the creation, construction, and completion of house and garden.

Our thanks go to Arnold Rumwell, whose advice led us to our decision to build on our own grounds.

Thanks to Bill Boggess who, in less than two hours of acquaintance, sold us this lot on which we stand.

Thanks to Francis Dean, who transformed the flat desert ground into a most enjoyable garden perfectly fitting into the surrounding landscape.

Thanks to Earl Neel who, together with Francis Dean chose and planted exquisite trees, shrubs, and flowers.

Last, but certainly not least, our thanks go to Stewart Williams, the composer and maestro of the symphony which Thea proudly named “Miosogno.”
We hope to enjoy it every day while we are here, and God willing, through many years to come.

Stew and his associates have put the hearts and brains, their skills and greatest abilities into this creation, and voilà, the outcome of their excellent team work.

Amongst the other distinguished members of their orchestra I mention his brother Roger, Mssrs.

Hoffman, Nelson, Frank Evans, and our most able, ambitious, enthusiastic interior decorator, Arthur Elrod.

To all of them and to many others not present here go our hearty thanks.

I cannot conclude without thanking also our dear friend Fred Ingram for the care he and his organization have taken in looking after the financial coordination without any discord in the concert of efforts.

Again to you all, from the bottom of our hearts, many many thanks.

May I express Thea’s and my wish for many years of friendship and good neighbourly relations in the friendly spirit of tonight’s gathering.

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52 Thank you, thank you all, and many cheers for only happy days.62 On December 14, 1955, Leon Koerner wrote a letter of appreciation to E. Stewart Williams:

My Dear Stew:

You have, by your artistic design and most thorough supervision of its construction, created for Thea and myself a lovely winter abode, which Thea rightly calls Miosogno (My Dream).

We both thank you from the bottom of our hearts for what you have done for us.

Your achievement would not be what it is without the perfect team work of your associates and the craftsmanship of your contractors and their skilled crews.

In addition to being the owners and beneficiaries of your creation, we hope for many years to come, we have by meeting you and Mari, enjoyed the rare privilege at our age of acquiring new loveable friends, whose affection we cherish.63
Koerner wrote a similar note to Elrod on December 14, “Mrs. Koerner and I want to thank you for what you have done to furnish and beautify our new desert abode. We both feel that with your sense for beauty of design and color and your full attention to our wishes you have contributed very much to make it attractive and comfortable, at the same time.”64
To Dean, Koerner wrote, “Mrs. Koerner and I feel that you have, through your most cooperative efforts, together with Mr. Stewart Williams and Earl Neel, in a wonderful way contributed to the beauty of our desert abode by the creation of a most tastefully designed garden. To show our great appreciation we want to express to you our hearty thanks and our congratulations for a most distinguished achievement”65 On April 24 and 25, 1956, E. Stewart Williams had famed photographer Julius Shulman photograph the house, focusing primarily on the landscape architecture. Williams sent Koerner copies of the pictures, writing, “enclosed are several photographs which Julius Shulman, our photographer from Los Angeles, took of your garden the day after you left. With your permission, he wants to send them to House & Garden, one of the leading home magazines in the United States, to see if they would be interested in devoting a section of one of their winter issues to your home. If interested, they would commission him to take full coverage of the interior of the house sometime in the fall, after you return to Palm Springs. I have cautioned him of your desire to avoid publicity, either by mentioning your name or your address, other than to say it is a home in Palm Springs, California.” Koerner responded, thanking Williams for the photographs, but expressing his “regret that they are not showing the colours. As I told you personally, we have no objection to reproduction of these photographs in addition to some of the house in the magazine ‘House and Garden,’ as we can visualize 62 Leon Koerner fonds, University of British Columbia Library, Rare Books & Special Collections. 63 Ibid.
64 Letter from Koerner to Elrod, December 14, 1955. Leon Koerner fonds, University of British Columbia Library, Rare Books & Special Collections.
65 Leon Koerner fonds, University of British Columbia Library, Rare Books & Special Collections.

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53 that it will be of some value for your firm and a tribute to your artistic achievement. It is understood that our name, as owner of the property, will not appear in any publication.”66 Before the Koerners arrived for the 1956-57 season, Williams wrote to Koerner to tell him, “incidentally, your garden looks just marvelous. I have never seen things grow like your plants and trees did this summer.

Neel must have fed everything several times with fertilizer to get that kind of result.”67 After the house was completed, the Koerners and the Williams families remained close, and their friendship grew. The Koerners regularly entertained the couple on their trips north, and in the Leon Koerner archives, is extensive correspondence back and forth for the rest of Koerner’s life. Eventually, the families merged when in 1969, E. Stewart Williams’ son Erik married Leon Koerner’s great-niece Sidney Koerner. 66 Letters between E. Stewart Williams and Leon Koerner, May 21 and May 25, 1956. Leon Koerner fonds, University of British Columbia Library, Rare Books & Special Collections.
67 Letter from E. Stewart Williams to Leon Koerner, October 24, 1956. Leon Koerner fonds, University of British Columbia Library, Rare Books & Special Collections.

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54 V. Biographies
E. Stewart Williams
(The following biography, written by Andy Sotta, is excerpted from the Palm Springs Preservation Foundation’s 2005 tribute journal – E. Stewart Williams: A Tribute to His Work and Life.) Emerson Stewart Williams was born in Dayton, Ohio on November 15, 1909, to Harry and Una Williams. At the time, his father was a partner in an extremely successful architecture firm, Schenk and Williams. At its peak, the firm employed 120 people with a focus on large commercial buildings for corporate clients such as Delco, Frigidaire, and National Cash Register Corporation. The occasional house project included one designed for the Wright brothers of flying fame.

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55 By all accounts, Stewart was an extremely bright and charming young man with a great sense of humor who enjoyed athletics, his studies, socializing and the arts - traits that stayed with him throughout his life. Knowing since age 5 that he desired to follow in his father’s footsteps to become an architect, Stewart entered Cornell University in 1928 and graduated with a Bachelor of Architecture degree in 1932. He then attended the University of Pennsylvania where he earned his master’s degree in architecture in 1933 and was awarded the prestigious Theophilus Parsons Chandler Fellowship.

By this time, the Great Depression had swept across America, bringing with it major change. The Williams family’s affluent lifestyle was not spared. Architectural commissions evaporated. Schenk and Williams’s oncethriving firm was reduced to just two partners scrounging for whatever work they could find. Undoubtedly this reversal of fortune had a profound effect on the young Stewart Williams (he resisted expanding his firm throughout fifty years in practice), steering him at times away from a career in architecture and toward a career in art and design. Fortunately, Williams found a position at Bard College (then part of Columbia University) teaching art and design from 1934-1938. While there, he supplemented his teaching salary by selling his etchings and paintings. Upon entering one of his artworks in the American Watercolor Society Exhibition in New York, he was awarded the Zabriskie Prize, the top purchase award.

In 1938, Williams departed on a long-delayed grand tour of Europe to study architecture and art. His travels took him to Stuttgart, Germany where he admired the Werkbund (a modernist workingman’s housing complex designed by a collaborative of some of Europe’s greatest modernist architects). Williams recalled in a 2000 interview for Palm Springs Life magazine: “I once went to a Seidling in Germany done by Gropius, Mendelsohn, Behrens, Mies van der Rohe and others where there were tract houses nearby. The little inexpensive houses were full of people while the elegant structures done by those world-famous architects were empty. So, I asked one of the guards why these houses were empty and he said people didn’t like living in boxes. This was early in the modern movement and people had not changed their thinking about being closer to the earth. The use of materials like beautiful wood, native stone and glass, to a certain extent, were mixed with colorful interiors. They loved fabrics that were patterned, and they loved flowers and had vines growing in the house. There was a feeling of simplicity and warmth that made me feel this was the way I would like to work.” He found what he was looking for later in the trip, in Sweden, Norway, and Denmark.

Though he admired the International Style and Bauhaus design he saw in Germany, it was the modernist design he saw in the Scandanavian countries that truly inspired Williams and would influence his later work. In contrast to the rigorous clarity he saw in Germany, seeing the softer, organic forms and warm materials of Alvar Aalto and Erik Gunnar Asplund would alter the course of his thinking on architecture. As he later recalled to Alan Hess, “They did things for human habitation, not like Le Corbusier [who designed] according to his own mathematical formulas…I wanted my buildings to have soul, a place where people were part of the human race, not an exercise in geometry.”68
While visiting the south of Sweden, Williams met the love of his life, Mari Schlytern, a young and beautiful art student at Stockholm’s Kunsthalle. After six months touring Europe, Williams returned home with hopes of 68 Julius Shulman: Palm Springs Modern, by Alan Hess.

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56 making Mari his bride as well as with a profound appreciation of the Swedish design philosophy, significantly their use of natural materials. In 1940, after a brief stint working in his father’s architectural firm Williams took a job with famed industrial designer Raymond Loewy of New York, where Stewart and Mari eventually married in Woodstock.

By 1942 Williams felt he would inevitably be drafted into World War II service. Wanting to determine which branch he would serve in, he enlisted in the Navy and was assigned to the Mare Island Naval Yard in San Francisco. While there, he supervised the design and construction of the dry docks serving the US Navy fleet.

Meanwhile, Harry Williams had decided to move to Palm Springs for semi-retirement and to a climate that would help alleviate the symptoms of his wife’s debilitating arthritis. After designing a home and a commercial building in Palm Springs for Julia Carnell, Harry was commissioned by Carnell to design The Plaza Shopping Center, now Class 1 Site No. 22, on Palm Canyon Drive in 1936. It was a mixed-use project combining retail/office and residential components - a novel concept at the time. It was the senior Williams’s first significant commission in almost eight years after suffering the collapse of Schenk and Williams.

With World War II over, in 1946 Stewart decided to join his father and brother Roger in establishing an architectural practice in Palm Springs. From 1946 to 1956, the three Williams’s worked in partnership. During this time Harry taught his sons about specifications, building codes, zoning, and the ups and downs of working with clients.

He also taught them how to run an architectural practice; there was little money to be made in a residential practice, so Harry encouraged his sons to pursue commercial work for banks, office buildings and schools.

While Stewart continued designing an occasional house during his career (usually with spectacular results), the bulk of his work was in the commercial arena. He acted as lead designer, Roger as engineer and Harry as facilitator. The years 1946 to 1948 were busy for Williams. Besides the Sinatra Residence, he would design The Colony, Temple Isaiah, the Bissonte Lodge and a modern addition to the 1924 Pepper Tree Inn. All but the Sinatra Residence have either been altered beyond recognition or demolished.

Southern California proved an especially fertile ground for modernist architecture due to a climate which encouraged indoor/outdoor living. Palm Springs, a playground for wealthy movie stars and industrialists, not only provided perfect climate and scenic beauty as the backdrop for modern designs, but also the financial resources to take those designs from drafting table to reality. This is evident when one looks at the concentration of modern architects and projects built or under construction in Palm Springs during E. Stewart Williams’s first year in practice, 1946 to 1947.

In that year alone, significant modernist projects included the Edward Kaufmann Residence by Richard Neutra; the Clark & Frey-designed Raymond Loewy Residence; and the Del Marcos Hotel by desert newcomer William F. Cody. Williams commented about his own early expertise in a 1997 Palm Springs Life interview; “I didn’t know anything about architecture really when I came out here in 1946. I had only sort of bits of experience, I didn’t know about zoning, about building codes, didn’t know anything about construction. I didn’t know how to mix concrete. I detailed a lot of things in my Dad’s office but I didn’t know how to build.” A common thread running through Williams’s designs is that the site generated the form. Williams is often quoted as saying, “buildings must be compatible with the land where they sit, compatible with the colors of Item 2B - Page 70
57 materials and shape and form of the site. I don’t design something that looks as if some alien spaceship set down onto the landscape.”
Unlike some of his contemporaries, he also lauded the craftsmen who built his projects. “They are responsible [for the work] as much I am. That’s the way architecture is. It’s a team effort...we dream them up and design them but it’s a collaborative effort.” These philosophies guided Williams throughout his entire career.

During the 1950s, Williams’s work consisted of both commercial and residential commissions, however, most of his notable residential work was done during this period. These include the Kiner, Bligh, Edris, and Sutter houses, and, in 1955, a home for his growing family. Notable commercial projects of this period included the original Desert Hospital, the first Palm Springs Desert Museum, the interior of the Florsheim shoe store on Palm Canyon Drive, the Oasis Hotel and Oasis Office Building, where he housed his offices, and the first Coachella Valley Savings & Loan bank building in 1956. Heeding the advice of his father, Williams pursued commercial work which comprised the majority of his projects from the midfifties through his retirement in 1990. In addition to the aforementioned projects, Williams’s work included: the Palm Springs High School gym,1947; Palm Springs baseball stadium, 1949; the original Desert Hospital, 1950; Palm Springs City Hall (with Clark & Frey),1955; Palm Springs High School auditorium, 1956; both the Palm Springs High School library and the College of the Desert gymnasium and pool, 1958.

From the late fifties until the early seventies, Williams practiced with his brother Roger, later joining forces with fellow desert architect, neighbor and friend, John Porter Clark, in 1972. The outstanding and impressive body of work from this period in Williams’s career includes: Santa Fe Federal Savings building on Palm Canyon Drive; a second bank building for Coachella Valley Savings and Loan, was completed in 1961 at the corner of Ramon Road and Palm Canyon Drive; the design of the Aerial Tramway mountain station; Crafton Hills College in Yucaipa and the new Palm Springs Desert Museum.

Although an avowed modernist heavily influenced by the International Style, Stewart Williams always charted his own course. Through his interpretation, he eschewed its rigid tenets and approached architecture with an open mind. Williams had great respect for Mies van der Rohe’s work and appreciated the graceful lines of his houses and the way in which he invited the outdoors inside. Williams labored with each design to make the building appear to grow out of its site. The beauty of the materials used in his buildings always predominated.

When asked about the essence of his style, Williams said over and over again, “Let the natural beauty of the materials be the thing you see.”
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58 Eckbo, Royston, & Williams, landscape architects.

From left, Garrett Eckbo, Francis Dean, Edward Williams, and Robert Royston.

Garrett Eckbo
(From The Cultural Landscape Foundation’s “Pioneers of Landscape Design” website. Essay by Dorothée Imbert).

Although born in Cooperstown, New York, to Theodora Munn and Axel Eckbo on November 28, 1910, Garrett Eckbo identified with California.

In 1912, following his parents’ divorce, he moved with his mother to Alameda, east of San Francisco, where he grew up with very limited social opportunities. Prospects improved in 1929 with a six-month visit to a wealthy and enterprising paternal uncle in Oslo, Norway, spurring young Eckbo’s ambition to pursue higher education.

After a year at Marin Junior College, Eckbo entered the Division of Landscape Design and Floriculture at the University of California at Berkeley, in the fall of 1932. He later credited Professor H. Leland Vaughan, a former student of Thomas D. Church at Ohio State University, as being influential in his professional Item 2B - Page 72
59 development. Vaughan and the Great Depression years impressed Berkeley landscape students with the need for pragmatic and reductive design, even though their projects rarely strayed from adaptations of historical styles, as witnessed in Eckbo’s 1934 design entitled, Estate in the Manner of Louis XIV. Upon graduating in June 1935, Eckbo moved south. Employed by Armstrong Nurseries in Ontario, California, for a year, he produced approximately one hundred garden plans and acquired a wide knowledge of Southern California plants.

A scholarship to Harvard University’s Graduate School of Design allowed him to move beyond the service industry. In the fall of 1936, Eckbo drove east to enroll in the Department of Landscape Architecture. Soon disillusioned with the school’s traditional curriculum, Eckbo questioned the legacy of Frederick Law Olmsted and the program’s reliance on Henry V. Hubbard and Theodora Kimball’s Introduction to the Study of Landscape Design, a textbook which he condemned as formulaic and overly aesthetic. While the landscape department conformed to a Beaux Arts tradition and the formal/informal dialectic, the architecture department at Harvard was undergoing a complete transformation under the leadership of Walter Gropius, who had joined the faculty in 1937. Eckbo began to define his own modernist theory by establishing connections among landscape design, architecture, and art. He collaborated with architecture students on projects such as a recreation center and park in underprivileged South Boston. He announced his beliefs that “what is good for the rich is good for the poor,” and that design required a multidisciplinary approach. He further explored the relationships between private gardens and public space, and urban and suburban design, in both his master’s thesis project, Contempoville — a superblock with a central common — and “Small Gardens in the City.” The publication of the latter in the architectural periodical Pencil Points in September 1937 brought him notoriety at home and abroad.

Eckbo quickly understood the necessity of advancing his ideas in writing. He joined forces with fellow students and modernism champions Dan Kiley and James Rose to produce the three-part seminal text “Landscape Design in the Urban Environment,” “Landscape Design in the Rural Environment,” and “Landscape Design in the Primeval Environment” which appeared in Architectural Record in May and August 1939 and February 1940, respectively. These articles argued for collaborative, cohesive design, and planning, from city garden to natural preserve, stressing the interdependency of such environments.

On September 19, 1937, he married Arline Williams, the sister of his future business partner. Having received a master’s in landscape architecture degree in 1938, Eckbo took a series of project-based jobs, each lasting six weeks. He worked on the Federal Building for the 1939 Golden Gate International Exposition at the office of Kastner and Berla in Washington, DC While in Washington, Eckbo designed prototypical open spaces for housing projects at the request of Frederick Gutheim of the United States Housing Authority. In addition, he conceived several unbuilt landscape schemes for Norman Bel Geddes’ General Motors pavilion at the 1939 World’s Fair in New York.

Having returned to California, Eckbo worked for the San Francisco office of the New Deal’s Farm Security Administration from 1939 to 1942, where he designed environments for migrant-worker camps across the valleys of California, Washington, and Texas. Collaborating with architects Vernon DeMars and Burton Cairns and landscape architect Francis Violich, Eckbo would further his spatial explorations and provide shelter at the human scale within the expansive agricultural landscape. At Tulare and Ceres, in the San Joaquin Valley, his Item 2B - Page 73
60 grand and richly varied planting schemes offered shade, wind protection, and a sense of place for a transient population. With the same group of designers, Eckbo founded Telesis, an organization that focused on the impact of development in the Bay Area. From 1942 to 1945, he participated in the World War II effort by contributing landscape designs for defense housing in the San Francisco region.

In the postwar era, Eckbo founded a firm with Robert Royston and Edward Williams. Eckbo Royston and Williams soon expanded their scope of work from residential gardens to suburban parks (the 1949 Standard Oil Rod and Gun Club in Richmond and 1957 Mitchell Park in Palo Alto) and planned communities (Ladera on the San Francisco Peninsula). From 1946, Eckbo headed the firm in the Los Angeles area with the assistance of Francis Dean. The early years were marked by a multitude of garden designs for the wealthy and the more modest, and by collaborations with modernist architects on several developments. His unbuilt 1946 to 1949 design for Community Homes in Reseda remains exemplary in its sophisticated use of vegetation as a tool for structuring neighborhoods. Other designs included the semi-urban Park Planned Homes from 1946 to 1947; Mar Vista Housing in 1948; both with Gregory Ain; and the dramatically canyon-sited Crestwood Hills in 1948 and Wonderland Park in 1950.

In 1950, Eckbo coalesced his ideas in Landscape for Living, defining the modern discipline of landscape architecture for his professional peers and a broader readership. A quintessential twentieth-century text in a field that has shied away from theory, Landscape for Living stands apart with Christopher Tunnard’s Gardens in the Modern Landscape (1938, 1948) and Ian McHarg’s Design with Nature (1969) as remarkable attempts to define the field in relation to planning and the environment. Eckbo illustrated its theory, defined as “a generalization of social experience,” with his own projects and those of the firm. He reiterated the call for an organized and planned landscape, from garden to nature, a designed landscape that would stress the relations between human and land without apologizing for the human presence.

Eckbo continued to balance design and writing in his mature years. He taught in the School of Architecture at the University of Southern California from 1948 to 1956. His widely publicized 1956 to 1959 Forecast Garden, commissioned by the Aluminum Company of America, tested aluminum as a spatial and decorative force in landscape design. The year 1956 also saw the publication of The Art of Home Landscaping, a garden and site planning manual aimed at a popular audience. Eckbo’s innovative design for the pedestrian blocks of the Fulton Street Mall in Fresno, developed with Victor Gruen in the early 1960s, proposed an urban alternative to shopping centers. In 1962, Eckbo began a twenty-year design and planning process for the University of New Mexico at Albuquerque. He published Urban Landscape Design in 1964 and The Landscape We See in 1969.

His firm continued to evolve as well. In 1958, Eckbo Royston and Williams divided into Royston Hanamoto and Mayes, and Eckbo Dean and Williams. In 1964, Donald Austin became a partner and the firm was recast as Eckbo, Dean, Austin and Williams, later known as EDAW. Ultimately, the laboratory for progressive landscape design with a focus on the relationship between individual and community grew into a multinational planning corporation. Eckbo returned to the San Francisco Bay Area in 1963 to head the Department of Landscape Architecture at Berkeley until 1969. He received the Medal of Honor from the American Society of Landscape Architects in 1975; he retired as Professor Emeritus in 1978, and left EDAW a year later.

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61 In an attempt to start anew, Eckbo formed Eckbo Kay Associates with Kenneth Kay in 1979 with whom he collaborated until 1983. During the final years of practice, Garrett Eckbo and Associates addressed the scales of planning and garden design, having come full circle. His involvement in writing and debating the state and future of landscape architecture never abated. Eckbo still believed in landscape design as an agent of societal change, publishing People in the Landscape two years before his death on May 14, 2000, in Oakland, California.

Francis H. Dean
Born in Concord, California, Dean spent much of his childhood on a family farm. During World War II he served as a pilot in the US Army Air Corps, once crash-landing his plane on an Italian farmstead after engaging the enemy. He studied landscape architecture under H. Leland Vaughan and Robert Royston at the University of California, Berkeley, graduating in 1948 (he would earn his master's degree in landscape architecture in 1981). Upon receiving his undergraduate degree, Dean was invited to join the firm Eckbo, Royston, & Williams, becoming a partner in 1953. After changes in partnership and with the addition of Don Austin, the firm was renamed Eckbo, Dean, Austin and Williams in 1964, with Dean eventually directing the offices in Irvine, California. The firm’s official moniker became EDAW in 1974.

During his tenure with the firm, Dean worked on a wide range of projects, from residential gardens to university campuses and regional plans. In 1955 he was the landscape architect for San Fernando Gardens, a public housing project comprising 450 garden apartments in the Pacoima neighborhood of Los Angeles. By the 1960s Dean and his firm were at the forefront of sustainable planning, working on groundbreaking large-scale projects, such as the California Urban Metropolitan Open Space Plan for the State of California. Dean took the leading role on the Santa Ana River /Santiago Creek Greenbelt Study, completed in 1971. In 1976 he began teaching part-time at the Department of Landscape Architecture at the California State Polytechnic University, Pomona (Cal Poly Pomona), moving to full-time status two years later. He was named a Fellow of the American Society of Landscape Architects in 1978 and a Distinguished Professor in the Cal Poly Pomona Department of Landscape Architecture in 1990. In 1995 Dean received the Richard J. Neutra Award for Professional Excellence from the Cal Poly Pomona Department of Architecture. He died at the age of eighty in his home on Vashon Island, near Seattle. His professional papers are reposited at the special collections archives of the College of Environmental Design at Cal Poly Pomona. (From the Cultural Landscape Foundation’s “Pioneers of Landscape Design” website).

ECKBO IN PALM SPRINGS
Eckbo, Royston, & Williams created several landscapes in the Coachella Valley. In Eckbo’s finding aid, besides the Koerner Residence, the following projects are listed. It is unknown whether all were built:
• Tom May Residence, 1947. William F. Cody architect.
• Town & Country Center, 1948. Paul R. Williams and A. Quincy Jones, architects. (Built using a modified design; extant).
• Preston Higgins Residence, 1950. E. Stewart Williams architect. (built, demolished).

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62 • Colonia #1 & #2, 1955. Houses adjacent to Thunderbird Country Club. (There are ads for this project in Desert Sun, not sure if the Eckbo plans were installed). • Thunderbird North Golf Club, 1955.
• C. E. Needham Residence, 1955-1956.
• Palm Springs City Hall, 1956. (Built, landscape altered). • Desert Holiday House, 1956. Palmer & Krisel, architects (project was renamed Ocotillo Lodge).
• Sidney Charney Residence, 1956-58. Wexler & Harrison, architects. Tamarisk Country Club. (Built, extant).
• A. J. Coffey Residence, 1960. (unknown if built. Coffey was remodeling a house at 1630 S Calle Marcus in Deepwell Estates in 1960).
• Birdie Lyman Residence, 1960.
• Desert Highland Park, 1968. (built).
• Russell Garner Residence, William F. Cody, architect. (Palm Desert, built, current condition unknown).
• G. E. Karlen Residence, E. Stewart Williams, architect. (Unknown). • Kaufmann House restoration, 1996. Collaborator: Marmol & Radziner (restoration architects).

The Russell Gardner Residence, 1948. In Desert Palm Estates in Palm Desert. William F. Cody, architect; Eckbo, Royston, & Williams, landscape architects.

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63 THE PRESTON HIGGINS RESIDENCE
At the Preston Higgins residence, designed in 1950 by architect E. Stewart Williams, Eckbo used sculptural mounds of earth, covered primarily in white alyssum, as a device to add interest and break up the large panels of turf. They also were meant to relate to the San Jacinto Mountains, which were always looming over the landscapes. Other Eckbo signatures used in both the Koerner and Higgins gardens were the shallow steel tank ends used as planters and circular concrete pads. The initial landscape was designed in 1950. In 1953, Eckbo returned to create a design for the front of the house.

Eckbo’s sculpted earthen mounds at the Higgins Garden. William Aplin photograph, courtesy Eckbo archives, UC Berkeley.

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64 William Aplin photograph of the Higgins Garden, courtesy Eckbo archives at UC Berkeley. Though concrete signatures are widely conceived as a William Krisel signature in Palm Springs today, Krisel’s professor of landscape architecture at USC was Garrett Eckbo, and it is Eckbo’s influence that resulted in Krisel’s similar design feature.

Landscape architect Garrett Eckbo’s drawing for the earth mounds and tank ends at the Higgins Garden. Courtesy Eckbo archives at UC Berkeley.

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65 At Palm Springs City Hall, 1957, Eckbo used sculpted earth mounds to enclose an area in front of the structure devoted to desert plants. The mounds were planted with verbena. Julius Shulman photograph, © J. Paul Getty Trust.

Getty Research Institute, Los Angeles (2004.R.10).

At Palm Springs City Hall, the median between the street and parking lot featured native desert plants, with earth mounds. Julius Shulman photograph, © J. Paul Getty Trust. Getty Research Institute, Los Angeles (2004.R.10).

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66 Notes on Koerner Garden and the Role of Garrett Eckbo as Designer By JC Miller
Garrett Eckbo’s career, perhaps more accurately his life’s work, was multifaceted. While he is widely known for his success as a landscape architect, he was also an educator, writer, and theorist. His prominence in the field of postwar landscape architecture is such that current discussions often describe him as “the father of modern landscape architecture.”69 A survey of his legacy, both the built and published work, indicates that he considered his writings as important as his designs. In both Landscape for Living (1950) and the subsequent The Art of Home Landscaping (1956) he provides his audience with a thoughtful, thorough, and detailed guide to the principles of landscape design. Beyond “how-to” instructions, however, Eckbo’s writing is, in his own words, a “why-to” of landscape architecture. This is immensely helpful for the retrospective analysis of his built work.

In 1955, when Eckbo Royston and Williams (ERW) was engaged to design a garden for the soon-to-be-built seasonal home of Mr. and Mrs. Leon Koerner in Palm Springs, Eckbo’s design practice was thriving. ERW’s Los Angeles office opened in 1948. It was in a studio building adjacent to Eckbo’s Wonderland Park home in the Hollywood Hills. The office was busy with residential commissions and an increasing number of larger and more complex commercial and institutional projects.70 Working with Eckbo in the Wonderland Park studio was Francis Dean, who had joined ERW in 1948 after graduating from the University of California, Berkeley’s Landscape Architecture program, where he had studied under Eckbo’s ERW partner Robert Royston. Dean became a partner in ERW in 1953.71 Given Eckbo’s divided schedule during this period—he was concurrently teaching in the School of Architecture at USC —Dean likely functioned as the managing principal in the Los Angeles studio.

The issue of authorship often arises when individuals work as partners in the same office. The ERW office was a collaborative environment and without doubt, Eckbo and Dean worked together on the Koerner project.

During this period, Eckbo and Royston often traveled to meet each other, meeting mid-state, to stay informed on current projects in the north and south offices.72 Francis Dean certainly had a prominent role in the Southern California office and the Koerners’ garden project in 1955, but Eckbo’s primary role in the project's design is obvious. Eckbo’s writing in Landscape for Living, the book that preceded the work, and The Art of Home Landscaping that followed it support this assertion. A review of Eckbo’s design drawings, construction detailing, and the built features of the 1950-53 Higgins garden in Palm Springs reinforce the point.

The large shade structure that encloses the west end of the swimming pool in the Koerner garden directly reflects ideas put forth by Eckbo in his published work and confirms his role in the garden's design. At some point in the past, prior homeowners removed this critical garden feature. Rebuilding it was a high priority of 69 Los Angeles Conservancy Website: https://www.laconservancy.org/architects/Garrett-eckbo 70 Timeline of Eckbo, Royston, & Williams office – Modern Public Gardens, 25 71 Cultural Landscape Foundation – Pioneers: https://www.tclf.org/francis-h-dean 72 Op.cit – citation 2
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67 the recently completed garden restoration project. It was rebuilt from period photographs because the original construction details for the shade structure were not available for reference.

In Art of Home Landscaping, Eckbo describes in detail his ideas about the general nature of enclosure and the specifics of wood construction as well as the view from the house to the garden. His explanation of these concepts could be a specific description of the Koerner structure. Images supporting the text show arbors and pergolas very similar in appearance to the Koerner structure. The images illustrate Eckbo’s ideas on structural geometry, the control of garden views, and the directional function of built elements in the garden.

Also rebuilt as a part of the restoration project was exposed aggregate paving beneath the shade structure.

No archival reference material was available for the material specification, so a close examination of period photos guided the restoration work. Historic photos revealed a variety of sizes in the decorative aggregate, an Eckbo technique.
73 In The Art of Home Landscaping he states that a wide variety of decorative aggregates might be used and that the “proportions must be determined by experiment.”74 Demolition brought to light pieces of the original patio. Those fragments provided physical reference to match the aggregate and concrete color (white) of the original patios in the restoration.

When planning for the garden restoration project began in 2019, the geometric planting areas adjacent to the house and flagstone patios and the sculptural earth mounds along the north edge and at the northwest corner of the garden were no longer existent. Recreating and replanting these areas was a high priority for the garden restoration project. The visual tension between Eckbo's signature angled geometries and the flowing and organic forms of the planted mounds was a significant part of the original garden. This subtle relationship of geometry and form was also a strong indicator of Eckbo’s primary role in the authorship of the design.

In Garrett Eckbo Modern Landscape for Living (1997), Marc Treib and Dorothée Imbert explore in detail Eckbo’s art-inspired compositional strategies. “In gardens that can be counted in the high hundreds, if not thousands, Eckbo investigated and reinvestigated the play among space, activity, geometry, climate, and vegetation.”75 A comparison of the Koerner plan with Eckbo’s drawings for the Higgins garden 1950-53, an earlier project also in Palm Springs, follows Treib and Imbert’s thesis of investigation and reinvestigation. The Higgins plan details mounds very similar in size, form, and arrangement to those found in the later Koerner garden. The similarity between the two projects continues beyond the earthwork, to planting design. In both projects, we see Eckbo placing Ocotillo (Fouqueria splendens) as vertical accents on the crest of mounds. Further similarities are found in tree planting on the mounds. In the Higgins garden, he specified the relocation of an existing Chinese elm (Ulnus parvifolia) to the top of a newly created planted mound. For the Koerner garden he called for California pepper (Schinus molle), a tree of similar character and form, to be placed in the same way.
73 Recorded conversation between JC Miller and Robert Royston in 2006 in which Royston describes Eckbo’s fondness for “pebbly concrete” and his preference to be on site when concrete was poured to hand cast the aggregate when possible. Royston further elaborated that Eckbo used a range of aggregates that varied in color and size. 74 Eckbo, Garrett. The Art of Home Landscaping, 100.
75 Eckbo, Garrett. Modern Landscape for Living, Berkeley Design Books/William Stout Publisher, 59-67.

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68 A comparison of the planting plans and plant lists prepared for both the Higgins and Koerner gardens reveals further similarities and significant duplication, not only in the various species called for but in the way in which plants were to be used. For example, both plans include a low, dark, and directional line of Pfitzer’s juniper (Juniperus pfitzeriana) in the front garden. This indicates a consistency in design intent and suggests that, at minimum, Eckbo’s earlier plan for Higgins was a template for the later Koerner plan.

The planting plan developed for the Koerner garden restoration relied heavily on the original plan.

Fortunately, the 2019 garden still included many of the trees planted originally. Specifically, the Mission olives (Olea europea), Blue palms (Brahea clara, previously known as Erythea armata), and fan palms (Washingtonia robusta and Washingtonia filifera). Due to poor condition, the original Desert fan palms (Washingtonia filifera) on the southeast corner of the pool were replaced with specimen plants in kind. Important structure-defining plants from the original plant list were restored to the garden wherever possible, including the Ocotillo and California pepper tree mentioned previously.

The sculptural mounds in the first iteration of the Koerner garden were planted heavily with several varieties of showy annuals, including Sweet Alyssum (Loblaria maritima) which was also the cover plant used in the Higgins garden. Historic photos of the garden made by Julius Shulman demonstrate the dramatic effect of this mass color planting strategy. This approach to planting reflected the part-time seasonal occupancy of postwar homes in Palm Springs. While lush and colorful in winter and spring, the planted mounds would have been bare through summer and fall. Planting for the restored garden strives to replicate the effect of the initial large-scale color planting with a variety of flowering perennials that persist year-round.

Both the Koerner and earlier Higgins gardens include industrial boiler tank ends as large shallow planters. This was a favorite device used by Eckbo and his partners. A casual survey of both Landscape for Living and The Art of Home Landscaping shows that many early ERW gardens included tank ends as planters and fountains, so it is not surprising to find them in the Palm Springs gardens. The plan for the Higgins garden includes a whimsical sketch of a tank end planter partially set into a planted mound and supported on stones. This is also how the tank end planters were arranged for the Koerners. The sketch is in Eckbo’s hand and includes a list of succulent plants. While no instructions are given, it is assumed that the proposed succulent planting was to be refreshed seasonally since the species called for would not have persisted through high summer temperatures in the desert.

Similarities of the plant lists proposed for the tank end planters are nearly identical, reinforcing the kinship of the Higgins and Koerner gardens. Both are a mix of Aeonium, Cotyledon, and Sedum varieties supplemented with Blue Fescue grass (Festuca ovina). It is worth noting that in 1954 the January and June issues of Sunset magazine included articles on tank end planters and succulents.76 Both articles include essentially the same plant list and are illustrated with photos of ERW work in Northern California. It is possible that Robert Royston, Eckbo’s partner in Mill Valley, originally developed the list and it was in general use for both offices.

Landscape architect JC Miller worked for more than a decade in the Royston office and, as a principal, assisted Royston in the design and execution of his final projects. He is coauthor of “Robert Royston,” a volume in the Library 76 Sunset, January 1954 – These are “tank” gardens and June 1954 –“Gardening with Succulents.” Item 2B - Page 82
69 of American Landscape History’s “Masters of Modern Landscape Design” series, and coauthor, with Reuben Rainey, of the book “Modern Public Gardens: Robert Royston and the Suburban Park.” Miller was the historic landscape architect in charge of restoring the Koerner Garden.

Arthur Elrod
Born in 1924, the South Carolina native studied textiles at Clemson Agricultural College (now Clemson University), then interior design at Chouinard Art Institute, in Los Angeles. He arrived in Palm Springs in 1947 and worked as junior staff decorator in the home furnishings department of the newly opened Bullock’s department store. His early career was fueled by the postwar building boom and by a growing awareness in the desert community of modernism, sparked by the work of Schindler, Frey, Neutra, and Frank Lloyd Wright.

Despite abundant commissions and favorable publicity, Elrod decamped to San Francisco in 1952 for a twoyear stint at prominent home design and carpet store W. & J. Sloane. During that time, General Electric engaged him to design an exhibition for the San Francisco Museum of Art to celebrate the seventy-fifth anniversary of the invention of Edison’s incandescent bulb. Elrod installed a “penthouse apartment” with a terrace in the museum’s galleries that garnered him considerable attention and also marked a turn in his style.

Almost all the furnishings were contemporary pieces, by T. H. Robsjohn-Gibbings. And, signaling an early innovative impulse, the lighting was subtly integrated into the design — fixtures hidden in valances, a downlight color constellation that changed hues, concealed dimmer-controlled spots, and more — rather than Item 2B - Page 83
70 added as an afterthought by deploying lamps and chandeliers. “It was the first use of recessed downlights in conjunction with fluorescents,” Cygelman writes.

At W. & J. Sloane, Elrod met Hal Broderick — who would be his life partner until the 1960s and his business partner until the designer’s death, in 1974 — and Barbara Wills, an assistant manager in the store’s modern furniture department. The three established Arthur Elrod Ltd. and relocated back to Palm Springs in 1954.

The firm was instantly successful, and over the years took on more and more designers to meet demand, including, in 1964, William Raiser, a “design heavyweight” who, says Cygelman, shifted the design direction in subtle yet profound ways.

Raiser had worked for thirty years for Raymond Loewy, whom he assisted in designing the interiors of Air Force One for the Kennedys. He had a portfolio thick with commercial and hospitality projects and custom designs. He ushered Elrod’s firm into contract work, assumed control of its custom rug and carpet designs and refined its signature look into something more polished and layered.

Elrod literally created the Midcentury Palm Springs interiors aesthetic we take for granted today. His was the first firm to bring national lines like Baker and Widdicomb to the desert. “He poured surfboard resin over fabrics to create countertops,” says Cygelman. “Who else was doing that?” Elrod also pioneered the use of indoor-outdoor fabrics, covered a fireplace wall with green vinyl and made Naugahyde chic. He floated credenzas on wall panels and under-lit sofas and beds with recessed kickbacks so that they appeared to levitate. “We are living now,” Elrod told Architectural Digest in 1972. “Homes should reflect the materials and craftsmanship of today rather than the past.”
The firm had a fearless approach to color as well. “Color is not easy to do,” Los Angeles designer Brad Dunning told Cygelman. “Other decorators of the period were doing similar work, but no one did it better than Elrod — bold colors that were so ballsy, but he pulled it off. . . . He could do those patterns and bright colors on a par with the best color field painters . . . but he was doing it in 3-D.” Elrod commissioned rising talents to create custom work for projects. He also embraced technology, designing speakers into consoles and embedding stereo and lighting controls into furniture. In a time when we can adjust our world from our armchairs on iPads, it’s easy to forget how revolutionary his tech-savvy was back then. “It’s taken forty years to catch up to that,” notes Cygelman.

Former Architectural Digest editor Paige Rense Noland, who splashed many Elrod interiors across the publication’s pages in her early days there, observes that he persuaded clients “to look at their second or third house on a par with their primary residence. He made clients want to spend money on their weekend home.” Unlike most decorators of the day, Elrod often designed clients’ Palm Springs homes before being asked to redo their primary residences in cities across the country, from Honolulu to Chicago to New York.

Cygelman calls his style “smooth and sexy.” No surprise, then, that Elrod’s own home, designed by architect Lautner, landed a role in the James Bond film Diamonds Are Forever as Willard Whyte’s desert abode, where the tycoon sat under house arrest, guarded by martial arts vixens Bambi and Thumper.

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71 Elrod and the Desert Modern architects with whom he collaborated transformed Palm Springs into a design mecca. “Entertaining in the desert is much more formal now,” Elrod told the Desert Sun in 1962. “We are becoming more urbane and cosmopolitan with every passing season. And the decor of our homes reflects these trends.”
So, what happened — why did he all but disappear? “Definitely, being regional hurt him,” says Cygelman. “Even though lots of projects were published in AD, at first it was a very regional magazine, and I don’t think anyone was paying attention to what was happening in Palm Springs at the time.” Elrod and Raiser also died young (49 and 58, respectively), when their car was broadsided by a drunken teen’s pickup truck. “He didn’t really get national coverage until the nineteen seventies,” Cygelman explains, “and he died just as AD was becoming a national magazine, right when he was getting huge commissions with budgets in seven figures.” The firm’s partners kept Arthur Elrod Ltd. going long enough to finish the projects Elrod and Raiser had begun. But without its two leading visionaries, the “Elrod look” morphed into something else, and commissions dwindled until Broderick finally closed the company in 1996 and retired to Sonoma. (Essay adapted from 1stdibs.com. (https://www.1stdibs.com/introspective-magazine/arthur-elrod/, accessed July 10, 2022).

VI. The Development of Deepwell Estates
When the Koerner Residence was completed in late 1955, it was a masterpiece of environmental design, created by designers at the top of their game—architect E. Stewart Williams; Eckbo, Royston, & Williams, landscape architects; and interior designer Arthur Elrod.

In the spring of 1955, while spending the season at the nearby Biltmore, the couple bought four contiguous parcels, equaling an acre, in the newly developing Deepwell Estates subdivision. They hired architect E.

Stewart Williams and landscape architects Eckbo, Royston, & Williams to collaborate on the house and garden’s design. They designed a house that maximized the indoor/outdoor relationship, blurring boundaries between home and garden. The land upon which the house was built had a rich history.

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72 The entrance to Deep Well Guest Ranch was at 1020 Indio Road (Highway 111). Courtesy Palm Springs Historical Society.

DEEP WELL COLONY ESTATES
The Koerner Residence was built in a new 231-parcel subdivision which is now commonly known as Deepwell Estates (this subdivision has been described variously through the years as Deep Well Ranch Estates, Deepwell Ranch Estates, Deep Well Estates, and Deep Well Colony Estates). The district, as defined in the City of Palm Springs Historic Resource Survey, has boundaries of Mesquite Avenue to the north, East Palm Canyon (Highway 111) to the south, the west side of Manzanita Avenue to the west (Palomino and Cactus Roads branch out further west from this), and the east side of Sagebrush Road to the east. Though considered part of Deepwell Estates today, Sun View Estates was developed a few years earlier, in 1946. Its boundaries are the west side of South Calle Rolph to the west and Sunrise Way to the east.

Originally part of the Agua Caliente Tribe’s Section 23, the land upon which Deepwell Estates sits was for years mostly open land from Deep Well Guest Ranch to Section 24. Frank and Melba Berry Bennett ran the Deep Well Guest Ranch for many years. After the Bennetts sold the Guest Ranch, Melba Bennett wrote a history of the site for the Palm Springs Villager.
77 In it, she gave an overview of the town's early history, including Judge McCallum’s early efforts to grow orchards, which failed after torrential rains in 1893, followed by a ten-year drought. After that:

New men ventured into Palm Springs. Among these men was the editor of the San Francisco Chronicle, George Hamilton Fitch, who in 1895 bought some of the fields near the old Indian village southeast of the new McCallum town site. Fitch sent John Gilmore, a correspondent, to manage the 77 Bennett, Melba Berry. “Story of Deep Well,” Palm Springs Villager, February 1952, 38-39.

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73 ranch but Gilmore was soon replaced by an Englishman, Bert Coons. A small orchard of apricots was set out, and a shed was built where the fruit was to be sorted and packed.

However, as the drought lowered the water level, trouble with the Indians developed. They had a legal right to the first forty inches of water from the Whitewater Ditch and now demanded that the government give them full rights to the water from the canyon streams. They too had orchards. So in 1897 or 1898, the Indians were awarded exclusive rights to the water from the canyons. With the ditch down to a slow trickle, this reduced the whites to hauling water from long distances.

In the meantime, the Fitch property had been sold to a man by the name of Walker from Santa Ana.

Fitch’s apricot trees had burned out during the drought, but the olive and pepper trees were still standing. Walker planted more apricot trees about 1912. He watered the trees with water provided by the water company which was then controlled by Mr. Bunker, Senior. In 1916 an enterprising young man by the name of McKinney, and his wife Rose, moved to the desert, took the little money they had and leased Walker’s land, and made their first payment on the eighty acres to the west of Walker’s property. They set out more apricot trees and a good-sized patch of alfalfa.

McKinney also decided the armed forces could use a large supply of castor oil, and so he planted about twenty acres of castor bean trees. However, about this time, the Palm Valley Water Company changed hands, and PT Stevens took over the control. The ditch had been supplemented with a supply of water from Chino Canyon, but Stevens was interested in the development of the north end of town, and the McKinneys and others in the south end of town pleaded in vain for water. The McKinneys never cut their first alfalfa and lost what money they had put in the ranch. The alfalfa and apricots died from lack of water, but not the castor beans. Neither thirty-five hot summers, neglect, nor uprooting and burning have obliterated them. They are still making their fight for survival.

Mr. Henry Pearson, eminent scientist, and authority on rubber, purchased the property in 1926. He drilled a well and was amazed to find water so close to the surface. Though he hit water at 100 feet, his curiosity forced him to keep going and he didn’t stop drilling until 630 feet. From this well, the deepest in the Coachella Valley, the property which had been originally cultivated by the Indians then set out as an orchard by Fitch, and then by McKinney, and had twice been defeated by the shortage of water, came to be known as the Deep Well Ranch.

Pearson and his daughter, Esther, employed the services of Alvah Hicks and Hans Hansen to build them a board-and-batten ranch house. It consisted of a living room, kitchen, two bedrooms, and a tiny library. A small, one-room guest house was built at the rear, on the patio. Water was heated by the solar system. The pipes, covered with glass, were still on the roof of the little ranch house when the Bennetts moved into it in 1931.

But the ranch proved too isolated for the Pearsons and in 1928, they moved to the village and sold the ranch to an easterner by the name of Charles Doyle, who converted the old apricot shed and the ranch house into guest quarters and called the place the Deep Well Guest Ranch. He had Item 2B - Page 87
74 accommodations for twenty-two guests, but from the early ledgers, it is apparent that there were always plenty of rooms to spare.

Doyle was operating on a shoestring, and in 1929 he had a chance to sell, and took it. Major and Mrs.

Everett, and Mrs. Everett’s brother, Carrol Smith of San Francisco, were the purchasers. Calling in young Paul Williams, [the African American] architect, they drew plans for charming hacienda type buildings around pleasant patios. The new buildings were completed early in 1930 and the ranch opened for guests. Unfortunately, the Major did not live to see his ambition for the finest guest ranch in California realized. He died that same year, and his widow, with the assistance of her brother-in-law, Fred Warner, planned to carry on until a buyer could be found. But the depression made things too difficult, and Mr. Warner persuaded Frank and Melba Bennett of Beverly Hills to operate the ranch in the winter of 1930 and spring of 1931. Frank had been general manager and vice president of the Town House in Los Angeles.

The Bennetts and the Philip Boyds of Palm Springs were both interested in the purchase of the property. During the summer of 1931 it had reverted to its former owner, Henry Pearson, and that fall the Boyds and the Bennetts combined their interests and bought the property together. Frank and Melba assumed the operation for the next eighteen years, and made the ranch their home, while Phil and Dorothy continued to live in the village and later Phil became the first mayor of Palm Springs.

After dinner, guest would gather in the Long Room. 1930s photograph courtesy Palm Springs Historical Society.

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75 The swimming pool at Deep Well Guest Ranch. 1930s photograph courtesy Palm Springs Historical Society.

Deep Well Guest Ranch was located at 1020 Indio Road (Highway 111), not far from the famed Smoke Tree Ranch. Western-themed “dude ranches” were described by the Los Angeles Times in 1928 as “a resort where life on a ranch is offered without the frequent makeshifts for ordinary comforts…the main feature of entertainment is a stable of good horses where the able may ride to their heart’s content…”78 Palm Springs was especially well-suited to have these upscale dude ranches, places where wealthy industrialists, industry titans, and celebrities could wear western clothing and play cowboy for the season. According to historian Renee Brown, “Deep Well Guest Ranch attracted people who wanted to experience the desert in all its glory as well as stay in comfortable accommodations and enjoy western hospitality. Deep Well Guest Ranch became the spot where the famous, near-famous and ordinary people came together to experience a western adventure. Melba and Frank Bennett created engaging activities that made Deep Well Guest Ranch attractive to those who loved horseback riding, swimming and sunbathing. Great food, comfortable accommodations and western music were all part of the western heritage that could be experienced firsthand.”79 At Deep Well Guest Ranch, low-slung hacienda-style buildings, designed by master architect Paul R. Williams, enclosed charming courtyards with adjacent Long Room for socializing, a dining room, and a swimming pool. Melba Bennett’s history of Deep Well Guest Ranch, printed in the February 1952 issue of the Palm Springs Villager, continues:

In 1949, with subdivisions crowding the ranch, the Bennetts found it increasingly difficult to maintain the old, informal, simple atmosphere that everyone had loved. So, when Yoland Markson, of Boston, fell in love with the place and offered to lease the ranch and twenty surrounding acres, the Boyds and Bennetts decided that it was the best thing to do. Mr. Markson said he would make the ranch the beauty spot of Palm Springs, and that he has done.
78 “Arizona Resorts Popular,” Los Angeles Times, November 21, 1928, A1. 79 Brown, Renee. “Deep Well Guest Ranch provided true western experience,” Desert Sun, April 11, 2015.

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76 This year the balance of the acreage is to be subdivided. Locally popular Bill Grant, former chairman of the Desert Circus, Palm Springs Horsemen’s Association, and active in many other civic enterprises, is the purchaser and developer. He is a well-known builder, having pioneered the development of such local areas as Rancho Royale, and Sun View Estates, and is connected with the building and development of famous Thunderbird Ranch and Country Club.

It is fitting that such a man should set the standard of quality for the new Deep Well Ranch Estates and carry on its high tradition. Many of the residential sites have already been acquired by prominent winter residents who are aware of the many advantages of locating their Palm Springs home in this area. The fact that Bill Grant has placed on his architectural committee men of such prominence as Cliff May (considered American’s foremost designer of California ranch-type homes), and Phil Boyd, destines this to become Palm Springs’ finest residential colony. 1940s postcards, courtesy the author.

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77 Grant, the owner of Desert Properties Company, bought thirty acres in the southwest portion of what is now known as Deepwell Estates.80 Grant purchased the land from the Bennetts and Boyd, the property described as “lying between the Deep Well buildings and Highway 111.”81 Concurrently, Harry A. Dart and his wife Gladys bought twenty acres for development. On January 31, 1952, the Desert Sun reported Bill Grant, local builder who is the purchaser and developer of this beautiful new residential area. Mr.

Grant, former Chairman of the Desert Circus, member of the Palm Spring Horsemen’s Association and the Desert Riders. and builder of many of Palm Springs’ better homes in such residential areas as Rancho Royale, Sun View Estates, and Thunderbird Golf Club, rides up from his home at Thunderbird every day on his horse, "Caudillo,” to oversee bis newest project. With all the utilities installed, activity at Deep Well Ranch Estates now centers around the construction of new homes, of which five are already in the process of being built. The Deep Well Ranch properties, situated two and a half miles south of the center of the village, has, because of its 200-foot higher elevation, a beautiful view of the mountains in all directions —San Gorgonio at the north, San Jacinto in the west. Palm Canyon to the south, and the Little San Bernardino Range across the valley to the east—which affords a front-row seat to every beautiful sunset am. every change of shadow on the hills. Adjoining, as it does, the Deep Well Guest Ranch, the oldest guest ranch in the valley, the Deep Well Ranch Estates will carry on the tradition by having ranch-type houses and using street names that tie in with the activities of ranch life.

Mr. Cliff May, the outstanding architect and builder of Ranch houses in America, is on Mr. Grant’s planning and advisory committee, which ensures the high-quality of the new development. The property can be reached by turning off Highway ill through the Deep Well Ranch gates. Here a new road leads directly to the Estates property. Mr. Grant is kept busy operating a one-man guide tour for the many visitors who drive in to watch the conversion of the old ranch property into a modern subdivision.
80 William Travers Grant (1902-1982) and his wife Bernice (1903-1994) began appearing in articles in the Desert Sun after World War II. It was said that they had a cattle ranch in Medford, Oregon. Bill Grant was the chairman of the 1948 Desert Circus. They were one of the first to build a home near Thunderbird Ranch, which soon became Thunderbird Country Club. 81 “New Deep Well Estates Humming,” Desert Sun, February 21, 1952, 12.

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78 An advertisement for Bill Grant’s Deep Well Ranch Estates subdivision featured ranch-style homes that harmonized with the architecture of the Deep Well Guest Ranch.

Grant began developing the thirty acres adjacent to the Deep Well Guest Ranch. The Old West vernacular served as the design theme—streets were named Palomino, Pinto, Buckskin, Roan, and Bayshore, and the homes built were ranch-style.82
Los Angeles-based developer/contractor Robert C. Higgins bought several of the first lots in the tract. The Desert Sun reported in February that Higgins was having a ranch-style home built at 11 Palomino Road. “Higgins, a general contractor from Los Angeles, came here originally three years ago to restyle the Chi-Chi Restaurant. Returning to Los Angeles he got the ‘come back’ signal from Chino and returned to build Place in the Sun and the Red Barn [apartment hotels.] Another neat piece of construction work in which Higgins shared, is his new daughter, Claudia, born ten days ago at the Palm Springs Community Hospital. But Chino had the final word and now the Higgins are here to stay and expect to move into their new Deep Well Ranch 82 Pinto and Palomino Roads still exist. When the first parcels of the tract were surveyed in January 1951, they honored the Old West vernacular by naming streets after horse breeds. The first parcel surveyed is known as Deep Well Ranch Estates No. 4, and had the Buckskin, Roan, and Bayhorse Road names. It was in the northeast corner, with Mesquite to the north and Ocotillo to the south. Today, those streets are named Sagebrush, Paseo de Marcia, and Calle Maria. The street names were changed by the Darts when they began using street names inspired by desert plant names or continuing existing street names from tracts north of Deepwell Estates. The section developed by Grant were Deep Well Ranch Estates Unit No. 1, which consisted of twenty-two parcels along Palomino and Pinto Roads, with five along Deep Well Road.

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79 Estates home by the 10th of March.”
83 Higgins sold that house and built another at 15 Palomino, which he then sold in 1953 to Fred and Lloyd Blethan, who had aircraft factories.84 That was the last home Grant built on his initial thirty-acre tract before moving on to a Montana project. The Grants would soon move to Las Vegas.

Bill Grant, left, showing Mr. and Mrs. Jules Howard their new Deep Well Ranch Estates Home, 1952.

The same day the Desert Sun reported that Bill Grant would be developing Deep Well Ranch Estates, the newspaper also said that realtor Bill Boggess, formerly with the Ransom Realty Corporation, had opened his own office in the Plaza. Boggess would handle the subdivision of a new separate Deepwell Ranch subdivision, which he had just sold to Harry A. Dart of Detroit. It was reported that the roughly twenty-acre tract, to be known as Deep Well Colony Estates, would be a “casual, irregular subdivision with roads laid out with the informal feeling which is part of the charm of the desert for a great many wealthy winter colonists.”85 “Utilities and streets with curbs and gutters will be installed soon, and the construction of outstanding desert houses will begin. Rigid architectural control, as well as square footage requirements exceeding anything in that vicinity, will prevail.”86 While Bill Grant’s portion of Deep Well Ranch Estates emphasized Old West-themed ranch-style homes, the Dart’s Deep Well Colony Estates would showcase many of the desert’s finest modern architects of the 1950s, including Richard Harrison, Donald Wexler, E. Stewart Williams, and Hugh Kaptur.

Boggess himself purchased a parcel at 1366 South Calle de Maria, and built a house designed by Wexler & Harrison, with interiors by Arthur Elrod, and landscape by “Cactus Slim” Moorten.

Harry Aloysius Dart (1905-1976) and Gladys M. Dart (1892-1974) owned Dart Investment Company in Detroit. Gladys was thirteen years older than Harry, and she was also the wealthy daughter of Aaron Mendelson, one of the founders of Fisher Auto Body in Detroit. Born Gladys Marie Mendelson, she married 83 “What’s Old in Palm Springs,” Desert Sun, February 21, 1952, 9. 84 “Blethans Buy Bill Grant Home at Deep Well,” Desert Sun, September 3, 1953, 1b. 85 “Boggess Opens Own Real Estate Office in Plaza,” Desert Sun, January 31, 1952, 9. 86 “Harry Dart Soon to Open Fine New Residential Tract,” Desert Sun, February 14, 1952, 3.

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80 Bernard Kuhn in 1914, and the couple had seven children. Bernard Kuhn died on August 9, 1932, leaving a life insurance policy of $300,000 to his widow, with the stipulation that should she remarry, the funds would pass to her children.

When she married Harry in 1933, Harry was described as a “former gasoline station proprietor,” It was also revealed that upon her marriage to Harry, she would forfeit the $300,000 inheritance. In the mid-1930s, the Darts bought what is now commonly known as the Gene Autry estate at 328 Mountain View Place in Old Las Palmas. They would spend winters at the home through World War II.87 Harry and Gladys Dart’s Palm Springs home at 328 Mountain View Place, now known as the former estate of Gene Autry.

Photograph courtesy the Palm Springs Historical Society.

By 1950, the Darts moved into a new house at 1635 South Calle Marcus in Sun View Estates, and soon formed Dart Builders, Inc, and were building spec houses in the Sun View Estates development along South Calle Marcus and South Calle Rolph. When the land for Deepwell Estates became available, they jumped at the chance and bought the first twenty-acre parcel. In March 1952, they added another thirty acres when they purchased the home of Alger and Frances Shelden (now 1400 S Calle de Maria). The Shelden Residence was designed in 1935 by Van Pelt & Lind (John Porter Clark and Albert Frey), with landscape architect Fred Barlow, Jr. The Sheldens had been Deep Well Guest Ranch guests, before building their private residence on the thirty-acre parcel adjacent and accessed via the same road.88 By 1953, newspaper ads were touting “booming values” at “Harry A. Dart’s 62 acre Deep Well Colony Estates.” Presumably, the Darts bought Grant’s remaining twelve undeveloped acres in 1953, when Grant moved on to a project in Montana. The 87 Gladys’ daughter Barbara married Charles “Barney” Hinkle in 1937. Hinkle was the manager of the Desmond’s department store at the Plaza. In 1946, Robert Ransom, a prominent Palm Springs realtor with an office at the Plaza, announced that he was partnering with Hinkle, and the firm would then be called Ransom and Hinkle, Realtors. Hinkle later left Ransom and Hinkle to partner in the development of Thunderbird Country Club. One of the realtors at Ransom and Hinkle was Bill Boggess, who sold the Darts the Deep Well acreage, before opening his own office in the Plaza. Boggess handled the sale of parcels for the Darts for Deepwell.
88 “Dart Enlarges Deep Well Tract to Fifty Acres,” Desert Sun, March 6, 1952, 7.

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81 Darts, with Bill Boggess as their representative, developed the rest of Deep Well Colony Estates in nine separate phases, through 1955.89
An ad from the “Desert Sun” showcased the Dart’s Deep Well Colony Estates. 89 The first section of what would become Deepwell Estates was surveyed in January 1951 for the Darts. Called “Deep Well Ranch Estates No. 4., it consisted of the northeast corner, adjacent to Sun View Estates. In July 1951, Grant’s twenty-two parcels on Palomino, Pinto, and Deep Well Roads were subdivided. This is the only subdivision map under Grant’s name, so he must have sold off the rest of his thirty acres to the Darts relatively early on. Thirty parcels along Sagebrush, Paseo de Marcia, and Calle de Maria were enclosed by Mesquite to the north, and Ocotillo to the south. In September 1951, the Darts subdivided No. 2, which consisted of twenty-nine parcels along Calle de Maria, Driftwood, and Manzanita, enclosed by Deep Well Road to the south. That same month No. 3 was subdivided, thirty-one parcels along the east side of Calle de Maria, Paseo de Marcia, and Sagebrush. Deep Well Road enclosed the south portion. In November 1951, twenty-nine parcels were subdivided in No. 5 along the west side of Calle de Maria, Driftwood, and Manzanita, with Mesquite to the north and Ocotillo to the south. That same month twenty-five more parcels (No. 8) along Sagebrush, Paseo de Marcia, and the east side of Calle de Maria were subdivided for the Darts. Section No. 6 was subdivided in January 1952 for the Darts, and consisted of seventeen parcels at the northwest corner, along Mesquite and Cactus. No. 7 was subdivided for the Darts and the Bennetts, and featured eighteen parcels on Driftwood and Manzanita, with Ocotillo to the north. No. 9 information is missing. Unit No. 10, the final part of the subdivision to be laid out, is where the Koerner Residence is. Twelve parcels along the west side of Calle de Maria and the east side of Driftwood were surveyed on January 24, 1955.

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82 In this 1939 aerial photograph, Deep Well Guest Ranch is the largest development, just left of center. The Alger Shelden Residence, 1935 can be seen nearby. The Tahquitz Wash at the top hasn’t been improved. Highway 111 can be seen at the bottom of photo. Sunrise Way hasn’t been created; Section 14 is open desert.

In this 1953 aerial, Deep Well Guest Ranch is now surrounded by the newly subdivided Deepwell Estates neighborhood. At top, Tahquitz River Estates (Siple & Stephanian, architects; Edward Huntsman-Trout, landscape architect; Paul Trousdale, developer. 1948) has been created, and the Tahquitz Wash improved.

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83 VII. Subsequent Owners of the Koerner Residence
Estelle Brown Stewart (1973-1997)
Estelle Jackson was born in Marlow, Oklahoma on June 16, 1912, to Wiley Judson Jackson and his wife Mona Lee. Wiley Jackson was a laborer on a farm. Estelle was the oldest child, having two brothers and two sisters.

Little is known about her early years, but at some point, she married a man with the last name Brown. From then on, her nickname was “Brownie.” By the 1930s, she had moved to Hollywood and was reportedly working as a model. There, presumably in 1938, she met “Billy” Wilkerson, the colorful editor of the Hollywood Reporter.

William R. “Billy” Wilkerson was born in Nashville, Tennessee, on September 29, 1890. He began to study medicine in Philadelphia, Pennsylvania, but Wilkerson quit school to support himself and his mother when his father died, leaving extensive gambling debts. He would later become a compulsive gambler himself. After toying with careers in medicine and the church, Wilkerson took a job as a film producer in 1912 at Lubin Manufacturing Company in New York City. Later, he expanded his work in the movie industry, becoming district manager at Universal Pictures under Carl Laemmle.

After moving from New York to Los Angeles in 1930, he founded The Hollywood Reporter, Hollywood's first daily entertainment trade newspaper. Not content with a successful newspaper, he became interested in a series of restaurants and nightclubs. First, he opened Vendome, a lunchtime restaurant in Hollywood near the Hollywood Reporter offices. In 1934, after Prohibition ended, he launched his first venture on the Sunset Strip, the Café Trocadero–named for the Trocadero Plaza near the Eiffel Tower in Paris–at 8610 Sunset Boulevard, in Sunset Plaza. The “Troc” soon became the top A-list place to be seen in the city and one of the most famous nightclubs in the world.

Newlyweds Brownie and Billy Wilkerson leave for their honeymoon, 1939.

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84 According to Wilkerson’s son, after Brownie and Wilkerson met, “as usual my father launched a whirlwind courtship.”90 “Weeks of candlelit dinners followed by extravagant gifts found his victims falling helplessly under his spell. ‘He could turn on the charm like nobody you’ve ever seen. He would move straight in for the kill like a Bengal tiger. It was truly fantastic to watch.”91 The budding romance between Wilkerson and Brownie was first announced by gossip columnist Louella Parsons, who reported to the country in February 1939 that “Billy Wilkerson gave the reporters extra work when it was learned he and Estelle Brown had flown to Las Vegas. It wasn’t an elopement, however.”92 In the summer of 1939, the couple toured Europe, returning in July on the French luxury liner the Normandie.93 They eloped to Las Vegas and were married on December 11, 1939, by Justice of the Peace George Marshall.94 She became the fourth of what would be six wives.95 The witnesses were film star Lana Turner, who had been famously “discovered” by Wilkerson, and entertainment attorney Greg Bautzer.

While Brownie was married to Wilkerson, he became involved in the Arrowhead Springs Hotel and opened what would become the world-famous Ciro’s nightclub on the Sunset Strip. His friends included Howard Hughes as well as many involved in organized crime. He had a custom-built bulletproof Cadillac town car built for him and Brownie to travel to his various haunts.

During her years married to Wilkerson, Brownie began coming to Palm Springs. In 1941, the Desert Sun reported, "Billy and Brownie Wilkerson, owners of Ciro's, partook of the famous Dunes' steaks several different evenings this last week.”96
According to Wilkerson’s son, “soon after Billy and Brownie tied the knot, he reverted to his unromantic, withdrawn, moody persona. And Brownie certainly hadn’t bargained for his combustible temper and demonic rages.” Shortly before Brownie’s death, he interviewed her in 2003, and as she recalled, “He was a very abrasive, impatient man.”97 Hedda Hopper reported in June 1942 that singer Rudy Vallee had been seen out 90 Wilkerson, W. R.. Hollywood Godfather: The Life and Crimes of Billy Wilkerson. United States: Chicago Review Press, 2018, 166. 91 Ibid, 165.
92 Louella Parsons gossip column, San Francisco Examiner, February 28, 1939. 93 Normandie passenger records, Ancestry.com. Her address is listed as 2346 Mandeville Canyon. 94 “Movie Paper Editor Weds in Las Vegas,” United Press press release, printed in the San Bernardino County Sun, December 12, 1939.
95 Wilkerson was married six times. His wives were:
• Helen Durkin - probably around 1913 or 1914 - probably New York or Fort Lee, New Jersey - Durkin died in the Spanish Influenza Epidemic of 1918.
• Edith Gwynn Goldenhorn - June 22, 1927 - Los Angeles, CA - August 7, 1935 - Cd. Juárez, Mexico • Rita Ann Seward - September 30, 1935 - Las Vegas - May 9, 1938 - Los Angeles, CA • Estelle Jackson Brown - December 12, 1939 - Las Vegas, NV - August 13, 1942 - Reno, NV • Vivian DuBois - May 9, 1946 - Las Vegas, NV - March 14, 1950 - Los Angeles, CA • Beatrice Ruby Noble - February 23, 1951 - Phoenix, AZ - His death 96 Desert Sun, November 21, 1941
97 Wilkerson, 166.

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85 with “a new girl, Brownie Wilkerson, with a tan matching her name.”98 According to Wilkerson’s son, “by July 1942 Brownie had had enough of her husband’s jealousy, temper tantrums, and acidic criticism. She fled to Reno to sit out the necessary six weeks to establish residence in order to obtain a quick Nevada divorce.”99 Louella Parsons reported on July 2, "News that Brownie Wilkerson is in Reno seeking a divorce from Billie is a surprise and shock to us (as it will be to their many friends).”100 Newspapers reported from Reno on August 13, 1942, that Brownie Wilkerson had filed for divorce “on the ground of extreme mental cruelty.”101 Property rights were settled out of court, and Brownie was granted her former name of Estelle Brown.102
There may have been another reason for the divorce because less than a month later, it was reported that the former Mrs. Wilkinson had run off to Las Vegas again, this time to marry Minneapolis lumber heir James E.

Stewart, age twenty-four. Stewart was a junior at Pomona College in Claremont and was living in Pasadena.

When his parents heard of the impending marriage, father George Stewart flew to Beverly Hills to try to stop it. His wife said, “The news certainly is shocking to me. The news dispatch from Las Vegas has told much more than I knew before. Mr. Stewart went out there to try to stop it, but apparently failed.”103 James Elliott Stewart (1922-2006) was the son of George Miller Stewart and Laura Elliott Stewart. George Stewart founded the Stewart Lumber Company in 1919. After serving in the Army in World War II, James and Brownie Stewart settled in Minneapolis, living at the Calhoun Beach Club until their house at 3434 Zenith Avenue South was completed. Variety reported in June of 1946 that “Brownie Stewart joined International Pictures as fashion editor and mag consultant.”104 The couple had two children, Susan in 1947 and George in 1949. By the late 1950s, the family split its time between Minneapolis and Palm Springs.

The couple became very well-known for their large-scale but informal entertaining and were “considered the best team of gourmet cooks in Minneapolis.” Brownie was reported admitting that Gourmet magazine was her cooking bible, but said, “I change everything about to suit myself.”105 98 “Hedda Hopper’s Hollywood,” Los Angeles Times, June 29, 1942. 99 Ibid, 182.
100 San Francisco Examiner, July 2, 1942.
101 “Film Newspaper Editor Divorced,” San Pedro News-Pilot, August 13, 1942. 102 Ibid.
103 “Minneapolis Youth Scorns Dad’s Plea; Weds Ex-Model,” Minneapolis Star-Tribune, September 12, 1942. 104 “Hollywood,,” June 1946. Little is known of that association, other than that the Stewarts were good friends of author Betty Bard MacDonald, author of “The Egg and I,” which was being filmed by Universal-International at this same time. 105 “Virginia Stouffer” column, Minneapolis Star, November 1, 1956.

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86 Brownie and James Stewart in a 1951 Minneapolis Star photo.

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87 On March 23, 1967, Brownie and James divorced, and she moved to Palm Springs that same year.106 Nelda Linsk, who had befriended Brownie while she was still married to James, recalls that “we had the best relationship. She was like an older sister to me. She loved horses, was an excellent horsewoman, and kept horses at the Smoke Tree Stables. We were always at the Racquet Club together. We had so much fun. We traveled the world together with our husbands. One summer, we rented the Ferragamos’ villa at Capri.

Another we spent in Rome, doing all the things the Romans do.”107 In 1973, she bought the Koerner Residence from Leon Koerner. Because she entertained on a larger scale than the Koerners had, she asked architects Williams, Clark & Williams to enlarge the living and dining rooms as seamlessly as possible. Designed by H. Roger Williams, both additions were under the original roofline, taking over existing covered patio spaces. The finishes matched the original materials.

While living there, she would later marry Ralph Bear, an insurance executive, in 1981. The Bears were founders of the McCallum Theater and the Bob Hope Cultural Center, in the President’s Circle at the College of the Desert and the Palm Springs Art Museum, and on the board of Vale Padrinos, a “support group for Hispanics” in the Coachella Valley. In 1987, the Humane Society of the Desert honored the Bears as “among the ‘10 best’ for their social, philanthropic, and civic work in the community.” He died in 1989.108 Brownie married local travel agent Scott Fransen in 1990. In 1997, she sold the Koerner Residence to Henry Lamb. She died in La Jolla in 2003.

Third Owners: Henry and Allan Lamb (1997-2018):

HENRY B LAMB (02/28/1937 - 07/14/2016) – From Lamb’s obituary:
“Henry Basil Lamb, a descendant of an early Portland Oregon family died in Palm Springs California. He was 79 years old. He attended Reed College Oregon and received a Master’s degree from the University of Michigan; School of Public Health in the organization and financing of Health Care Services. Henry served in the US Army for three years in the European theater of operations and for many years he worked and traveled extensively throughout Europe, Algeria, Vietnam, and Saudi Arabia.

He served as an expert consultant on HMO's to the Assistant Secretary of Health in the Carter and Reagan Administrations in Washington DC He joined the Kaiser Permanente program in the late 1960s and served as the founding Administrator of the Kaiser Permanente Dental Care Program. He later served as the Administrator of the Kaiser Center for Health Research.

He served as the founding Administrator of the Scan Health Plan in Long Beach California, he also worked with the Hawaii State Human Services Dept. evaluating a major program to reduce Hawaii's uninsured population to below 5 percent in the 1990s.
106 “Northwood Names Brownie Bear as One of Ten Distinguished,” Desert Sun, October 30, 1984. 107 Telephone interview with Nelda Linsk, December 14, 2021. 108 “Memorial Planned for Desert Philanthropist,” Desert Sun, September 7, 1989.

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88 He later became a consultant to HCF, a large Health Care Insurance Corporation in Australia, and worked with the Royal Commission in Saudi Arabia in the delivery of Health Care Services. He is survived by his husband Allan Robert Lamb.”
Allan Lamb sold the Koerner Residence in 2018 to the current owners, Katherine and David Wright, who undertook a masterful restoration of the house and garden.

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89 VIII. Leon and Thea Koerner House, Palm Springs, 1955 By Sidney Koerner Williams
Citrus blossoms perfumed the evening air while umbrella lights pooled light on the white petunias filling a long flowerbed adjacent to the shuffleboard court. The house itself with its floor-to-ceiling panes of glass looked out to the garden and to the steep escarpment of Mount San Jacinto. As a twelve-year-old visiting my greatuncle Leon’s house for the first time with my parents, John and Eileen Koerner, and my sister Diane, these are indelible memories. On this balmy March evening, we played shuffleboard after a rich and wonderful dinner prepared by Leon’s cook.

Coming for vacation from still wintery Vancouver, it was easy to understand why Leon and his wife Thea chose to build a house in Palm Springs. After several seasons of staying at the Biltmore Hotel, they decided they needed their own house in which to enjoy the winter months. The dry climate was also a healthy choice for Leon’s emphysema.

Leon and Thea selected architect E. Stewart Williams to design their desert house. After purchasing four lots in Deepwell, discussions began with Stewart about the program, their preferences, the selection of Arthur Elrod to design the interior furnishings, and Eckbo, Royston, and Williams the landscape. Before returning to Item 2B - Page 103
90 Vancouver in the spring, Leon deposited a large sum in a local bank from which Stewart could draw for construction expenses. The two men corresponded frequently while construction was underway.

When Leon and Thea returned to the desert, Stewart met them at the airport to drive them to their newly completed house. As they approached the front door, as Stewart recounted to us, he was anxious that his clients approve of the finished home that they had yet to see. Leon and Thea toured the house from room to room not making any comments while Stewart became ever more nervous. When they completed the tour, Leon pronounced the house perfect in all respects.

Embracing modern architecture marked an enormous departure from the Koerners’ Vancouver house, a traditional two-story gracious home in the Shaughnessy neighborhood. The Palm Springs house was the antithesis of that, yet it contained certain features that suited the somewhat more formal European habits of the clients. The plot plan indicates that Stewart sited the house with a generous setback from Calle de Maria and the longitudinal axis of the house running north–south facing the mountain view to the west. Entirely on one level, the original floor plan shows a living room separated from the dining area by a fireplace wall and the kitchen open only by a pass-through counter. (In 1973 the dining room and living room were extended and a sunroom added.) The bedroom wing features a large guest room with ensuite bath and dressing room. A door in the hallway accesses the master suite, which contains two bedrooms, each with bath and dressing rooms.

The larger of the two bedrooms looks out to the garden while the second bedroom has an enclosed patio on one side and a private outdoor patio on the north side.

The interior enclosed patio in the core of the house includes a water feature and planting. Water plays a central role in the landscape design by Francis Dean of the Eckbo firm. At the entry to the house, a pool contains three raised shallow saucers where water cascades, contributing to the ambiance of a desert oasis.

Another shallow pool beside the sandstone walkway links the exterior to the interior. In recent years the stone cladding of the concrete island and the bottom of the shallow pond have been replaced with newer materials.109
The exterior landscape reinforces the oasis feel and also frames the mountain view. In a letter dated July 13, 1955, Dean wrote to Leon stating, “In addition to the introduction of carefully planned color in the garden, we have also brought in some rather large native boulders to blend into the general mound areas. The main point of emphasis here, we feel, should be to provide a usable and pleasing garden for you and a good relationship between the garden and the mountains beyond.”110 The living room opens onto a sheltered patio with an extended post-and-beam shed roof overhang. Palm trees emerge from some openings in the shade cover offering filtered sunlight. At the west end of the pool, 109 Peter Moruzzi, National Register of Historic Places, multiple property listing for E. Stewart Williams, 2016. 110 Letter from Francis Dean to Leon Koerner, July 13, 1955, Francis Dean Collection, ENV Archives-Special Collections, Cal Poly Pomona.

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91 there is a curving wood shelter with built-in seating, a fireplace, and barbeque for entertaining.111 Slumpstone cladding, wood post-and-beam construction with translucent clerestory windows, board-andbatten siding, and a shed roof form the exterior in warm, desert finishes. The materials that Stewart selected are in keeping with his design aesthetic, combining a modern plan with materials that related to the desert environment in both texture and color. Like the Edris House, designed in 1954, Stewart sought to integrate the house into the landscape.

Sadly, Thea only enjoyed the winter house for four years as she passed away in 1959. Leon, however, continued to spend the winter months in Palm Springs until his death in 1972. Together they established the Leon and Thea Koerner Foundation to foster the cultural and creative arts, higher education, and the public welfare, in British Columbia. They were eager to give back to the country that had given them refuge from World War II and allowed them to continue their successful lumber business. Their home in Palm Springs brought the Williams and the Koerner families together. Leon attended my wedding to Erik Williams, eldest son of Stewart, in May 1969. A passion for modern architecture continues to run through our families. 111 “At Home with E. Stewart Williams: Modern Domestic Architecture in the Genteel Tradition”, Volker M. Welter, PhD, An Eloquent Modernist: E. Stewart Williams, Architect, edited by Sidney Williams, Palm Springs Art Museum, 2014.

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92 IX. Blueprints
E. Stewart Williams, Floor Plan Sheet.

E. Stewart Williams, Elevations Sheet.

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93 Eckbo, Royston, & Williams, Landscape Sheet 1.

Eckbo, Royston, & Williams, Landscape Sheet 2.

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94 X. Historic Images
Primary façade of the Koerner Residence, 1956. Julius Shulman photograph, © J. Paul Getty Trust. Getty Research Institute, Los Angeles (2004.R.10).

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95 At the front door, a pool with waterfall created from three graduating steel tank ends. The obscure glass has been replaced by transparent glass. Julius Shulman photograph, © J. Paul Getty Trust. Getty Research Institute, Los Angeles (2004.R.10).

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96 The view from the guest room to the garden. Arthur Elrod used hand-woven fabrics throughout. Desk and chair designed by T.

H. Robsjohn-Gibbings for Widdicomb. Julius Shulman photograph, © J. Paul Getty Trust. Getty Research Institute, Los Angeles (2004.R.10).

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97 An indoor/outdoor atrium was adjacent to the Koerners’ bedroom suites. Shallow steel trays spill water into a tiled pool. These important features remain and are now restored. Julius Shulman photograph, © J. Paul Getty Trust. Getty Research Institute, Los Angeles (2004.R.10).

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98 From the rear terrace of the house, views of the Eckbo, Royston, & Williams-designed landscape, with the mountains beyond.

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99 The swimming pool and shuffleboard court. The house designed by Wexler & Harrison for Bill Boggess can be seen across the street. Julius Shulman photograph, © J. Paul Getty Trust. Getty Research Institute, Los Angeles (2004.R.10).

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100
Slatted wood bench with overhead shade structure. This detail is a Garrett Eckbo signature from the period. Julius Shulman photograph, © J. Paul Getty Trust. Getty Research Institute, Los Angeles (2004.R.10).

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101
The paving at the shade structure was white concrete exposed aggregate. Redwood planting box, with contoured earthforms in the background. All of the features seen here were meticulously restored. Julius Shulman photograph, © J. Paul Getty Trust.

Getty Research Institute, Los Angeles (2004.R.10).

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102
These undulating mounds were a Garrett Eckbo signature for work in Palm Springs, meant to link the garden to the mountains beyond. Besides the Koerner garden, Eckbo, Royston, & Williams used this feature at the Higgins Residence in Palm Springs (1950, E. Stewart Williams, architect) and Palm Springs City Hall. Julius Shulman photograph, © J. Paul Getty Trust. Getty Research Institute, Los Angeles (2004.R.10).

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103
Between the shuffleboard court and the swimming pool, a long rectangular bed was planted with white petunias. The shuffleboard has been removed, but the rest remain intact and restored. Julius Shulman photograph, © J. Paul Getty Trust.

Getty Research Institute, Los Angeles (2004.R.10).

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104
On the south side of the garden, retaining walls were created using varnished native stone slabs. Julius Shulman photograph, © J. Paul Getty Trust. Getty Research Institute, Los Angeles (2004.R.10).

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105
Tank ends filled with succulents and flowers near the stone retaining walls. Citrus was planted on the upper level. All of these features remained extant, and were recently restored. Julius Shulman photograph, © J. Paul Getty Trust. Getty Research Institute, Los Angeles (2004.R.10).

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The undulating forms of the stone retaining wall mirrored the similar biomorphic shapes of the earthforms on the opposite side of the garden. Julius Shulman photograph, © J. Paul Getty Trust. Getty Research Institute, Los Angeles (2004.R.10).

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107
The long slatted wood bench and shade structure. During the recent restoration, this bench and shade structure were completely rebuilt and replicated, using the original drawings as a guide, as well as remnants of the original. Julius Shulman photograph, © J. Paul Getty Trust. Getty Research Institute, Los Angeles (2004.R.10).

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108
Canvas fabric cushions were attached with special hardware to the poured concrete wall back of the bench. Julius Shulman photograph, © J. Paul Getty Trust. Getty Research Institute, Los Angeles (2004.R.10).

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109
A cluster of three California fan palms were planted under the openings of the shed roof, growing through the roof. Julius Shulman photograph, © J. Paul Getty Trust. Getty Research Institute, Los Angeles (2004.R.10).

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110
XI. Contemporary Images – Photos by Author, June 2022
The motor court.

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111
Sandblasted board-and-batten is combined with Slumpstone.

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A wide flagstone path serves as the central east/west spine for the site.

The south portion of the primary façade.

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The entry.

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Brushed brass wall sconces designed by Paavo Tynel are used both inside and out.

The wood has been sandblasted to emphasize the grain, providing a textural interest.

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The southeast portion of the rear garden.

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The Slumpstone walls enclosing the rear garden have expansion joints with a decorative detail obtained by omitting one brick. Frosted glass panels are placed behind the openings.

Another Paavo Tynel sconce, and board-and-batten vertical wood detail. Eckbo and Dean created a simple trellis using pipe and wire, trained with jasmine.

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A cluster of three California fan palms pierce the roof at the rear terrace.

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Where the soaring shed roof over the public rooms of the house meets with the gabled roof of the bedroom wing.

View from the rear terrace facing west.

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Views from the southwest corner of the garden.

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The retaining wall on the south of the property is built using long native stone ledges, naturally varnished a deep coppery brown. Some stones cantilever out, others are embedded in the lawn.

The rear terrace.

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Views of the rear terrace and pool.

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Pool, curved slatted bench, and shade structure.

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Bench and structure details.

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Eckbo and Dean specified white concrete exposed aggregate at the bench and shade structure. This was carefully replicated when the garden was recently restored.

White concrete exposed aggregate contrasts with Arizona sandstone flagstones and a smooth panel of turf.

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A mature multi-trunk olive tree anchors the large lawn.

The rear lawn and earthen mounds.

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At the northwest corner of the garden, a circular concrete patio was created, offering a sweeping vantage point for the gardens and mountains beyond.

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Views of the garden from the northeast corner, outside Leon Koerner’s bedroom.

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Bowtie-shaped patio adjacent to the house.

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XII. Landscape Photos by Henry Blackham
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ATTACHMENT D
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HISTORIC SITE PRESERVATION BOARD

STAFF REPORT
DATE: September 5, 2023 PUBLIC HEARING
SUBJECT: AN APPLICATION BY DAVID AND KATHERINE WRIGHT

REPRESENTED BY THE PALM SPRINGS PRESERVATION
FOUNDATION FOR HISTORIC DESIGNATION OF “THE KOERNER
RESIDENCE” LOCATED AT 1275 SOUTH CALLE DE MARIA, CASE
HSPB #150. (APN #508-403-003) (SY).

FROM: Department of Planning Services

SUMMARY
The owners of the property, David and Katherine Wright, are seeking historic designation of “The Koerner Residence” located at 1275 S. Calle de Maria in the Deepwell Estates neighborhood. The home was designed by renowned architect E. Stewart Williams and the surrounding garden landscape was designed by Garrett Eckbo and Francis H. Dean for the original owners Leon J. Koerner and Thea Koerner. The period of significance for this property is 1955-1972, which is when the home was owned by the Koerner family.

If designated as a historic resource, the property would be subject to the regulations outlined in Section 8.05 of the Palm Springs Municipal Code.

RECOMMENDATION:

1. Open the public hearing and receive public testimony.

2. Close the public hearing and adopt Resolution HSPB #150, “A RESOLUTION OF

THE HISTORIC SITE PRESERVATION BOARD OF THE CITY OF PALM

SPRINGS, CALIFORNIA, RECOMMENDING THAT THE CITY COUNCIL DESIGNATE “THE KOERNER RESIDENCE” LOCATED AT 1275 SOUTH CALLE DE MARIA, AS A CLASS 1 (LANDMARK) HISTORIC RESOURCE HSPB #150, SUBJECT TO CONDITIONS (APN #508-403-003).”
BACKGROUND AND SETTING:

The Koerner Residence is a custom-built property constructed during the post-World War II period in Palm Springs. At this time, Palm Springs was a growing tourist destination, and the casual desert lifestyle was marketed as a desirable commodity. Modernist idea gained influence among young architects and designers who started to experiment with glass walls, open pergolas, and simply textured materials to emphasize clean and minimal lines against the rugged desertscape.

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Historic Site Preservation Board Staff Report: September 5, 2023 HSPB-150 – The Koerner Residence

Page 2 of 8 ends

Palm Springs City CouncilNovember 9, 2023

Palm Springs City Council
November 9, 2023