(BB&K 2024)
AMENDMENT NO. 5 TO THE COOPERATIVE PURCHASE AGREEMENT
NO. 23C004 BETWEEN THE CITY OF PALM SPRINGS AND TK ELEVATOR
CORPORTATION
1. Parties and Date.
This Amendment No. 5 to the Cooperative Purchase Agreement is made and entered into as of this 3rd day of April, 2026, by and between the City of Palm Springs, a California charter city and municipal corporation (“City”), and TK Elevator Corporation, a Delaware Corporation (“Contractor”).
City and Contractor are sometimes individually referred to as “Party” and collectively as “Parties.”
2. Recitals.
2.1 Agreement. City and Contractor entered into an agreement titled “ Cooperative Purchase For Protection of Vertical Transportation Equipment No. 23C004 ” dated March 9, 2023 (“Agreement”) for the purpose for providing maintenance and repair services for the vertical transportation equipment at the Palm Springs International Airport , in an amount not-to-exceed $84,600.00 and a three-year term with two one-year extension options, commencing on April 3, 2023, to April 2, 2026.
2.2 Amendment No 1. City and Contractor entered into Amendment No. 1 to revise the insurance, risk management, notice, amendment, and termination provisions; provide a one -time clean-down service for each elevator; and add $20,510.90, for a revised not -to-exceed amount of $105,110.90.
2.3 Amendment No 2. City and Contractor entered into Amendment No. 2 to revise the scope of services and add $66,146.48 in compensation, for a revised not -to-exceed amount of $171,257.38.
2.4 Amendment No 3. City and Contractor entered into Amendment No. 3 to add $360,000.00 for additional parts and labor, for a revised not-to-exceed amount of $531,257.38.
2.5 Amendment No 4. City and Contractor entered into Amendment No. 4 to add $139,929.94 to continue the maintenance and repair services, for a revised not-to-exceed amount of $671,187.32.
2.6 Amendment Purpose . City and Contractor now desire to amend the Agreement to extend the contract term for an additional one-year, term dates April 3, 2023, to April 2, 2027 and add $66,721.16, for a revised not-to-exceed amount of $737,908.48.
2.7 Amendment Authority. This Amendment No. 5 is authorized pursuant to Section 9 of the Agreement.
3. Terms.
3.1 Amendment. Section 2 Term of the Agreement is hereby amended in its entirety to read as follows:
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55575.18100\42913029.1
(BB&K 2024)
“2 Term. The term of this Agreement is for 4 years beginning on the date provided in the Notice to Proceed for the City’s Procurement and Contracting Department. The parties may mutually extend the term of this Agreement for up to one additional 1-year period (“Option Period(s)”), provided, the parties do so in writing prior to the expiration of the original term of the then-current Option Period.”
3.2 Amendment. Section 3 Compensation and Payment of the Agreement is hereby amended in its entirety to read as follows:
“3. Compensation and Payment. This Agreement is for an amount not to exceed $737,908.48, subject to approved amendments and changes. All pricing must be in accordance with Attachment “B”, the content of which is incorporated by reference into this Agreemen t as if fully set out here in its entirety.”
3.3 Amendment. Attachment “B” is hereby amended to delete Attachment “B2” in its entirety and incorporate Attachment “B3” attached hereto and incorporated herein by reference , commencing on April 3, 2026, and continuing through April 2, 2027.
3.4 Continuing Effect of Agreement . Except as amended by this Amendment No. 5, all other provisions of the Agreement remain in full force and effect and shall govern the actions of the parties under this Amendment No. 5. From and after the date of this Amendment No. 5, whenever the term “Agreement” or “Contract” appears in the Agreement, it shall mean the Agreement as amended by this Amendment No. 5.
3.5 Adequate Consideration. The Parties hereto irrevocably stipulate and agree that they have each received adequate and independent consideration for the performance of the obligations they have undertaken pursuant to this Amendment No. 5.
3.6 Severability. If any portion of this Amendment No. 5 is declared invalid, illegal, or otherwise unenforceable by a court of competent jurisdiction, the remaining provisions shall continue in full force and effect.
3.7 Counterparts. This Amendment No. 5 may be executed in duplicate originals, each of which is deemed to be an original, but when taken together shall constitute but one and the same instrument.
[SIGNATURES ON FOLLOWING PAGE]
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55575.18100\42913029.1
(BB&K 2024)
SIGNATURE PAGE FOR AMENDMENT NO. 5 TO THE COOPERATIVE PURCHASE AGREEMENT NO. 23C004 BETWEEN THE CITY PALM SPRINGS AND TK ELEVATOR
CORPORATION
IN WITNESS WHEREOF, the Parties have executed this Agreement as of the dates stated below.
CONTRACTOR:
By: ____________________________ By: ______________________________ Signature Signature
(2nd signature required for Corporations)
Date: Date:
CITY OF PALM SPRINGS:
APPROVED BY CITY COUNCIL:
Date: Item No.
APPROVED AS TO FORM: ATTEST:
By: ___________________________ By: _______________________________ City Attorney City Clerk
APPROVED:
By: _______________________________ Date:
City Manager – up to $150,000
Deputy/Assistant City Manager – up to $50,000
Director – up to $25,000
Manager – up to $5,000
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55575.18100\42913029.1
(BB&K 2024)
ATTACHMENT “B3”
SCHEDULE OF COMPENSATION
To ensure the same high level of quality and service, this price adjustment is the minimum necessary due to rising costs associated with inflation and operational expenses. Pursuant to the annual escalation provisions of the Agreement, the maintenance service pricing will increase by 4%, effective April 3, 2026.
The updated maintenance service fees are as follows (excluding any applicable taxes and/or discounts):
Service Period: April 3, 2026 – April 2, 2027
• Monthly Maintenance Fee: $2,643.43
• Annual Maintenance Fee: $31,721.16
In addition, Contractor shall provide repairs at the following rates:
Material Price:
• 10% discount off list price.
Labor Rates:
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ATTACHMENT B
PUBLIC INTEGRITY BUSINESS DISCLOSURE
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PUBLIC INTEGRITY DISCLOSURE
APPLICANT DISCLOSURE FORM
1. Name of Entity
2. Address of Entity (Principal Place of Business)
3. Local or California Address (if different than #2)
4. State where Entity is Registered with Secretary of State
I
f other than California, is the Entity also registered in California? Yes No
5. Type of Entity
Corporation Limited Liability Company Partnership Trust Other (please specify)
6. Officers, Directors, Membe rs, Managers, Tru stees, O ther F iduciaries (please specify) Note: If any response is not a natural pe rson, please identify all off icers, directors, members, managers and other fiduciaries for the member, manager, trust, or other entity
________________________ Officer Director Member Manager [na me] General Partner Limited Partner
Other ___________________________
_______________________________ Officer Director Member Manager [name] General Partner Limited Partner
Other __________________________
________________________________
Officer Director Member Manager
[name] General Partner Limited Partner
Other __________________________
TK Elevator Corporation
1601 S Sunkist St Suite A Anaheim CA 92806
Delaware
Chad Kerr
Twinky Chai
Area Vice President
Kevin Robertson
Executive Vice President, West Region
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7. O wners/Investors with a 5% beneficial interest in the Applicant Entity or a related entity
EXAMPLE
JA
NE DOE
[name of owner /investor]
50%
, ABC COMPANY, Inc.
[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/inv estor] [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 i n entity and name of entity]
I DECLARE UNDER PENALTY OF PERJURY UNDER T HE LAWS OF T HE STA TE OF CALIFORNIA THAT THE FOREGOING IS TRUE AND CORRECT.
Signature of Disclosing Party, Printed Name, Title
Date
TK Elevator Americas Corporation
100%
March 3, 2026
Gabriel Schaper, Account Manager
TK Elevator Corporation does not have any individuals that own more than 5% TK Elevator USA Holding, Inc. 100%
TK Elevator U.S. Newco , Inc. 100%
TK Elevator Newco GmbH 100%
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Ci
ty of Palm Springs, CA.
Bu
siness Disclosure Supplementary Instructions
In
an effort to ensure we capture the required business entity information in accordance with the attached instructions, we prov ide you these supplementa ry i nstructions to clearly identif y the required information, and the format the information should be provided.
If
you, as the applicant, are a business entity (i.e. a corporation or limited liability company), and it is also co mprised of other business e ntities as i ts members or having a financial interest, all other such bu siness entities must als o be d isclosed, including those e ntities o ther business entities, if any.
Ult
imately, th e City’s disclosure document (attached) requires a listing identif ying a ll n atural persons having any financial interest over 5% of the business entities (and any other b usiness entities comprising your business entity).
As an
example, Applicant is: Acme Brothers, Inc., a California corporation, whose officers are:
John D oe, Jill Doe, and Jay Doe, which is owned 50% by Acme B rothers, LLC, a Cal ifornia limited liabilit y co mpany, and John Doe (25% inte rest) and Ji ll Doe (25% i nterest). Acme Brothers, LLC, is managed by Acme Brothers 2, Inc ., a Califo rnia corporation, whose o fficers are: George Doe, Bill Doe, and Jane Doe, which is owned 100% by Ac me Brothers 2, LLC, a California limited liability comp any, w hich is managed by George Doe, with G eorge Doe and Jane Doe having 50% interest each.
T
he full business entity disclosure in this example would resemble the following:
1. Acm
e Brothers, Inc., a California corporation
a. O
fficers: John Doe, Jill Doe, and Jay Doe
b. Ownership:
i. 50% Ac
me Brothers, LLC, a California limited liability company ii. 25%
John Doe
iii. 2
5% Jill Doe
2. Acme Br ot hers, LLC, a California limited liability company a. Managers: Acme Brothers 2, Inc., a California corporation b. Ownership: 100% Acme Brothers 2, Inc., a California corporation
3. A
cme Brothers 2, Inc., a California corporation
a. Off
icers: George Doe, Bill Doe, and Jane Doe
b. Ow
nership: 100% Acme Brothers 2, LLC, a California limited liability company
4. Acme Brothers 2, LLC, a California limited liability company a. M
anagers: George Doe
b. O
wnership:
i. 50%
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ATTACHMENT C
AGREEMENT NO. 23C004 WITH TK ELEVATOR
CORPORATION
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DocuSign Envelope ID: 3151643A-1F0C-425E-A6A5-8F013A2E9CBB
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DocuSign Envelope ID: 3151643A-1F0C-425E-A6A5-8F013A2E9CBB
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DocuSign Envelope ID: 3151643A-1F0C-425E-A6A5-8F013A2E9CBB
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DocuSign Envelope ID: 3151643A-1F0C-425E-A6A5-8F013A2E9CBB
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DocuSign Envelope ID: 3151643A-1F0C-425E-A6A5-8F013A2E9CBB 4/4/2023
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DocuSign Envelope ID: 3151643A-1F0C-425E-A6A5-8F013A2E9CBB
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DocuSign Envelope ID: 3151643A-1F0C-425E-A6A5-8F013A2E9CBB
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DocuSign Envelope ID: 3151643A-1F0C-425E-A6A5-8F013A2E9CBB
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DocuSign Envelope ID: 3151643A-1F0C-425E-A6A5-8F013A2E9CBB
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DocuSign Envelope ID: 3151643A-1F0C-425E-A6A5-8F013A2E9CBB
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DocuSign Envelope ID: 3151643A-1F0C-425E-A6A5-8F013A2E9CBB
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DocuSign Envelope ID: 3151643A-1F0C-425E-A6A5-8F013A2E9CBB
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DocuSign Envelope ID: 3151643A-1F0C-425E-A6A5-8F013A2E9CBB
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DocuSign Envelope ID: 3151643A-1F0C-425E-A6A5-8F013A2E9CBB
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DocuSign Envelope ID: 3151643A-1F0C-425E-A6A5-8F013A2E9CBB
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DocuSign Envelope ID: 3151643A-1F0C-425E-A6A5-8F013A2E9CBB
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DocuSign Envelope ID: 3151643A-1F0C-425E-A6A5-8F013A2E9CBB
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ATTACHMENT D
AMENDMENT NO. 1 TO AGREEMENT NO. 23C004
WITH TK ELEVATOR CORPORATION
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DocuSign Envelope ID: 3151643A-1F0C-425E-A6A5-8F013A2E9CBB
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DocuSign Envelope ID: 3151643A-1F0C-425E-A6A5-8F013A2E9CBB
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ATTACHMENT E
AMENDMENT NO. 2 TO AGREEMENT NO. 23C004
WITH TK ELEVATOR CORPORATION
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AMENDMENT NO. 2 TO AGREEMENT NO. 23C004
COOPERATIVE PURCHASE FOR PROTECTION OF VERTICAL
TRANSPORTATION EQUIPMENT
BETWEEN THE CITY PALM SPRINGS AND TK ELEVATOR
CORPORATION
1. Parties and Date.
This Amendment No. 2 to Agreement No.23C004 (“Amendment No. 2”) is made and entered into as of BBBBBBBBBB, by and between the City of Palm Springs (“City”) and TK Elevator Corporation (Contractor). City and Contractor are sometimes individually referred to as “Party” and collectively as “Parties.”
2. Recitals.
2.1 Agreement. The City and Contractor have entered into Agreement No. 23C004 dated April 6, 2023 ( “Agreement”) for the purpose of maintenance and repair of City’s vertical transportation equipment for the Palm Springs International Airport.
2.2 Amendment No. 1. On April 6, 2023, the Parties entered into Amendment No. 1 to the Agreement in order to revise the insuran ce, risk management, notice, amendment, and termination provisions of the Agreement.
2.3 Amendment No. 2. The City and Contractor desire to amend the Agreement to revise scope of services and add $66,146.48 in compensation for a new not –to-exceed amount of $171,257.38.
2.4 Amendment Authority. This Amendment No. 2 is authorized pursuant to Section 9 of the Agreement.
3. Terms.
3.1 Attachment A Scope of Work. The Scope of Work of the Agreement is hereby amended to include services described in Attachment A1 attached hereto to this Amendment No. 2 and incorporated herein by reference.
3.2 Section 3. Compensation and Payment. S ection 3 of the Agreement is hereby amended in its entirety to read as follows:
Compensation and Payment. This Agreement is for an amount not to exceed $171,257.38, subject to approved amendments and changes. All pricing must be in accordance with the attached Quotes, as shown as Attachment B and Attachment A1, the content of which is incorporated by reference into this Agreement as if fully set out here in its entirety.”
3.3 Continuing Effect of Agreement. Except as amended by this Amendment No. 2, all other provisions of the Agreement, as previously amended, remain in full force and effect and shall
DocuSign Envelope ID: D0B2A0AA-AD9C-4783-8FDC-F8CCBDECCD98
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govern the actions of the parties under this Amendment No. 2. From and after the date of this Amendment No. 2, whenever the term “Agreement” or “Contract” appears in the Agreement, it shall mean the Agreement as amended by this Amendment No. 2.
3.4 Adequate Consideration. The Parties hereto irrevocably stipulate and agree that they have each received adequate and independent consideration for the performance of the obligations they have undertaken pursuant to this Amendment No. 2.
3.5 Severability. If any portion of this Am endment No. 2 is declared invalid, illegal, or otherwise unenforceable by a court of competent jurisdiction, the remaining provisions shall continue in full force and effect.
3.5 Counterparts. This Amendment No. 2 may be executed in duplicate originals, each of which is deemed to be an original, but when taken together shall constitute but one and the same instrument.
[SIGNATURES ON FOLLOWING PAGE]
DocuSign Envelope ID: D0B2A0AA-AD9C-4783-8FDC-F8CCBDECCD98
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SIGNATURE PAGE TO AMENDMENT NO. 2 TO COOPERATIVE PURCHASE AGREEMENT NO. 23C004 BY AND BETWEEN THE CITY OF PALM SPRINGS TK
ELEVATOR CORPORATION
IN WITNESS WHEREOF, the Parties have execu ted this Amendment No. 2 as of the dates stated below.
CONTRACTOR:
By: _____________________________________ By: _________________________________________ Signature Signature
(2nd signature required for Corporations)
Date: Date:
CITY OF PALM SPRINGS:
AP
PROVED BY CITY COUNCIL:
Date: _N/A__ Item No. _N/A__
APPROVED AS TO FORM
: ATTEST:
By: ___________________________ By: _______________________________ City Attorney City Clerk
APPROVED:
By: _______________________________ Date:
City Manager – over $50,000
Deputy/Assistant City Manager – up to $50,000
Director – up to $25,000
Manager – up to $5,000
DocuSign Envelope ID: D0B2A0AA-AD9C-4783-8FDC-F8CCBDECCD98 6/13/2023
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ATTACHMENT A1
Service:
Furnish and replace two handrail, demarcation parts and comb plates for two escalators.
Scope:
x Elevator Up – Escalator Handrails
x Elevator Down – Demarcation Parts
Price:
x $66,146.48
DocuSign Envelope ID: D0B2A0AA-AD9C-4783-8FDC-F8CCBDECCD98
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DocuSign Envelope ID: D0B2A0AA-AD9C-4783-8FDC-F8CCBDECCD98
I – Page 237 of 593
ATTACHMENT F
AMENDMENT NO. 3 TO AGREEMENT NO. 23C004
WITH TK ELEVATOR CORPORATION
I – Page 238 of 593
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DocuSign Envelope ID: 7F9E2C7E-49DE-4EAC-8F5C-CA65B453B5F0 9/26/2023
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ATTACHMENT G
AMENDMENT NO. 4 TO AGREEMENT NO. 23C004
WITH TK ELEVATOR CORPORATION
I – Page 242 of 593
55575.18100\42913029.1
(BB&K 2024)
AMENDMENT NO. 4 TO AGREEMENT NO. 23C004
COOPERATIVE PURCHASE FOR PROTECTION OF VERTICAL
TRANSPORTATION EQUIPMENT
BETWEEN THE CITY PALM SPRINGS AND TK ELEVATOR CORPORATION
1. Parties and Date.
This Amendment No. 4 to the Cooperative Purchase Agreement is made and entered into as of this 12 day of August 2025, by and between the City of Palm Springs, a California charter city and municipal corporation (“City”), and TK Elevator Corporation, a Delaware Corporation (“Contractor”).
City and Contractor are sometimes indi vidually referred to as “Party” and collectively referred to as “Parties.”
2. Recitals.
2.1 Agreement. Parties entered into an agreement titled “C ooperative Purchase Agreement No. 23C004,” dated March 9, 2023 (“Agreement”), for the maintenance and repair of the City’s vertical transportation equipment at the Palm Springs International Airport, in an amount not- to-exceed $84,600 and for a term of three years.
2.2 First Amendment. On April 6, 2023, the Parties entered into Amendment No. 1 to revise the insurance, risk management, notice, amendment, and termination provisions; provide a one-time clean-down service for each elevator; an d add $20,510.90 in compensation, for a revised not-to-exceed amount of $105,110.90.
2.3 Second Amendment. On June 7, 2023, th e Parties entered into Amendment No. 2 to revise the scope of services and add $66,146.48 in compensation, for a revised not-to-exceed amount of $171,257.38.
2.4 Third Amendment. On September 15, 2023 , the Parties entered into Amendment No. 3 to add $360,000.00 in compensa tion for additional parts and la bor, for a revised not-to-exceed amount of $531,257.38.
2.5 Amendment Purpose. City and Contractor now desire to amend the Agreement to add $139,929.94 in compensation, for a revised not-to-exceed amount of $671,187.32.
2.6 Amendment Authority. This Amendment No. 4 is authorized pursuant to Section 9 of the Agreement.
3. Terms.
3.1 Compensation and Paym ent. Section 3 of the Agreement is hereby amended to read as follows:
" This Agreement is for an amount not to exceed $671,187.32 per year, subject to approved amendments and changes. All pricing must be in accordance with the attached Quote, as shown as Attachment "B", the content of which is incorporated by reference into this Agreement as if fully set out here in its entirety.
Docusign Envelope ID: 954684DE-7B81-405E-968E-22C68F935459
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55575.18100\42913029.1
(BB&K 2024)
3.2 Section 1.1 Scope of Services of th e Agreement is hereby amended to include the pricelist in Attachment “B2” attached hereto and incorporated herein by reference.
3.2 Continuing Effect of Agreement. Exce pt as amended by this Amendment No.4, all other provisions of the Agreement remain in full force and effect and shall govern the actions of the parties under this Amendment No. 4. From and after the date of this Amendment No. 4, whenever the term “Agreement” or “Contract” appears in the Agreement, it shall mean the Agreement as amended by this Amendment No. 4.
3.3 Adequate Consideration. The Parties hereto irrevocably stipulate and agree that they have each received adequate and independent consideration for the performance of the obligations they have undertaken pursuant to this Amendment No.4.
3.4 Severability. If any portion of this Am endment No. 4 is declared invalid, illegal, or otherwise unenforceable by a court of competent jurisdiction, the remaining provisions shall continue in full force and effect.
3.5 Counterparts. This Amendment No. 4 may be executed in duplicate originals, each of which is deemed to be an original, but when take n together shall constitute but one and the same instrument.
[SIGNATURES ON FOLLOWING PAGE]
Docusign Envelope ID: 954684DE-7B81-405E-968E-22C68F935459
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55575.18100\42913029.1
(BB&K 2024)
SIGNATURE PAGE FOR AMENDMENT NO. 4 TO COOPERATIVE PURCHASE AGREEMENT NO. 23C004 BETWEEN THE CITY PALM SPRINGS AND
TK ELEVATOR CORPORATION
IN WITNESS WHEREOF, the Parties have executed this Amendment as of the dates stated below.
CONTRACTOR:
By: ____________________________ By: ________________________________ Signature Signature
(2nd signature required for Corporations)
Date: Date:
CITY OF PALM SPRINGS:
APPROVED BY CITY COUNCIL:
Date: N/A Item No. N/A
APPROVED AS TO FORM: ATTEST:
By: ___________________________ By: ____________ ___________________ City Attorney City Clerk
APPROVED:
By: _______________________________ Date:
City Manager – over $150,000
Deputy/Assistant City Manager – up to $50,000
Director – up to $25,000
Manager – up to $5,000
Docusign Envelope ID: 954684DE-7B81-405E-968E-22C68F935459 8/18/2025
I – Page 245 of 593
55575.18100\42913029.1
(BB&K 2024)
ATTACHMENT “A2”
SCOPE OF SERVICES
Service:
TK Elevator Corporation (Contractor) to provide esca lator component replacement and system rehabilitation services for the down escalator at the Sonny Bono Concourse in the Palm Springs International Airport (Airport).
Scope:
1. Step Trail Track:
Contractor shall furnish all necessary labor and materi als to replace the step trail roller track on the down escalator.
x Secure escalator and place safety ba rricades at the top and bottom landings. x Remove all steps and related equipment; the Ai rport staff shall provide a designated area for storing the steps during the work.
x Remove the existing step trail roller track.
x Install and adjust the new step trail roller track.
x Install steps and replace step rollers as necessary.
x Adjust all steps and landing plates to ensure proper clearances. x Conduct operational testing to verify proper performance and return the unit to service.
2. Handrail Turnarounds and Track:
Contractor shall perform the following work related to the handrail system:
x Remove both handrails to access internal components requiring replacement. x Remove and replace the upper and lower handrail tracks on both sides. x Remove and replace the upper and lower handrail turnarounds and newel rollers on both sides.
Additional:
x Contractor will have uninterrupted access to the escalator while work is being performed. x All work shall be scheduled and coordinated with Airport Staff to minimize disruption to Airport operations and passenger flow.
x All materials and workmanship shall strictly confor m to the original equipment design specifications and Contractor’s standard design requirements.
x Work shall be performed by a trai ned elevator technician and helper, both of whom must be directly employed and supervised by the Contractor.
x During the work, any deficiencies, code violations , or other issues are identified, the Contractor shall promptly notify the City and Airport Staff. An amendment to the agreement may be processed to address such findings as needed.
Price:
Pricing is based on all work being performed during regular working hours. x 50% Initial Progress Payment Amount: $69,964.94
x Remaining 50% Due Upon Completion Amount: $69,964.97
x Total Amount Not-To-Exceed: $139,929.94
Docusign Envelope ID: 954684DE-7B81-405E-968E-22C68F935459
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55575.18100\42913029.1
(BB&K 2024)
ATTACHMENT “B2”
SCHEDULE OF COMPENSATION
Contractor shall provide repair and maintenance per rate outlined below.
Material Price 10% discount off list price.
Labor billing rate as identified below.
Docusign Envelope ID: 954684DE-7B81-405E-968E-22C68F935459
I – Page 247 of 593
CITY COUNCIL STAFF REPORT
DATE: MARCH 25, 2026 CONSENT CALENDAR
SUBJECT: A REQUEST BY THE OWNERS OF TWO HISTORIC PROPERTIES FOR
APPROVAL OF MILLS ACT HISTORIC PROPERTY PRESERVATION
AGREEMENTS, INCLUDING ONE UNIT WITHIN THE COUNTRY CLUB
ESTATES HISTORIC DISTRICT (HSPB # 145 / HD-9) AT 1995 SOUTH CAMINO REAL AND 2455 SOUTHRIDGE DRIVE (HSPB #162)
FROM: Scott C. Stiles, City Manager
BY: Department of Planning Services
SUMMARY:
This is a request for the City of Palm Springs to enter into standard Mills Act Agreements with the current property owners of two separate historic sites. The intent of these contracts is to require maintenance and preservation of the designated sites in exchange for possible property tax relief as determined by the Riverside County tax assessor.
RECOMMENDATION:
1. Approve a Mills Act Historic Property Preservation Agreement between the City of Palm Springs and the owners of the following list of properties:
a. 1995 Camino Real (Country Club Estates), APN: 511-150-015. b. 2455 Southridge Drive, APN: 510-260-024.
2. Authorize the City Manager to execute the Agreements.
3. Direct the City Clerk to record the Agreements with the County of Riverside.
BUSINESS PRINCIPAL DISCLOSURES:
The applicants for each Mills Act Agreement are as follows:
1. Grant Richard Wilson and Kenneth James Griffiths for the condominium within the Country Club Estates Historic District at 1995 S. Camino Real.
2. Brinkman Grimm Trust dated December 9, 2021 at 2455 Southridge Drive.
STAFF ANALYSIS:
The following chart lists the date and resolution number for each property designated by the City Council:
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City Council Staff Report
March 25, 2026 -- Page 2
Mills Act Agreements
Address Historic Class Date of
Designation
City Council
Resolution
1995 S. Camino Real Contributor in Historic
District
04/25/2024 25197
2455 Southridge Drive Class 1 03/27/2025 25287
Pursuant to California Government Code Sections 50280-50290, upon the application of an owner of any qualified historic property, the legislative body of a city may contract with the owner or agent to restrict the use of the property to carry out the purposes and goals of historic preservation of the property. Such a contract is commonly referred to as a “Mills Act Agreement” and it provides for possible alternative property tax rate calculations in exchange for the ongoing preservation and maintenance of the property, specifically its historically significant elements and characteristics.
California Government Code Section 50280.1 denotes that properties are eligible for a Mills Act contract if listed in a state, city, or county official register of historic sites. All properties were locally designated and listed on the local inventory of historic places and qualify to apply for a Mills Act Contract. Draft Historic Property Preservation Agreements for each property are included as Attachment D to this report and specify details regarding restoration and/or maintenance of the three historic properties.
Aerial maps and photographs of each property included below:
AERIAL VIEW OF 1995 S. CAMINO REAL FRONT ELEVATION OF 1995 S. CAMINO REAL
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City Council Staff Report
March 25, 2026 -- Page 3
Mills Act Agreements
AERIAL VIEW OF 2455 SOUTHRIDGE ROAD FRONT ENTRANCE OF 2455 SOUTHRIDGE ROAD ALIGNMENT WITH STRATEGIC PLANNING:
This item aligns with the following City Council Strategic Plan Broad Goal: Economic Development.
FISCAL IMPACT:
The Riverside County Tax Assessor has not shared detailed information on the amount of property tax rebate applied to Mills Act properties; however, County staff have said the rebate can range from 40 to 70 % and that amount is based upon several factors including length of ownership, annual income of property, annual operating expenses, capitalization rate, etc. Currently, there are 177 Mills Act properties in the City, and the median residential tax bill is $4,250 per year. Based on these figures, the potential loss in revenue to the City could range from approximately $300,000 to over $530,000 annually. It should be noted that the Mills Act contract is one of few tools available to incentivize reinvestment into restoration and ongoing maintenance of historic resources, and that properly maintained Mills Act properties likely have a net positive effect on surrounding property values that may offset the loss in direct revenue over time.
REVIEWED BY:
Department Director: Christopher Hadwin
Assistant City Manager: Flinn Fagg
City Manager: Scott Stiles
ATTACHMENTS:
A. Vicinity Maps for Each Property
B. City Council Resolution Nos. 25197, 25287.
C. Owner Letters and Disclosures
D. DRAFT Historic Property Preservation Agreements
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ATTACHMENT A
(Vicinity Maps)
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Department of Planning Services
Vicinity Map
CITY OF PALM SPRINGS
HSPB #145 / HD-9 – Country Club Estates
1995 Camino Real
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Department of Planning Services
Vicinity Map
CITY OF PALM SPRINGS
HSPB #162 – Dr. Harry and Betty Garber Residence
2455 Southridge Drive
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ATTACHMENT B
(City Council Resolutions)
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ATTACHMENT C
(Owner Letters and Disclosures)
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c/o PMI-Coachella Valley
777 E Tahquitz Canyon Way, Suite
200-93 Palm Springs, CA 92262
City of Palm Springs
Planning
Department Services
3200 E Tahquitz Canyon Way
Palm
Springs, CA 92264
RE: Mills Act Contract
Dear Sir/Madam:
Please accept this letter of intent on behalf of the homeowner's association of Country Club Estates of
Palm Springs to enter into a Mills Act contract with the City of Palm Springs for OW
NER:
ADDRESS:
Sincerely,
Board President, Country Club Estates of Palm Springs
Country Club Estates
Kenneth Griffiths and Grant Wilson
1995 South Camino Real, Palm Springs, CA 92264
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Mills Act Application – Homeowner Letter for 2455 Southridge Dr
William Grimm & David Brinkman
2455 Southridge Dr
Palm Springs, CA 92264
DrGrimm@MDVIP .com
October 4, 2025
City of Palm Springs Planning Department
Attn: Historic Preservation Officer
3200 E Tahquitz Canyon Way
Palm Springs, CA 92262
Dear Historic Preservation Officer,
We are writing to formally express our intent to apply for a Mills Act contract for our property located at 2455 Southridge Dr, Palm Springs, CA, which has been designated a Class 1 Historic Resource by the City of Palm Springs.
Known as the Garber Residence, this roughly 2,700-square-foot custom-designed single- family home was completed in 1970 by architect Richard A. Harrison, with interior design by Arthur Elrod, both of whom are celebrated contributors to Palm Springs’ architectural legacy. The Garbers owned the house until their passing, and it was acquired by us, the current owners, in December 2023. Remarkably, the home has undergone very few changes and has been maintained, making it a nearly intact example of Harrison’s work and a rare preservation opportunity.
The Garber Residence was designed on an eight-foot grid and constructed in the post-and- beam style. It features a spacious combination living-dining room with a fireplace, an
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adjacent study, two bedrooms, and two-and-a-half bathrooms. The house utilizes simple yet elegant materials to create an exceptional custom home: dark brown-painted wood posts and beams, 8”x6”x16” off-white split-face concrete block, heavily-textured off-white stucco, terrazzo, and anodized bronze-tinted aluminum-framed glass sliding doors, fixed glazed panels, and windows. While much of the house has a flat roof, the central volume over the spine of the house features a pitched roof covered in terra-cotta barrel roof tiles.
The fireplace is embellished with white dolomite stone veneer. Although preliminary plans called for a white crushed rock “Tropicool” roof, this was replaced during construction with Granada “Ramon” one-piece straight barrel (smooth) tiles, as indicated by architect Harrison on the as-built drawings.
The Garber Residence is located in Southridge Estates, a development that exemplifies a pivotal shift in Southern California residential planning during the 1960s. As flat, easily accessible land became scarce, developers turned to hillside locations, made feasible by engineering advancements that reduced cost and increased safety. These elevated sites offered panoramic views and became highly desirable. Southridge Estates stands as a notable example of this trend, combining dramatic topography with architectural innovation.
Dr. Harry Garber, the original owner, was a distinguished physician and community member. Born in Chicago in 1923 to Polish immigrants, he overcame humble beginnings to become a Board Certified Obstetrician and Gynecologist, a Fellow of the American College of Surgeons, and a Full Professor at USC. He served in both World War II and the Korean War, practiced medicine in Japan and Chicago, and ultimately settled in Palm Springs in 1970, where he continued his medical practice until 2000. He was also a trained cantor and opera singer. His wife, Betty Garber, a Northwestern graduate and marriage and family therapist, was featured in a 1987 Desert Sun article that highlighted their life in Palm Springs, including their early role in developing Southridge Estates. Their home was one of the first built on the hilltop, with neighbors such as Bob and Dolores Hope.
As the homeowners, we are committed to preserving and restoring the property in accordance with the Secretary of the Interior’s Standards for Rehabilitation. The Garber Residence’s materials represent the best of Midcentury Modern design. The original materials survive entirely intact and are the focus of our preservation efforts.
Our 10-year maintenance and preservation plan for 2455 Southridge Drive encompasses a comprehensive range of restoration activities. Structural work includes repairs to drywall and masonry, ensuring the building’s integrity. Electrical and plumbing upgrades are
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planned alongside HVAC system installation to modernize essential infrastructure. The kitchen will be restored with preserved cabinetry, historically accurate countertops, and fixtures, while the original flooring materials will be reproduced. Bathroom restorations focus on initial repairs, preservation of vanities and cabinetry, refinishing countertops, and restoring fixtures and tilework. Interior finishes will be refreshed with paint, restoration of historic lighting, and reproduction of original flooring. Exterior efforts involve initial clean- up, gardening, pool heater installation, fencing and gate repairs, engineering assessments, landscaping, pool renovation, and preservation of stucco, wood, and painting. Window restoration and replacement are included, as well as roofing repairs and installation. The plan also accounts for ongoing operating expenses such as maintenance ensuring the property remains well-preserved and functional over the decade.
The property tax savings afforded by the Mills Act will be reinvested directly into these preservation efforts. We have already begun planning for phased restoration work and will consult with preservation professionals to ensure all improvements meet historic standards.
We understand and accept the responsibilities of entering into a Mills Act contract, including the 10-year term, annual renewal, and periodic inspections by city staff. We are committed to full compliance and transparency throughout the duration of the contract.
Thank you for considering our application. We look forward to working with the City of Palm Springs to preserve this important piece of our architectural heritage.
Sincerely,
William Grimm David Brinkman
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William Joseph Grimm
50% of The Brinkman Grimm Trust
David John Brinkman
50% of The Brinkman Grimm Trust
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ATTACHMENT D
(Draft Historic Property
Preservation Agreements)
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1 FREE RECORDING REQUESTED BY
AND WHEN RECORDED RETURN TO:
City of Palm Springs
3200 East Tahquitz Canyon Way
Palm Springs, CA 92263-2743
Attn: City Clerk
HISTORIC PROPERTY PRESERVATION AGREEMENT
This Historic Property Preservation Agreement ("Agreement") is made this ____ day of ______, 202 6 by and between the Cit y of Palm Springs, a charter city and municipal corporation ("City") and Grant Richard Wilson and Kenneth James Griffiths ("Owner") and Country Club Estates of Palm Springs Home Owners Association (“HOA”).
RECITALS:
A. California Government Code Sections 50280, et seq. (the “State Law”), as may be amended from time to time, authorizes cities to enter into contracts with the owners of qualified historical property to provide for the use, maintenance, protection, and restoration of such historical property so as to retain its characteristics as a property of historical significance.
B. The Owner possess fee title in and to that certain real property, together with associated structures and improvements thereon, generally located at the street address 1995 S. Camino Real, Palm Springs, California ("Historic Property"). A legal description of the Historic Property is attached hereto as Exhibit A and is incorporated herein by this reference.
C. The HOA and Owner share responsibility for routine maintenance and upkeep of the Historic Property’s building exteriors and grounds.
D. On April 25 , 20 24 (the "Approval Date"), the City Council approved Resolution 25197 establishing the subject property as a contributing structure in the Country Club Estates Historic District.
E. The City, the Owner, and the HOA desire to enter into this Agreement for the purpose of protecting and preserving the characteristics of historical significance of the Historic Property, in accordance with the State Law; to help preserve the Palm Springs community’s own unique civic identity and character; and to qualify the Historic Property for an assessment of valuation pursuant to Revenue and Taxation Code Section 439.2 and any corresponding adjustment in property taxes resulting therefrom.
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2 AGREEMENT
NOW, THEREFORE, the City, the Owner, and the HOA, in consideration of the mutual covenants and conditions set forth herein, agree as follows:
1. Effective Date and Term of Agreement. This Agreement shall be effective and commence on ____________, 2026 ("Effective Date") and shall remain in effect for a minimum term of ten (10) years thereafter. Each year upon the anniversary of the Effective Date (“Renewal Date”), an additional one (1) year shall automatically be added to the remaining term of the Agree ment unless a notice of nonrenewal is delivered as provided in Section 2 of this Agreement.
2. Non-Renewal and Cancellation. If either the Owner or the City desire in any year not to renew this Agreement, the Owner or the City shall serve a written notice of nonrenewal upon the party in advance of the Renewal Date ("Notice of Nonrenewal").
The Notice of Nonrenewal shall be effective only if served by the Owner upon the City at least ninety (90) days prior to the Renewal Date, or if served by the City upon the Owner, the Notice of Nonrenewal shall be effective only if served upon the Owner at least si xty (60) days prior to the Renewal Date. If either the City or the Owner serve a Notice of Nonrenewal in any year, this Agreement shall remain in effect for the balance of the term then remaining from the last Renewal Date (or from the Effective Date if no Renewal Date has yet occurred).
3. Owner Protest of City Nonrenewal . Within fifteen (15) days of the Owner's receipt of the Notice of Nonrenewal from the City, the Owner may file with the City a written protest of the Notice of Nonrenewal. Upon receipt of the written protect, the City Council shall set a hearing prior to the expiration of the Renewal Date of this Agreement.
The Owner may furnish the City Council with any information which Owner deem relevant and shall furnish the City Council with any information it may require. The City Council may, at any time prior to the annual Renewal Date, withdraw its Notice of Nonrenewal.
4. Maintenance Standards for the Property . During the term of this Agreement, the Property shall be subject to the following conditions, requirements, and restrictions:
4.1 The Owner and the HOA shall preserve and maintain the characteristics of the cultural and historical significance of the Historic Property. Attached to this Agreement as Exhibit "B", is a list of the minimum standards and conditions for maintenance, use, protection, and preservation of the Historic Property, which shall apply to the Historic Property. The Owner and HOA shall comply with these minimum standards throughout the term of this Agreement. In addition, Owner and HOA shall comply with the terms of the City Code, and shall obtain any applicable permits necessary to protect, preserve, restore, and rehabilitate the Historic Property so as to maintain its historical and cultural significance.
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3 4.2 The Owner and the HOA shall, where necessary, repair, maintain, restore, and rehabilitate the Historic Property according to the rules and regulations of the Office of Historic Preservation of the State Department of Parks and Recreation, Secretary of the Interior’s Standards for the Treatment of Historic Properties, the State Historical Building Code, and the City of Palm Springs. The condition of the interior and exterior of the Historic Property on the effective date of this Agreement is documented in photographs attached as Exhibit "C” to this Agreement. At a minimum, Owner and HOA shall continually maintain the exterior of the Historic Property in the same condition as documented in Exhibit "C."
4.3 The Owner and the HOA shall carry out specific restoration, repair, maintenance, and/or rehabilitation projects on the Historic Property, as outlined in the attached Exhibit "D" to this Agreement. All such projects shall be undertaken and completed in acc ordance with the Secretary of the Interior’s Standards for the Treatment of Historic Properties with Guidelines for Preservation, Restoration and/or Rehabilitation and the City Codes and all applicable design guidelines.
4.4 The Owner and the HOA shall not be permitted to block the view corridor with any new structure, such as walls, fences, or shrubbery, so as to prevent the viewing of the Historic Property from the public right-of-way.
5. Interior and Exterior Inspections. Prior to the approval, execution, and recordation of this Agreement, and every five years thereafter, the City Manager of the City or the City Manager’s designee (the “City Manager”) shall inspect the interior and exterior of the premises to determine th e Owner’s compliance with the terms and provisions of this Agreement.
6. Provision of Information of Compliance. The Owner and the HOA shall furnish the City Manager with any and all information requested by the City Manager, which the City Manager deems necessary or advisable to determine eligibility of the Historic Property and compliance with the terms and provisions of this Agreement.
7. Breach of Agreement; Remedies.
7.1 If the Owner or the HOA breaches any provision of this Agreement, the City Manager may give written notice to the Owner and/or HOA by registered or certified mail detailing the Owner's and/or HOA’s violations. If such violation is not corrected to the reas onable satisfaction of the City Manager within thirty (30) days after the date of notice of violation, or within such a reasonable time as may be required to cure the violation (provided the acts to cure the violation are commenced within thirty (30) days and thereafter diligently pursued to completion), the City Manager may, without further notice, declare The Owner and/or HOA to be in breach of this Agreement.
Upon the City Manager’s declaration of the
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4 Owner's and/or HOA’s breach, the City Manager may pursue any remedy available under local, state, or federal law, including those specifically provided for in this section.
7.2 The City Council may cancel this Agreement if the City Council determines, following a duly noticed public hearing in accordance with California Government Code section 50286, that the Owner or HOA breached any of the conditions of the Agreement, the Owner or HOA allowed the Historic Property to deteriorate to the point that it no longer meets the standards for a qualified historic property, or the Owner or HOA failed to maintain and preserve the Historic Property in accordance with the terms of this Agreement. If this Agreement is cancelled, under this paragraph, the Owner shall pay a cancellation fee to the Office of the Auditor for the County of Riverside as required by California Government Code Section 50286.
7.3 As an alternative to cancellation of this Agreement for the Owner's or HOA’s breach of any condition, the City Manager may bring an action in court necessary to enforce this Agreement including, but not limited to, an action to enforce this Agreement by specific performance, injunction, or receivership.
8. Destruction of Property; Eminent Domain; Cancellation. If the Historic Property is destroyed by earthquake, fire, flood, or other natural disaster such that in the opinion of the City Building Official more than sixty percent (60%) of the original fabric of the structure must be replaced, this Agreement shall be cancelled because the historic value of the structure will have been destroyed. If the Historic Property is acquired in whole or in part by eminent domain or other acquisition by any entity autho rized to exercise the power of eminent domain, and the acquisition is determined by the City Council to frustrate the purpose of this Agreement, this Agreement shall be cancelled. No cancellation fee pursuant to Government Code section 50286 shall be impos ed if the Agreement is cancelled pursuant to this Section.
9. Waiver. The City does not waive any claim of default by the Owner or HOA if the City or the City Manager does not enforce or cancel this Agreement. All other remedies at law or in equity which are not otherwise provided for in this Agreement or in City's regulations governing historic properties are available to the City to pursue in the event that there is a reach of this Agreement. No waiver by the City or the City Manager of any breach or default under this Agreement shall be deemed to be a waiver of any other subsequent breach thereof or default hereunder.
10. Binding Effect of Agreement. The Owner and the HOA hereby subject the Historic Property to the covenants, conditions, and restrictions set forth in this Agreement. The City, the Owner, and the HOA hereby declare their specific intent that the covenants, conditions, and restrictions s et forth in this Agreement shall be deemed covenants running with the land and shall inure to and be binding upon the Owner's and
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5 HOA’s successors and assigns in title or interest to the Historic Property. Each and every contract, deed, or other instrument herein after executed, covering or conveying the Historic Property, or any portion thereof, shall conclusively be held to have been executed, delivered and accepted subject to the covenants, reservations and restrictions are set forth in such contract, deed or other instrument.
11. Covenants Run with the Land. The City, the Owner, and the HOA hereby declare their understanding and intent that the burden of the covenants, reservations, and restrictions set forth in this agreement touch and concern the land in that it restricts development of the Historic Property. The City and the Owner hereby further declare their understanding and intent that the benefit of such covenants, reservations and restrictions touch and concern the land by enhancing and maintaining the cultural and historical characteristics and significance of the Historic Property for the benefit of the public, the City, the Owner, and the HOA.
12. Notice. Any notice required to be given by the terms of this Agreement shall be provided at the address of the respective parties as specified below or at any other address as may be later specified by the parties hereto:
City: City of Palm Springs
Office of the City Clerk
3200 E. Tahquitz Canyon Way
Palm Springs, CA 92263
Owner: Grant R. Wilson and Kenneth J. Griffiths
1995 W. Camino Real
Palm Springs, CA 92264
HOA: Country Club Estates of Palm Springs Homeowners Association Brandon Blair, President
777 E. Tahquitz Canyon Way, Suite 200-93
Palm Springs, CA 92262
13. Effect of Agreement. None of the terms, provisions, or conditions of this Agreement shall be deemed to create a partnership between the parties hereto and any of their heirs, successors, or assigns, nor shall such terms, provisions, or conditions cause the parties to be considered joint venturers or members of any joint enterprise.
14. Indemnity of City. The Owner and HOA shall defend, indemnify, and hold harmless the City and its elected officials, officers, agents, and employees from any actual or alleged claims, demands, causes of action, liability, loss, damage, or injury to property or persons, including wrongful death, whether imposed by a court of law or by administrative action of any federal, state or local governmental agency, arising out of or incident to (i) the direct or indirect use operation, or maintenance of the Historic Property by the Owner or the HOA or any contractor, subcontractor, employee, agent, lessee, licensee, invitee,
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6 or any other person; (ii) the Owner's or HOA’s activities in connection with the Historic Property; and (iii) any restrictions on the use or
development of the Historic Property, from application or enforcement of the City Code, or from the enforcement of this Agreement. This indemnification includes, without limitation, the payment of all penalties, fines, judgments, awards, decrees, attorneys' fees, and related costs or expenses, and the reimbursement of City, its elected officials, employees, and/or agents for all legal expenses and costs incurred by each of them. The Owner's and HOA’s obligation to indemnify shall survive the termination, cancellation, or expiration of this Agreement and shall not be restricted to insurance proceeds, if any, received by the City, its elected officials, employees, or agents.
15. Binding Upon Successors. All of the agreements, rights, covenants, reservations and restrictions contained in this Agreement shall be binding upon and shall inure to the benefit of the parties herein, their heirs, successors, legal representatives, assigns and all persons acquiring any part or portion of the Historic Property, whether by operation of law or in any manner whatsoever.
16. Legal Costs. In the event legal proceedings are brought by any party or parties to enforce or restrain a violation of any of the covenants, conditions or restrictions contained herein, or to determine the rights and duties of any party hereunder, the prevailing party in such proceeding may recover all reasonable attorneys' fees to be fixed by the court, in addition to court costs and other relief ordered by the court.
17. Severability. In the event that any of the provisions of this Agreement are held to be unenforceable or invalid by any court of competent jurisdiction, or by subsequent preemptive legislation, the validity and enforceability of the remaining provisions, or portions thereof, shall not be effected thereby.
18. Recordation. No later than twenty (20) days after the parties execute and enter into this Agreement, the City shall cause this Agreement to be recorded in the office of the County Recorder of the County of Riverside. In the event the City fails to record this Agreement as provided in this Section, the Owner or agent of an owner shall record this Agreement with Riverside County within six (6) months of entering into the Agreement and shall file and submit a conformed copy of this Agreement with the City Clerk promptly after recordation.
19. Amendments. This Agreement may be amended, in whole or in part, only by written recorded instrument executed by the parties hereto.
20. Governing Law and Venue. This Agreement shall be construed and governed in accordance with the laws of the State of California. Any action at law or in equity brought by either of the parties hereto for the purpose of enforcing a right or rights provided for by this Agreement shall be tried in a court of competent jurisdiction in the County of Riverside, State of California, and the parties hereby waive all provisions of law providing for a change of venue in such proceedings to any other county.
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7 21. No Compensation. Neither the Owner nor the HOA shall not receive any payment from the City in consideration of the obligations imposed under this
Agreement. The Owner, the HOA, and the City acknowledge and agree that the primary consideration to the City for the execution of this Agreement is the substantial benefit to the citizens of Palm Springs accruing from the rehabilitation and maintenance of the Property, and the primary consideration to the Owner and HOA is the economic advantage that will accrue to the Owner and HOA as a result of the possible effect upon the assessed value of the Property of the restrictions on the use and preservation of t he Property imposed hereunder. The Owner and HOA acknowledges that it is not guaranteed to receive a reduction of property taxes as a result of this Agreement.
SIGNATURES ON FOLLOWING PAGE
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8 IN WITNESS WHEREOF, the City, the Owner, and the HOA have executed this Agreement on the day and year first written above.
CITY OF PALM SPRINGS,
a Charter City and Municipal Corporation
Dated:______________________ By:_______________________________ City Manager: Scott Stiles
City of Palm Springs
APPROVED AS TO FORM: ATTEST:
_____________________________ ____________________________ City Attorney: Jeff Ballinger City Clerk: Brenda Pree, MMC City of Palm Springs City of Palm Springs
Dated:_________________________ By:_______________________________ Grant Richard Wilson, Owner
Dated:_________________________ By:_______________________________ Kenneth James Griffiths, Owner
Dated:_________________________ By:_______________________________ President: Brandon Blair
Country Club Estates of Palm Springs
Homeowners Association
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10 EXHIBIT A
LEGAL DESCRIPTION
PARCEL 1:
LOT 15, OF TRACT NO. 2972 IN THE CITY OF PALM SPRINGS, COUNTY OF RIVERSIDE, STATE OF CALIFORNIA, AS SHOWN BY MAP ON FILE IN BOOK 52 PAGE(S) 66 THROUGH 70 OF MAPS, RECORDS OF RIVERSIDE COUNTY, CALIFORNIA.
PARCEL IA:
AN UNDIVIDED 1/30
TH INTEREST IN LOT 31 OF TRACT 2972, IN THE CITY OF
PALM SPRINGS, AS SHOWN BY MAP ON FILE IN BOOK 52 PAGE(S) 66 THROUGH 70 OF MAPS, RECORDS OF RIVERSIDE COUNTY, CALIFORNIA.
APN: 511-150-015
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11 EXHIBIT B
MAINTENANCE STANDARDS
(Section 4.1)
All structures, walls, water features, landscaping and any other improvements associated with the parcel that is the subject of this Mills Act Historic Property Preservation Agreement (“Agreement”) shall be maintained in good condition throughout the term of this agreement.
All nuisances as defined in Title 11 “Peace, Morals and Safety” of the Palm Springs Municipal Code that occur or develop on the subject parcel shall be abated in a timely manner and to the satisfaction of the City Manager or his designee.
All structures, walls, water features, landscaping and any other improvements associated with the parcel that is the subject of this Agreement that are part of the historic character- defining features of the property shall be maintained as outlined in the Secretary of the Interior Standards for Preserving, Rehabilitating, Restoring, and Reconstructing Historic Buildings (1995 Weeks and Grimmer).
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12 EXHIBIT C
EXISTING CONDITIONS
(Section 4.2)
(Aerial photo of the property and the tract map are on file in the Planning Services Department of the City of Palm Springs, California at 3200 Tahquitz Canyon Way, Palm Springs, CA 92262)
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13 EXHIBIT D
SPECIFIC PROJECTS
(Section 4.3)
1. Roof repair: repair and recoat of existing roof including surface preparation, coating application and final work. Estimated cost: $6,000. Estimated time:
2028
2. Concrete patio: repair the original concrete patio between the house and the laundry room/access from sidewalk. Estimated cost: $3,000. Estimated time:
2027.
3. HVAC system / Ductwork: repair and replace as needed. Ray’s Air Conditioning Heating Services installed York package system in 2016, including 10-year warranty. Estimated cost: $8,000. Estimated time: 2026.
4. Laundry room exterior door: replace laundry room door with matching door, HOA approved design guidelines. Original door has aged and issues with functionality. Estimated cost: $2,000. Estimated time: 2027 (after concrete patio repair).
5. Entry door: repair and paint front door. Original door is showing age.
Appearance will remain the same and conform to HOA approved design guidelines. Estimated cost: $2,000. Estimated time: 2027.
6. Slider screen door (exterior): replace three screen doors on the Milgard “clear” anodized aluminum doors to the atrium and front patio. Appearance to remain the same with better performance. Estimated cost: $2,000. Estimated time: 2026.
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1 FREE RECORDING REQUESTED BY
AND WHEN RECORDED RETURN TO:
City of Palm Springs
3200 East Tahquitz Canyon Way
Palm Springs, CA 92263-2743
Attn: City Clerk
HISTORIC PROPERTY PRESERVATION AGREEMENT
This Historic Property Preservation Agreement ("Agreement") is made this ______day of ______, 2026 by and between the City of Palm Springs, a charter city and municipal corporation ("City") and Brinkman Grimm Trust, dated December 9, 2021 ("Owner")
RECITALS:
A. California Government Code Sections 50280, et seq. (the “State Law”), as may be amended from time to time, authorizes cities to enter into contracts with the owners of qualified historical property to provide for the use, maintenance, protection, and restoration of such historical property so as to retain its characteristics as a property of historical significance.
B. The Owner possess fee title in and to that certain real property, together with associated structures and improvements thereon, generally located at the street address 2455 Southridge Drive, Palm Springs, California ("Historic Property"). A legal description of the Historic Property is attached hereto as Exhibit A and is incorporated herein by this reference.
C. On March 27, 2025 (the "Approval Date"), the City Council approved Resolution 25287 establishing the subject property as a historic resource which is listed on the City’s register of historic resources, sites, landmarks and districts.
D. The City and the Owner, desire to enter into this Agreement for the purpose of protecting and preserving the characteristics of historical significance of the Historic Property, in accordance with the State Law; to help preserve the Palm Springs community’s own unique civic ident ity and character; and to qualify the Historic Property for an assessment of valuation pursuant to Revenue and Taxation Code Section 439.2 and any corresponding adjustment in property taxes resulting therefrom.
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2 AGREEMENT
NOW, THEREFORE, the City and the Owner, in consideration of the mutual covenants and conditions set forth herein, agree as follows:
1. Effective Date and Term of Agreement. This Agreement shall be effective and commence on _____________, 2026 ("Effective Date") and shall remain in effect for a minimum term of ten (10) years thereafter. Each year upon the anniversary of the Effective Date (“Renewal Date”), an additional one (1) year shall automatically be added to the remaining term of the Agreement unless a notice of nonrenewal is delivered as provided in Section 2 of this Agreement.
2. Non-Renewal and Cancellation. If either the Owner or the City desire in any year not to renew this Agreement, the Owner or the City shall serve a written notice of nonrenewal upon the party in advance of the Renewal Date ("Notice of Nonrenewal").
The Notice of Nonrenewal shall be effective only if served by the Owner upon the City at least ninety (90) days prior to the Renewal Date, or if served by the City upon the Owner, the Notice of Nonrenewal shall be effective only if served upon the Owner at leas t sixty (60) days prior to the Renewal Date. If either the City or the Owner serve a Notice of Nonrenewal in any year, this Agreement shall remain in effect for the balance of the term then remaining from the last Renewal Date (or from the Effective Date if no Renewal Date has yet occurred).
3. Owner Protest of City Nonrenewal . Within fifteen (15) days of the Owner's receipt of the Notice of Nonrenewal from the City, the Owner may file with the City a written protest of the Notice of Nonrenewal. Upon receipt of the written protect, the City Council shall set a hearing prior to the expiration of the Renewal Date of this Agreement.
The Owner may furnish the City Council with any information which Owner deem relevant and shall furnish the City Council with any information it may require. The City Council may, at any time prior to the annual Renewal Date, withdraw its Notice of Nonrenewal.
4. Maintenance Standards for the Property . During the term of this Agreement, the Property shall be subject to the following conditions, requirements, and restrictions:
4.1 The Owner shall preserve and maintain the characteristics of the cultural and historical significance of the Historic Property. Attached to this Agreement as Exhibit "B", is a list of the minimum standards and conditions for maintenance, use, protection, and preservation of the Historic Property, which shall apply to the Historic Property. The Owner shall comply with these minimum standards throughout the term of this Agreement. In addition, the Owner shall comply with the terms of the City Code, and shall obtain any applicable permits necessary to protect, preserve, restore, and rehabilitate the Historic Property so as to maintain its historical and cultural significance.
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3 4.2 The Owner shall, where necessary, repair, maintain, restore, and rehabilitate the Historic Property according to the rules and regulations of the Office of Historic Preservation of the State Department of Parks and Recreation, Secretary of the Interior’s Standards f or the Treatment of Historic Properties, the State Historical Building Code, and the City of Palm Springs. The condition of the interior and exterior of the Historic Property on the effective date of this Agreement is documented in photographs attached as Exhibit "C” to this Agreement. At a minimum, the Owner shall continually maintain the exterior of the Historic Property in the same condition as documented in Exhibit "C."
4.3 The Owner shall carry out specific restoration, repair, maintenance, and/or rehabilitation projects on the Historic Property, as outlined in the attached Exhibit "D" to this Agreement. All such projects shall be undertaken and completed in accordance with the Secretary of the Interior’s Standards for the Treatment of Historic Properties with Guidelines for Preservation, Restoration and/or Rehabilitation and the City Codes and all applicable design guidelines.
4.4 The Owner shall not be permitted to block the view corridor with any new structure, such as walls, fences, or shrubbery, so as to prevent the viewing of the Historic Property from the public right-of-way.
5. Interior and Exterior Inspections. Prior to the approval, execution, and recordation of this Agreement, and every five years thereafter, the City Manager of the City or the City Manager’s designee (the “City Manager”) shall inspect the interior and exterior of the premises to determine th e Owner’s compliance with the terms and provisions of this Agreement.
6. Provision of Information of Compliance. The Owner shall furnish the City Manager with any and all information requested by the City Manager, which the City Manager deems necessary or advisable to determine eligibility of the Historic Property and compliance with the terms and provisions of this Agreement.
7. Breach of Agreement; Remedies.
7.1 If the Owner breaches any provision of this Agreement, the City Manager may give written notice to the Owner by registered or certified mail detailing the Owner's violations. If such violation is not corrected to the reasonable satisfaction of the City Man ager within thirty (30) days after the date of notice of violation, or within such a reasonable time as may be required to cure the violation (provided the acts to cure the violation are commenced within thirty (30) days and thereafter diligently pursued t o completion), the City Manager may, without further notice, declare The Owner to be in breach of this Agreement. Upon the City Manager’s declaration of the
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4 Owner's, the City Manager may pursue any remedy available under local, state, or federal law, including those specifically provided for in this section.
7.2 The City Council may cancel this Agreement if the City Council determines, following a duly noticed public hearing in accordance with California Government Code section 50286, that the Owner breached any of the conditions of the Agreement, the Owner allow ed the Historic Property to deteriorate to the point that it no longer meets the standards for a qualified historic property, or the Owner failed to maintain and preserve the Historic Property in accordance with the terms of this Agreement. If this Agreement is cancelled, under this paragraph, the Owner shall pay a cancellation fee to the Office of the Auditor for the County of Riverside as required by California Government Code Section 50286.
7.3 As an alternative to cancellation of this Agreement for the Owner's breach of any condition, the City Manager may bring an action in court necessary to enforce this Agreement including, but not limited to, an action to enforce this Agreement by specific performance, injunction, or receivership.
8. Destruction of Property; Eminent Domain; Cancellation. If the Historic Property is destroyed by earthquake, fire, flood, or other natural disaster such that in the opinion of the City Building Official more than sixty percent (60%) of the original fabric of the structure must be replaced, this Agreement shall be cancelled because the historic value of the structure will have been destroyed. If the Historic Property is acquired in whole or in part by eminent domain or other acquisition by any entity autho rized to exercise the power of eminent domain, and the acquisition is determined by the City Council to frustrate the purpose of this Agreement, this Agreement shall be cancelled. No cancellation fee pursuant to Government Code section 50286 shall be impos ed if the Agreement is cancelled pursuant to this Section.
9. Waiver. The City does not waive any claim of default by the Owner if the City or the City Manager does not enforce or cancel this Agreement. All other remedies at law or in equity which are not otherwise provided for in this Agreement or in City's regulations governing historic properties are available to the City to pursue in the event that there is a reach of this Agreement. No waiver by the City or the City Manager of any breach or default under this Agreement shall be deemed to be a waiver of any oth er subsequent breach thereof or default hereunder.
10. Binding Effect of Agreement. The Owner and the HOA hereby subject the Historic Property to the covenants, conditions, and restrictions set forth in this Agreement. The City and the Owner hereby declare their specific intent that the covenants, conditions, and restrictions set forth in this Agreement shall be deemed covenants running with the land and shall inure to and be binding upon the Owner's successors and assigns in title or interest to the Historic Property. Each and every contract, deed, or other instrument herein after executed, covering or conveying the Historic Property, or any portion thereof,
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5 shall conclusively be held to have been executed, delivered and accepted subject to the covenants, reservations and restrictions are set forth in such contract, deed or other instrument.
11. Covenants Run with the Land . The City and the Owner hereby declare their understanding and intent that the burden of the covenants, reservations, and restrictions set forth in this agreement touch and concern the land in that it restricts development of the Historic Property. The City and the Owner hereby further declare their understanding and intent that the benefit of such covenants, reservations and restrictions touch and concern the land by enhancing and maintaining the cultural and historical characteristics and significance of the Historic Property for the benefit of the public, the City and the Owner,
12. Notice. Any notice required to be given by the terms of this Agreement shall be provided at the address of the respective parties as specified below or at any other address as may be later specified by the parties hereto:
City: City of Palm Springs
Office of the City Clerk
3200 E. Tahquitz Canyon Way
Palm Springs, CA 92263
Owner: Brinkman Grimm Trust, dated December 9, 2021
David J. Brinkman and William J. Grimm (Trustees)
2455 Southridge Drive
Palm Springs, CA 92264
13. Effect of Agreement. None of the terms, provisions, or conditions of this Agreement shall be deemed to create a partnership between the parties hereto and any of their heirs, successors, or assigns, nor shall such terms, provisions, or conditions cause the parties to be considered joint venturers or members of any joint enterprise.
14. Indemnity of City. The Owner shall defend, indemnify, and hold harmless the City and its elected officials, officers, agents, and employees from any actual or alleged claims, demands, causes of action, liability, loss, damage, or injury to property or persons, including wrongful death, whether imposed by a court of law or by administrative action of any federal, state or local governmental agency, arising out of or incident to (i) the direct or indirect use operation, or maintenance of the Historic Prop erty by the Owner or any contractor, subcontractor, employee, agent, lessee, licensee, invitee, or any other person; (ii) the Owner's activities in connection with the Historic Property; and (iii) any restrictions on the use or development of the Historic Property, from application or enforcement of the City Code, or from the enforcement of this Agreement. This indemnification includes, without limitation, the payment of all penalties, fines, judgments, awards, decrees, attorneys' fees, and related costs or expenses, and the reimbursement of City, its elected officials, employees, and/or agents for all legal expenses and costs
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6 incurred by each of them. The Owner's obligation to indemnify shall survive the termination, cancellation, or expiration of this Agreement and shall not be restricted to insurance proceeds, if any, received by the City, its elected officials, employees, or agents.
15. Binding Upon Successors. All of the agreements, rights, covenants, reservations and restrictions contained in this Agreement shall be binding upon and shall inure to the benefit of the parties herein, their heirs, successors, legal representatives, assigns and all persons acquiring any part or portion of the Historic Property, whether by operation of law or in any manner whatsoever.
16. Legal Costs. In the event legal proceedings are brought by any party or parties to enforce or restrain a violation of any of the covenants, conditions or restrictions contained herein, or to determine the rights and duties of any party hereunder, the prevailing party in such proceeding may recover all reasonable attorneys' fees to be fixed by the court, in addition to court costs and other relief ordered by the court.
17. Severability. In the event that any of the provisions of this Agreement are held to be unenforceable or invalid by any court of competent jurisdiction, or by subsequent preemptive legislation, the validity and enforceability of the remaining provisions, or portions thereof, shall not be effected thereby.
18. Recordation. No later than twenty (20) days after the parties execute and enter into this Agreement, the City shall cause this Agreement to be recorded in the office of the County Recorder of the County of Riverside. In the event the City fails to record this Agreement as provided in this Section, the Owner or agent of an owner shall record this Agreement with Riverside County within six (6) months of entering into the Agreement and shall file and submit a conformed copy of this Agreement with the City Clerk promptly after recordation.
19. Amendments. This Agreement may be amended, in whole or in part, only by written recorded instrument executed by the parties hereto.
20. Governing Law and Venue. This Agreement shall be construed and governed in accordance with the laws of the State of California. Any action at law or in equity brought by either of the parties hereto for the purpose of enforcing a right or rights provided for by this Agreement shall be tried in a court of competent jurisdiction in the County of Riverside, State of California, and the parties hereby waive all provisions of law providing for a change of venue in such proceedings to any other county.
21. No Compensation. The Owner shall not receive any payment from the City in consideration of the obligations imposed under this
Agreement. The Owner and the City acknowledge and agree that the primary consideration to the City for the execution of this Agreement is the substantial benefit to the citizens of Palm Springs accruing from the rehabilitation and maintenance of the
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7 Property, and the primary consideration to the Owner is the economic advantage that will accrue to the Owner as a result of the possible effect upon the assessed value of the Property of the restrictions on the use and preservation of the Property imposed hereunder. The Owner acknowledges that it is not guaranteed to receive a reduction of property taxes as a result of this Agreement.
SIGNATURES ON FOLLOWING PAGE
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8 IN WITNESS WHEREOF, the City and the Owner have executed this Agreement on the day and year first written above.
CITY OF PALM SPRINGS,
a Charter City and Municipal Corporation
Dated:______________________ By:_______________________________ City Manager: Scott Stiles
City of Palm Springs
APPROVED AS TO FORM: ATTEST:
_____________________________ ____________________________ City Attorney: Jeff Ballinger City Clerk: Brenda Pree, MMC City of Palm Springs City of Palm Springs
Dated:_________________________ By:_______________________________ David J. Brinkman (Trustee)
Brinkman Grimm Trust
Dated:_________________________ By:_______________________________ William J. Grimm (Trustee)
Brinkman Grimm Trust
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9 J – Page 301 of 593
10 EXHIBIT A
LEGAL DESCRIPTION
LOT 6 IN TRACT 2928, IN THE CITY OF PALM SPRINGS, COUNTY OF RIVERSIDE, STATE OF CALIFORNIA, AS PER MAP RECORDED IN BOOK 52 PAGES 46 AND 47 OF MAPS, IN THE OFFICE OF THE COUNTY RECORDER OF SAID COUNTY.
APN: 510-260-024
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11 EXHIBIT B
MAINTENANCE STANDARDS
(Section 4.1)
All structures, walls, water features, landscaping and any other improvements associated with the parcel that is the subject of this Mills Act Historic Property Preservation Agreement (“Agreement”) shall be maintained in good condition throughout the term of this agreement.
All nuisances as defined in Title 11 “Peace, Morals and Safety” of the Palm Springs Municipal Code that occur or develop on the subject parcel shall be abated in a timely manner and to the satisfaction of the City Manager or his designee.
All structures, walls, water features, landscaping and any other improvements associated with the parcel that is the subject of this Agreement that are part of the historic character- defining features of the property shall be maintained as outlined in the Secretary of the Interior Standards for Preserving, Rehabilitating, Restoring, and Reconstructing Historic Buildings (1995 Weeks and Grimmer).
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12 EXHIBIT C
EXISTING CONDITIONS
(Section 4.2)
(Aerial photo of the property and the tract map are on file in the Planning Services Department of the City of Palm Springs, California at 3200 Tahquitz Canyon Way, Palm Springs, CA 92262)
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13 EXHIBIT D
SPECIFIC PROJECTS
(Section 4.3)
1. Drywall and exterior masonry: repair that may involve structural work. Estimated cost:
$22,000. Estimated Time: 2027 (Year 1).
2. Electrical upgrades and plumbing upgrades. Estimated cost: $57,750. Estimated time:
2027 (Year 1).
3. HVAC system installation: Estimated cost: $55,500. Estimated time: 2027 (Year 1).
4. Exterior landscape and gardening maintenance: Estimated cost: $48,750. Estimated time: 2027 (Year 1).
5. Pool maintenance: upgrade pool heater. Estimated cost: $13,500. Estimated time:
2027 (Year 1).
6. Perimeter fence and gate: repair existing fen ce and gate. Estimated cost: $ 17,750.
Estimated time: 2027 (Year 1).
7. Exterior window repairs: 20 windows total. Estimated cost: $11,750. Estimated time:
2027 (Year 1).
8. Roof repair: 2,752 sq. f t. of roof area. Estimated cost $ 5,600. Estimated time: 2027 (Year 1).
9. Exterior Wall Maintenance: pai nt and repair of stucco and wood . Estimated cost $20,000. Estimated time: 2028 (Year 2).
10. Complete roof replacement : 2,752 sq. ft. of roof area. Es timated cost $35,500.
Estimated time: 2033 (Year 6).
11. Engineering cost for structural and geotechnical repairs/maintenance. Estimated cost $25,000. Estimated time: 2034 (Year 7).
12. Landscape and hardscape restoration. Estimated cost: $158,750. Estimated year:
2034 (Year 7).
13. Window replacement/repair of 20 windows. Estimated cost: 135,750. Estimated year:
2035 (Year 8)
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CITY COUNCIL STAFF REPORT
DATE: MARCH 25, 2026 CONSENT CALENDAR
SUBJECT: APPROVE AND AUTHORIZE SUBMITTAL OF CALIFORNIA OFFICE OF EMERGENCY MANAGEMENT FORM 130 DESIGNATING PERSONNEL
TO ACT AS THE AGENT FOR THE CITY WHEN SEEKING FINANCIAL
ASSISTANCE AFTER A DISASTER
FROM: Scott C. Stiles, City Manager
BY: Fire Department, Emergency Management
SUMMARY:
Staff is recommending the City Council approve California Office of Emergency Services (CalOES) Form 130, which designates the City's Applicant Agents when seeking financial assistance or reimbursement after a Governor or Presidential Disaster Proclamation.
RECOMMENDATION:
1. Approve CalOES Form 130 Disaster Designees as the City Manager, Fire Chief, and Director of Finance and Treasury.
2. Direct the City Clerk to certify the CalOES Form 130.
3. Direct the Emergency Management Coordinator to transmit CalOES Form 130 to the California Office of Emergency Services.
BACKGROUND:
The City receives funding from the state and federal government for a variety of reasons.
Some of this funding is in the form of Disaster Recovery (DR) grants, Fire Management Assistance Grants (FMAG), and California Disaster Assistance Act (CDAA) funds. In order to be eligible for these sources of funding, the City must maintain a current California Office of Emergency Services (CalOES) Form 130 with the State. This form and resolution must be on file with Cal OES before a jurisdiction can receive reimbursement funding following disasters or emergencies, including DRs, FMAGs, CDAA events, and related recovery grants.
STAFF ANALYSIS:
The CalOES Form 130 authorizes the positions listed to execute for and on behalf of the
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City Council Staff Report
March 25, 2026 -- Page 2
Submittal of CalOES Form 130
City of Palm Springs for the purpose of obtaining certain Federal financial assistance under the Robert T. Stafford Disaster Relief and Emergency Assistance Act, P.L. 93-288, as amended, 42 U.S.C. 5121 et seq., and Related authorities as of April 2013, and/or State financial assistance under the California Disaster Assistance Act (CDAA).
The positions designated on CalOES Form 130 are the City Manager, Fire Chief, and the Director of Finance and Treasury. This form will be formally approved by the Palm Springs City Council and maintained on file with the City Clerk's office. This form is valid for three years.
The California Disaster Assistance Act (CDAA) in Title 2, Division 1, Chapter 7.5 of the California Code provides State financial assistance for recovery efforts for counties, cities, and/or special districts after a State disaster has been proclaimed. CDAA can be implemented as a "stand alone" funding source following a Director of California Office of Emergency Services Concurrence for a local emergency or a Governor's Proclamation when there is no federal declaration.
The Robert T. Stafford Disaster Relief and Emergency Assistance Act, P.L. 93-288, as amended, 42 U.S.C. 5121 et seq., and Related Authorities as of April 2013, provides Federal financial assistance for Individual and/or Public Assistance after a Federal Major Disaster or Emergency Declaration is proclaimed. Public Assistance can include response, recovery, and mitigation after an Emergency or Major Disaster Declaration.
Individual Assistance can include recovery and/or mitigation after a Major Disaster Declaration is proclaimed 2024.
ALIGNMENT WITH STRATEGIC PLANNING:
This item aligns with the following City Council Strategic Plan Broad Goal: Public Safety and Community Services.
FISCAL IMPACT:
The State requires CalOES Form 130 in order for the City to receive State and/or Federal financial assistance. Non-approval will result in loss of available state and federal funding for emergency and disaster management.
REVIEWED BY:
Department Director: Paul Alvarado, Fire Chief
City Manager: Scott Stiles
ATTACHMENTS:
A. CalOES Form 130
B. Authorized Agents
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ATTACHMENT A
CalOES Form 130
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DESIGNATION OF APPLICANT'S AGENT RESOLUTION FOR NON-STATE AGENCIES
BE IT RESOLVED BY THE OF THE
(Governing Body) (Name of Applicant)
THAT , OR
(Title of Authorized Agent)
, OR
(Title of Authorized Agent)
(Title of A
uthorized Agent)
is hereby authorized to execute for and on behalf of the , (Name of Applicant)
a public ent
ity esta
blished under the laws of the State of California, this application and to file it with the California Governor’s Office of Emergency Services for the purpose of obtaining federal financial assistance for any existing or future grant program, including, but not limited to any of the following:
- Federally declared Disaster (DR), Fire Mitigation Assistance Grant (FMAG), California State Only Disaster (CDAA), Immediate Services Program (ISP), Hazard Mitigation Grant Program (HMGP), Building Resilient Infrastructure and Communities (BRIC), Legislative Pre-Disaster Mitigation Program (LPDM) , under
- Public Law 93-288 as amended by the Robert T. Stafford Disaster Relief and Emergency Assistance Act of 1988, and/or state financial assistance under the California Disaster Assistance Act.
- Flood Mitigation Assistance Program (FMA), under Section 1366 of the National Flood Insurance Act of 1968.
- National Earthquake Hazards Reduction Program (NEHRP) 42 U.S. Code 7704 (b) ((2) (A) (ix) and 42 U.S. Code 7704 (b) (2) (B) National Earthquake Hazards Reduction Program, and also The Consolidated Appropriations Act, 2018, Div. F, Department of Homeland Security Appropriations Act, 2018, Pub. L. No. 115-141 - California Early Earthquake Warning (CEEW) under C
A Gov Code – Gov, Title 2,
Div. 1, Chapter 7, Article 5, S
ections 8587.8, 8587.11, 8587.12
That the , a public entity established under the
(Name of Applicant)
laws of the State of California, hereby authorizes its agent(s) to provide to the Governor’s Office of Emergency Services for all matters pertaining to such state
disaster assistance the assurances and agreements required.
STATE OF CALIFORNIA
CALIFORNIA GOVERNOR'S OFFICE OF EMERGENCY SERVICES
DESIGNATION OF APPLICANT'S AGENT RESOLUTION
NON-STATE AGENCIES
OES-FPD-130 (Rev. 10-2022)
RECOVERY DIRECTORATE
FINANCIAL PROCESSING DIVISION
Cal OES ID No: _____________
OES-FPD-130 Rev. 10-2022 Page 1 of 4
065-55254
City Council
City of Palm Springs
City of Palm Springs
City of Palm Springs
City Manager
Fire Chief
Director of Finance and Treasury
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Please check the appropriate box below
This is a universal resolution a
nd is effective for all open and future
disasters/grants declared up to three (3) years following the date of approval.
This is a disa
ster/grant specific resolution and is effective for only disaster/grant number(s):
Passed and approved this __day of , 20
(Name and Title of Governing Bo
dy Representative)
(Name and Title of Governing Bod
y Representative)
(Name and Title of Governing Bo
dy Representative)
CERTIFICATION
I, , duly appointed and of
(Name) (Title)
, do hereby certify that the a bove is a true and
(Name of Applicant)
correct copy of a resolution passed and approved by the (Governing Body)
of the on the day of , 20 .
(Name of Applicant)
(Signature) (Title)
STATE OF CALIFORNIA
CALIFORNIA GOVERNOR'S OFFICE OF EMERGENCY SERVICES
DESIGNATION OF APPLICANT'S AGENT RESOLUTION
NON-STATE AGENCIES
OES-FPD-130 (Rev. 10-2022)
RECOVERY DIRECTORATE
FINANCIAL PROCESSING DIVISION
OES-FPD-130 Rev. 10-2022 Page 2 of 4
✔
26 Naomi Soto, Mayor
David Ready, Mayor Pro Tem
Council members Grace Garner, Jeffrey Bernstein, Ron deHarte City of Palm Springs
City of Palm Springs
City Council
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Cal OES Form 130 Instructions
A Designation of Applicant’s Agent Resolution for Non-State Agencies is required of all Applicants to be eligible to receive funding. A new resolution must be submitted if a previously submitted resolution is older than three (3) years from the last date of approval, is invalid, or has not been submitted.
When completing the Cal OES F
orm 130, Applicants should fill in the blanks on pages 1 and 2. The blanks are to be filled in as follows:
Resolution Section:
Governing Body: This is the group resp
onsible for appointing and approving the
Authorized Agents.
Examples include: Board of Directors, City Council, Board of Supervisors, Board of Education, etc.
Name of Applicant: The public entity establis
hed under the laws of the
State of California.
Examples include: School District, Office of Education, City, County or Non-profit agency that has applied for the grant, such as: City of San Diego, Sacramento County, Burbank Unified School District, Napa County Office of Education, University Southern California.
Authorized Agent: These are the individuals th
at are authorized by the Governing Body
to engage with the Federal Emergency Management Agency and the California Governor’s Office of Emergency Services regarding grants for which they have applied.
There are two ways of completing this section:
1. Titles Only: The titles of the Authorized Agents should be entered here, not their names. This allows the document to remain valid if an Authorized Agent leaves the position and is replaced by another individual. If “Titles Only” is the chosen method, this document must be accompanied by either a cover letter naming the Authorized Agents by name and title, or the Cal OES AA Names document. The supporting document can be completed by any authorized person within the Agency (e.g., administrative assistant, the Authorized Agent, secretary to the Director). It d
oes not require the Governing Body’s signature.
2. Names and Titles: If the Governing Body so chooses, the names and titles of the Authorized Agents would be listed. A new Cal OES Form 130 will be required if any of the Authorized Agents are replaced, leave the position listed on the document, or their title changes.
STATE OF CALIFORNIA
CALIFORNIA GOVERNOR'S OFFICE OF EMERGENCY SERVICES
DESIGNATION OF APPLICANT'S AGENT RESOLUTION
NON-STATE AGENCIES
OES-FPD-130 (Rev. 10-2022)
RECOVERY DIRECTORATE
FINANCIAL PROCESSING DIVISION
OES-FPD-130 Rev. 10-2022 Page 3 of 4
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Checking Universal or Disaster-Specific Box: A Universal resolution is effective for all past disasters and for those declared up to three (3) years following the date of approval. Upon expiration it is no longer effective for new disasters, but it remains in effect for disasters declared prior to expiration. It remains effective until the disaster goes through closeout unless it is superseded by a newer resolution.
Governing Body Representative: These are the names and titles of the approving Board Members.
Examples include: Chairman of the Board, Director, Superintendent, etc. The names and titles cannot be one of the designated Authorized Agents. A minimum of three (3) approving board members must be listed. If less than three are present, meeting minutes must be attached in order to verify a quorum was met.
Certification Section:
Name and Title: This is the individual in attendance who recorded the creation and approval of this resolution.
Examples include: City Clerk, Secretary to the Board of Directors, County Clerk, etc. This person cannot be one of the designated Authorized Agents or Approving Board Member. If a person holds two positions (such as City Manager and Secretary to the Board) and the City Manager is to be listed as an Authorized Agent, then that person could sign the document as Secretary to the Board (not City Manager) to eliminate “Self-Certification.”
STATE OF CALIFORNIA
CALIFORNIA GOVERNOR'S OFFICE OF EMERGENCY SERVICES
DESIGNATION OF APPLICANT'S AGENT RESOLUTION
NON-STATE AGENCIES
OES-FPD-130 (Rev. 10-2022)
RECOVERY DIRECTORATE
FINANCIAL PROCESSING DIVISION
OES-FPD-130 Rev. 10-2022 Page 4 of 4
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ATTACHMENT B –
Authorized Agents
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•An Approved Contact may be designated by an AA to request or receive information on grant payment status. Add them by inputting their information below. (Ex. Accounting/Admin offices) Must use an official email URL. Email Pkg?Approved Contact Name Approved Contact Title Email Address Email
Pkg?
List of Authorized Agents
OES ID:
Entity Name:
Authorized Agent Name Authorized Agent Title Email Address • Enter each Authorized Agent (AA) as listed on the Designation of Applicant's Agent Resolution (Cal OES 130) for Non-State Agencies or as it appears on the Signature Authority (Cal OES 130SA) for California State Agencies. • Check box to receive electronic copies of Cal OES Notification of Obligation and/or Payment packages. (Minimum 1 AA.) • Email addresses must use an email that shares the official entity URL.
Please use a second page if more space is needed.
Cal OES AA Names - Revised 9/2020
City of Palm Springs
065-55254
Scott Stiles
City Manager
[email protected]
Teresa Gallavan
Assistant City Manager
[email protected]
Kristopher Mooney
Director of Finance and Treasury
[email protected]
Paul Alvarado
Fire Chief
[email protected]
Daniel DeSelms
Emergency Management Coordinator
[email protected]
Daniel DeSelms
Emergency Management Coordinator
[email protected]
✔
✔
✔
✔
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CITY COUNCIL STAFF REPORT
DATE: MARCH 25, 2026 PUBLIC HEARING
SUBJECT: APPLICATION BY LUCIEN WOLFF FOR HISTORIC SITE DESIGNATION OF “THE EDMUND GOULDING RESIDENCE” LOCATED AT 1752 RIDGE ROAD, (APN 513-352-002) CASE: HSPB #171 (SY)
FROM: Scott C. Stiles, City Manager
BY: Department of Planning Services
SUMMARY:
The Edmund Goulding Residence at 1752 Ridge Road is a hillside property in the Mesa neighborhood dating back to 1928. The single-family lot contains a primary residence and a guest house designed in the Spanish Colonial Revival style, reflecting a significant association with the growing presence of the entertainment industry in Palm Springs. The period of significance for the property spans from 1928-1941, corresponding with its early development and historic associations. 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 evaluated the application in accordance with the historic designation ordinance and applicable state/federal regulations, and determined it qualifies as a Class 1 (Landmark) historic site.
RECOMMENDATION:
1. Open the public hearing and receive public testimony.
2. Close the public hearing and adopt a Resolution entitled, “A RESOLUTION OF
THE CITY COUNCIL OF THE CITY OF PALM SPRINGS, CALIFORNIA, DESIGNATING THE EDMUND GOULDING RESIDENCE LOCATED AT 1752 RIDGE ROAD, AS A CLASS 1 (LANDMARK) HISTORIC RESOURCE HSPB #171, SUBJECT TO CONDITIONS (APN 513-352-002)”.
BACKGROUND:
The attached historic resources report, prepared by the Palm Springs Preservation Foundation (“the report”) and site visits are the basis of this staff report.
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City Council Staff Report
March 25, 2026 -- Page 2
Historic Designation – The Edmund Goulding Residence
Related Relevant City Actions by HSPB, Planning, Fire, Building, etc.
February 2, 2026 Site inspection by members of the HSPB and City Staff.
February 3, 2026 HSPB considered the application for designation at a public hearing recommending Class 1 designation.
Ownership Status
July, 2024 Purchased by current owners.
EAST (REAR) ELEVATION OF 1752 RIDGE ROAD, 2025
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City Council Staff Report
March 25, 2026 -- Page 3
Historic Designation – The Edmund Goulding Residence
Following discussions about future alterations to this Class 3 site with city staff, the owner took initiative to commission a historic resources report and pursue designation. The application for historic designation was reviewed by the HSPB on February 3, 2026.
Based on the analysis provided in the report and a site visit, the Board made the findings to recommend Class 1 (Landmark) designation.
STAFF ANALYSIS:
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 February 3, 2026. 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 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 i) The resource is associated with events that have made a meaningful contribution to the nation, state or community; (Criterion ii) The resource is associated with the lives of persons who made a meaningful contribution to national, state, or local history; (Criterion iii) The resource reflects or exemplifies a particular period of national, state, or local history;
(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;
Pursuant to PSMC 8.05.070, (5,C,1,Part b); “Historic Integrity” the HSPB made findings that the Edmund Goulding Residence possesses sufficient historic integrity to qualify as a Class 1 (Landmark) historic site.
During the February 3, 2026 HSPB meeting, the Board expressed their support of the application for Class 1 designation based on the criteria and integrity findings with a 6-0 vote.
The Edmund Goulding Residence meets the definition of a historic resource based on Criterion 1, 2, 3, and 5 of the Palm Springs Historic Preservation Ordinance and possesses 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.
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City Council Staff Report
March 25, 2026 -- Page 4
Historic Designation – The Edmund Goulding Residence
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.
ALIGNMENT WITH STRATEGIC PLANNING:
This item aligns with the following City Council Strategic Plan Broad Goal: Economic Development.
FISCAL IMPACT:
None.
REVIEWED BY:
Department Director: Christopher Hadwin
Assistant 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
(Vicinity Map)
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Department of Planning Services
Vicinity Map
CITY OF PALM SPRINGS
HSPB #171 – The Edmund Goulding Residence
1752 Ridge Road
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ATTACHMENT B
(Draft Resolution)
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RESOLUTION NO._____
A RESOLUTION OF THE CITY COUNCIL OF THE CITY OF PALM
SPRINGS, CALIFORNIA, DESIGNATING THE EDMUND
GOULDING RESIDENCE, LOCATED AT 1752 RIDGE ROAD, AS A
CLASS 1 (LANDMARK) HISTORIC RESOURCE HSPB #1 71,
SUBJECT TO CONDITIONS (APN 513-352-002).
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, The owner, Lucien Wolff, submitted an application seeking historic site designation of the Edmund Goulding Residence located at 1752 Ridge Road; and
C. WHEREAS, on February 2, 2026, members of the Historic Site Preservation Board (HSPB) and City staff conducted site inspections of the proposed historic resource; and
D. WHEREAS, on February 3, 2026, a noticed public hearing of the Palm Springs Historic Site Preservation Board to consider Case HSPB #17 1 was held in accordance with applicable law; and
E. WHEREAS, at 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 6-0 to recommend that the Council designate The Edmund Goulding Residence a Class 1 (Landmark) historic resource; and
F. WHEREAS, on March 25, 2026, a noticed public hearing of the Palm Springs City Council to consider Case HSPB #171 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:
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:
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Resolution No.____
March 25, 2026
1752 Ridge Road is a single- family residential property located in the Mesa subdivision. The primary residence, guest house and associated landscape features were built on this hillside lot with corresponding changes to the site grading. After completion, little to no changes were made to the site. The following is an analysis of the criteria and integrity findings to determine if the site meets the qualifications for historic site designation.
(Criterion i) The resource is associated with events that have made a meaningful contribution to the nation, state, or community;
Following the completion of the compound by Goulding, the site was known as the “Little White House” where Hollywood stars and prominent members of European nobility would stay and hold events. The report provided detailed information on social events host ed on the premises, but these isolated events alone would not qualify for this criterion. As one of the earliest examples of a site utilized as a destination for the LGBTQ+ community contributes to setting a pattern of events that now defines Palm Springs as a cultural destination for the LGBTQ+ community. Based on this pattern of events, Criterion i is met.
(Criterion ii) The resource is associated with the lives of persons who made a meaningful contribution to national, state or local history;
The site became a retreat for prominent Hollywood figures, but the most prominent individual directly associated with this resource is the screenwriter and director Edmund Goulding. In 1934, Goulding rented the Fulford house and then purchased the home in 1936 and immediately began constructing the rest of the residential compound. When the property was under his ownership, he was at the height of his career in Hollywood, directing several major films and working with Oscar nominated actors. (See report for more details on his major contributions.) Goulding’s contributions as a director are recognized as meaningful contributions to the entertainment industry from the 1920s to the 1940s. This Criterion is met.
(Criterion iii) The resource reflects or exemplifies a particular period of national, state, or local history;
The property was developed during a period identified as between the Wars when Palm Springs was shifting into a tourism -based economy. The layout of the residential tracts and the design of the buildings were a result of new marketing strategies that responded to the times.
Developers identified Spanish Colonial Revival as the style of architecture for the desert climate, and new structures were to be integrated with the desert landscape. Terra cotta roof tiles, wooden windows rafter tails, asymmetrical bui lding mass and simple material palettes were all part of the design aesthetic. In addition to the planning and architectural changes, there were cultural shifts that became associated with specific sites like 1725 Ridge Road. As a discreet retreat for LGBTQ+ figures in Hollywood during the 1930s, the Goulding Estate contributed to Palm Springs’ early identity as a destination of privacy and refuge for the LGBTQ+ community.
Criterion iii is met.
(Criterion iv) The resource embodies the distinctive characteristics of a type, period, or method of construction;
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Resolution No.____
March 25, 2026
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 structures on the site were constructed usi ng conventional methods of construction and materials that were available. The terracing of the site to create a flat surface for the base of the home required additional engineering but it does not appear that new advancements in technology or materials were used to achieve this task. Criterion iv is not met.
(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;
As the original developer of the Mesa tract, Edmond Fulford is locally recognized as an early pioneer of Palm Springs whose vision for residential development played a significant role in attracting elite residents to the city. His understanding and desire to preserve the natural desert beauty was applied directly to how parcels were organized and roadways were designed.
The architect or designer of the structures at 1752 Ridge Road was not disclosed but the report identified Paul H. Avery as the landscape designer for the site. Avery is also given credit for the biomorphic swimming pool, the waterfall feature, and the stone terrace system. While his design achievements on the site are quite remarkable, more information about his other works would be necessary to assess his individual influence and genius to meet this criterion.
Tom Douglas was hired by Goulding to design and decorate the guest cottages and is given credit for designing the V -shaped pool pavilion at the base of the property. His reputation as a renown interior designer is affirmed by his distinguished clientele and the wide publication of his work in numerous magazines and articles.
Fulford and Douglas’ influence is reflected in the design of the buildings and the site, therefore, Criterion v for historic significance 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
The resource is not within a historic district and does not qualify 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.
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
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Resolution No.____
March 25, 2026
the Secretary of the Interior’s Standards: integrity of design, materials, workmanship, location, setting, feeling, or association.
The report provides 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 primary home and the guest house are in their original locations on the lot; therefore, the integrity of location is met.
2. Design:
The Edmund Goulding Residence at 1725 Ridge Road is a hillside lot with steep grades. The primary home and guest house were constructed by the original developer in 1928 in the Spanish Colonial Revival style. At the street level, both buildings have the appearance of a one- story structure. The primary façade of the main house has an asymmetrical elevation with two projecting gable ends and an attached carport at the far south end of the home. The front elevation of the guest house has a shed roof and small porch overhang that faces the street.
Both structures have concrete brick walls that are painted white and terra cotta roof tiles. The rear elevation shows the true scale of the buildings as a two- story structure with recessed covered patios and projecting balconies that are oriented to capture the sweeping views. The fenestration on each structure is simple, and the openings are symmetrical and framed with wood. The gable ends of the main house are clearly visible and the pool and pavilion are located at the lowest point of the property. The site has been landscaped with desert appropriate plantings, and the complex stone terraced garden integrates circulation paths that follows the natural grade of the site from the buildings to the pool area.
The mass, scale, and materials of the buildings have not changed from the original design, and the landscape features appear original. The pool has a unique shape and pool pavilion is nested in the naturals features of the site. Based on the information pr ovided, the integrity of design remains extant.
3. Setting:
The hillside setting of the development and the sweeping views to the east are largely preserved due to the natural conditions of the site. Residential infill development in the surrounding areas no longer ascribe to a uniform style of architecture but the overall
features of the natural setting remain intact. The base of the structures, particularly the main home, meets the flat grade at the top of the terraced garden system. The location of all built structures, including the swimming pool and the pool pavilion, r emain in their original setting.
The integrity of setting is intact.
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Resolution No.____
March 25, 2026
4. Materials:
Although some of the stones in the terraced garden need to be repaired, the walls retain the grade, as designed. The walls of the buildings are hollow block concrete bricks painted white, and wood framed windows and balcony details are seen throughout. The roof is covered with terra cotta barrel tiles that give the buildings a cohesive look. Most of the materials seen on site appear to be original to the home. The integrity of materials is met.
5. Workmanship:
As intended by Fulford, all of the homes in the Mesa were intended to be custom -built in the Spanish Colonial Style with the highest standards for workmanship. While the deferred maintenance on site shows areas where repairs and replacement of material may be necessary, the level of decorative detail found on the balconies and rafters shows a high level of workmanship and craft. The integrity of workmanship remains intact.
6. Feeling:
The surrounding context remains a residential neighborhood within the desert hillside. With only minimal alterations to the buildings and the overall site, the property continues to exhibit the defining characteristic of the Spanish Colonial Revival style and the terraced retaining walls that follow the natural contours of the site. The integrity of feeing is preserved.
7. Association:
The modest street -view of the buildings appear utilitarian, but the materials and form of the buildings and the landscape design all reflect the uniqueness of the 1920s and 1930s. The integrity of association with the period is retained.
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.
The following is a list of character-defining features identified by the City Council:
Character-defining features of the resource are as follows:
Primary Residence Architecture
• Construction Materials: Hollow block, concrete brick, painted white, with whitewashed red terra cotta barrel tile roof, also painted white.
• Asymmetrical Composition: Three- dimensional facade with central recessed volume flanked by two forward-projecting gabled brick volumes
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Resolution No.____
March 25, 2026
• Distinctive Window Treatment: Original wooden casement windows and French doors painted in signature light turquoise color
• Dramatic Rear Elevation: Two- story canyon-facing facade with covered patio featuring deep overhang and distinctive wooden posts with horizontal notched capitals • Indoor-Outdoor Integration: Large arched picture window and multiple French doors connecting interior spaces to covered patio and views
• Rustic Detailing: Tapered wooden handrail supports with decorative waists and small notches, open rafter ceiling construction
• Massive Brick Fireplace: Arched opening that creates axial relationship with the picture window across living room
• Spatial Organization: Open-plan living room with gabled beam ceiling, connected dining room, and bedroom wing arrangement taking advantage of sloping site
Guest House Architecture
• Consistent Material Palette: Same hollow block concrete brick construction and whitewashed tile roof as main residence
• Restrained Street Facade: Simple tripartite composition with central door flanked by wooden casement windows
• Two-Story Canyon Elevation: Substantial second- floor balcony with three tall wooden posts creating colonnade effect
• Structural Expression: Distinctive "Y"-shaped angled supports for balcony floor as original design elements
• Connecting Elements: Hollow block concrete brick wall with arched opening linking guest house to main residence
Landscape Design
• Biomorphic Swimming Pool: One of the first naturalistic pools designed to resemble a pond, with giant weathered granite boulders integrated into coping • Hardscape Materials: Pool deck paved with irregular Arizona sandstone, deep coppery brown tile scum gutter coordinating with granite
• Pool Pavilion: Flattened "V"-shaped structure with four wooden posts, open beam ceiling, and central fireplace with splaying brick walls
• Terraced Garden System: Series of granite boulder retaining walls creating flat areas cascading down hillside
• Varied Paving Hierarchy: Terra cotta Mission tile patio nearest house, Arizona sandstone with grass panels below, sandstone steps throughout terracing • Water Feature System: Originally included bridge traversing canyon with waterfall flowing to swimming pool below
• Specimen Olive Trees: Large multi -trunk olive trees strategically placed for shade and "instant effect," including original tree north of guest house • Mediterranean Plant Palette: Italian cypress row along carport, star jasmine groundcover around pool area
• Unifying Oleander Masses: Extensive white oleander plantings throughout the property and terraced slopes
• Oasis Effect: Strategic placement of palm trees and flowering shrubs on rocky mountain slopes adjacent to structures
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Resolution No.____
March 25, 2026
• Integrated Grass Panels: Areas for lounging and recreation
Planning and Privacy Features
• Gated Estate: Formidable brick pillars at two Ridge Road entrances with gates ensuring complete privacy
• Natural Topography Integration: Buildings and terracing following natural desert contours rather than imposing geometric patterns
• Strategic Siting: Northernmost corner of Palm Canyon Mesa, providing commanding desert valley views with natural canyon protection
Non-contributing elements:
• Funicular added in the early 1960s
• Array of solar panels on the roof
• Ground-mounted mechanical equipment
• Curving pony walls along the street-facing façade of the buildings • Extended roof overhang above the street-facing entrance to the main home
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 Edmund Goulding Residence located at 1752 Ridge Road, a Class 1 (Landmark) Historic Resource (Case HSPB #171).
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Resolution No.____
March 25, 2026
ADOPTED THIS TWENTY-FIFTH DAY OF MARCH, 2026.
SCOTT STILES
CITY MANAGER
ATTEST:
BRENDA PREE, MMC
CITY CLERK
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Resolution No.____
March 25, 2026
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
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ATTACHMENT C
(Application)
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1 A – Page 332 of 593
3 A – Page 333 of 593
4 ACKNOWLEDGMENTS
Melissa Dollman, Deserted Films; Todd Wiener, UCLA Film & Television Archive; Renee Brown, Palm Springs Historical Society; Jim Cook, Matthew Kennedy, Tom Jakway, Barbara Marshall, and Orange Coast Title Company.
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5 I N T R O D U C T I O N ................................ ................................ ................................ ...................... 6 E X E C U T I V E S U M M A R Y ................................ ................................ ................................ ...... 6 STATEMENT OF SIGNIFICANCE ................................ ................................ ................................ .... 14 THE ARCHITECTURE OF THE GOULDING ESTATE ................................ ................................ ..... 14 CHARACTER-DEFINING FEATURES ................................ ................................ ............................. 69 BACKGROUND / HISTORIC CONTEXT ................................ ................................ ........................... 72 EVALUATION: ................................ ................................ ................................ ................................ . 92 ARCHITECTURE (Criteria 3 – 6) ................................ ................................ ................................ .... 92 INTEGRITY ANALYSIS (USING US SECRETARY OF THE INTERIOR STANDARDS) ............... 96 A P P E N D I C E S ................................ ................................ ................................ .......................... 103 I OWNER’S LETTER OF SUPPORT ................................ ................................ ....................... 106 II ASSESSOR’S MAP AND AERIAL ................................ ................................ ......................... 106 III CHAIN OF TITLE ................................ ................................ ................................ .............. 110 IV BUILDING PERMITS ................................ ................................ ................................ ........ 112 V GRANT DEED ................................ ................................ ................................ ....................... 114 VI EDMOND FULFORD BIOGRAPHY ................................ ................................ ................... 117 VII EDMUND GOULDING BIOGRAPHY................................ ................................ ................. 139 VIII TOM DOUGLAS BIOGRAPHY ................................ ................................ ........................... 156
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6 Director Edmund Goulding and Greta Garbo on the set of “Grand Hotel,” 1932.
I N T R O D U C T I O N
EXECUTIVE SUMMARY
The Edmund Goulding Estate at 1752 Ridge Road holds exceptional cultural significance as one of Palm Springs' most important early connections to Hollywood's golden age. It is also an exemplary contributor to the transformative interwar period (1919 -1941), which defined the character of the desert community.
Originally constructed circa 1927-28 as part of Edmond Fulford's pioneering Palm Springs Mesa subdivision, the estate exemplifies the Spanish Colonial Revival architecture that dominated Palm Springs development during this era, featuring hollow block concrete brick construction, terra cotta barrel tile roofs, and refi ned indoor-outdoor integration perfectly adapted to desert living.
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7 Under the ownership of celebrated film director Edmund Goulding (1935-1941), the property was transformed into the internationally renowned "Little White House" compound, serving as an unofficial embassy for Hollywood's elite and European aristocracy. The compound hosted a who's who of legendary figures such as Greta Garbo, Marlene Dietrich, the Duke of Warwick, and the Maharani of Indore, establishing Palm Springs' reputation as an elegant international destination worthy of the world's most discerning travelers. Edmund Goulding, whose directorial achievements included "Grand Hotel" (1932) and "Dark Victory" (1939), directed nine actors to Oscar nominations and helped define stylish entertainment during Hollywood's golden age.
The estate's importance further enhances this cultural significance as an early LGBTQ+ site, where Goulding's well-documented "bisexual orgies" and gatherings created one of the first safe spaces for Hollywood's LGBTQ+ community during an era of intense st udio surveillance and moral restrictions. The estate's architectural and design significance stems from its association with four remarkable figures who shaped both Palm Springs development and American cultural history during the crucial interwar period.
Edmond Fulford , the visionary developer who created the exclusive Palm Springs Mesa subdivision, sought to establish a high -quality residential community that emphasized the preservation of natural beauty while providing modern amenities in the prevailing Spanish Colonial Revival style.
The collaborative work of architect -designer Tom Douglas—a former London stage sensation who became one of Hollywood's premier interior designers —and landscape architect Paul H.
Avery—resulted in pioneering design innovations, including one of the first biomorphic swimming pools ever documented.1 Together, these associations create a property of unparalleled historical importance that embodies Palm Springs' transformation from a simple desert health resort to an internationally recognized cultural destination.
Scope of Evaluation and Integrity Assessment
For evaluation purposes, this nomination document encompasses the complete Goulding Estate Compound to provide comprehensive understanding of the site's historical development and
1 The first documented biomorphic, or freeform, swimming pool, was designed by Paul G. Thiene for the Milton Getz estate in Beverly Hills, 1927. The next known biomorphic swimming pool was designed by landscape architect Tommy Tomson for his brother-in-law Cliff Henderson in 1939. Like the Goulding pool, both early pools were designed to emulate a naturalistic pond. Internationally, Alvar Aalto designed a similar pool for the Villa Mairea in 1939, though the influence for this shape was the organic forms Aalto had seen in the Biomorphic movement in Modern Art, from artists like Joan Miró and Jean Arp, and which Aalto was using in his own work. The Goulding pool from 1936 is an important contextual addition to these early pools.
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8 cultural significance. While the entire compound retains its extraordinary historical importance and demonstrates the estate's role in Palm Springs' cultural evolution, the integrity assessment reveals differentiated preservation conditions across the various structures that directly impact classification eligibility.
The primary residence and associated guest house at 1752 Ridge Road demonstrate exceptional historic integrity, retaining their essential architectural character, original materials, and spatial relationships with minimal compromising alterations. These structures fully satisfy the stringent requirements for Class 1 Historic Resource designation. The additional guest cottage at 1755 Ridge Road has undergone modifications that consist primarily of sympathetic additions rather than subtractive alterations, pr eserving the essential historic character while accommodating functional updates. This structure demonstrates strong potential for Class 2 designation and would likely qualify for such classification.
However, the guest cottage, servant's quarters, and garage at 1716 Ridge Road have experienced significant integrity losses due to substantial deterioration and neglect over time, resulting in compromises to their historic fabric that preclude higher -level classification despite their equal cultural and historical importance within the compound's development narrative.
A period of significance for the estate has been established as 1928-1941, encompassing both the original construction under Fulford and the transformative enhancements under Goulding's ownership, making the intact portions an invaluable resource for under standing both the architectural and cultural development of Palm Springs during its formative years as an international resort destination.
(Note: For complete biographies of Edmond Fulford, Edmund Goulding, and Tom Douglas, see the Appendices.)
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9 (to be completed by Planning staff:)
CITY OF PALM SPRINGS
Department of Planning Services
HISTORIC RESOURCE DESIGNATION (HRD)
TO THE APPLICANT:
Complete all parts of this application. Denote “NA” for lines that are not applicable.
Submit the completed application with attachments to the Department of Planning Services at 3200 E. Tahquitz Canyon Way, Palm Springs, CA 92262 Phone: 760-323-8245 Fax: 760-322-8380 This application is for a proposed: (Check one)
X Historic Site / Resource
X Historic District:
Applicant’s Name: 1755 RIDGE ROAD
Please Print
X
Owner
Lessee
Authorized Agent
City
Other
Applicant’s Address: 1755 RIDGE ROAD
Number and Street Name or P.O. Box
PALM SPRINGS
CA
92264 _
City
Telephone Nos: 760-272-1000
State ZIP
Residence Cell Work
E-Mail address: [email protected]
Note: For Historic District applications: On a separate page, provide a list all sites / parcels within the proposed historic district boundaries with the following information provided for each parcel / APN.
Site Address: 1752 RIDGE ROAD, PALM SPRINGS, CA 92264
APN 513352002 Zone: Section: Gen’l Plan Land Use Desig.
Is the project is located on the Agua Caliente Band of Cahuilla Indians Reservation? NO
(Refer to the Land Status Map under Tribal Resources on the Planning Department home page.) Construction Date: 1928
Estimated
Actual (denote source, i.e. bldg. permits)
Architect: UNKNOWN/TOM DOUGLAS Builder: UNKNOWN
Date:
Case No.
HSPB No.
Planner:
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10 Present Owner: LUCIEN WOLFF
Present Owner Address: _1755 RIDGE ROAD, PALM SPRINGS, CA 92264
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11 Original Owner: EDMOND FULFORD; EDMUND GOULDING
Other notable past owners:
Other Historic Associations: LGBTQ+
Common Name of Property: GOULDING ESTATE
Historic Name of Property: THE LITTLE WHITE HOUSE
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: SPANISH COLONIAL REVIVAL
(Refer to the Architectural Styles chapter of the Citywide Historic Context Statement, under Historic Resources on the Planning Home page (www.palmspringsca.gov).
Period of Significance: 1927-1941
(See the Citywide Historic Context Statement Document.)
Please list any informational reference sources used to complete this application:
SEE SOURCES IN REPORT
PSMC 8.05.070 (C,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 or a Contributing Resource in a proposed historic district by the Palm Springs City Council, provided both of the following findings are met.
Provide a written description of how the site qualifies as historic resource under one or more of the following criterion:
FINDING 1: The site, structure, building or object exhibits exceptional historic significance and meets one or more of the criteria listed below:
i. The resource is associated with events that have made a meaningful contribution to the nation, state or community.1
ii. The resource is associated with the lives of persons who made a meaningful contribution to national, state or local history.
iii. The resource reflects or exemplifies a particular period of national, state or local history. iv. The resource embodies the distinctive characteristics of a type of construction, a period of construction or a method of construction.2
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. 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.
vii. The resource has yielded or may be likely to yield information important to national, state or local history or prehistory.
1 NOTE: Unlike the National Register criteria, The City’s criterion does not consider “patterns of events”. For consideration of “patterns of events”, use Criterion “iii”, reflecting a particular period.
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12 2 Unlike the National Register criteria “type, period of method of construction relates to construction only’ For design theme or characteristics use Criterion “iii” (period) or Criterion v (high artistic value).
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FINDING 2: The site, structure, building or object retains most if not all of the following aspects of Integrity, as established in the Secretary of the Interior’s Standards3: Design, Materials, Workmanship, Location, Setting, Feeling, Association.
PSMC 8.05.070 (C,2) Criteria for the Designation of Class 2 Historic Resources.
A site, structure, building or object may be designated as a Class 2 historic resource, or a Contributing Resource to a proposed historic district by the Palm Springs City Council provided the site, structure, building or object exhibits exceptional histor ic 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 (above).
PSMC 8.05.090 (C) 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. (Identify list by address and APN number each site / parcel that meets the criteria outlined in Finding 1 above and document how each meets the criteria. b. Identify non-contributing properties or vacant parcels to the extent necessary to establish appropriate, logical or convenient boundaries. (Identify list by address and APN number each site / parcel within the proposed historic district that is considered non-contributing to the overall historic significance of the historic district.)
Please attach any additional information related to the application as necessary. Questions: Contact the Palm Springs Planning Department at 760 323 8245.
3 Refer to the U.S. Department of the Interior Bulletin for How to Evaluate the Integrity of a Property.
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14 In this early aerial photograph, the 1927-28 Edmond Fulford Residence and Guest House at 1752 Ridge Road can be seen in the center, at the top of Ridge Road. Courtesy Palm Springs Historical Society.
STATEMENT OF SIGNIFICANCE
THE ARCHITECTURE OF THE GOULDING ESTATE
The Fulford Era: Original Architecture and Site Plan (1927-1928)
The Edmond Fulford residence was constructed during the height of the very first building boom in Palm Springs in the 1920s, appearing on the 1929 Sanborn map as two of the early structures in the prestigious Mesa development. The Palm Springs Mesa/Tahquitz Desert Estates tract was only the fourth
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15 subdivision recorded in the history of Palm Springs.2 While the original architect remains unknown, the original primary residence and associated detached guest house demonstrate characteristics consistent with the first-rate residential architecture that Palm Springs pioneer and Palm Springs Mesa developer Edmond Fulford sought to attract to his development. Fulford's documented associations with noted architects Alfred Heineman of Pasadena and Paul R.
Williams, who designed two of Fulford’s own homes, suggest potential influence from leading design professionals of the era.3
In this detail from the 1929 Sanborn map, the parcel at 1752 Ridge Road shows the original primary residence and small guest house adjacent to it.
2 The first subdivision was Las Hacienditas, which was created by J.J. Kocher in 1923; that same year, Vista Acres (Prescott T. Stevens) and Tahquitz Park (Pearl McCallum McManus) were opened, followed by Palm Springs Mesa/Tahquitz Desert Estates in 1924. 3 Pasadena architect Alfred Heineman was one of the investors, along with Fulford, in the Tahquitz Desert Estates tract, and did design some of the homes there. Paul R. Williams is known to have designed two other homes for Fulford in the tract as well.
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16 The original two structures were strategically sited to take advantage of the natural contours of the desert landscape, following Fulford's philosophy that development should enhance rather than diminish the natural beauty of the desert environment. The buildings placement in the northernmost corner of Palm Canyon Mesa provided commanding views of the desert valley while taking advantage of the natural protection and privacy offered by the canyon formations.
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17 The primary residence at 1752 Ridge Road. May 2025 photo by the author.
THE PRIMARY RESIDENCE
Primary Facade (Ridge Road Elevation)
The primary facade along Ridge Road presents a slightly asymmetrical elevation. The central organizing element is a recessed volume featuring a prominent brick fireplace at its center, flanked by full-length openings consisting of French doors to the right and a solid entry door to the left. A slight tile-roofed overhang protects the front entrance, though this element appears to be a later addition.
The central volume is anchored by two forward-projecting gabled brick volumes that create a dynamic three-dimensional composition. The left volume features a
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18 pair of wooden casement windows. In contrast, the right volume contains three smaller windows arranged asymmetrically.
The building's construction utilizes hollow block concrete brick painted white, a material choice that reflects both practical considerations for the desert climate and the aesthetic preferences of the era. The roof is covered with terra cotta barrel tiles.
A pathway leads to the left side of the left-hand gabled volume, providing access to a French door that enters the front bedroom.
In this still from a 1939 Kodachrome home movie, a portion of the guest house at right, with a partial view of the rear facade of the primary residence. Courtesy UCLA Film and Television Archive.
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19 Rear Facade (Canyon Elevation)
The rear facade reveals the building's response to its dramatic hillside site, presenting a two -story elevation that takes full advantage of the natural topography. Like the primary facade, the composition features a central recessed volume flanked by two forward -projecting gabled volumes, but the additional height allows for more complex architectural treatment here.
The central recessed area forms a covered patio with a deep overhang supported by wooden posts. Each post is topped with two horizontal notched wooden pieces that create a capital-like detail, supporting a long wooden beam that carries the open rafters of the pitched tile roof. The horizontal handrails feature flat board vertical supports underneath, each one gently tapered with a decorative waist and small notches on either side, creating a rustic yet refined aesthetic.
The rear wall of this patio space feature s a very large arched picture window flanked by two pairs of French doors, creating a dramatic opening that connects interior and exterior spaces.
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20 In this 1954 home movie still, the rear elevation of the primary residence with Tom Avery’s mature landscape shown in thriving state. Courtesy Deserted Films.
Side Elevations
The north facade demonstrates the building's response to cross -ventilation requirements, featuring a French door on the ground floor with a single wooden casement window above. The facade projects forward on the north side, accommodating three small wooden casement windows and a door on the ground floor, with three wooden casement windows on the second floor above.
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21 The carport at the north facade of the primary residence at 1752 Ridge Road. May 2025 photo by the author.
The south facade is dominated by a large rectangular window opening on the second floor, containing four wooden casement windows. The covered carport, while appearing somewhat utilitarian today, was an integral part of the original design, as evidenced by its appearance in 1939 photographs. The carport features practical elements, including kitchen access, electrical service, and storage.
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22 The large living room of the primary residence. May 2025 photo by the author.
Interior Spatial Organization
Upon entering through the front door, one encounters a dramatic living room with an open gabled beam ceiling that emphasizes the building's structural system, creating a sense of spaciousness.
The living room serves as the heart of the house, with French doors providing access to the covered patio and a large arched picture window offering dramatic views of the desert landscape beyond. The massive brick fireplace, featuring an arched opening that mirrors the picture window across from it, creates a strong axial relationship that organizes the space. Additional French doors on both the primary facade and patio side flood the living room with natural light while emphasizing the indoor-outdoor connection.
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23 The floor plan includes a large dining room connected to the living room through a broad opening, with numerous windows along one side and access to a relatively compact kitchen. The bedroom wing, accessible through a doorway on the north wall of the living room, features two bedrooms on the upper level: one at the front and one at the rear, with a bathroom situated between them. Additional bedrooms, utility rooms, and bathrooms occupy the lower floor, utilizing the sloping site to create functional space while maintaining the building's primary orientation toward the views.
The covered patio at the rear of the primary residence.
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24 Detail of the early aerial, showing the original Fulford primary residence and guest house at 1752 Ridge Road. Courtesy Palm Springs Historical Society.
THE GUEST HOUSE
Contemporaneous with the primary residence, the guest house was constructed circa 1928 as an integral component of the original Fulford development. The guest house utilizes the same material palette and construction techniques as the primary residence, creating architectural unity across the compound while maintaining its own distinct character.
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25 Construction and Materials
The guest house employs identical construction methods to the primary residence, which is built of hollow block concrete brick, painted white, with a red tile roof. This consistent material palette reinforces the visual cohesion of the compound while demonstrating the high construction standards maintained throughout the development.
The primary facade of the guest house. May 2025 photo by the author.
Primary Facade (Ridge Road Elevation)
In contrast to the more elaborate composition of the primary residence, the guest house presents a deliberately restrained facade along Ridge Road. The primary
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26 elevation displays an almost utilitarian character , reflecting its subsidiary role.
The facade features a central door flanked symmetrically by a pair of wooden casement windows, creating a simple tripartite composition that emphasizes functional clarity over decorative elaboration.
A relatively shallow red tile overhang, supported by wooden beams, provides weather protection for the entrance while maintaining the understated character of the elevation. This shallow overhang appears to be original to the house.
The rear facade of the guest house. 1954 Kodachrome home movie still, courtesy Deserted Films.
Rear Facade (Canyon Elevation)
The rear facade is designed to capitalize on the dramatic canyon views and establish a visual dialogue with the primary residence. The two-story elevation
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27 features a balcony on the second floor , creating outdoor living space while providing architectural interest through its structural expression.
The balcony is supported by three tall wooden posts that extend from ground level to a single wooden beam, creating a colonnade effect that echoes the architectural language of the primary residence while maintaining its own distinct, yet simpler, character. This beam supports a red -tiled roof that runs along the length of the facade, providing weather protection for the balcony while creating a strong horizontal emphasis that unifies the composition.
The second-story balcony features wooden handrails and upright supports that relate to those of the primary residence but employ simpler detailing , befitting the guest house's subsidiary status. The wooden beams lack the decorative horizontal details found on the primary residence, and the upright balustrades are simple orthogonal boards rather than the tapered elements used on the main house. This differentiation in detail level reinforces the hierarchical relationship between the buildings while maintaining overall design unity.
The wall behind the balcony accommodates four pairs of French doors, providing generous access to outdoor space and allowing for abundant natural light and cross-ventilation cooling of the interior spaces. This arrangement demonstrates the same commitment to indoor -outdoor living that characterizes the primary residence, adapted to the scale and function of the guest accommodation.
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28 The north facade of the guest house at 1752 Ridge Road. May 2025 photo by the author.
Ground Floor and Structural Integration
The first floor features a door positioned to the right with two pairs of wooden casement windows that provide natural light while maintaining privacy. Angled supports for the balcony floor create distinctive "Y" shapes at the center of the composition.
The first floor above incorporates an elevated wood-floored deck that overlooks the rear garden area, extending the living space on that floor into the landscape while providing an intermediate level between interior and exterior environments. This deck arrangement facilitates the informal outdoor entertaining that became central to the estate's social function.
Connection to Main Residence
The architectural relationship between the guest house and the primary residence is reinforced through a physical connection at ground level. A hollow block concrete brick wall featuring an arched opening links the two structures, creating both visual and functional continuity. Concrete stairs rise through this opening to st reet level, providing convenient circulation between the buildings while maintaining the compound's unified character.
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29 The guest house at 1752 Ridge Road. May 2025 photo by the author.
A detail from the 1962 Sanborn map, showing the structures added during the Goulding period.
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30 Still from circa 1940 Kodachrome film about Palm Springs and the El Mirador Hotel. The Goulding Compound is at the top of Ridge Road. To the right is the Tom Douglas Residence.
Courtesy Stock Footage Archive.
The Goulding Transformation: Compound Expansion and Enhancement (1935-1936)
In 1934, film director Edmund Goulding began renting the Fulford house as a place for his ill wife, Marjorie Moss, to recuperate. Following his wife's death in early 1935, Goulding decided to purchase the Fulford property, embarking on an ambitious beautification project that would take the better part of two years to complete.4
Goulding began assembling several adjoining parcels until the estate comprised fourteen acres. While most of the land would remain undeveloped, he collaborated with designer Tom Douglas to create several guest cottages and a
4 The Desert Sun, March 13, 1936.
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31 servant's quarters with an adjacent garage, forming a compound designed for the lavish entertaining of noted artists and nobility, for which he became widely known in the years leading up to World War II.
In March 1936, the County Planning Commission met specifically to consider Goulding's plans for his estate, including the vacation of certain roads and streets in Tahquitz Desert Estates to provide greater privacy for his expanding property.5 Formidable, white -painted brick pillars announcing "PRIVATE" were paired at each end of the two entrances from Ridge Road, with white picket gates to ensure privacy. The entire length of Ridge Road was lined with a white picket fence along the canyon side.
Under Goulding's direction, the estate underwent a comprehensive transformation that established a distinctive and cohesive aesthetic across the entire compound. Tom Douglas, a successful young Hollywood designer who had previously worked on the original F ulford house for Mrs. Goulding, played a crucial role in expanding and refining the estate's design. He took charge of designing and decorating five separate buildings that comprised the new guest cottages and servants' quarters.
The architectural foundation used the same hollow block concrete brick construction painted white throughout all buildings, which provided both thermal mass suitable for the desert climate and a unified appearance that emphasized the buildings' forms. Terr a cotta barrel tile roofs were whitewashed to match the walls, creating visual continuity while offering effective weather protection and heat reflection. A signature light turquoise paint color was applied to all windows and doors throughout the property, including the guest cottages added during Goulding's ownership . In contrast, structural wooden elements— posts, beams, and decorative details—were painted white to maintain the overall scheme.
5 Ibid.
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32 Douglas also modified the original 1928 residence by opening the previously enclosed upper patio, removing the left -side balustrade, and constructing concrete stairs that created a direct connection between the house and the landscaped grounds below.
A still from Douglas Fairbanks, Sr. 1939 Kodachrome home movie shows the north-east corner of the guest cottage at 1755 Ridge Road. Courtesy UCLA Film and Television Archive.
1755 Ridge Road (Primary Guest Cottage)
This structure was the largest built in the Goulding/Douglas expansion and served as the primary guest cottage at the compound. Sited slightly above the primary residence and original guest house, 1755 was constructed of the same material palette as the rest of the compound. It is a large hollow block concrete brick structure wi th a gabled roof covered in white-painted barrel terra cotta tiles, with wood doors and windows painted turquoise.
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33 Primary Facade: Facing Ridge Road, the composition featured a flat brick wall, with an asymmetrical composition featuring an entry door and a series of wood casement windows.
Rear Facade: As constructed, the rear facade had a long expanse on the left side of the composition, with a deep tiled roof overhang placed slightly underneath the overall roofline, creating a shaded outdoor patio area. This led to a huge outdoor patio overlooking the canyon below and views beyond. To the right of this, a wing jutted forward, with a balcony like that on the original guest house.
This part of the house was two stories, built into the hillside adjacent.
Side Elevations: The south elevation was relatively opaque, affording privacy to the guests in both guest cottages. A fireplace was the predominant feature of this gabled end. The north elevation was also relatively opaque, but large picture windows have since been punched through.
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34 Still from circa 1940 Kodachrome film about Palm Springs and the El Mirador Hotel. The Guest Cottage at 1716 Ridge Road is at left. To the right of the white brick pillars is the south facade of the primary residence at 1752 Ridge Road. Courtesy Stock Footage Archive.
1. 1716 Ridge Road Guest Cottage
This Tom Douglas -designed structure was sited at the far south of the gated estate and is nestled into the rocks on the west side of Ridge Road, slightly above Ridge Road and above granite boulder retaining walls.
The structure is essentially square in footprint, constructed as the others with hollow block concrete brick and barrel tile gabled roof, all whitewashed. Wood casement windows and doors were painted turquoise.
The primary facade facing Ridge Road now features two relatively small wood - framed casement windows, though historic Kodachrome movie footage circa
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35 1940 suggests more and much larger window openings. This structure suffered major damage in a 1943 fire, which might explain the changes made.
The granite retaining wall and steps leading up to the entry landing at 1716, with one of the windows on the east facade showing over the man. This still is from a 1953 or 1954 home movie and shows Angie Rhodes and her husband Mack, who was a Palm Springs police officer, the couple rented 1716. Angie’s mother and brother lived at 1752 Ridge Road. Courtesy Deserted Films.
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36 Up several winding steps from Ridge Road, along the granite retaining walls, one enters a roofed entry patio landing. Originally, this was a rather open-air patio, with a tiled roof overhang, lower than the adjacent gabled roof, which was supported by vertical wood posts supporting wood beams, with handrails and balustrade detail matching that of the other structures on t he property. From here, the gabled south-facing wall featured a front door and a pair of wood casement windows. The north facade has a sma ll balcony matching the other balconies on the other guest cottages.
Much of the integrity of the details of this structure has been lost over the years.
The entry has been reconfigured with a clumsy stucco arched enclosure with tile- roofed entry replacing the original simple overhang, which has been removed.
The primary facade of the guest cottage at 1716 Ridge Road. The covered patio at the entry has had stucco arches added at a later date. May 2025 photo by the author.
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37 The north facade of the guest cottage at 1716 Ridge Road. The overhang covering this patio is a later addition. Also, the rear walls on either side of the fireplace have been removed. May 2025 photo by the author.
2. Servants Quarters and Garage
This series of two structures includes a relatively small residence for a caretaker or servants. It is a small , squared structure, with a small protruding portion to the right. A series of wood doors and casement windows match the other structures at the site.
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38 The servant’s quarters and adjacent garage structure at 1716 Ridge Road. May 2025 photo by the author.
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39 Sited slightly below this is the garage, which is a utilitarian structure with a red- tiled roof. It has a heavy post-and-beam facade at the front, with wooden garage doors enclosing the garage stalls.
Like the adjacent guest cottage, these two structures are in poor condition today, with significant structural integrity issues and overall losses.
THE LANDSCAPE OF THE GOULDING ESTATE: PAUL H. AVERY ,
LANDSCAPE ARCHITECT
The site as a whole was redesigned to integrate the structures with the landscape through a co llaboration with Paul Hamilton Avery, a distinguished landscape architect who specialized in desert and Mediterranean plantings. Born August 5, 1906, in Ledyard, New York, to Horace and Edith Avery, Paul H. Avery represented a new generation of landscape designers who understood both classical European and the burgeoning Modernist g arden traditions, as well as the unique requirements of California's desert environment.
Avery's educational background combined athletic achievement with academic excellence. Both he and his brother , Howard, attended San Diego State, where they played football, before continuing to Stanford University. Paul studied as an English major at Stanford in 1926, following in the footsteps of his mother Edith, who had attended Stanford from 1897 -1899. The brothers be came champion football players at Stanford, demonstrating the physical vigor that would later serve Paul well in his demanding landscape construction work.
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40 Howard Avery at left, and brother Paul, right. From the (Lykens, PA) “Standard,” November 2, 1928
In the summer of 1928, Avery undertook a formative educational journey to England and Switzerland, visiting more than fifty of the finest gardens and rock gardens. This trip took place during a unique period when the finest estates were opened to the public for the first time, with a shilling admission charge benefiting hospitals. Avery took hundreds of photographs and visited the rock gardens at the Royal Horticultural Show in May, where fourteen competitive exhibits demonstrated that natural arrangement had almost entirely replaced formal rock garden design.
Upon returning to California, Paul and Howard Avery began a landscape design/build firm, which specialized in rock wall construction and the use of flagstones for paths, steps, terraces, and pools. His early projects included notable work at the Mt. Helix amphitheater and extensive rock work for Colonel
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41 Ed Fletcher's Mt. Helix property. California Garden magazine noted that the Avery brothers were doing "fine though heavy rock work during their vacations" while both were students at San Diego State College, predicting that "such industry and ambition and ability will certainly leave their footprints on th e rocks of this county."6
By 1930, Avery had also established himself as a lecturer, presenting slide shows on the European rock gardens he had studied and the gardens he was creating in the San Diego area. During the 1930s, he served as Landscape Architect on the Executive Staff of the San Diego Zoo, working alongside architect Louis Gill. His office and studio were located at the Village Center in Rancho Santa Fe by 1939.7
Throughout the 1930s and 1940s, newspapers and magazines regularly reported on Avery's elegant and creative garden designs, primarily in the San Diego region. Like his brother, Howard (1908-1987), Paul served in World War II. After the war, he transitioned to development work, mainly in Northern California, and appears to have retired from landscape architecture by the 1950s. He died in Montana in 2000 at age ninety-four.
6 California Garden, March 1930.
7 Daily Times-Advocate, Escondido, Apr 20, 1939.
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42 Douglas Fairbanks, Sr. and his Great Dane descend the hill from the guest cottage at 1755 to the pool area behind the primary residence. Note the large granite boulders imbedded in the biomorphic pool’s coping, important innovations in swimming pool design. Courtesy UCLA Film and Television Archive.
Avery's Hardscape Design at the Goulding Estate
Paul Avery's work at the Goulding Estate exemplified a masterful integration of built and natural environments, becoming one of his most celebrated achievements. According to contemporary newspaper reports, Avery created an impressive water feature system that included a bridge traversing the canyon in front of the structures on Ridge Road, with a waterfall flowing underneath to the swimming pool below. While no historic photographs of this bridge have been located, and no bridge exists today, this suggests this element may have been filled in during subsequent modifications.
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43 The biomorphic swimming pool designed by landscape architect Paul Avery. May 2025 photo by the author.
The Biomorphic Swimming Pool
The centerpiece of Avery's hardscape design was a large biomorphic (freeform) swimming pool constructed at the bottom of the property. This pool was one of the very first biomorphic pools ever created, designed to resemble a naturalistic pond rather than a conventional rectangular swimming feature. The pool incorporated giant weathered granite boulders, along with a profusion of smaller granite rocks, into the pool’s coping, in an informal pattern around the perimeter.
The pool deck was paved with irregular Arizona sandstone, contributing to the natural materials palette that helped root the feature to the site.
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44 The biomorphic swimming pool was designed to resemble a naturalistic pond, with enormous native granite boulders and smaller rocks embedded directly into the pool’s coping. The pool deck was paved with native sandstone flagstones, and the tile surrounding the pool underneath the coping was a deep coppery brown, tied the pool to the surroundings. 1939 Kodachrome film still courtesy UCLA Film and Television Archive.
Contemporary 1939 Kodachrome home movies from the Douglas Fairbanks, Sr. collection documents the unusual detailing of the pool design. The “scum gutter” was a small, tiled channel just below the coping that was part of an early swimming pool’s filtration system. This was tiled in a deep, coppery brown to coordinate with the naturally varnished granite boulders embedded in the pool coping, adding to its naturalistic appearance and demonstrating Avery's attention to color coordination and natural integration.
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45 The mature landscape with white oleanders and a profusion of vines and flowering shrubs can be seen in this 1954 Kodachrome home movie still. Courtesy Deserted Films.
Pool Pavilion
Adjacent to the swimming pool, Tom Douglas designed a pool pavilion in the form of a flattened "V" shape. The pavilion utilized the same materials as the other structures at the site: concrete brick painted white with a slightly gabled roof covered in terra cotta barrel tiles that were whitewashed to match the overall estate palette. The structure featured four wooden posts supporting a beam system with an open-beamed ceiling inside. The rear wall featured a large fireplace at its center, from which two additional brick walls splayed out slightly, with a low brick retaining wall on the north side and remaining open in front, facing the swimming pool.
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46 Terraced Garden System
From Ridge Road to the east into the canyon, Avery created a terraced garden system that utilized the same granite boulders found naturally on the site to create a series of retaining walls. These walls created flat areas for lounging and recreation that cascaded down the hillside in a masterful response to the natural topography. The terracing system employed varied paving materials to create hierarchy and define different use areas. The patio nearest the house was paved with terra cotta Mission tile. In contrast, the large area directly below was paved with Arizona sandstone, featuring panels of grass and strategically placed citrus trees within the hardscape framework.
In this May 2025 photo by the author, the rear elevations of the two structures at 1752 Ridge Road can be seen at the top of the hill, with Paul Avery’s granite stacked retaining walls.
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47 Steps paved with Arizona sandstone traversed this series of retaining walls, providing graceful circulation throughout the terraced landscape. Just below the primary residence, Avery created the largest of these flat patios, paved in sandstone with granite boulder low pony walls that provided seating and defined spaces. Here, Goulding placed an informal array of tables with director's chairs painted white, their canvas seats and adjacent umbrellas coordinated in golden yellow canvas that complemented the natural stone and granite materials.
Avery's Plant Palette
Avery's plant palette for the Goulding Estate demonstrated understanding of both Mediterranean and desert horticultural traditions. The planting design sought to create an oasis effect that would dramatically transform the desert site in the months it would be used, while respecting its natural character.
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48 This still from a circa 1940 short film about the El Mirador Hotel shows the south upper entrance to the Goulding compound, showing several large multi-trunk mature olive tree specimens planted on either side of Ridge Road. The guest cottage at 1716 Ridge Road can be seen at left, and the south facade of the primary residence seen at right. Courtesy MPI Stock Footage Archive.
Signature Olive Trees
The most prominent landscape elements were several large multi -trunk olive specimen trees selected for instant effect and strategically placed to provide the most shade . Photographs and home movies from the 1930s document several very large olive trees planted on either side of Ridge Road. These mature specimens, along with one very large original olive tree planted directly north of the guest house, became character -defining features of the landscape design.
Although these trees have suffered from inapprop riate pruning over the years and show signs of declining health, they continue to provide crucial historical
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49 continuity and contribute significantly to the compound's distinctive desert oasis character.
Douglas Fairbanks, Sr., his Great Dane, and guests gather in the parking area at the western edge of Ridge Road, across from the primary residence. Mass plantings of olive trees, palms, and flowering shrubs create a cooling oasis respite in this desert canyon, 1939. Courtesy UCLA Film and Television Archive.
Mediterranean and Native Plantings
Complementing the olive trees, Avery specified a mix of Mediterranean and native species planted along Ridge Road. Contemporary documentation shows large areas of grass planted in front of buildings that were sited on the east side of Ridge Road, with masses of flowers planted under and around the olive trees.
The 1939 Douglas Fairbanks home movie reveals that on the rocky west slope ascending the mountain, palm trees and a profusion of flowering shrubs covered the hillside, creating the intended oasis effect in areas immediately adjacent to the structures. Later home movies from 1954 show oleander with coral flowers
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50 along Ridge Road, with other flowering shrubs in other hot colors such as orange and red, while white oleander and cool colors like blue and purple proliferated around the pool area, suggesting a hierarchy of color was planned to give individual areas of the landscape distinctive character.
A bare-chested Douglas Fairbanks, Sr. and guests standing in a landscaped area between the guest house and primary residence along Ridge Road. Beneath the mature multi-trunk olive tree, Fairbanks stands on a panel of turf, with flowering shrubs in hot colors such as orange and red.
Avery used a hierarchy of color to give each landscaped area of the compound individual character. 1939 Kodachrome home movie from the Lauretta Edlund Collection, courtesy UCLA Film & Television Archive
A row of stately Italian cypress was planted along the south wall of the carport of the primary residence, providing vertical accent and Mediterranean character while screening utilitarian areas. Throughout the property, relatively small panels of grass were strategically placed as areas for people to lounge and engage in recreational activities such as badminton. One such grass panel was positioned adjacent to the pool area.
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51 Unifying Plant Materials
One of Avery's signature design elements was the extensive use of white oleander, which he planted in masses around the property and on the terraced slopes. This unifying plant material created visual continuity throughout the landscape , providing year -round structure and seasonal blooms . Many of these original oleander plantings still exist today, having survived with very little water and no attention for decades, demonstrating both Avery's design vision and the appropriateness of his plant selections for the desert environment.
The retaining walls around the pool area were planted with star jasmine groundcover, which provided an intoxicating perfume during peak parts of the season when the house was in active use. This sensory enhancement demonstrated Avery's understanding of lan dscape as a total environmental experience rather than merely a visual composition.
Contemporary accounts from the Desert Sun in 1936 reported that Paul Avery was creating "veritable carpets of purple and blue flowers in wild profusion" throughout the landscape. The newspaper described the water feature system:
"Cascading down between them, over rocks and into little pools, a co ntinuous stream which ends by flowing into a most natural-looking lake at the bottom of the canyon, which is, in reality, a modern swimming pool. Around the banks are numerous trees and a little bath house reached by a winding rocky path from the main house."8
Later Modifications and Ownership Changes
The Sale and Transition (1941-1970)
In March 1941, Edmund Goulding decided to sell his beloved “Little White House” compound, marking the end of an era of Hollywood glamour and
8 Palm Springs Limelight News, December 26, 1936.
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52 international society gatherings. The purchaser was Mrs. Grace Upham Bigelow, a former winter resident of the French Riviera who had been staying at El Mirador that season with her son Dudley Bigelow. 9 The sale was completed on Friday, March 14, 1941, and the new owners moved in the following Monday, renaming the compound "La Casalta."10
The estate's reputation as a cultural landmark was already well -established by the time of the sale. Contemporary accounts described it as "the most famed of Palm Springs winter colony estates." They noted that "guests at this minor San Simeon have included Hollywood's greatest names over the period of years director Edmund Goulding has owned it." The property's canyon swimming pool was recognized as "one of the most beautiful private pools in the U.S."11
During the Bigelow ownership period, permits were pulled in May 1941 for an addition to the guest cottage at 1716 Ridge Road;12 in August 1943, a significant fire destroyed the guest cottage at 1716 that had been designed and decorated by Tom Douglas. The fire, which burned for nearly five hours before being discovered, caused an estimated $9,500 in damage to what was described as "the outstanding artistic achievement of Mr. Goulding" and his "private studio during the time he lived in Palm Springs."13
In 1944, the Bigelows sold the house to Henry J. and Loretta Emard after purchasing the Wallace Neff-designed Bourne Estate in the Tennis Club.14
9 Palm Springs Limelight News, March 20, 1941.
10 Ibid. In 1949, Goulding returned to Palm Springs, leasing the James Hammond home at 334 Hermosa Place while working on a forthcoming novel. (Palm Springs Limelight News, October 14, 1949 ).
11 Palm Springs Limelight News, March 20, 1941
12 The Desert Sun, May 9, 1941.
13 The Desert Sun, August 6, 1943.
14 Ibid.
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53 The Emard Period (1944-1960s)
During their twenty-five years there, the Emards added a funicular designed by Sepp Benedickter in the early 1960s. This addition required modification of one of the large rectangular window openings on the left -hand gabled volume, replacing it with a window and an adjacent door to access the funicular system.
Henry J Emard died September 3, 1963; his wife Loretta a few weeks later, on October 1.15 After the Emard's deaths, the historic property fell into disrepair.
The deterioration became so significant that on July 17, 1967, the city of Palm Springs approved a permit to demolish a portion of one of the dwellings. As part of an agreement, all buildings were boarded up and cleaned up during this period.
In October 1967, the five -acre estate was purchased by Jerry and Joanna Jakway, both 1949 graduates of the University of Southern California who had been active in Palm Springs business and civic affairs since moving to the desert community. Jerry Jakway was a building contractor who had managed projects including the Villa Alejo Apartments and the Tropics Hotel. Tom Jakway, their son (and now an established Palm Springs architect), recalled in an interview that the family resided a few houses south of the Goulding Estate at that time. Jerry Jakway had been purchasing large lots around the city to subdivide them for future development or resale.16 The Jakways purchased the site, which consisted of several separate parcels that had never been joined over the years. Their plan, according to the Desert Sun, was to subdivide it while retaining the character of "old Palm Springs." The estate was to be "cut up and sold to retain its present character," with existing buildings sold as -is for conversion into private homes and the remainder developed as large homesites. According to Tom Jakway, his father had committed to selling the individual parcels for more than he paid, even before the escrow was closed.17
15 The Tacoma News Tribune, Fri, Oct 18, 1963; The Desert Sun, May 28, 1964. 16 The Desert Sun, Oct 20, 1967.
17 Telephone interview with Tom Jakway, July 17, 2025.
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54 Later History and Fragmentation
The estate's problems continued to mount in the following decades. The house changed hands several times, with the separate parcels being sold to different owners, resulting in the fragmentation of the once-unified estate. The buildings became decrepit again under this divided ownership. By the early 1990s, the deterioration had become so severe that the city served Notice of Public Nuisance Abatement notices, marking a sad decline for what had once been one of Palm Springs' most celebrated properties.
Current Condition and Integrity
Scope of Evaluation
This integrity assessment encompasses the complete Goulding Estate Compound to provide a thorough understanding of the site's historical development and current preservation status. While the entire compound maintains its extraordinary cultural significance and demonstrates the estate's pivotal role in Palm Springs' transformation into an international resort destination, the physical condition assessment reveals differentiated preservation states across the various structures that directly impact their eli gibility for historic designation.
Primary Compound at 1752 Ridge Road - Class 1 Eligibility Despite various ownership changes and modifications over the decades, both the primary residence and guest house at 1752 Ridge Road retain their essential architectural character and most of their significant features, demonstrating exceptional historic integrity that fully satisfies Class 1 Historic Resource designation criteria. The main house preserves its distinctive massing, mate rial palette, and spatial organization, maintaining the refined Spanish Colonial Revival characteristics that exemplified Pal m Springs' architectural development during the interwar period.
The guest house's survival in substantially original condition, with its distinctive balcony structure, original window and door openings, and characteristic
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55 material palette intact, makes it an invaluable component of the estate's architectural significance. Together with the primary residence, it provides a complete picture of contemporary residential design in late 1920s Palm Springs and the sophisticated li festyle that attracted Hollywood's elite to the desert community. Both structures are in poor physical condition requiring restoration, however their historic integrity remains intact with minimal compromising alterations.
Secondary Structures - Varied Classification Potential
The former guest cottage at 1755 Ridge Road presents a nuanced preservation scenario. While slightly expanded and modified during renovation, these changes consist primarily of sympathetic additions rather than subtractive alterations that compromise the essential historic character. The structure is inhabited and maintained in good physical condition with a fair level of integrity. Because of its significant architectural and cultural history within the Goulding compound narrative, this structure demonstra tes strong potential for Class 2 Historic Resource designation and would likely qualify for such classification upon formal review.
The remaining structures at 1716 Ridge Road—the guest cottage and servants' quarters with attached garages —have experienced substantial integrity losses due to significant deterioration, neglect, and inappropriate modifications over time. These structures are in very poor physical condition with co mpromised historic fabric that, despite their equal cultural and historical importance within the compound's development story, precludes qualification for Class 1 or Class 2 Historic designation under current integrity standards.
Landscape Integrity
The landscape elements designed by Paul H. Avery have experienced varying degrees of survival that reflect the broader preservation challenges facing the compound. While the hardscape systems, including the terraced retaining walls, the pioneering biomorphic pool area, and circulation paths, remain largely intact and continue to demonstrate Avery's innovative design approach, the plant materials have suffered from decades of neglect and inappropriate maintenance.
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56 The large olive trees that were central to Avery's Mediterranean -inspired design philosophy continue to provide character and historical continuity to the estate, though they show signs of stress from improper pruning and care practices that require immediate attention to preserve this important landscape heritage.
Summary Assessment
The integrity analysis confirms that while the Goulding Estate Compound retains its unparalleled historical significance as a complete cultural landscape, the differentiated preservation conditions across its various components necessitate a tiered approac h to historic designation that recognizes both the exceptional integrity of the core structures at 1752 Ridge Road and the compromised but still culturally significant elements throughout the broader compound.
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57 From left: Edmund Goulding, Noel Coward, Laura Hope Crews, and Gloria Swanson.
The Cultural and Social History During the Goulding Period
The Golden Age: A Sanctuary for the Elite (1934-1941)
Edmund Goulding's connection to Palm Springs began through marriage rather than career. On November 28, 1931, the acclaimed British film director married Marjorie Moss, a celebrated ballroom dancer who had achieved international
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58 fame as part of the dancing team Moss and Fontana.18 The couple's wedding took place at the Beverly Hills home of actress Laura Hope Crews, with actor John Gilbert serving as best man and composer Ivor Novello giving the bride away.19
Marjorie Moss Goulding, Edmund Goulding, and his agent, Adeline Schulberg, in St. Moritz in 1932. From the book “Moving Pictures, Memories of a Hollywood Prince” by Budd Schulberg.
Their marriage was essentially one of convenience. Marjorie Goulding had been stricken with a respiratory illness that would make her an invalid for the remaining years of her life, and Goulding wished to take care of his good friend.20 In a desperate quest for health, the couple tried various treatments, including a stay in Asheville, North Carolina, before returning to Beverly Hills.21 To ease the tedium of his wife's confinement, Goulding chartered and equipped an ambulance
18 Daily News (Los Angeles), November 28, 1931.
19 Ibid.
20 Daily News (Los Angeles), February 4, 1935.
21 Ibid.
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59 to carry her around Southern California, demonstrating the devotion that would characterize his later transformation of their Palm Springs retreat.22
By 1934, the couple began renting the former Fulford property in what was then known as Tahquitz Desert Estates.23 On February 3, 1935, tragedy struck when Marjorie's condition took a turn for the worse. Dr. Henry S. Reid immediately telephoned Goulding, who left his film work and chartered a plane from Los
22 Ibid.
23 San Bernardino Sun, February 4, 1935.
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60 Angeles in a desperate race to reach his wife's bedside.24 Despite his frantic efforts, Goulding arrived an hour too late —Marjorie had died at 8:25 a.m., whispering "I'm tired" as her final words.25
Funeral services were conducted on February 5, 1935, at the Wee Kirk o' the Heather at Forest Lawn Memorial Park, with Reverend James Hamilton Lash of the Hollywood Congregational Church officiating. 26 Marjorie Moss Goulding, described as a native of London and a well-known beauty of the New York stage, left behind her husband, her mother, and one sister in England.27
A picnic break on the set of the 1927 film “Love.” Director Edmund Goulding, Greta Garbo, and John Gilbert are seen at center.
24 Daily News (Los Angeles), February 4, 1935.
25 San Bernardino Sun, February 4, 1935.
26 The Desert Sun, February 8, 1935.
27 The Desert Sun, February 8, 1935.
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61 Following his wife's death, Edmund Goulding decided to purchase the Fulford property and the surrounding lots, embarking on an ambitious beautification project that would take nearly two years to complete.
Once completed, the “Little White House” compound quickly became a magnet for the international elite. Goulding delighted in lending his estate to friends who wanted to escape the pressures of their public lives. Among the earliest notable guests was Greta Garbo, who stayed at the estate with her friend M ercedes de Acosta.28 The Swedish actress's presence was so significant that it generated considerable press attention, with local newspapers tracking her movements and confirming her weekend stays at the Goulding property , including the weekend of the premiere of Camille at the grand opening of the Plaza Theatre.29
The estate also attracted European nobility from its earliest days. The young Duke of Warwick and the Viscountess Castlerosse were among the distinguished visitors, along with Her Royal Highness the Maharani of Indore and members of her entourage.30 Other prominent guests included the influential style setter Lady Mendl, who was simultaneously overseeing redecoration work at Buckingham Palace in London, the Countess di Frasso, and the Honorable Ira Nelson Morris, a former ambassador to Sweden.31
28 Palm Springs Limelight News, December 26, 1936.
29 Ibid; Palm Springs Limelight News, November 13, 1937. Though Garbo was confirmed to have been Goulding’s guest the same weekend as the premiere of Camille, it has never been firmly established that Garbo herself attended the premiere, though the Los Angeles Times reported it in their December 16, 1936, edition. Louella Parsons, however, who attended the premiere, reported on December 15 that Garbo had been “too shy” to attend the premiere.
Parsons also reported that George Cukor and Laura Hope Crews were Goulding’s other guests (San Francisco Examiner, December 15, 1936).
30 Palm Springs Limelight News, December 26, 1936.
31 Ibid.
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62 From left: Douglas Fairbanks, Jr., Andy Lawler, David Niven, Marlene Dietrich, Edmund Goulding, Michael Brook. Photograph taken at Dietrich’s birthday party in December 1937, courtesy Museum of Modern Art, New York.
The British Connection
Goulding's British heritage made him a natural host for visiting English personalities, and the estate became an unofficial gathering place for British expatriates and visitors to Palm Springs. In January 1937, Goulding hosted a memorable party at the “Little White House ” specifically for natives of Great Britain spending the winter on American soil. 32 The guest list included Mr. and Mrs. J.C. Fishburn, Mr. and Mrs. Burton Fiske (the former Lady Chaytor), Sir William Chaytor and Miss Ann Chaytor, Mrs. Holding, Major Cuthbert Stewart, Mr. and Mrs. Martin Benson, Mr. and Mrs. de St. Mars, Mr. and Mrs. Law rence Mead, and Mr. and Mrs. Jack O'Brien, all of London.33 The only non-British guest was Cary Grant, who, despite being born in England, was spending the week at El Mirador and represented the local Hollywood community.34
The estate's reputation among British society figures was so well-established that when Lord Beaverbrook, one of Britain's most influential newspaper publishers,
32 Palm Springs Limelight News, January 9, 1937.
33 Ibid.
34 The Desert Sun, January 8, 1937.
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63 visited Palm Springs, he specifically inquired about prominent local landmarks, with the Goulding Estate being among the few that had reached his ears across the Atlantic.35
Hollywood's Golden Age Elite
The estate served as a retreat for many of Hollywood's most prominent figures during the industry's golden age. Grace Moore, the Metropolitan Opera star who had achieved success in films, used the estate as a recovery location following tonsil surgery in November 1935. 36 The surgery was performed by Dr. J.J.
Pressman, who was engaged to actress Claudette Colbert, and Moore was accompanied by her husband, Valentin Parera.37
35 The Desert Sun, Volume X, Number 23, 8 January 1937. 36 "Chatter From Hollywood," Courier Post, November 2, 1935. 37 The Desert Sun, November 8, 1935.
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64 One of the most famous incidents involving Hollywood royalty and actual nobility occurred in November 1937, when Goulding's casual hospitality led to an awkward encounter between Garbo and the Earl of Warwick. 38 According to press reports, Goulding had forgotten that Garbo was staying at the estate when he offered the Earl of Warwick use of the house. The two met at the swimming pool, but since they had not been formally introduced and the Earl was aware of Garbo's reputation for privacy, they sat at opposite ends of the pool for an entire day without speaking. 39 Garbo left Palm Springs hurriedly that night, telephoning Goulding to ask, "Who was that strange man? He wouldn't speak to me, so I left."40
From the Minneapolis Star, November 10, 1937.
38 Miami Tribune, November 9, 1937, 19. In the 1930s, the Earl of Warwick was Charles Greville, 7th Earl of Warwick, who became known for his Hollywood career under the stage name Michael Brooke. He was the first British aristocrat to be offered a Hollywood contract by MGM in 1936.
39 Miami Tribune, November 9, 1937.
40 Ibid.
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65 Marlene Dietrich was another frequent guest of Goulding’s, often seen at local establishments with Goulding's party. In December 1937, she sang at Claridge's Grill, accompanied by pianist Charel de Thomee, son of former French ambassador to Austria-Hungary Rudolph de Thomee.41 Her party that evening included the Earl of Warwick, Edmund Goulding, and Mr. and Mrs. Bert Taylor.42
The Leeds Entertainment and Peak Social Period
One of the most elaborate and well -documented social events in the estate's history took place in April 1939, when William B. Leeds and his wife hosted a spectacular garden party while staying as the Gouldings' guests.43 The Leeds had been lent the “Little White House” by Goulding.44 The party was staged in the estate's colorful garden, featuring a lighted waterfall and swimming pool illuminated by a submarine light that Leeds had brought from his yacht. 45 The surrounding canyons were also illuminated, creating what observers described as a "giant fabulous aquamarine" effect.46 The distinguished guest list included Dr. and Mrs. Feri Daikovitch (she was actress Francisca Gaal), Mr. and Mrs. Paul Lukas, Mr. and Mrs. Ralph Bellamy, Mr. and Mrs. Charles Farrell, Mrs. Ethel Butterworth, Tommy Phipps, Mrs. Walter Hershon and her house guests Mr. and Mrs. Ben Phinney, Wesley Ruggles, Harry Evans, Ted Steele, Mrs. Frances Hennessy, Mrs. Errol Flynn (Lily Damita), Mrs. Tony Miner, Chiva Cowden, and Edmund Goulding himself.47
41 The Desert Sun, December 10, 1937
42 Ibid.
43 The Desert Sun, April 14, 1939.
44 Ibid.
45 Palm Springs Limelight-News, April 15, 1939.
46 Ibid.
47 The Desert Sun, April 14, 1939.
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66 The social significance of this event was enhanced by the Leeds family's own royal connections — the host's mother had been the wife of His Royal Highness Prince Christopher of Greece, making her also a Royal Highness.48
The only known photograph of the Goulding Estate during his years there, this photograph of Tom Douglas’ interior design ran in a feature about Douglas in “Interiors” magazine in November 1941.
48 Palm Springs Limelight-News, April 15, 1939.
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67 Barbara Hutton and Cary Grant
In October 1940, the estate attracted attention when Barbara Hutton, the Woolworth heiress, visited to consider leasing the property for the winter season.49 Escorted by Cary Grant, Hutton spent a Saturday afternoon touring the estate with Goulding and his charming mother Florence, discussing the possibility of taking over the lease of what was described as "one of the show places in Palm Springs." 50 While the lease arrangement ultimately did not materialize, the visit demonstrated the estate's continued appeal to the highest levels of society and entertainment.
The other “poor little rich girl,” Doris Duke, did stay at the Little White House compound with her husband, Ambassador James Cromwell. They were guests of actress and producer Ruth Selwyn, who had rented the house in January of 1936.51
Final Years Under Goulding's Ownership
The estate continued to attract notable guests through Goulding's final years of ownership. In March 1939, Douglas Fairbanks Sr. and his wife, the former Lady Ashley, were guests at the “Little White House, ” along with Marlene Dietrich and the Countess de Frasso, who had earlier stayed there with Elsa Maxwell and Hedy Lamarr, who was bitten by a scorpion .52 Lady Sylvia took Kodachrome home movies of the event. In February 1941, the Guy Prices of Beverly Hills stayed at the estate, with Guy Price Jr., a University of Southern California golfer, participating in Palm Springs' annual golf tournament.53
49 The Desert Sun, October 18, 1940.
50 Ibid.
51 The San Francisco Examiner, January 8, 1936.
52 Palm Springs Limelight News, March 11, 1939; San Francisco Examiner, March 11 and 15, 1938.
53 The Desert Sun, February 14, 1941.
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68 Throughout this period, the estate was equipped with the most modern amenities available. In 1937, the Desert Heating and Air Conditioning Company installed central air conditioning and heating systems in several local residences, including the Goulding Estate, placing it among the most technologically advanced homes in Palm Springs.54
54 Palm Springs Limelight-News, April, 1937.
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69 The rear elevation of the Goulding Residence, as seen from the pool pavilion. Date unknown, but likely circa 1940. Courtesy Palm Springs Historical Society.
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70 CHARACTER-DEFINING FEATURES
Primary Residence Architecture
• Construction Materials: Hollow block, concrete brick, painted white, with whitewashed red terra cotta barrel tile roof, also painted white. • Asymmetrical Composition : Three -dimensional fa cade with central recessed volume flanked by two forward-projecting gabled brick volumes • Distinctive Window Treatment : Original wooden casement windows and French doors painted in signature light turquoise color • Dramatic Rear Elevation : Two -story canyon-facing fa cade with covered patio featuring deep overhang and distinctive wooden posts with horizontal notched capitals
• Indoor-Outdoor Integration : Large arched picture window and multiple French doors connecting interior spaces to covered patio and views • Rustic Detailing: Tapered wooden handrail supports with decorative waists and small notches, open rafter ceiling construction
• Massive Brick Fireplace : Arched opening that creates axial relationship with the picture window across living room
• Spatial Organization : Open -plan living room with gabled beam ceiling, connected dining room, and bedroom wing arrangement taking advantage of sloping site
Guest House Architecture
• Consistent Material Palette: Same hollow block concrete brick construction and whitewashed tile roof as main residence
• Restrained Street Facade: Simple tripartite composition with central door flanked by wooden casement windows
• Two-Story Canyon Elevation: Substantial second-floor balcony with three tall wooden posts creating colonnade effect
• Structural Expression: Distinctive "Y"-shaped angled supports for balcony floor as original design elements
• Connecting Elements : Hollow block concrete brick wall with arched opening linking guest house to main residence
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71 Tom Douglas Guest Cottages (1935-1936)
• Unified Aesthetic: All painted white with turquoise blue doors and windows matching estate signature palette
• 1755 Ridge Road : Largest guest cottage with asymmetrical fa cade composition and partial two-story rear wing with balcony • 1716 Ridge Road : Square footprint cottage nestled into granite boulder retaining walls with roofed entry patio
• Garage and Servants Quarters : Utilitarian structures with post -and-beam facade and wooden garage doors
Paul Avery Landscape Architecture
• Biomorphic Swimming Pool: One of the first naturalistic pools designed to resemble a pond, with giant weathered granite boulders integrated into coping
• Hardscape Materials: Pool deck paved with irregular Arizona sandstone, deep coppery brown tile scum gutter coordinating with granite • Pool Pavilion : Flattened "V" -shaped structure with four wooden posts, open beam ceiling, and central fireplace with splaying brick walls • Terraced Garden System: Series of granite boulder retaining walls creating flat areas cascading down hillside
• Varied Paving Hierarchy : Terra cotta Mission tile patio nearest house, Arizona sandstone with grass panels below, sandstone steps throughout terracing
• Water Feature System: Originally included bridge traversing canyon with waterfall flowing to swimming pool below
Signature Landscape Plantings
• Specimen Olive Trees: Large multi-trunk olive trees strategically placed for shade and "instant effect," including original tree north of guest house • Mediterranean Plant Palette : Italian cypress row along carport, star jasmine groundcover around pool area
• Unifying Oleander Masses: Extensive white oleander plantings throughout the property and terraced slopes
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72 • Oasis Effect: Strategic placement of palm trees and flowering shrubs on rocky mountain slopes adjacent to structures
• Integrated Grass Panels: Areas for lounging and recreation
Planning and Privacy Features
• Gated Estate: Formidable brick pillars at two Ridge Road entrances with gates ensuring complete privacy
• Natural Topography Integration: Buildings and terracing following natural desert contours rather than imposing geometric patterns • Strategic Siting : Northernmost corner of Palm Canyon Mesa , providing commanding desert valley views with natural canyon protection • Road Vacation : Closure of public roads to create private internal circulation and enhanced seclusion
Character-Defining Details
• Unified Color Scheme : White buildings with turquoise trim create a distinctive estate identity
• Natural Material Integration : Use of site's granite boulders in retaining walls and pool design
• Rustic-Sophisticated Balance: Refined design execution with deliberately rustic detailing appropriate to a desert setting
• Entertainment Infrastructure : Outdoor dining areas with granite pony walls, director's chairs, and coordinated golden yellow canvas umbrellas • Dramatic View Orientation : All major spaces are oriented to take advantage of the desert valley and mountain vistas
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)
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73 • Palm Springs between the Wars (1919-1941)
• Palm Springs During World War II (1939-1945)
• Post-World War II Palm Springs (1945-1969)
It is within the context of the period “Palm Springs between the Wars” that the Goulding Residence will be evaluated. The Goulding Residence falls under the “Theme: Single -family Residential Development between the Wars (1919 - 1941).” 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, not as a health spa for asthmatics and consumptives, but as an exclusive winter resort for the well-to-do, and set about transforming their sanatorium into the luxurious Desert Inn, one of the most renowned hostelries in the country. Their success inspired the development of two equally spectacular hotels in the 1920s and cemented the town’s growing reputation as one of the country’s premier luxury winter resorts. The Oasis Hotel, designed by Frank Lloyd Wright, Jr. (known as Lloyd Wright) , opened in 1925 by Pearl McCallum McManus. The grand Hotel El Mirador, designed by Walker and Eisen in a sumptuous Spanish Colonial Revival style, opened in 1927.
Automobile tourism played a crucial and early role in the success and growth of Palm Springs as a destination. In 1914, highway bonds were passed in Riverside County for extensive road improvements and the construction of new routes. As part of these efforts, the highway connecting Los Angeles and Palm Springs was completed in October 1916. The pavement of the highway through to Indio was completed in 1924, allowing travelers to drive all the way from Los Angeles to Palm Springs in under four hours, on paved roads.
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74 The first residential subdivisions were established in the early 1920s on tracts primarily located around the existing village and resorts. Several tracts were subdivided by Prescott T. Stevens, along with other prominent early Palm Springs settlers, including Pearl McManus, Raymond Cree, and Harriet Cody.
In the 1920s, business tycoons, industrialists, and other wealthy individuals, 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 began building architect -designed estates, 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." One section was so filled with film notables that the neighborhood was ultimately dubbed the "Movie Colony." In the 1930s, prominent figures in finance and business continued to flock to the desert in the winter, further solidifying the village's reputation as one of the nation's premier winter resort destinations.
Architecturally, the Spanish and Mediterranean Revival styles were the town’s dominant architectural expression during this period. In addition, there are examples of simplified Ranch houses featuring rustic details and board -and- batten exterior walls. Beginning in the 1930s, prominent Modernist architects began making significant contributi ons to the architectural landscape in Palm Springs.
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75 The publicity generated by Hollywood artists like Edmund Goulding helped establish Palm Springs as an internationally recognized desert resort. This two-page opening spread in the July 1937 issue of “Photoplay” discusses Palm Springs as being the “Playground of the Stars.” Written by Faith Baldwin, an influential author of romance novels, who was in Palm Springs doing research for her next book, “Enchanted Oasis,” 1937.
Historic Context Statement: LGBTQ+ Community and
Their Influence in Palm Springs Between The Wars
Introduction
The Goulding Residence should also be evaluated within the context of the emergence of an LGBTQ+ community in the resort village between the Wars.
The period between World War I and World War II marked a transformative era for Palm Springs, California, as it evolved from a modest health resort into a
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76 stylish desert refuge that would become synonymous with Hollywood glamour and sexual liberation. During these crucial decades, LGBTQ+ individuals— particularly those connected to the entertainment industry —played a pivotal role in shaping the character, culture, and economic development of the resort community. While Palm Springs emerged as the premier destination for this community, it was not alone in attracting such figures; the Santa Monica Mountains and Canyon area similarly drew gay men, European emigres, artists, writers, and Hollywood luminaries seeking refuge from the increasingly restrictive moral climate of the era.
Regional Context: Alternative Communities in Southern California
Palm Springs developed within a broader Southern California landscape that was creating new forms of community for marginalized groups. Long before West Hollywood became known as "Boy's Town," Santa Monica Canyon was "one of the few pockets of openly gay l ife around Los Angeles." 55 The beach-adjacent enclave was "somewhat secluded from the Hollywood studio machine, and it became a safe haven for the bohemian elite."56
According to the LGBTQ+ National Archives, the stories date back to the 1920s and the late 1930s, when creatives like Austrian screenwriter Salka Viertel, rumored to be Greta Garbo's lover, and her husband, Berthold, settled in the neighborhood.57 Viertel's modest bungalow at 165 Mabery Road became "a sanctuary for artists, writers, composers, film makers —the cultural elite of Europe who managed to escape the horrors of Hitler's Germany. 58 Her salon
55 "The Golden Bull Has Been a Cornerstone for Santa Monica Canyon and the LGBTQ+ Community," Resy Blog, October 12, 2020, https://blog.resy.com/2020/10/the-golden-bull- has-been-a-cornerstone-for-santa-monica-canyon-and-the-LGBTQ+-community/. 56 Ibid.
57 Ibid.
58 "Salka Viertel and Greta Garbo: A Love Story," Dialog International, https://www.dialoginternational.com/dialog_international/2020/08/salka-viertel-and-greta- garbo-a-love-story.html.
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77 served as "a central place for networking, an artistic experimental laboratory and catalyst for creative processes" from the 1930s to the 1950s.59
This broader context of alternative communities throughout Southern California provided the backdrop against which Palm Springs developed its own distinctive character as a refuge for LGBTQ+ entertainers and their associates.
The Studio System and the Need for Privacy
The emergence of Palm Springs as a LGBTQ+ haven was inextricably linked to Hollywood's tight control over performers' personal lives. Studios exerted control through contractual "Morals Clauses" that enabled quick contract termination if violated.60 It was not unusual for studios to hire private detectives to follow stars and monitor their behavior for LGBTQ+ activity.61
This surveillance created an urgent need for spaces where LGBTQ+ entertainers could express themselves without career -ending consequences. Since the 1920s, Palm Springs has offered an easy escape from Hollywood.62
59 Carola Bebermeier, "'Sundays at Salka's'—Salka Viertel's Los Angeles Salon as a Space of (Music) Cultural Translation," Musicologica Austriaca, June 21, 2021, https://musau.org/parts/neue-article-page/view/113.
60 "The LGBTQ+ History of Palm Springs - From Hollywood Hideaway to Vibrant Community," Visit Palm Springs, October 4, 2024, https://visitpalmsprings.com/palm- springs-gay-history/.
61 Ibid.
62 "Palm Springs Gay History Revealed," Out, May 26, 2023, https://www.out.com/travel- nightlife/city-guides/palm-springs/2013/02/11/palm-springs-gay-history-revealed. This article perpetuates a myth that has become widely believed: that this was due to its proximity as "rarely more than a two-hour drive on the two-lane blacktops," or that it satisfied studio requirements that contracted performers remain within a two-hour radius of Los Angeles; these are essentially myths. Palm Springs was three to four hours from Los Angeles before the 10 Freeway was built in the 1960s. The studios only required performers to be available within two hours if they were actively filming a movie and it was their day off.
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78 The Production Code and Its Impact (1930-1934)
The Motion Picture Production Code's implementation in 1930, strictly enforced after 1934 with the Production Code Administration, marked a turning point for LGBTQ+ visibility.63 The Code explicitly prohibited depictions of "sex perversion," under which homosexuality was categorized.64
In 1933, William Haines, then "one of the most popular actors in the country, was caught having sex with another man, leading to industry self-censorship and the 1934 Production Code enforcement. ”65 This scandal made Hollywood increasingly hostile to LGBTQ+ performers, further driving them to seek refuge in places like Palm Springs.
63 Doherty, Thomas Patrick (1999). Pre-Code Hollywood: Sex, Immorality, and Insurrection in American Cinema, 1930-1934. New York: Columbia University Press, pp. 8-9. 64 Lewis, Jen. Hollywood V. Hard Core: How the Struggle Over Censorship Created the Modern Film Industry. NYU Press 2002, pp. 302-302.
65 "Palm Springs Gay History Revealed," Out.
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79 Early Pioneers and Influential Figures
Dr. Florilla White and Early Tolerance (1913-1920s)
One of the earliest examples of Palm Springs' tolerance for unconventional lifestyles was Dr. Florilla White, who arrived in 1913. When Dr. White and her sister Henrietta purchased the Palm Springs Hotel from Welwood Murray, they established early preceden t for the resort's acceptance of diverse sexual orientations.66 White was described as "eccentric," "unusual," "free-spirited," and "independent, " which were also known at the time to be code words for lesbians.67 The hotel catered to an eclectic group, including Rudolph Valentino.
66 "Gay Palm Springs;: How it Came to Be in the Desert," Palm Springs Life, March 8, 2024, https://www.palmspringslife.com/closeted-oasis/.
67 Ibid.
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80 Lois Kellogg and wolfhound. Courtesy Palm Springs Historical Society.
Lois Kellogg: The Chicago Heiress and "Fools Folly" (1919-1920s)
Another significant early figure was Lois Kellogg, described as "a beautiful, eccentric, Chicago socialite" who arrived at the Desert Inn for a "visit" and decided she had found herself a home. 68 Born in 1894 to a wealthy family living on Chicago's "famed Millionaire Row," Kellogg was heir to the Charles P. Kellogg & Co. manufacturing fortune.69 Contemporary sources describe her as a "Chicago
68 "Explore Palm Springs: Lois Kellogg," Palm Springs Life, March 28, 2016, https://www.palmspringslife.com/history/explore-palm-springs-lois-kellogg/. 69 Ibid.
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81 socialite rumored to be a lesbian" who would have been "considered notorious in 'polite' society of the early twentieth century."70
In 1919, after her mother's death, Kellogg purchased land located between Indian Canyon and Palm Canyon Drive at Baristo Road and began construction on an ambitious Moroccan -Persian style compound she eventually named "Fools Folly."71 She hired architect Harold "Bill" Cody to design her home and worked alongside the workmen, personally "hanging shingles on the roofs of the three buildings in her compound." 72 The main building featured "tiled hand -carved Moorish doors" leading to "a vast entrance hall, which had highly polished hardwood floors leading to many guest rooms."73
Kellogg "built her mansion with high walls and multiple cottages to accommodate guests of all persuasions," establishing an early template for the type of private, enclosed compounds that would later characterize Palm Springs' appeal to the gay community. 74 When Harold Cody died in 1924, construction halted, and Kellogg resided in her unfinished home for several years until development encroached on her desired solitude. She eventually departed for Nevada, leaving behind one of Palm Springs' earliest examples of a residence explicitly designed to accommodate alternative lifestyles with complete privacy.
70 "Our Gay Stories: The LGBT History of Palm Springs Is the Focus of a New Tour," Coachella Valley Independent, December 16, 2020, https://cvindependent.com/2013/10/our- gay-stories-the-lgbt-history-of-palm-springs-is-the-focus-of-a-new-tour/; "Palm Springs' Gay Agenda," Geoffrey Moore, https://www.geoffreymoore.com/blog/palm-springs-gay- agenda.htm
71 "Explore Palm Springs: Lois Kellogg," Palm Springs Life. 72 Ibid.
73 Ibid.
74 David Lugowski, "Queer Representation in Pre-Code Hollywood," JSTOR Daily, 1 month ago, https://daily.jstor.org/queer-representation-in-pre-code-hollywood/.
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82 Rose Dougan at the Wright School of Aviation in 1915. Photo by William Preston Mayfield.
Copyright: Dayton History.
Rose Gray Dougan: The Flying Heiress and Native Arts Advocate (1930s-1940s)
Rose Gray Dougan (1882-1960) represented another dimension of Palm Springs' appeal to unconventional women during the interwar period. Born to wealth in Indiana (her uncle was steel magnate Daniel Gray Reid), Dougan was a pioneering aviator who learned to fly with Orville Wright in 1915 and became the first person to fly over Santa Fe. After building an adobe castle north of Santa Fe with her partner, Russian noblewoman Verra Von Blumenthal, where they promoted Native American pottery arts, Dougan arrived in the Coachella Valley in 1937. She formed a relationship with Dr. Florilla White, described in David Wallace's A City Comes Out as "a fairly out couple" who lived together. Dougan purchased a ranch at Point Happy in Indian Wells and continued her advocacy for Native American arts, this time collecting and promoting Cahuilla basketry while working with White to preserve traditional designs rather than tourist trinkets. She also established some of Palm Springs' earliest low-income housing.
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83 She helped create the city's first animal shelter, demonstrating how the community's tolerance for alternative lifestyles enabled women to pursue both personal relationships and social activism that might have been impossible elsewhere.75
Louisa d'Andelot Carpenter: The du Pont Heiress, Aviatrix, and Modernist Haven (1930s-1940s)
Louisa d'Andelot Carpenter (October 16, 1907 – February 8, 1976) was a du Pont family heiress, noted horsewoman, early woman aviator, Jazz Age socialite, and philanthropist. Born into one of America's wealthiest industrial families, her mother was the daughter of Lammot du Pont, grandson of the founder of E. I.
75 Ann Japenga, "Flying Rose Dougan: On the Trail of Native American Art," California Desert Art, https://www.californiadesertart.com/flying-rose-dougan-on-the-trail-of-native- american-art/; Wallace, David, A City Comes Out, 35-37.
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84 The Palm Springs home of Louisa d'Andelot Carpenter, designed by architect Douglas Honnold, with interiors by Tom Douglas, was featured in the May, 1940 issue of “House & Garden.”
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85 du Pont de Nemours and Company. Carpenter represented a fascinating intersection of high society privilege and progressive social attitudes during the interwar period, making her a significant figure in the emerging LGBTQ+ communities of places like Palm Springs.
Carpenter was regarded as a lesbian and often appeared in public in men's suits and ties. Her unconventional lifestyle and open defiance of gender norms made her a notable figure in the social circles that frequented Palm Springs during its emergence as a haven for Hollywood celebrities and those seeking refuge from conservative social constraints. Her circle of friends, acquaintances and lovers included Evelyn Eugenia Bankhead and her younger sister Tallulah Bankhead, Jane Bowles, Paul Bowles, Louise Brooks, Marion Carstairs, Noël Coward, Greta Garbo, Libby Holman, Milly Monti, and Z. Smith Reynolds. This constellation of artists, writers, and performers formed part of the cultural milieu that helped establish Palm Springs as a progressive retreat where sex ual and social nonconformity could flourish away from the scrutiny of mainstream society.
Palm Springs became a safe haven beyond the reach of the gossip columnists for Hollywood figures and wealthy socialites who lived outside conventional expectations, m aking it an ideal destination for someone like Carpenter who appeared at the Wentworth, North Carolina, courthouse in such mannish clothes that bystanders and reporters thought she was a man when she paid Libby Holman's $25,000 bail during the latter's murder trial.
Carpenter's own Palm Springs home, at 853 North Patencio, was designed by architects Douglas Honnold and George Vernon Russell in 1936 with interiors by Tom Douglas, exemplified the sophisticated modernist aesthetic that attracted wealthy progressives to the desert
Edmund Goulding: Director and Host (1920s-1930s)
Edmund Goulding (1891 -1959), the prominent British -American film director, represents the central figure in Palm Springs' LGBTQ+ history during the
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86 interwar period. The actor -turned-director owned a compound in The Mesa neighborhood—a back-lot version of a “Normandy farmhouse,” surrounded by
Photographs such as this, of Edmund Goulding playing tennis at the El Mirador Hotel, were distributed internationally, helping secure Palm Springs’ reputation as the premier desert resort for the elite. Courtesy Palm Springs Historical Society.
connecting cottages where male and female companions of varying sexual persuasions stayed for extended vacations.76
76 "Gay Palm Springs;: How it Came to Be in the Desert," Palm Springs Life, March 8, 2024, https://www.palmspringslife.com/closeted-oasis/.
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87 Wallace's book describes Goulding's "well -known hobby of hosting bisexual orgies at his Palm Springs estate and Hollywood homes. Always the consummate artist, Goulding would cast willing young starlets with handsome up-and-coming actors to play out his sex ual fantasies. At the same time, he directed the action and adjusted the lighting and music." 77 These gatherings provided meaningful social networking opportunities for LGBTQ+ individuals in the entertainment industry.
Greta Garbo knew "her secrets were safe with her good friend and MGM Studios colleague, Edmund Goulding," frequently staying with her close friend Mercedes de Acosta, the poet and playwright whose out lesbianism eventually caused problems for her more high-profile companions."78
William Haines and Tom Douglas: From Acting to Interior Design
William Haines exemplified the career trajectory of many LGBTQ+ Hollywood figures who found refuge in Palm Springs. After being fired from his studio for being gay, he and his partner Jimmy Shields opened an interior design business with clients including Joan Crawford, Gloria Swanson, and George Cukor. 79 "As his ultra-stylish crowd regularly traveled to Palm Springs, so did Haines." 80 In 1960, he redesigned the home of Mrs. Irving Florsheim at 688 East Vereda Sur, which "was so well received that it was opened for home tours and considered one of the most modern homes in Palm Springs."81
However, Tom Douglas (1896 -1978) had the more substantial and sustained connection to Palm Springs' gay community during the interwar period. Douglas represented the fascinating trajectory of performers who successfully transitioned from entertainment to d esign, becoming central figures in the cultural development of the resort community.
77 Ibid.
78 Ibid.
79 "The LGBTQ+ History of Palm Springs," Visit Palm Springs. 80 Ibid.
81 Ibid.
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88 The former stage and screen actor, who had achieved international recognition in London during the 1920s for his "ethereal beauty" and compelling performances, became deeply integrated into Palm Springs society through his friendship with Edmund Goulding and his successful interior design practice.82
When Goulding embarked on his ambitious expansion project in 1935 -1936, he commissioned Douglas to design the guest cottages that would accommodate international celebrities and nobility. Douglas's architectural contributions included 1755 Ridge Road (the primary guest cottage) and 1716 Ridge Road, both of which were constructed with hollow block concrete brick and distinctive turquoise trim that became the estate's signature aesthetic.
Beyond his work for Goulding, Douglas established his own presence by purchasing a property at 356 Ridge Road in 1939. This residence became "the Palm Springs home of many famous stars of the screen in recent years ." It was featured extensively in California Arts & Architecture as a showcase of elegant desert living. 83 The house was built "on one of the highest sites near Palm Springs... about a mile from the village, high up on a mountainside."84
Douglas's approach emphasized both sophistication and practicality. As California Arts & Architecture noted, "The interior has no definite style of decoration; it is planned for modern comfort with particular attention to the peculiar climatic conditions."85 His understanding of desert living informed every detail, from strategic use of "Venetian blinds and heavy draperies to shut out the sun when desired" to innovative placement of the master bedroom "away from and below the main house, directly above the swimming pool."86
82 William J. Mann, Behind the Screen: How Gays and Lesbians Shaped Hollywood 1910-1969 (New York: Viking, 2001), 112.
83 "The Desert Retreat of Mr. Tom Douglas, Decorator," California Arts & Architecture, February 1939.
84 Ibid.
85 Ibid.
86 Ibid.
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89 When Douglas sold his Palm Springs retreat in 1943 to Jacqueline Freeman, the transaction made front-page news in the Desert Sun, described as involving "one of the showplaces of Palm Springs."87 This level of attention demonstrates both Douglas's prominence in the community and the significance of his design work in establishing Palm Springs' reputation for first-class architecture.
Physical and Social Infrastructure Supporting Privacy
The physical design of Palm Springs contributed significantly to its appeal among LGBTQ+ individuals seeking discretion. "The walls surrounding many of the homes and resorts provided privacy, yet Palm Springs was still close enough to the studios that a star could attend a movie or television production call in a couple of hours."88 "Sexual freedom was the most popular draw of Palm Springs," and this infrastructure created "an environment of tolerance" despite "occasional efforts of reactionary politicians and monied interests."89
Cultural and Economic Impact
The presence of LGBTQ+ entertainers fundamentally altered Palm Springs' character from a family health resort to a sophisticated adult playground. Greta Garbo, known for her "fierce independence and mysterious persona, was one of the first Hollywood icons to establish a presenc e in Palm Springs during the 1930s."90 The discretion and sophistication these figures brought elevated the resort's profile considerably.
The economic impact was substantial, as these were typically wealthy individuals with refined tastes who demanded high -quality accommodations, dining, and entertainment. Their presence attracted others of similar social and
87 The Desert Sun, October 1, 1943.
88 "The LGBTQ+ History of Palm Springs," Visit Palm Springs. 89 "Palm Springs Gay History Revealed," Out.
90 "The LGBTQ+ History of Palm Springs," Visit Palm Springs.
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90 economic standing, creating a self -reinforcing cycle that transformed the local economy from health tourism to affluent leisure travel.
The LGBTQ+ community in Palm Springs operated through covert social networks, providing both professional opportunities and personal support. These networks were critical given the hostile environment LGBTQ+ people faced elsewhere. "In much of America... most people had never heard the word 'homosexual.'”91
The connections between Palm Springs and other alternative communities, such as those in the Santa Monica Mountains, created a broader network of support and cultural exchange. Figures like Tom Douglas moved easily between these communities, bringing influ ences and connections that enriched both environments. The early precedents set by pioneers like Dr. Florilla White and Lois Kellogg demonstrated that Palm Springs had welcomed unconventional residents from its earliest days, establishing patterns that would prove crucial for later generations of LGBTQ+ entertainers.
Before the strict enforcement of the Production Code in 1934, there was considerably more tolerance for sexual diversity in American entertainment. "The 1920s especially were a time of shifting societal norms and expanding artistic experimentation." 92 This period of relative openness allowed LGBTQ+ individuals greater freedom to establish themselves in places like Palm Springs, laying the groundwork for what would become a permanent community even as conditions elsewhere became more restrictive.
Conclusion
The period between World War I and World War II was foundational in establishing Palm Springs as America's premier LGBTQ+ resort destination. The
91 "Palm Springs Gay History Revealed," Out.
92 David Lugowski, "Queer Representation in Pre-Code Hollywood," JSTOR Daily, 1 month ago, https://daily.jstor.org/queer-representation-in-pre-code-hollywood/.
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91 convergence of Hollywood's repressive studio system, the need for privacy among entertainment industry figures, the community's physical infrastructure supporting discretion, and the pioneering presence of figures like Dr. Florilla White, Lois Kellogg, Edm und Goulding, and Tom Douglas created conditions that transformed both the resort and American LGBTQ+ culture.
The Edmund Goulding Estate represents a tangible link to this pivotal period in both Palm Springs' history and American LGBTQ+ history. Through the architectural contributions of Tom Douglas and the social networks centered on Goulding's compound, the estate served not merely as a private residence but as an essential cultural center that helped establish patterns of community formation that would define Palm Springs for generations to come.
This transformation represented the creation of a new model for LGBTQ+ community life in America —one that combined economic success, cultural sophistication, and social acceptance in ways that would prove influential far beyond the desert's boundaries. The connections between Palm Springs and other alternative communities, such as those in the Santa Monica Mountains, created a network of support and cultural exchange that enriched the broader development of gay culture in Southern California during this crucial period.
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92 The Edmund Goulding Estate is the cluster of white buildings at the center; the Tom Douglas Residence is seen at the right. Screenshot circa 1940, courtesy MPI Stock Footage Library.
EVALUATION:
ARCHITECTURE (Criteria 3 – 6)
CRITERION 1 — Significant Events - The resource is associated with events that have made a meaningful contribution to the nation, state, or community: The Edmund Goulding Estate served as the setting for numerous significant cultural and social events that contributed meaningfully to Palm Springs' development as an international resort destination during the 1930s and early 1940s. The estate served as an unofficial embassy for visiting British aristocrats and international celebrities, hosting elaborate gatherings that featured European nobility, Hollywood stars, and cultural figures. Notable events include the spectacular 1939 garden party hosted by William B. Leeds featuring
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93 illuminated waterfalls and submarine lighting, and the 1937 gathering specifically for British expatriates that helped establish Palm Springs' reputation among international society. These events, plus the estate’s importance as an early example of the LGBTQ+ cultural history of Palm Springs, contributed significantly to Palm Springs' transformation from a regional health resort to a globally recognized cultural destination. Therefore, the Goulding Estate qualifies for listing as a Class 1 Historic Resource 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 Edmund Goulding Estate is associated with several individuals who made significant contributions to entertainment history and Palm Springs development. Edmund Goulding (1891-1959) was a celebrated Hollywood director whose films included Grand Hotel (1932), Dark Victory (1939), and The Razor's Edge (1946), directing nine actors to Oscar nominations during his career. Tom Douglas, the architect who designed the estate's guest cottages, was a noted Hollywood interior designer whose clients included Greta Garbo, Cary Grant, and Clark Gable. Paul H. Avery, the landscape architect, created one of the first biomorphic swimming pools and pioneered stylish desert landscape design. The estate also housed numerous significant cultural figures, including Greta Garbo, Marlene Dietrich, the Duke of Warwick, and the Maharani of Indore. Before Goulding, the home had local significance as having been owned by Edmond Fulford, the critical developer of the Palm Springs Mesa tract, and an early Palm Springs pioneer and booster. Therefore, the Goulding Estate qualifies for listing as a Class 1 Historic Resource under Criterion 2.
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94 CRITERION 3 - The resource reflects or exemplifies a particular period of national, state, or local history: The Edmund Goulding Estate exemplifies Palm Springs' development during the interwar period when the desert community transformed from a simple health resort to an international destination. Originally constructed between 1927 and 1928 as part of Edmond Fulford's Palm Springs Mesa subdivision, the estate was significantly enhanced under Goulding's ownership (1935-1941) to create a magnificent compound that embodied the era's highest standards of desert residential design. The estate represents a pivotal period when Hollywood's elite established Palm Springs as their preferred retreat, significantly contributing to the community's cultural and economic development. The architectural collaboration between the original Spanish Colonial Revival structures and Goulding's additions demonstrates the evolution of desert residential design during this formati ve period. As a remarkably intact example of this period, the Goulding Estate qualifies for listing as a Class 1 Historic Resource under Criterion 3.
CRITERION 4 — The resource embodies the distinctive characteristics of a type, period, or method of construction: The Edmund Goulding Estate embodies distinctive characteristics of late 1920s Palm Springs residential architecture and 1930s estate expansion. The original structures demonstrate refined adaptation of Spanish Colonial Revival style to desert conditions, utilizing hollow block concrete brick construction painted white with terra cotta barrel tile roofs. The buildings feature distinctive architec tural elements , including asymmetrical compositions, covered patios with notched wooden capitals, and extensive indoor-outdoor integration through French doors and picture windows. The estate's unified material palette, signature turquoise window and door trim, and integration with Paul Avery's pioneering landscape design represent distinctive characteristics of the type and period. Therefore, the Goulding Estate qualifies for listing as a Class 1 Historic Resource under Criterion 4.
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95 Criterion 5: The resource presents the work of a master builder, designer, artist, or architect whose individual genius influenced their age, or that possesses high artistic value. The Edmund Goulding Estate represents the collaborative work of several master designers whose influence extended far beyond this single project.
Paul H. Avery's landscape architecture, particularly his pioneering biomorphic swimming pool and well-designed terracing system, established new standards for desert residential design that influenced development throughout Southern California. Tom Douglas's architectural contributions to the guest cottages , combined with his role as both architect and interior designer, demonstrated his mastery of integrated design. The estate's artistic value is further enhanced by its role as a cultural salon where international society, Hollywood elite, and creative communities converged. The property's influence on subsequent Palm Springs development and its contribution to establishing the community's reputation internationally for elegant design demonstrate its high artistic value.
Therefore, due to its distinctive characteristics, which represent sophisticated desert residential design, as well as the collaborative work of master designers, and its high artistic values, the Goulding Estate 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 Goulding Estate does not qualify under Criterion 6.
Criterion 7: That has yielded or may be likely to yield information necessary to the national, state, or local history or prehistory. The Edmund Goulding Estate is unlikely to yield information vital to national, state, or local history or prehistory. Hence, the Goulding Estate does not qualify under Criterion 7.
SUMMARY: This evaluation finds The Edmund Goulding Estate eligible for listing as a Palm Springs Historic Resource under 8.05.070 C.1. a., paragraphs 1, 2, 3, 4, and 5 of the local ordinance's seven criteria.
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96 INTEGRITY ANALYSIS (USING US SECRETARY
OF THE INTERIOR STANDARDS)
INTEGRITY ANALYSIS
The Edmund Goulding Estate at 1752 Ridge Road
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 relevant criteria, but it must also 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 their relationship 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 is 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 communit y planning, engineering, architecture, and landscape architecture. Design encompasses various elements, including the organization of space, proportion, scale, technology, ornamentation, and materials. A property's design reflects both its historic functio ns and technologies, as well as its 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.
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97 The majority of the Goulding Estate retains exceptional integrity of design through the preservation of both the original Fulford -era architecture (circa 1927-1928) at 1752 Ridge Road and the significant Goulding-era enhancements (1935 -1936). The primary residence demonstrates the architectural composition characteristic of late 1920s Palm Springs residential design, with its asymmetrical three - dimensional fa cade featuring a central recessed volume flanked by forward-projecting gabled brick volumes. The dramatic two -story rear elevation with its covered patio, distinctive wooden posts with horizontal notched capitals, and rustic detailing remains intact. The or iginal guest house preserve s its restrained street fa cade and restrained canyon elevation with a second-floor balcony supported by three tall wooden posts. The Tom Douglas -designed guest cottage at 1755 Ridge Road maintains its essential architectural character despite some alterations.
However, the structures at 1716 Ridge Road (the guest cottage and servants quarters/garage buildings) have been significantly altered and are in very poor condition. Most significantly, Paul Avery's pioneering landscape design, including the biomorphi c swimming pool with integrated granite boulders, terraced garden system, and pool pavilion, survives as one of the earliest and most masterful examples of desert residential landscape architecture.
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.
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98 The Goulding Estate's materials represent the finest desert residential design of the late 1920s and 1930s, with the original palette entirely intact across the main buildings. The hollow block concrete brick construction, painted white, and whitewashed red terra cotta barrel tile roofs, all remain. The hardscape materials designed by Paul Avery—including the irregular Arizona sandstone pool deck, granite boulder integration, terra cotta Mission tile patios, and varied paving materials throughout the terraced garden system —remain substantially intac t. The natural materials palette, featuring weathered granite boulders used in retaining walls and pool coping, demonstrates the elegant integration of site-found materials with refined imported elements that characterizes the estate's design philosophy.
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 refined 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 tech nological practices and aesthetic principles.
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99 The Goulding Estate showcases exceptional workmanship across multiple periods and by various craftsmen. The original construction demonstrates the high -quality building standards of the Fulford development, with careful attention to desert -appropriate construction techniques and masterful spatial organization. The Goulding -era modifications, designed by architect Tom Douglas, demonstrate meticulous attention to detail in the integration of new guest cottages with the existing compound's aesthetic. Most rema rkably, Paul Avery's landscape construction represents masterful craftsmanship in hardscape design, particularly evident in the pioneering biomorphic swimming pool construction, the unexpected integration of granite boulders with pool coping, the precise color coordination of tile work, and the complex terracing system that responds to natural topography while creating functional outdoor living spaces. The rustic yet polished detailing throughout—including the tapered wooden handrail supports with decorative waists, the distinctive post -and-beam construction, and the carefully executed masonry work —demonstrates the high level of craftsmanship maintained throughout the estate's development.
LOCATION
Location is the place where a historic property was constructed or the place where a historic event occurred. The relationship between a property and its location is often crucial in understanding why the property was created or why an event occurred. The actual location of a historic property, complemented by its surroundings, is crucial in recreating the sense of historic events and people .
Except in rare cases, the relationship between a property and its historic associations is destroyed if the property is moved.
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100
The Goulding Estate remains in its original location in the prestigious Palm Springs Mesa/Tahquitz Desert Estates development, situated in the northernmost corner of Palm Canyon Mesa, to take maximum advantage of the commanding desert valley views while utilizing natural canyon protection. This strategic siting was fundamental to the estate's significance as both an architectural achievement and a cultural landmark. The location's relationship to Edmund Goulding's visi on for creating the "Little White House " compound as an international destination for Hollywood's elite and European nobility is inseparable from the dramatic desert setting that attracted these distinguished visitors. The estate's position high above the desert floor, with sweeping views over the valley and the surrounding mountains, was essential to its function as a tasteful retreat that impressed visitors from around the world and contributed to Palm Springs' reputation as an international resort destination.
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 not just where, but also how, 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. Additionally, the way a property is positioned in its environment can reflect the designer's concept of nature and aesthetic preferences.
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101
The Goulding Estate was developed within the exclusive Southridge/Mesa development, strategically planned to take advantage of spectacular views that sweep over the valley floor and the mountains beyond. The setting remains substantially intact, with the natural desert landscape and mountain backdrop preserved. The original planning concept, which emphasized privacy and natural beauty—including the closure of public roads and the creation of private gateways with formidable brick pillars at Ridge Road entra nces—continues to define the character of the area.
The terraced landscape design by Paul Avery, which utilized natural granite boulders and desert contours to create cascading outdoor living spaces, remains legible despite some deterioration of plant materials. The relationship between the built and natural environments, central to the estate's design philosophy—creating an oasis effect while respecting the desert's natural character —continues to be expressed through the surviving hardscape elements and th e dramatic siting that takes advantage of the natural amphitheater formed by the canyon setting.
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.
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102
Though most of the site has been poorly maintained, the Goulding Estate continues to convey the sophisticated atmosphere of Palm Springs' golden age during the late 1920s and 1930s , when it served as an international destination for Hollywood's elite and European aristocracy.
The compound's unified white -painted architecture , the pioneering biomorphic swimming pool nestled among granite boulders, the terraced garden spaces that create intimate outdoor rooms, and the dramatic relationship between the built f orm and the natural desert landscape all contribute to recreating the sense of elegant desert living that made the estate legendary. The preservation of key architectural elements —from the rustic yet refined post -and-beam details to the natural hardscape materials—allows visitors to experience the aesthetic vision that Edmund Goulding and his collaborators Tom Douglas and Paul Avery created as a showcase of tasteful desert entertaining. Despite the loss of some original plant materials and the deterioration of certain guest cottages, the essential character that made this property "one of the most famed of Palm Springs winter colony estates" remains palpable.
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 Revoluti onary War battlefield whose natural and artificial elements have remained intact since the eighteenth 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 the eligibility of a property for the National Register.
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The Goulding Estate maintains a strong association with its period of greatest historical significance (1935 -1941) when it served as Edmund Goulding's "Little White House" compound and became an
internationally recognized gathering place for Hollywood's elite, European nobility, and cultural figures. The preservation of the main architectural elements —including the primary residence where Goulding lived, the guest houses where distinguished visitors stayed, the pool area where legendary parties took place, and the terraced gardens where guests like Greta Garbo, Marlene Dietrich, the Duke of Warwick, and the Maharini of Indore were entertained —allows the property to continue conveying its association with this remarkable period of cultural exchange. The estate's role in establishing Palm Springs' reputation as a world-class international destination worthy of the world's most discerning travelers remains evident through the surviving architectural and landscape elements that created the "oasis atmosphere that impressed visitors from around the world." The physical features that made the estate legendary—from Paul Avery's pioneering swimming pool design to the well-designed entertainment infrastructure —survive sufficiently to convey the property's extraordinary cultural significance.
INTEGRITY SUMMARY
This comprehensive integrity analysis confirms that the Edmund Goulding Estate Compound retains extraordinary cultural significance as one of Palm Springs' most important architectural and cultural landmarks, while demonstrating varied preservation conditi ons across its constituent structures that necessitate differentiated historic designation approaches. The estate represents a unique achievement in desert residential design, the result of a collaboration between architect Tom Douglas and landscape archit ect Paul Avery, enhanced by the vision of Edmund Goulding, who transformed the property into an international destination that significantly contributed to Palm Springs' reputation as a world-class resort community.
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Class 1 Designation - Primary Compound (1752 Ridge Road) The primary residence and associated guest house at 1752 Ridge Road possess six of the seven aspects of integrity and retain sufficient physical features to convey their significance with exceptional authenticity. These structures survive as substantially intact examples of late 1920s Palm Springs residential architecture, enhanced by the significant modifications un dertaken during the period of greatest cultural importance under Goulding's ownership. The preservation of the main residence, original guest house, and the core elements of Paul Avery's pioneering landscape design—including the biomorphic swimming pool and terraced garden system —provides a complete picture of stylish desert living during Hollywood's golden age. These primary structures continue to possess an exceptionally high degree of integrity sufficient to qualify for designation as Class 1 Historic Resources.
Class 2 Potential - Secondary Structure (1755 Ridge Road) The guest cottage at 1755 Ridge Road demonstrates good integrity despite sympathetic modifications that consist primarily of additions rather than subtractive alterations. This structure retains its essential architectural character and cultural associations within the Goulding compound narrative, maintaining sufficient integrity to likely qualify for Class 2 Historic Resource designation.
Compromised Integrity - Tertiary Structures (1716 Ridge Road) While the guest cottage and servants' quarters at 1716 Ridge Road possess equal cultural and historical importance within the estate's development story, these structures have experienced substantial integrity losses due to deterioration, neglect, and inappropriate modifications over time. Despite their significance to the complete Goulding compound narrative, the compromised historic fabric precludes qualification for Class 1 or Class 2 designation under current integrity standards.
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Landscape
The landscape framework that made this property internationally famous remains substantially intact through Avery's swimming pool and hardscape systems, though original plant materials have deteriorated and require restoration to fully convey the sophisticated Mediterranean-inspired design that attracted Hollywood's elite.
Conclusion
The Goulding Estate Compound continues to represent both the architectural sophistication that characterized Palm Springs' development as a resort destination and the cultural significance of Hollywood's relationship with the desert community during the industry's golden age. The tiered integrity assessment confirms that while the complete compound retains unparalleled historical importance, the exceptional preservation of the primary structures at 1752 Ridge Road qualifies them for the highest level of his toric designation, ensuring protection of the most intact elements of this irreplaceable cultural resource.
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A P P E N D I C E S
I OWNER’S LETTER OF SUPPORT
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II ASSESSOR’S MAP AND AERIAL
Property Address 1752 RIDGE RD
PALM SPRINGS, CA 92264
Assessment No. (PIN) 513352002
APN (GeoCode) 513352002
Property Type SFD with Secondary Unit(s)
TAG 011-003 PALM SPRINGS
Acreage 0.51
Doing Business As
Business Use
Legal Description
POR LOTS 14, 15, 16 & 17 BLK 4 MB 012/052 PALM CANYON MESA TR FOR TOTAL DESCRIPTION SEE ASSESSORS MAPS Lot 14 Block 4 SubdivisionName PALM CANYON MESA TR LotType Lot RecMapType Map Book MapPlatB 012 MapPlatP 052 PortionLot Portion Lot 15 LotType Lot PortionLot Portion Lot 16 LotType Lot PortionLot Portion Lot 17 LotType Lot PortionLot Portion
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III CHAIN OF TITLE
February 13, 1926 Title Guarantee and Trust Company to Charles E. Bugg and Laura A. Bugg, husband and wife.
April 9, 1927 Charles E. Bugg and Laura A. Bugg, husband and wife, to Edmund T. Fulford and Marian H. Fulford, husband and
wife.
April 9, 1927 Edmund T. Fulford, et al, to Pacific Southwest Trust and Savings Bank
December 7, 1929 Security First National Bank of Los Angeles to Edmund T. Fulford and Marian H. Fulford, husband and wife as
joint tenants.
July 7, 1931 Edmund T. Fulford and Marian H. Fulford, husband and wife as joint tenants, to Security First National Bank of Los Angeles.
September 12, 1933 Security First National Bank of Los Angeles to Edmund T. Fulford, a married man.
April 18, 1934 Edmund T. Fulford and Marian H. Fulford, husband and wife as joint tenants, to Security First National Bank of Los Angeles.
June 27, 1935 Edmund T. Fulford and Marian H. Fulford to Edmund Goulding.
January 11, 1936 Security First National Bank of Los Angeles to Edmund Goulding, a widower. (Lot 17 except….)
March 15, 1941 Edmund Goulding, a widower, to Dudley D. Bigelow, a single man. (Block 17 in Block 3; Lots 18, 19, 20, 21, 22, 23 and 24 in Bloek 3; Lotn 13, 24, 15, lo, 17, 18, 19, and 20 in Block 4; Jots 20, 21 and 22 in Bloc. 5)
March 31, 1941 Dudley D. Bigelow, a single man, to Dudley D. Bigelow, a single man and Grace Upham Bigelow, a widow, son and
mother as joint tenants.
March 13, 1944 Grace Upham Bigelow, an unmarried woman, and Dudley D. Bigelow, a single man, to H.J. Emard and Loretta
Emard, husband and wife as joint tenants.
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December 15, 1967 Jerry W. Jakway and Joanna B. Jakway, husband and wife, to Leona H. Halliday, a widow.
December 18, 1967 Sylvia Plainin, executrix of the estate of Loretta G.
Emard, deceased, to Jerry W. Jakway. (Henry J. Emard
had died August 31, 1963)
December 20, 1967 Jerry W. Jakway and Joanna B. Jakway, husband and wife, to Jerry W. Jakway and Joanna B. Jakway,
husband and wife as joint tenants.
December 29, 1967 Leona H. Halliday, a widow, to L.W. Lawes, an unmarried man, and E.L. Macatee, an unmarried woman,
as joint tenants.
January 9, 1968 Leona H. Halliday, a widow, to Carlo L.P. Wahlbeck and Barbara U. Wahlbeck, husband and wife as joint tenants.
January 29, 1968 Leona H. Halliday, a widow, to Woodrow L Barrett and Villa M. Barrett, husband and wife as joint tenants
October 22, 1968 L.W. Lawes an unmarried man, and E.L. Macatee, an unmarried woman, as joint tenants to Woodrow J. Barrett and Arvilla M. Barrett, husband and wife.
October 30, 1970 Carlo L.P. Wahlbeck and Barbara U. Wahlbeck, husband and wife as joint tenants, to L. Wallace Berinoff, a
widower.
June 13, 1975 Wallace Berinoff, a widower, to Charles Edward Harmon, a single man, and William Douglas Schuler, a single man, as joint tenants.
July 31, 1980 Elizabeth North Davis, as executor of the Estate of Charles Edward Harmon, to Paul R. Craven and Nita P.
Craven, husband and wife, as joint tenants. (William
Douglas Schuler had died July 16, 1977, according to
affidavits included in sale documents). (newspaper
announcements say the Cravens are in default, December
1982).
June 29, 1983 Elizabeth North Davis, as executor of the Estate of Charles Edward Harmon, to Linda Fernandez and Lee
Trianae, single women, as tenants in common.
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October 13, 2006 Jack C. Barrett, Administrator of the Estate of Arvilla K.
Barrett to Lucien Wolff, an Unmarried Man
May 7, 2010 Lucien Wolff, an unmarried man, to Joe S. Stones, a single man
August 16, 2017 Joe S. Stones to Lucien Wolff, Trustee of Zenith Trust, dated August 16, 2017.
IV BUILDING PERMITS
Date Owner Permit Type Description of Work
2-24-47 H. J. Emard Building Repair fire damage
2-9-62 Emard Electrical 1 meter loop
5-10-62 Emard Electrical 1 meter loop
3-4-63 Emard, H. J.
(Henry J.
Amard)
Building Footings
7-17-67 Emard Building Demolish portion of dwelling 7-17-67. Also all buildings boarded up and cleaned up per
agreement.
2-24-69 Carlo
Wahlbeck
Electrical 1 meter loop and 1 220 V
12-16-91 Donald E.
Grant, Linda
Fernandez, and
Lee Trianae
Notice of Public Nuisance Abatement
1-21-92 Donald E.
Grant, Linda
Fernandez, and
Lee Trianae
Notice of Public Nuisance Abatement
7-20-16 Lee Richardson Building Repair beam and footing to existing patio 3-27-17 Lee Richardson Building Repair and replace existing walkway with railing
6-19-18 Lee Richardson Building Clean off roof, install new underlayment and do electrical repairs as required by code case.
6-19-18 Lee Richardson Building Repair roof and run conduit
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8-16-18 Lee Richardson Building Structural repair of existing pool structure.
Reuse existing tile, replace as needed.
12-23-19 Lee Richardson Building Upgrade main service panel from 200a to 225a solar ready panel
12-27-19 Lee Richardson Building 30 PV Panel Array (8.86 kW) 5-11-20 Lee Richardson Building Rev. to 2019 -4923: relocating panel and subpanel
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V GRANT DEED
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VI EDMOND FULFORD BIOGRAPHY
Edmond Fulford, circa 1920s. Courtesy Palm Springs Historical Society
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Edmond T. Fulford: Pioneer Developer and Community Leader of Palm Springs
Edmond Thayer Fulford, known affectionately as "Ted" to his many friends and colleagues, was born in Los Angeles in 1890 to Stanley and Francis Fulford. The Fulford family home was located in the neighborhood of Fifth and Spring streets in Los Angeles, where his father served as one of the first associates of high-end furniture retailer Barker Brothers.93 This early exposure to business and commerce would prove formative in shaping Ted's entrepreneurial spirit and business acumen.
After completing his education in Los Angeles schools, Fulford entered the business world, eventually becoming connected with the prestigious Burroughs Adding Machine Company for many years, working in both California and the East.94 It was during this period that he met and married Miss Marion Wood (1897- 1983), a member of a prominent Cleveland family.95 They would have a daughter, Jean.96
The couple would later return to California, where Ted engaged in the real estate business. When Ted's health began to deteriorate, the Fulfords decided in 1921 to relocate to the desert community of Palm Springs, seeking the restorative benefits of the dry desert air.97
The Creation of Tahquitz Desert Estates/Palm Springs Mesa Upon arriving in Palm Springs in 1921, Fulford immediately began to take an active part in the development of the village. One of his most significant contributions to the community was the conception and development of what became known as both Tahquitz Desert Estates and Palm Springs Mesa. This development would set new standards for desert residential subdivisions.
93 The Desert Sun, 10 April 1936
94 Ibid.
95 Ibid.
96 Ibid.
97 Ibid.
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The subdivision was Fulford's vision of an exclusive residential community nestled in the foothills of the southern end of the city.98 As the founder of the successful Builders Supply Company in Palm Springs, Fulford possessed both the technical expertise and financial resources necessary to undertake such an ambitious project.99 The development was strategically planned as a community accessed through a common main entrance, creating a sense of exclusivity and privacy that would appeal to wealthy winter residents.100
An advertisement from the “Los Angeles Times,” December 19, 1930.
Speaking about the project, Fulford himself described the distinctive character of the development: "Its exclusive character is assured by the fact that it is bordered on three sides by Indian Reservation land and on the fourth side has the mountain wall rising in a series of terraces and knolls behind it."101 This natural setting
98 Palm Springs Citywide Historic Context Statement & Survey, Historic Resource Group, Overview of Tract Development, 2015.
99 Ibid.
100 Ibid.
101 Riverside Daily Press (Riverside, California) · Wed, Jan 14, 1925.
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provided what Fulford considered one of the property's most attractive features:
"A distinctive feature of the property is the outlook it commands over the desert.
The tract rises in a gentle slope from the main highway, running south of Palm Springs village to Palm Canyon. A series of knolls and terraces at the foot of the mountain afford beautiful building sites of irregular shapes and sizes."102 The engineering work for this ambitious project was completed under the direction of Albert Braunschweiger of Riverside, who specialized in desert and mountain engineering and had previously worked on the road development at Idyllwild.103 Fulford was particularly proud of how the roadways were designed: "Our roadways have been laid out in such a way as to take full advantage of natural contours."104
An advertisement from “Palm Springs Limelight-News,”
March 25, 1934.
102 Ibid.
103 Ibid.
104 Ibid.
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This innovative approach represented a deliberate rejection of the typical street grid system that characterized most residential developments of the era. Instead of imposing a rigid geometric pattern on the natural landscape, Fulford insisted that the streets meander organically through the terrain, following the natural contours and topography of the desert foothills. This design philosophy created constantly changing sight lines as one traveled through the community, ensuring that residents and visitors would experience ever-shifting vistas of the surrounding mountains and desert valley below.
Fulford understood that people came to Palm Springs specifically to experience the rare beauty of the desert environment, and he was determined that his development would enhance rather than diminish that experience. As he explained, the development company members were "enthusiastic lovers of the beauties of the desert region and have developed it as nearly as possible without interfering with its original shape."105 He emphasized that "without destroying in any way its natural beauty, we have put in an attractive system of winding roads on the property so that from a short distance the tract looks as if it were still in a state of nature."106
This commitment to preserving the natural desert beauty while providing spectacular views over the valley represented a revolutionary approach to desert development. Rather than viewing the challenging terrain as an obstacle to overcome, Fulford saw it as an asset to be celebrated and preserved for future generations to enjoy.
The development was created in two carefully planned phases: the first phase included 172 parcels in 1924, followed by an additional seventy-one parcels to the south in 1927.107 While development was not instantaneous—Sanborn maps from 1929 show that just ten homes had been constructed in the development by that time—it continued steadily through the 1930s and 1940s.108
105 Ibid.
106 Ibid.
107 Palm Springs Citywide Historic Context Statement & Survey, Historic Resources Group, Overview of Tract Development, 2015.
108 Ibid.
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One of the most significant early residents attracted to Palm Canyon Mesa was King Gillette, the inventor of the safety razor, who built a magnificent home at 324 West Overlook Road in 1923.109 The Spanish Colonial Revival style residence and guest house were surrounded by an acre of landscaped gardens and "a cactus garden of several hundred varieties."110 In 1925, Fulford engaged the renowned architect Paul R. Williams to design at least two of his own residences. The first was at 294 North Crestview, which represented one of the architect's earliest residential commissions.111 In 1933, Fulford again hired Williams to design another residence for his own family, this one at 152 West El Camino Way.112 Fulford's marketing approach for the development emphasized its unique setting and permanent preservation of views. In advertisements, he promoted the fact that "Reservation lands abut on the North and East and being lower in elevation CONSTITUTE A PRESERVATION of the present gorgeous unobstructed desert view. As the Reservation cannot be extensively developed this view CANNOT BE 'BUILT OUT.'"113 The undulating terrain was highlighted as providing "a variety of character in home sites— Hillside, High Elevation, Individual Knolls, Level Estate Sites."114
The success of the development attracted other notable residents and builders. By 1926, homes had been constructed for R. Vaughan and T. A. Rippey of Los Angeles, and for Mrs. Abbott of Pasadena.115 The quality and exclusivity of the development established it as what was described as "the finest desert residential subdivision in the world."116
109 Ibid.
110 Ibid.
111 Ibid. The survey gives the source as “Desert Home to be Built at Palm Springs,” Los Angeles Examiner, March 22, 1925.
112 https://paulwilliamsmapper.com/
113 Palm Springs Limelight-News, March 25, 1934
114 Ibid.
115 Riverside Daily Press (Riverside, California), January 1, 1926. 116 Riverside Daily Press (Riverside, California), Jan 14, 1925.
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Community Involvement and Boosterism
Beyond his real estate development activities, Fulford became one of Palm Springs' most dedicated community leaders and boosters. His commitment to the growth and improvement of Palm Springs was evident in virtually every aspect of civic life during his fifteen years of residence in the desert community.
Fulford's business ventures extended beyond real estate development. He organized the Builders Supply Company and secured the exclusive right to manufacture cement tile in the area.117 The company operated a rock crusher located half a mile south of the village, where gravel and natural stone tile were produced.118 The plant employed fifteen men and was capable of producing 2,000 tiles per day, with such high demand that delivery could not be made for 30 days because of the high volume of orders.119 This enterprise not only provided essential building materials for the growing community but also represented Palm Springs' first manufacturing plant.120
Fulford's involvement in community organizations was extensive and had a significant influence. He served on numerous committees of the Palm Springs Chamber of Commerce, including the Roads and Streets Committee and the Publicity Committee.121 His leadership abilities were recognized when he was elected to serve as the first vice president of the Riverside County Chamber of Commerce, although he was later forced to resign due to ill health.122 Frank V.
Shannon of Palm Springs was elected to replace him, and the organization's secretary was instructed to write a letter of appreciation to Fulford for his services.123
One of Fulford's most significant civic contributions was his role in establishing and managing the Palm Springs Field Club. The organization was incorporated as a
117 The Desert Sun, 10 April 1936.
118 Riverside Daily Press (Riverside, California), February 5, 1926. 119 Ibid.
120 Ibid.
121 Riverside Daily Press (Riverside, California), January 21, 1928. 122 Riverside Daily Press. Tue, Oct 25, 1932.
123 Ibid.
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corporation with a capitalization of $50,000, and thirty acres were purchased in Section 13, one mile east of the village, on Ramon Road.124 The club was designed to provide "a race track and a field for all sorts of equestrian events, such as the Desert Circus."125 Fulford served as one of the eleven directors chosen during the organization's founding and later became the manager of all club activities.126 When the Palm Springs Field Club was organized, "one of the first acts of the prominent men who formed it was to seek Fulford as the manager of all activities for the new and powerful organization."127 In this capacity, Fulford's directing hand was responsible for making "the Third Desert Circus one of the greatest and most successful events ever held in Palm Springs."128 His unfailing efforts went "without stint to guiding to success other enterprises of the club."129 Fulford also played a crucial role in the community's infrastructure development.
He was instrumental in advocating for the construction of a concrete bridge across Tahquitz Creek . Along with Dana Burkes and W. P. Anderson of the Palm Springs Chamber of Commerce , Fulford presented the matter to the county supervisors, resulting in approximately $7,500 budgeted for the construction of a concrete bridge about sixty feet in length.130 This bridge was essential for tourist access to Palm Canyon, which was being considered for designation as a national park.131 The scope of development projects associated with Fulford and his colleagues was impressive. According to Dana Burkes, speaking to the county board of supervisors, Palm Springs was embarking on "one of the biggest building projects in Riverside County, with a new $600,000 hotel, a lodge at the Fulford property, improvements at the Desert Inn of $80,000, and the Oasis Hotel of $75,000."132 The total building program was described as a "million-dollar building program" that
124 The Desert Sun, November 22, 1935.
125 The Desert Sun, November 22, 1935.
126 Ibid.
127 The Desert Sun, April 10, 1936.
128 Ibid.
129 Ibid.
130 Riverside Daily Press (Riverside, California), August 1, 1927. 131 Ibid.
132 Ibid.
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would help establish Palm Springs as "the most popular winter desert resort in the United States."133
Fulford's commitment to community promotion extended to regional advertising efforts. He was appointed to a permanent committee of three, consisting of Raymond Cree, A. F. Hicks, and himself, to organize a group that would handle national and world advertising of the desert resort.134 This committee was tasked with appointing an additional twelve members to create a total group of fifteen that would "select their officers and to decide upon a name for the entire organization," with suggested names including "Palm Springs Associates" and "Desert Sunshine Club."135
Despite suffering from poor health for several years, Fulford continued to fulfill his duties as manager of Field Club events. He attended the Gymkhana at the Field Club grounds on Sunday afternoon and worked tirelessly on the event despite becoming seriously ill.136 "For long days and nights before its presentation, he worked with his assistants on plans for it. Suffering from the last attack, which was to cause his death, he went valiantly on, dashing about the field, between the field and town, attending to the many details and arrangements."137 He continued working through the afternoon and into the evening, attending to countless details and arrangements for the event. When he became seriously ill, Dr. Hill was called and remained with him from 6:00 p.m. until 2:00 a.m.138 At that time, Fulford appeared to be recovering nicely from the attack, and at 11 p.m., he had even joked with his doctor, smilingly saying: "Well, Doc, I suppose I won't be able to go to work tomorrow."139
Dr. Hill went home at 2 o'clock for a brief rest, but a short time later, Fulford got out of bed, and his condition suddenly worsened .140 Mrs. Fulford called Doctors
133 Ibid.
134 Riverside Daily Press (Riverside, California), January 15, 1930. 135 Ibid.
136 The Desert Sun, April 10, 1936.
137 Ibid.
138 Ibid.
139 Ibid.
140 Ibid.
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Hill and Oliver, who rushed to the residence and "used all their medical skill and restoratives in a vain effort to check the ebbing flow of life."141 Despite their efforts, Ted Fulford died quietly and peacefully at 4:30 a.m. Monday at his home in Tahquitz Desert Estates.142
The impact of Fulford's death on the Palm Springs community was profound and immediate. The Desert Sun reported that "Palm Springs was shocked when it learned that Edmond T. Fulford, community leader here since 1921, had died suddenly."143 The extraordinary outpouring of grief and respect was evident in the funeral arrangements and community response.
"Never before in the history of Palm Springs have there been so many floral offerings at a funeral. The casket and the entire front of the church were banked with beautiful flowers, silent messengers of love from the many friends of Ted Fulford here and throughout Southern California."144 Most of the community's prominent citizens were listed among the active and honorary pallbearers, and a large number of citizens accompanied the remains to the Pasadena cemetery for interment in the family burial plot at Mountain View Cemetery.145 The Chamber of Commerce passed a formal resolution of condolence that captured the community's sense of loss: "Whereas, Almighty God in His infinite wisdom has seen fit to take unto Himself one of the outstanding citizens of the village of Palm Springs, and Whereas, in the passing into the Great Beyond of Edmond T. Fulford the village of Palm Springs and his many friends will hereafter be denied the privilege of his wise counsel."146 The resolution noted that "the works created by Edmond T. Fulford during his life in the village of Palm Springs will stand as a reminder and a monument to his foresight and courage and act as an impetus for the carrying out of the principles for which he stood."147
141 Ibid.
142 Ibid.
143 Ibid.
144 Ibid.
145 Ibid.
146 Ibid.
147 Ibid.
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Robert L. Edwards, writing in the local newspaper, captured the sentiments of the community in a memorial poem that included the lines: "He was an able helper where he lived / To bring a fuller life to all. / And many worthy causes miss him now, / Since he has gone beyond recall."148
148 Ibid.
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The 1929 Sanborn Map showing 1752 Ridge Road during the time Fulford owned it, with the original primary residence and guest house.
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Edmund Goulding, circa 1925.
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VII EDMUND GOULDING BIOGRAPHY
EDMUND GOULDING (1891-1959)
Edmund Goulding remains one of Hollywood's most fascinating contradictions— a man whose refined cinematic sensibilities masked a private life of extraordinary hedonism. Born on March 20, 1891, in the London suburb of Feltham, Goulding would traverse from Victorian England's music halls to become one of the most celebrated directors of Hollywood's golden age, all while maintaining what Louise Brooks memorably described as "a vision of sex without sin."149 The trajectory of Goulding's life reads like one of his melodramas, complete with wounds of war, artistic triumph, scandalous affairs, and tragic love. Yet, unlike the tidy resolutions of his films, Goulding's story reveals the messy realities of queer life in an industry built on illusion and the carefully constructed facades that protected Hollywood's most closely guarded secrets.
From London's West End to Hollywood's Back Lots
Goulding's theatrical sensibilities were forged early . Born to humble circumstances to the whimsically named Goalding Goulding and Charlotte Hartshorn,150 young Edmund found his calling through his mother, a passionate theater devotee. By age nine, he was performing in London music halls, singing and acting in productions that included the Walrus in "Alice in W onderland" and the Crier in Sir Herbert Beerbohm Tree's production of "Henry VIII."151
The Great War interrupted what might have been a conventional theatrical career. On the very night Britain declared war on Germany in 1914, Goulding demonstrated his theatrical instincts by writing a one-act play, "God Save the King," which he cast the next afternoon and presented the following Monday at
149 Louise Brooks, quoted in William J. Mann, Behind the Screen: How Gays and Lesbians Shaped Hollywood 1910-1969 (New York: Viking, 2001), 90. 150 Mann, Behind the Screen, 90.
151 Ibid, 91.
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the Palladium Theater before marching off to serve himself.152 He was twice wounded in action in France before being honorably discharged in 1915.153 Rather than returning to London's stages after his military service, Goulding crossed the Atlantic, departing from Liverpool on May 29, 1915, and arriving in New Y ork on June 7.154 This twist of fate proved fortuitous—Hollywood in the 1920s would welcome his particular blend of European sophistication and theatrical flair.
Once settled in New Y ork, Goulding took a sideline job as a cutter at Selznick's studios, earning $40 a week while crafting scenarios that sold for $1,000 each.155 His early work included The Perfect Lover and Sealed Hearts, both starring Eugene O'Brien, with whom Goulding shared what his friend Elsie Janis described as "something sympathique."156 This pattern of close relationships with male actors would become a recurring theme throughout his career.
His breakthrough came when industry veteran James Young traveled from Hollywood to New York specifically to secure Goulding to adapt "The Devil" for George Arliss.157 This led to Tol'able David (1921), directed by Henry King and starring Richard Barthelmess, which became one of the significant hits of 1921 and demonstrated Goulding's ability to adapt literary material to the screen.158 The story of a young boy in the rural South forced to grow up ahead of his years, Tol'able David resonated with Goulding personally—he could relate to the sensitive, different boy yearning to do something meaningful beyond the world into which he was born.159 This early success established his reputation as one of the industry's most promising young writers.
152 Ibid, 91.
153 Ibid, 91.
154 Ibid, 92.
155 Ibid, 91.
156 Ibid, 91-92.
157 Ibid, 92.
158 Ibid, 92.
159 Ibid, 92.
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Goulding directing Joan Crawford and Wallace Beery on the set of “Grand Hotel,”1932.
Goulding's reputation was further cemented by his novel Fury, a seafaring adventure he wrote in just six weeks on hotel stationery after a dinner with author Joseph Hergesheimer that left him insulted by the writer's disparagement of movie talent.160 Published by Dodd-Mead in 1922, Fury became a runaway bestseller with nine printings, proving Goulding's literary credentials and establishing his financial independence.161
By early 1923, Goulding was "one of the best known scenarists in the industry," and in March, he moved to Hollywood as a contract writer for Warner Bros.162 His
160 Ibid, 92.
161 Ibid, 91
162 Ibid, 92.
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screenwriting work included notable Mae Murray films, such as Peacock Alley, Broadway Rose, and Jazzmania, which helped crystallize Murray's extravagant stardom.163 He adored Murray for being larger than life and outrageous, "campy before the word was coined," as one observer noted.164
Goulding and Bette Davis on the set of “Old Maid,” 1939.
The Master of Women's Pictures
When MGM hired Goulding as a screenwriter-director in 1925, they were acquiring not just a craftsman but an artist who would help define the studio's house style of elegant, refined entertainment.
163 Ibid, 92-93.
164 Ibid., 92.
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Goulding's reputation as a "woman's director" was earned through an almost preternatural understanding of female psychology that translated into some of cinema's most enduring performances. His 1927 adaptation of Tolstoy's Anna Karenina, titled Love and starring Greta Garbo and John Gilbert, demonstrated his gift for translating literary passion to the screen. But it was Grand Hotel (1932) that truly established his reputation.165
The irony of Goulding's success with female stars becomes apparent when considered alongside his personal proclivities. Here was a man whose private life centered on an almost exclusively male social circle, yet who could direct Bette Davis to one of her most acclaimed performances in Dark Victory (1939) or coax career-defining work from Joan Crawford in Grand Hotel. This paradox speaks to Goulding's professional mastery—his ability to compartmentalize his desires and channel his understanding of emotional vulnerability into his directorial work.
165 Matthew Kennedy, Edmund Goulding's Dark Victory: Hollywood's Genius Bad Boy (Madison: University of Wisconsin Press, 2004).
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Edmund Goulding at his home at 129 Ocean in Santa Monica.
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Perhaps most remarkably , Goulding directed nine actors to Oscar nominations throughout his career, with Mary Astor winning for The Great Lie (1941) and Anne Baxter for The Razor's Edge (1946).166 Yet despite directing three Best Picture nominees—including the winner Grand Hotel—Goulding himself never received a single Academy Award nomination, an oversight that film historian Matthew Kennedy describes as emblematic of the industry's tendency to overlook directors who worked across multiple genres rather than developing a distinctive auteur signature.167
Marjorie Moss and her dance partner Georges, 1925 photograph by Edward Steichen.
166 "Edmund Goulding - Trivia," IMDb, accessed June 23, 2025. 167 Kennedy, Edmund Goulding's Dark Victory.
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The Marriage of Convenience
The most poignant chapter in Goulding's personal story centers on his 1931 marriage to Marjorie Moss, the acclaimed British dancer who had achieved fame as half of the exhibition ballroom team Fontana and Moss. The union shocked Hollywood not because of any suggestion of romance, but because those in the know understood it as an act of extraordinary compassion.168 Moss had been diagnosed with tuberculosis and given less than three years to live.
According to Louise Brooks, who observed the Hollywood social scene with characteristic acuity, Goulding married his old friend "because she was depressed and poor, and he wanted her to live her last years comfortably, surrounded by friends."169 In 1934, Goulding rented the Fulford residence in Palm Springs as a place for his wife to recuperate, where she “may bathe in the health-giving sunshine.”170 He bought Moss a specially customized ambulance, so that she and interior designer Tom Douglas could shop for furnishings for the desert home. They scoured the countryside for antiques and unusual items to fill the rooms, with her focus on a blue and white scheme, complemented by touches of yellow and pink. The house was completed in November 1934, with newspapers reporting that Moss had moved into her blue and white “dream home.” Goulding said he would be spending most of his time with Moss as she recuperated.171
When Moss died in February 1935, having outlived her doctors' predictions, Goulding rushed to be at her bedside but arrived mere minutes too late.172 The tragedy marked a turning point in his life, coinciding with the escalating scandals that would ultimately lead to his temporary exile from Hollywood.
The Orgies of The Mesa and the Garden of Allah
Goulding's true emotional and sexual life played out far from the soundstages of MGM, in the private spaces where Hollywood's alternative community could exist with relative freedom. He was a regular at Nazimova's Garden of Allah, the
168 "Marjorie Violet Moss Goulding (1893-1935)," Find a Grave, accessed June 23, 2025. 169 Louise Brooks, quoted in "Edmund Goulding," queerplaces, accessed June 23, 2025. 170 Daily News (New York, New York) · Sun, Nov 11, 1934 171 Ibid.
172 "Marjorie Violet Moss Goulding," Find a Grave.
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converted home-into-hotel that continued its tradition of soirees for the stylish crowd, where he became intimate with an extraordinary circle that included Garbo, Noel Coward, George Cukor, William Haines, Cecil Beaton, Cole Porter, and Louise Brooks.173
As Bosley Crowther observed, Goulding possessed striking qualifications for his role as master of ceremonies: "His hair is iron-gray , like a first-class bank director's; his face ruddy and suavely composed, and his dress is impeccable. And, being an Englishman by origin, he speaks with precise inflection and with the same fine command of nice phrases as a character from a Noel Coward play ."174 Goulding's Palm Springs compound in The Mesa reflected his theatrical sensibilities—a Spanish-inspired house and guest house, surrounded by connecting cottages where companions of varying sexual persuasions stayed for extended visits. 175 What distinguished his gatherings from typical Hollywood parties was their carefully orchestrated nature. As screenwriter Frederica Sagor Maas described them, these were "outrageous bisexual galas" where Goulding served as "master of ceremonies," allegedly "initiating more women and men into more kinds of kinky sexual practices than one can imagine," using the promise of screen tests or bit parts as bait.176
Art director George James Hopkins, who attended these events, later described Goulding's "very exclusive gatherings, in which attractive young men and women would be hired to have sex, with Eddie directing them as he would actors on a film set."177 According to Louise Brooks, who provided some of the most vivid descriptions of these events, "All for love, he directed his sexual events with the same attention he gave to the directing of films. His clients might be the British aristocracy ,
173 Mann, Behind the Screen, 90.
174 Ibid., 90.
175 Geoffrey Moore, "The Mesa Neighborhood in Palm Springs," accessed June 23, 2025; David Wallace, "Gay Palm Springs: How it Came to Be in the Desert," Palm Springs Life, March 8, 2024.
176 Mann, Behind the Screen, 90-91.
177 George James Hopkins, quoted in Matthew Kennedy, "Edmund Goulding: Biographer Matthew Kennedy Discusses Renowned Filmmaker," Alt Film Guide, September 5, 2021
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bankers, or corporate executives. His call girls might be waitresses or movie stars."178
These weren't merely hedonistic affairs but carefully orchestrated performances that satisfied Goulding's dual roles as voyeur and artist. At such events, Goulding's preference for males was widely known, while fellow director Mickey Neilan typically "corralled" the women participants.179
The Cultural Context of the 1920s
To understand Goulding's behavior and the tolerance it received, one must consider the cultural context in which he lived. Hollywood in the 1920s existed in a unique period of sexual freedom that would not survive the moral crackdowns of the following decade. As Goulding himself observed about the changing nature of male screen heroes: "The Bill Harts and Tom Mixes aren't the screen heroes anymore.
The he-men in beards and buckskins are only favorites with the very juvenile minds. Today, the suave, cultured, rich athletic boys with brains are the heroes of the mob.
Y ou'll find a decided tendency among the movie heroes to combine culture and polish with a particular facility in amour."180
This was the era when, as Mercedes de Acosta recalled, "many young women wanted to look masculine and many young men wanted to look feminine."181 The increasingly androgynous male heroes of the screen—Valentino, Ramon Novarro, Antonio Moreno, even John Barrymore and John Gilbert—represented a new cultural moment when sexual ambiguity was seen as a sign of artistic sophistication, and success was considered a form of allure.182 In such a context, homosexuality became less a taboo and more an exotic indulgence. Hollywood was, in truth, a haven for same-sex lovers—not merely
178 Mann, Behind the Screen, 91.
179 Ibid, 93.
180 Ibid, 91.
181 Ibid, 92.
182 Ibid., 93.
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tolerating them but considering them chic.183 Goulding was a man in easy lockstep with his era, embodying the freedom and license that George Cukor would later remember with the wistful phrase "La Belle Epoque."184
Scandal and Exile
By the mid-1930s, Goulding's extracurricular activities had begun attracting unwanted attention. Stories of his bisexual galas had circulated since the 1920s.
Still, a particularly notorious party allegedly sent two young women to the hospital, prompting Irving Thalberg to send Goulding to Europe until the scandal subsided.185 Even in London, he encountered further difficulties, as studio lawyer Mabel Willebrandt had to write to the State Department in December 1932 inquiring into Goulding's detainment on "an immorality charge of some kind."186 The producer who had championed Grand Hotel and appreciated Goulding's artistic talents understood that the director's value to MGM was offset by his potential to create public relations disasters. Upon his return, Goulding found that his position at MGM had been considerably weakened. Louis B. Mayer, whose antipathy toward homosexuals was well-documented, had grown tired of managing Goulding's scandals. After directing two minor films, Riptide (1934) and The Flame Within (1935), Goulding was fired, with Mayer citing his "unapologetic attitude toward sex."187
The dismissal from MGM marked the end of Goulding's golden period but not his career. Warner Bros. welcomed him, where he would direct some of his finest work, including The Dawn Patrol (1938) with Errol Flynn and three memorable Bette Davis vehicles: Dark Victory (1939), The Old Maid (1939), and The Great Lie (1941).188
183 Ibid., 93.
184 Ibid., 90.
185 "Edmund Goulding," queerplaces. Mann, Behind the Screen, 91. 186 Ibid.
187 "Edmund Goulding," Silents Are Golden, accessed June 23, 2025. 188 “Edmund Goulding," Turner Classic Movies, accessed June 23, 2025.
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The Hidden History of Queer Hollywood
Goulding's story illuminates the complex ecosystem that allowed gay and lesbian individuals to thrive in Hollywood during an era when their sexuality was both illegal and professionally suicidal if exposed. As Frederica Maas noted, "Everyone from the grips to the executives knew what Goulding was up to," yet his talent provided a form of protection that allowed him to operate with relative impunity for over a decade.189 As Maas explained, "Sexual excesses were rampant everywhere but particularly at MGM. If anything went wrong, MGM managed to save itself from notoriety, all the while being permissive with dissolutes like Edmund Goulding."190
Ironically, the studio with the most tyrannical moralizing chief, Louis B. Mayer, was also filmdom's most licentious, an explanation that can be attributed to MGM's status as the largest studio with the most extensive publicity machine and influence among press and police.191 In the days before the Production Code clampdown, Goulding's entertainments were not only tolerated by studio brass but possibly even tacitly encouraged, with studio heads like Hunt Stromberg rumored to participate.192
The director's relationship with other gay figures in the industry—including George Cukor, who would "sigh and smile enigmatically" when Goulding's name was mentioned, whispering "La Belle Epoque" with apparent nostalgia—suggests a network of mutual support and shared understanding.193 These relationships existed parallel to the heterosexual facade that Hollywood presented to the world, creating what Mann describes as "duchies" within the studio system where homosexuality was not just tolerated but celebrated.
Despite later attempts by some contemporaries like Frederica Maas to paint him as a tortured soul seeking absolution, Goulding himself displayed little evidence of
189 William J. Mann, Behind the Screen, quoted in "Why do you think they called them 'best boys'?" Salon, November 8, 2001.
190 Mann, Behind the Screen, 91.
191 Ibid., 91.
192 Ibid., 91-92.
193 George Cukor, quoted in "Edmund Goulding," queerplaces.
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guilt about his lifestyle. Maas claimed he was "an ardent Christian Scientist who read his Bible every morning when he got up" and served as his "mother confessor, to ease his troubled conscience."194 However, she was the only one to recall such a "troubled conscience."195
In reality , Goulding was refreshingly honest about his priorities and motivations. "Studio people think I'm a little crazy," he admitted. "Actually my trouble is that I'm a dilettante, a wandering minstrel at heart. I've never got settled, never married, never have any money and come to work only because I need the dough."196 Studio press releases quoted him as believing he had "gypsy blood," because he would never remain long in any one spot, perhaps because, as observers noted, he was always looking over his shoulder for somebody's husband or wife.197 Artistic Legacy and Personal Decline
As the studio system evolved and social attitudes slowly shifted, Goulding found himself increasingly out of step with changing times. His later films for Twentieth Century-Fox, including The Razor's Edge (1946) and Nightmare Alley (1947), demonstrated his continued mastery of stylish dramatic material; however, his excesses had begun to take their toll.198
If Hollywood had not changed—had there been no enforcement of the Production Code in 1934 and no sweeping change in the political climate—Goulding might not have become such a mythical figure. But as circumstances evolved, he came to represent "A Time Before" in a present so colored by "What Came After."199 When historian Kevin Brownlow was compiling his landmark study of the silent era in the 1970s, he found that few would talk about the man who made Love and Grand Hotel; what Goulding represented was apparently too much for them to remember, at least out loud.200
194 Mann, Behind the Screen, 91.
195 Ibid., 91.
196 Ibid., 90.
197 Ibid., 90.
198 "Edmund Goulding," Britannica, accessed June 23, 2025. 199 Mann, Behind the Screen, 92.
200 Ibid., 90.
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Matthew Kennedy's biography reveals a man increasingly dependent on alcohol and struggling with depression, conditions exacerbated by the deaths of close friends and the gradual dissolution of the social world that had sustained him.201 By the 1950s, Goulding had settled into a quieter existence, living with his mother and sister and directing comedies like Mister 880 (1950) and We're Not Married (1952).202
His final film, Mardi Gras (1958), starring Pat Boone, suggested how far removed he had become from the tasteful entertainments that had defined his peak years.203 When Goulding died during heart surgery at Cedars of Lebanon Hospital on December 24, 1959, he was buried at Forest Lawn Memorial Park in Glendale, his grave marking the end of an era when artistic talent could provide sanctuary for lives lived outside conventional boundaries.
Edmund Goulding’s legacy in film history suffers from his very versatility; lacking the distinctive visual style of a John Ford or the thematic consistency of a Frank Capra, Goulding's contributions have been overshadowed by directors whose work fits more neatly into auteur theory. Yet his influence on acting, his mentorship of young talent, and his role in shaping MGM's house style during its golden age remain significant.
201 Kennedy, Edmund Goulding's Dark Victory.
202 Edmund Goulding," Britannica.
203 Ibid.
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Portrait of designer Tom Douglas in his Los Angeles home, 1940. Maynard L. Parker, photographer. Courtesy of The Huntington Library, San Marino, California.
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VIII TOM DOUGLAS BIOGRAPHY
Tom Douglas: An Ethereal Star of Stage and Screen in the 1920s and 1930s Tom Douglas (September 4, 1896 - May 4, 1978) was a figure whose "ethereal beauty" and extraordinary talent made him a sensation on both sides of the Atlantic during the 1920s and 1930s. 204 His career trajectory —from Kentucky aristocrat to international stage star to Hollywood's golden boy, and finally to one of the movie colony 's most sought -after interior designers —represents his remarkable ability to reinvent himself in a new creative field.
Early Life and Theatrical Beginnings
Born Thomas Jefferson Doolan in Louisville, Kentucky, on September 4, 1896, Tom Douglas came from distinguished American lineage. He was "a direct descendant of Thomas Jefferson and, according to his family tree, the ninth great-grandson of Pocahontas."205 His father, William L. Doolan, was a member of "one of the oldest established law firms below the Mason-Dixon Line, Trabue, Doolan, and Cox," and naturally expected his son to follow in the legal profession.206 However, Douglas had other plans.
In a moment that would define his life, young Douglas "packed his clothes, gave away his books, and ran away to become an actor" from his private school in Louisville.207 His father, believing "the boy would soon tire of trying to make his own living," decided that "letting him alone would cure him of his stage -struck notions."208 This laissez-faire approach would prove spectacularly misguided, as Douglas's talent quickly opened doors in the entertainment industry.
At the remarkably young age of fifteen, Douglas was discovered and "selected from a mass of extras to appear opposite Dorothy Gish in D.W. Griffith's The
204 Mann, Behind the Screen, 261.
205 "Latest Griffith Find," The World-News (Roanoke, Virginia), December 17, 1920, 18. 206 Ibid.
207 "Tom Douglas Star On Stage When Only 17," Evening Express (Portland, Maine), October 5, 1931.
208 Ibid.
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Country Flapper."209 Contrary to some accounts that suggest this was his 1922 debut, Douglas had already begun his film career in 1920, though The Country Flapper with Dorothy Gish would indeed be filmed in 1922 and mark a significant early role.210 He was chosen, as he later self-deprecatingly noted, "because of his youth and 'because I looked like a hick.'" 211 Notably, contemporary accounts describe him as dark -haired during this period, though later London observers would characterize him as having a "tousle of straw."212 This early association with the Griffith forces ——renowned for their "special talent... in discovering youthful talent and bringing it to the screen"——proved fortuitous.213 The Griffith organization's faith in Douglas was well-placed. As one contemporary account noted, "The Griffith forces predict a bright future for Tom Douglas due to his youthfulness, good looks, and latent dramatic ability." 214 During the 1920s, he worked at Fox Studios, appearing in films such as Blinkeyes (1926), which helped establish his reputation as a silent screen actor.215
209 Ibid.
210 Mann, Behind the Screen, 112.
211 Evening Express (Portland, Maine), October 5, 1931. 212 Patrick McGilligan, George Cukor: A Double Life: A Biography of the Gentleman Director (New York: St. Martin's Press, 1991).
213 "Latest Griffith Find," Passaic Daily News, July 7, 1920. 214 Ibid.
215 Ibid.
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From “The Courier-Journal” (Louisville, Kentucky) · Sun, Aug 20, 1922 Vaudeville Success and Transition to the Stage
Douglas's transition from silent films to live performance came through vaudeville, where he "toured the country for more than a year in Booth Tarkington's sketch, When Love Is Young."216 The Baltimore Evening Sun praised his work, noting that the play featured "consummate skill" and describing Douglas as having "so much ingratiating charm." 217 The reviewer particularly highlighted the chemistry between Douglas and his co -star Lillian Ross, observing that "their scenes are admirably acted and most amusing."218 It was during this vaudeville tour that Douglas caught the attention of George Tyler, a New York producer who "saw him in the act and signed him to a
216 Evening Express (Portland, Maine), October 5, 1931. 217 The Courier-Journal (Louisville, Kentucky), June 18, 1922. 218 Ibid.
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contract."219 Tyler's decision to send Douglas to London to star in Merton of the Movies would prove transformative for the young actor's career.
Miss Jeanne De Casalis and Mr Tom Douglas by Einar Nerman In " Fata Morgana" Miss Jeanne De Casalis and Mr Tom Douglas by Einar Nermans (1888-1983). Illustration showing the actors dressed in romantic attire while playing as Mathilde Fay, the married temptress and George in Ernest Vajdas arresting play. Posed in Nermans typical red and black style. A scene of seduction and acting. Date: 1924
219 Evening Express (Portland, Maine), October 5, 1931.
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London Triumph: The Making of a Matinee Idol
Douglas's arrival in London marked the beginning of what George Cukor would later call "La Belle Epoque," remembering it "as much for Tom Douglas' ethereal beauty as Edmund Goulding's rowdy revelries." 220 At just seventeen years old, Douglas became a sensation in the British capital, maintaining "his position as the youngest star at 17, by more than 10 years."221 His performance in Merton of the Movies was nothing short of revelatory to London audiences.
Emlyn Williams, in his memoir, captured the almost supernatural appeal Douglas possessed: "With his short nose and wide soft mouth that seemed not to know its potency, he cast a spell over his sex, as often as not in unexpected quarters."222
This ability to captivate audiences regardless of gender became a hallmark of Douglas's appeal. The English Review noted that "The London success of Tom Douglas and Tallulah Bankhead...was a phenomenon of the two-faced Twenties," attributing their success to "beautiful" American accents "with a timbre steeped as deep in sex as the human voice can go without drowning."223 Douglas's social life in London was equally glittering. In 1926, Cecil Beaton attended a party at the home of British Vogue editors Madge Garland and Dorothy Todd, where he encountered Douglas, among other luminaries, including Elizabeth Ponsonby and Cynthia Noble. At this same gathering, Freddie Ashton performed his famous "shy -making imitations of various ballet dancers and Queen Alexandra, the sort of thing one is ashamed of and only does in one's bedroom in front of large mirrors when one is rather excited and worked up."224 Douglas's presence at such gatherings demonstrates his integration into London's most sophisticated artistic circles.
220 Mann, Behind the Screen, 112.
221 Evening Express (Portland, Maine), October 5, 1931. 222 Mann, Behind the Screen, 112.
223 Martin Green, Children of the Sun: A Narrative of "Decadence" in England after 1918 (New York: Basic Books), 724.
224 Ibid.
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Fata Morgana: A Career-Defining Role
While Douglas had several successes in London, his performance in Fata Morgana elevated him to legendary status. The play, adapted from the Hungarian by Ernest Vajda, provided Douglas with perhaps the most challenging role of his career. Playing George, an eighteen-year-old innocent boy whose encounter with his cousin's refined wife brings both "the beautiful illusion of great love" and "the terrible fading of the illusion," Douglas demonstrated acting abilities that belied his youth.225
The critics were unanimous in their praise. The English Review's assessment was exceptionally detailed: "Tom Douglas has a part which might well test the powers of an old and experienced actor. It is his play, yet for long periods when he is on
225 The English Review 39 (November 1924): 724.
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the stage he hasn't a line to utter, and it is the supreme brilliance of his acting that every line of his body is eloquent at those moments... Standing on the hither side of sophistication, one sees every thought take hold of his mind long before words or actions have evidenced it."226
The play's impact was profound. As one observer noted, "The acting of Tom Douglas was flawless. He held the audience entranced. All London talked of him.
The play ran to packed houses for a year."227 The success was so complete that it inspired other writers to create vehicles specifically for Douglas, most notably John Van Druten, who "fell hard for the pretty young actor" and wrote Young Woodley expressly for him.228
Critical Acclaim and Artistic Recognition
Douglas's string of London successes —— including Seventeen, An American Tragedy, Growing Pains, The Butter and Egg Man , and Young Woodley —— established him as more than just a pretty face. Critics consistently praised his depth and versatility. When he tackled Ibsen's Ghosts opposite Mrs. Patrick Campbell, a San Francisco reviewer declared that "he gave a performance marked by sheer artistry" and concluded that Douglas provided "one of the finest performances seen on a San Francisco stage in recent years."229 The respect Douglas commanded from his peers was perhaps best exemplified by Sir James Barrie's interest in his talent. Following Douglas's London successes, Barrie "has such a high opinion of Douglas that he has promised to write a play for him with a mal e role that will be the counterpart of Peter Pan." 230 This promised collaboration with one of Britain's most celebrated playwrights represented the apex of theatrical recognition.
226 Ibid.
227 Cecil Roberts, The Bright Twenties: Being the Third Book of an Autobiography, 1920-1929 (London: Hodder & Stoughton), 196.
228 Mann, Behind the Screen, 112.
229 The Courier-Journal (Louisville, Kentucky), December 7, 1930. 230 The Courier-Journal (Louisville, Kentucky), October 5, 1924.
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Hollywood and the Challenges of Film
Despite his theatrical triumphs, Douglas's transition to Hollywood talkies proved challenging. By the early 1930s, he was appearing in films such as Guilty or Not Guilty (1932) and Broken Lullaby (1932), having signed with Paramount to make his talking screen debut in The Road to Reno alongside Peggy Shannon. 231 However, the medium that had launched his career now seemed less hospitable.
As William J. Mann notes in his study of gay actors in Hollywood, Douglas "never quite took off" in films, playing leads in Poverty Row pictures and bits in quality ones."232
The reasons for Douglas's limited film success are complex. The Hollywood of the early 1930s was undergoing significant changes, both technologically with the advent of sound and socially with increasing scrutiny of actors' personal lives.
Douglas was part of what Mann identifies as a "tremendous influx of gay actors
231 Ibid.
232 Mann, Behind the Screen, 112.
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into Hollywood in the late 1920s and early 1930s," a group that faced particular challenges as the industry's moral climate shifted.233
George Cukor, who remained a lifelong friend, remembered Douglas as epitomizing the era's particular blend of talent and tragedy. Douglas became a regular at Cukor's famous poolside parties, part of a "sophisticated" gay and gay- friendly crowd that included William Haines, Edmund Lowe, Kay Francis, and Cary Grant. 234 But as Mann observes, "La Belle Epoque had taken its toll" on many of these actors, with friends noting that Douglas's "looks faded quickly."235 Personal Life and Later Years
Douglas's personal life, while necessarily discreet given the era's constraints, was marked by significant relationships within the theatrical and film community.
His friendship with George Cukor was remarkably enduring, with Cukor continuing to speak of Douglas's impact long after his death . The director's characterization of the early 1930s as "La Belle Epoque" was explicitly tied to his memories of Douglas's "ethereal beauty."236
By the mid-1930s, Douglas had largely withdrawn from performing. Unlike some of his contemporaries who remained in the industry in different capacities, Douglas "would leave the industry for interior decoration," joining his friend William Haines in what became a successful second career.237 This transition from the spotlight to behind -the-scenes creative work was perhaps a wise choice, allowing Douglas to maintain his dignity and avoid the often cruel fate of fading juvenile actors.
Reinvention as Hollywood's Premier Interior Designer
Douglas's transformation from actor to interior designer proved to be one of the most successful career pivots in Hollywood history. His first major decorating
233 Ibid., 110.
234 Ibid., 144.
235 Ibid., 112.
236 Ibid., 112.
237 McGilligan, George Cukor, 184.
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commission came in 1935, with the remodeling of a house for Kay Francis, 238 marking the beginning of what would become an illustrious second career. By 1940, Douglas had established himself at 8426 De Longpre in Hollywood, and his client roster read like a who's who of Hollywood royalty.
Actress Kay Francis on her Tom Douglas-designed patio. Maynard L. Parker, photographer.
Courtesy of The Huntington Library, San Marino, California.
238 Interiors 1942-08: Vol 102 Issue 1.
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Tom Douglas’ interior design for actress Kay Francis in 1935 was his first major project, and put his services in high demand. The home was featured in “Architectural Digest,” “House & Garden,” and “House Beautiful.” Maynard L. Parker, photographer. Courtesy of The Huntington Library, San Marino, California.
His design philosophy was refreshingly unpretentious. As House Beautiful noted in March 1942, Douglas "doesn't like to be called a decorator" and acts "so much like the owner of every house he decorates. His first aim is to put his client's personality into the job. He feels complimented when the client takes the credit!"239 This approach, combined with his intimate understanding of his clients' needs as a former performer himself, set him apart in the competitive world of Hollywood interior design.
Douglas's versatility as a designer was remarkable. Modern design didn't particularly please him, he admitted, "But he does it if it suits the person he's
239 House Beautiful March 1942, 26.
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designing for. 'Strangely enough,' he adds, 'I like it while I'm doing it for that particular client.'"240 This adaptability reflected his background as an actor—— the ability to inhabit different roles and make them authentic. His work on the Norris and Elizabeth Goff house in Encino, which was featured in House Beautiful in January 1942, exemplified this approach. Douglas defined the style as "Farm House Early American, with the cuteness and primness taken out," creating what the magazine termed "Twentieth Century Colonial."241
Douglas’ design for Myrna Loy and her husband Arthur Hornblow, Jr., 1938.Maynard L.
Parker, photographer. Courtesy of The Huntington Library, San Marino, California.
240 Ibid.
241 Ibid.
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Tom Douglas’ 1940s interiors for Mr. and Mrs. Alfred Hitchcock. Maynard L. Parker, photographer. Courtesy of The Huntington Library, San Marino, California.
High-Profile Commissions and Celebrity Clients
Douglas's client list was extraordinary, including Greta Garbo, Cary Grant, Carole Lombard, Clark Gable, Olivia de Havilland, Alfred Hitchcock, Alan Ladd, Eartha Kitt, Arthur Hornblow Jr., Myrna Loy, and Ralph Bellamy.242 His work extended beyond private residences to include some of Hollywood's most famous nightspots. In 1940, he collaborated with architect George Vernon Russell on the decoration of Ciro's, one of Hollywood's most glamorous nightclubs.
242 The man who invented Las Vegas by Wilkerson, W. R., 1951-, page 43; Huntington Library, Maynard Parker Collection project listings.
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A living room at the residence of Eartha Kitt, late 1950s. Maynard L. Parker, photographer.
Courtesy of The Huntington Library, San Marino, California.
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The creation of Ciro's showcased Douglas's ability to design for spectacle and glamour. Under the supervision of owner Billy Wilkerson (publisher of the Hollywood Reporter), Douglas created the latest in Hollywood glamour, with walls draped in heavy, ribbed silk, dyed pale reseda green, and a ceiling painted American Beauty red. The movie stars sank themselves into wall sofas also of silk, dyed to match the ceiling. Bronze columns and urns served as lighting fixtures that flanked the bandstand." 243 The club became the epitome of Hollywood sophistication, with "everybody that's anybody" gathering there for post-premiere parties, benefits, and birthdays.
Douglas's success with Ciro's led to another major commission when Billy Wilkerson summoned both Russell and Douglas to design what would become the El Rancho Vegas in 1945. This project represented Douglas's expansion beyond Hollywood into the nascent Las Vegas entertainment scene, working with clients who "knew that only the most breathtaking venue would lure patrons into Nevada's searing desert."244
Another high-profile project of the period was his collaboration with architect Paul R. Williams for the Saks Fifth Avenue store in Beverly Hills, which opened in 1939. Douglas’ interiors for the elegant department store were showcased in several design magazines of the day.
243 Out with the stars: Hollywood nightlife in the golden era by Heimann, Jim, 1948- , Abbeville Press, 183.
244 The man who invented Las Vegas by Wilkerson, W. R., 1951- , page 43.
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Tom Douglas’ interior design for the Paul R. Williams-designed Saks Fifth Avenue store in Beverly Hills, 1939. From “California Arts & Architecture,” December 1939.
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Tom Douglas’ interior design for the Paul R. Williams-designed Saks Fifth Avenue store in Beverly Hills, 1939.Maynard L. Parker, photographer. Courtesy of The Huntington Library, San Marino, California.
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Professional Recognition and Industry Leadership
By 1947, Douglas had achieved such prominence in his field that he was named chairman of the Southern California Chapter of the American Institute of Decorators (AID).245 This position reflected not only his commercial success but also his peers' recognition of his artistic and professional standards. His work was regularly featured in major publications including House Beautiful, Interiors magazine, and California Arts & Architecture.
Douglas's approach to design emphasized comfort above all else. As House Beautiful noted, "When he designs a chair or a room or a house, he puts comfort first and worries about making it 'pretty' later."246 He favored antiques, "pairs of things," and balance, but most importantly, he understood the practical needs of his celebrity clients who required both elegance and functionality in their homes.
245 The Los Angeles Times, December 23, 1947.
246 House Beautiful March 1942, 26.
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Tom Douglas’ swanky interior design for Ciro’s nightclub in Hollywood, 1940. George Vernon Russell, architect. Maynard L. Parker, photographer. Courtesy of The Huntington Library, San Marino, California.
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Tom Douglas’ swanky interior design for Ciro’s nightclub in Hollywood, 1940. George Vernon Russell, architect. Maynard L. Parker, photographer. Courtesy of The Huntington Library, San Marino, California.
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Tom Douglas’ western saloon chic restaurant at Billy Wilkerson’s El Rancho Vegas. Wayne McAllister, architect. Maynard L. Parker, photographer. Courtesy of The Huntington Library, San Marino, California.
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The Palm Springs Retreat: A Personal Design Statement
Perhaps nowhere was Douglas's design philosophy better expressed than in his own Palm Springs Mesa retreat at 356 Ridge Road. Originally owned by Vera Abbot Douglas began renting the house in 1935, when the expansion and remodeling of the Gould compound began. He purchased the property in 1939 for $15,000.247 The house became a showcase for Douglas's design principles and "the Palm Springs home of many famous stars of the screen in recent years."248 California Arts & Architecture featured the house extensively, describing it as built "on one of the highest sites near Palm Springs...about a mile from the village, high up on a mountainside." 249 Like the Goulding Residence, t he house was constructed of concrete tile that had been whitewashed, with a white shingle
247 The Desert Sun, May 19, 1939.
248 The Desert Sun, October 1, 1943.
249 "The Desert Retreat of Mr. Tom Douglas, Decorator," California Arts & Architecture, 2-39.
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tile roof "in the manner of the houses in Bermuda. Shutters and trim are of a eucalyptus green, the steps and terraces are of natural stone or old brick."250 The interior design reflected Douglas's understanding of desert living. As the magazine noted, "The interior has no definite style of decoration; it is planned for modern comfort with particular attention to the peculiar climatic conditions."251 Because of the cool nights, the house was carpeted throughout; however, due to the daytime heat, "all colors and fabrics were chosen in light, cool shades."252 The living room featured concrete walls painted "a cool eucalyptus green," with a carpet of the same color, while the high ceiling and stone fireplace were whitewashed.253
250 Ibid.
251 Ibid.
252 Ibid.
253 Ibid.
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From “Interiors” magazine, November 1941.
Douglas's attention to the practical aspects of desert living was evident throughout. Because of the magnificent views, there were many windows, "but all are equipped with Venetian blinds and heavy draperies to shut out the sun when desired."254 The master bedroom was particularly innovative, built "away from and below the main house, directly above the swimming pool,"255 creating a private retreat within the retreat.
254 Ibid.
255 Ibid.
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The house became legendary in Palm Springs society. When Douglas sold it in 1943 to Jacqueline Freeman (daughter of the Irish Sweepstake king) , who had just married Al Wertheimer, the local newspaper described it as "one of the showplaces of Palm Springs."256 The sale was notable enough to make front-page news in the Desert Sun, an example of Douglas's prominence in the community, and the house's reputation as a landmark.
256 The Desert Sun, October 1943.
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Tom Douglas Residence. Maynard Parker photograph. Courtesy of The Huntington Library, San Marino, California.
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Tom Douglas entertains friends, including Elizabeth Gordon, the influential editor of “House Beautiful.” Maynard Parker photograph. Courtesy of The Huntington Library, San Marino, California.
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Maynard Parker photograph. Courtesy of The Huntington Library, San Marino, California.
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The living room, Tom Douglas residence. Maynard Parker photograph. Courtesy of The Huntington Library, San Marino, California.
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Tom Douglas residence, dining room. Maynard Parker photograph. Courtesy of The Huntington Library, San Marino, California.
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Bedroom, Tom Douglas residence. Maynard Parker photograph. Courtesy of The Huntington Library, San Marino, California.
Legacy of the Interior Design Career
Douglas's success as an interior designer was remarkable not only for its commercial achievements but also for the way it demonstrated his artistic evolution. The same sensitivity to mood, atmosphere, and emotional truth that had made him a compelling acto r served him well as a designer. His ability to understand his clients' personalities and translate them into living spaces reflected the empathy and observational skills he had honed while performing on stage.
His work represented a bridge between the theatrical world and domestic design, bringing a sense of drama and sophistication to private spaces while maintaining the comfort and functionality that modern living required. The fact that so many
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of his celebrity clients were also his personal friends speaks to his ability to maintain professional relationships built on trust and mutual respect.
Douglas lived for several more decades in relative privacy, passing away on May 4, 1978, at the age of 81, in Cuernavaca, Mexico.
IX HISTORIC AERIALS
1939. Courtesy of UCSB Library Geospatial Collection.
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1953. Courtesy of UCSB Library Geospatial Collection.
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1978. Courtesy of UCSB Library Geospatial Collection
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X CONTEMPORARY PHOTOGRAPHS – TAKEN
BY THE AUTHOR, MAY 2025
1752 RIDGE ROAD
Primary Residence
The primary facade of the primary residence, from Ridge Road. Curving pony walls are not original.
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View towards the primary residence shows one of Paul Avery’s original multi-trunk olive trees, with later pony walls.
The carport on the south side of the primary residence.
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The large living room of the primary residence.
The dining room of the primary residence.
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The front bedroom of the primary residence.
The bathroom between the bedrooms on the upper level of the primary residence.
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The rear bedroom on the upper floor of the primary residence.
View of the biomorphic swimming pool from the rear bedroom of the primary residence.
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View out from the covered patio of the primary residence.
The covered upper patio of the primary residence.
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View towards the primary residence and guest house from pool area.
The south gabled wing of the primary residence with later funicular.
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The 1960s funicular system from the lower portion of the primary residence.
The stairs leading down from the covered patio to the terraces below.
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From the grass terrace below the primary residence, looking down on the paved terrace below.
The lower terrace at the primary residence, some of the original Mission Tile paving has gone missing. Note the native granite pony walls, some serving as retaining walls.
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The lower portion of the primary residence, the north facade.
Some of the landings created by Paul Avery’s terracing system. Originally these were covered in turf, and served as sitting areas or recreation spots.
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The biomorpic swimming pool designed by Paul Avery.
View from the pool pavilion up towards the primary residence and guest house.
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The pool pavilion.
The fireplace in the pool pavilion.
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From inside the pool pavilion, looking north. The rear wall with lower retaining wall at right angle. Note open beamed ceiling.
View across the pool to the pool pavilion.
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One of the original varnished native ledge stones that was imbedded in the coping of the pool. The original sandstone paving was later replaced with Kool Deck surfacing.
The native granite stacked retaining wall system.
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View across the pool towards the pool pavilion, looking north.
The primary residence at the crest of the hill, with native stone retaining walls, designed by Paul Avery.
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The guest house.
Below Ridge Road, the area between the primary residence and the guest house.
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A portion of the waterfall feature, which cascaded down the hill from Ridge Road. Originally, there was a bridge traversing this man-made stream, but that has since been filled in.
View from pool area up towards guest house, showing portion of old waterfall feature.
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View from the balcony of the guest house.
The lower portion of the north facade of the primary residence.
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The balcony structure of the guest house at 1752 Ridge Road. Note the arched opening in the wall joining the guest house with the primary residence.
From the rear of the primary residence, a view of the rear facade of the guest house.
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The primary facade of the guest house at 1752 Ridge Road.
The parking area along Ridge Road, adjacent to the primary residence and guest house.
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The parking area across from the primary residence.
From Ridge Road, looking north-east to the primary residence and guest house at 1752 Ridge Road.
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View from upper south entry, looking north towards primary residence.
From the parking area just inside the upper south entrance, from left: the guest cottage, servant’s quarters and garage at 1716 Ridge Road; the north elevation of the primary residence at 1752 Ridge Road.
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The primary and north elevations of the guest cottage. The tile-roofed balcony is original.
Partial view of south facade of guest cottage.
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From inside the guest cottage, the fireplace is now freestanding with the removal of partial walls, and later addition of roofed structure.
The rear (west) facade shows how guest cottage was nestled into the canyon hillside.
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The servant’s quarters as seen from the guest cottage balcony. Plywood roofed overhang is later addition.
The garage structure and servant’s quarters.
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Partial view of garage structure.
Original roof tiles stacked outside the garage structure.
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The original wooden garage doors and tiled roof.
The primary elevation of the servant’s quarters and garage structure. The roofed area at the front is a later addition.
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The south-east corner of the servant’s quarters, which have been significantly altered.
The primary elevation of the guest cottage at 1755 is hidden behind a later wall and entry structure addition.
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South-west corner of 1755 Ridge Road, showing later wall and entry.
South elevation of 1755 Ridge Road.
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Later wall addition at primary elevation of 1755 Ridge Road.
Later wall addition along Ridge Road.
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North-east elevation of 1755.
Later entry and wall at 1755 Ridge Road.
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Later wall addition enclosed a private patio space at the front of 1755.
North elevation and patio at 1755 Ridge Road.
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North elevation of 1755 Ridge Road.
Front of house behind later wall addition.
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Original lowered tile-roofed overhang is missing, there are voids where the beams once were imbedded into the wall.
Original lowered tile-roofed overhang is missing, there are voids where the beams once were imbedded into the wall.
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French doors at the rear of 1755 Ridge Road.
Rear of 1755 Ridge Road.
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Rear patio and facade at 1755 Ridge Road.
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ATTACHMENT D
(HSPB Resolution, Report, Minutes)
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HISTORIC SITE PRESERVATION BOARD
STAFF REPORT
DATE: February 3, 2026 PUBLIC HEARING
SUBJECT: APPLICATION BY LUCIEN WOLFF FOR HISTORIC SITE DESIGNATION OF “THE EDMUND GOULDING RESIDENCE” LOCATED AT 1752 RIDGE ROAD, (APN 513-352-002) CASE: HSPB #171 (SY)
FROM: Department of Planning Services
SUMMARY
This request for Class 1 historic designation i s an application submitted by the current owner of the property following detailed discussions about future alterations to the existing site addressed 1752 Ridge Road. The property is identified as a Class 3 site eligible for designation due to its association with individuals and periods of significance. The report provides a comprehensive overview of three individual parcels, but the designation request is for 1752 Ridge Road which contains the primary residence and adjacent guest house. The period of significance from this site is 1928-1941.
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 #171, “A RESOLUTION OF
THE HISTORIC SITE PRESERVATION BOARD OF THE CITY OF PALM
SPRINGS, CALIFORNIA, RECOMMENDING THAT THE CITY COUNCIL DESIGNATE “THE EDMUND GOULDING RESIDENCE” LOCATED AT 1752 RIDGE ROAD, AS A CLASS 1 (LANDMARK) HISTORIC RESOURCE, HSPB #171, SUBJECT TO CONDITIONS (APN #513-352-002).”
BACKGROUND AND SETTING:
The Edmund Goulding Residence is in the Mesa neighborhood on a hillside lot that is approximately 0.58 acres in size. Developed by Edmon d Fulford in the 1920s, this subdivision was intended to be a high-end residential community in the Spanish Colonial Revival style of architecture that i ntegrates the natural desert landscape while providing a high level of privacy . After renting from Fulford for a few years , film director Edmund Goulding purchases several lots in the vicinity , including 1725 Ridge Road, and transforms the area into a compound by constructing more structures and enhanc ing
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Historic Site Preservation Board Staff Report February 3, 2026 HSPB-171 – The Edmund Goulding Residence