Palm Springs City Council
July 8, 2026

ADOPTED THIS ___DAY OF ________________, _________.

SCOTT C. STILES

CITY MANAGER
ATTEST:

BRENDA PREE

CITY CLERK

CERTIFICATION

STATE OF CALIFORNIA )
COUNTY OF RIVERSIDE ) ss.

CITY OF PALM SPRINGS )
I, BRENDA PREE, City Clerk of the City of Palm Springs, 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, City Clerk
City of Palm Springs, California

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ATTACHMENT “B”
Exhibit A – Records Destruction Request Form (Palm Springs Police Department)

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Docusign Envelope ID: 8C7849E7-5261-83EE-824F-45BAA9E1DA2F 6/15/2026
6/15/2026
6/16/2026
6/16/2026

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CITY COUNCIL STAFF REPORT
DATE: JULY 8, 2026 PUBLIC HEARING
SUBJECT: APPLICATION BY CHRIS KELLER, APPLICANT REPRESENTATIVE,

FOR HISTORIC SITE DESIGNATION OF THE LAURENCE HARVEY
RESIDENCE LOCATED AT 300 WEST MERITO PLACE, (APN 505-293- 005) CASE: HSPB #180 (SY)
FROM: Scott C. Stiles, City Manager
BY: Department of Planning Services
SUMMARY:

The Laurence Harvey Residence is a single-family home designed in 1964 by the architectural firm Buff and Hensman. The home is in the Old Las Palmas neighborhood but reflects Late Modern and Mid-century Modern design characteristics. Restoration work was completed in 2017 that reinstated many design elements that were previously altered. If designated as a local 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 LAURENCE HARVEY RESIDENCE AS A CLASS 1 (LANDMARK) HISTORIC RESOURCE HSPB #180, SUBJECT TO CONDITIONS (APN 505-293-005).”
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
July 8, 2026 - Page 2
Historic Designation – The Laurence Harvey Residence
Related Relevant City Actions by HSPB, Planning, Fire, Building, etc.

June 1, 2026 Site inspection by members of the HSPB and City Staff.

June 2, 2026 HSPB considered the application for designation at a public hearing recommending Class 1 designation.

Ownership Status
January, 2019 Purchased by current owners.

NORTH (FRONT) ELEVATION OF THE RESIDENCE, 2026.

WEST (REAR) ELEVATION AND SWIMMING POOL, 2026.

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City Council Staff Report
July 8, 2026 - Page 3
Historic Designation – The Laurence Harvey Residence
The owners of 300 W. Merito Place commissioned a historic research report which was reviewed by the HSPB on June 2, 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 for the designation is detailed in the attached HSPB resolution and staff report dated June 2, 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 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 Harvey Residence possesses sufficient historic integrity to qualify as a Class 1 (Landmark) historic site.

During the public hearing, the Board supported the application for Class 1 Historic Site designation, based on its findings that the property met the required criteria and integrity standards. The motion carried on a 4-0 vote, with two members absent.

The Laurence Harvey Residence meets the definition of a historic resource based on Criterion 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.

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)

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City Council Staff Report
July 8, 2026 - Page 4
Historic Designation – The Laurence Harvey Residence
(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:

While this action would have no direct fiscal impact, it would make the property eligible for a Mills Act contract in the future. That could reduce property tax revenue at that time, if authorized by Council. 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. 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: Teresa Gallavan for 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
300 W. Merito Place

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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 LAURENCE
HARVEY RESIDENCE, LOCATED AT 300 WEST MERITO PLACE,
AS A CLASS 1 (LANDMARK) HISTORIC RESOURCE HSPB #180,
SUBJECT TO CONDITIONS (APN 505-293-005).

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 applicant representative, Chris Keller, submitted an application seeking historic site designation of the Laurence Harvey Residence located at 300 W. Merito Place; and C. WHEREAS, on June 1, 2026, members of the Historic Site Preservation Board (HSPB) and City staff conducted site inspections of the proposed historic resource; and D. WHEREAS, on June 2, 2026, a noticed public hearing of the Palm Springs Historic Site Preservation Board to consider Case HSPB #180 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 4-0 to recommend that the Council designate the Laurence Harvey Residence a Class 1 (Landmark) historic resource; and F. WHEREAS, on July 8, 2026, a noticed public hearing of the Palm Springs City Council to consider Case HSPB #180 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.____

July 8, 2026
(Criterion i) The resource is associated with events that have made a meaningful contribution to the nation, state, or community;
No information was found in the report indicating any significant events occurred on this site.

The site does not qualify under Criterion i.
(Criterion ii) The resource is associated with the lives of persons who made a meaningful contribution to national, state or local history; The design and construction of the 300 W. Merito Place are directly associated with actor Laurence Harvey, whose acting career spanned approximately from 1946 to 1973. During this period, Harvey achieved international recognition through his work in film and television. As an influential actor who made contributions to his field of work, the residence was designed and constructed during the height of his prominence in the entertainment industry. The report demonstrates Harvey’s active involvement in the design of the home and his decision to build a home in Palm Springs further contributes to the historic context of the entertainment industry’s influence on the city during the postwar era. Based on the findings in the report, Criterion ii is met.
(Criterion iii) The resource reflects or exemplifies a particular period of national, state, or local history;
The Harvey Residence exemplifies a period during which architects and designers experimented with new materials and Modernist design concepts. Specifically designed in the Late Modern/Mid-century Modern aesthetic, 300 W. Merito Place incorporates character-defining features such as flat roofs, simple forms, exposed and exaggerated post-and-beam construction, expansive floor-to-ceiling glazing, deep overhangs, and a strong focus on indoor-outdoor living.

The integration and design response to the desert environment makes the residence an excellent example of Desert Modernism specific to the Palm Springs region. This home is an important example of the architectural trends and residential development patterns that defined the city during this period. Criterion iii is met.
(Criterion iv) The resource embodies the distinctive characteristics of a type, period, or method of construction;
Palm Springs evaluates criterion iv as a distinctive characteristic associated with construction type, construction period, and construction methods. The construction of the home appears to utilize conventional methods and materials. 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;
Architects Conrad Buff III and Donald C. Hensman began their practice in 1952 and were later known as Buff Hensman and Associates when they received this commission to design the Laurence Harvey Residence in Palm Springs around 1964. According to the report, this architectural firm received over 30 awards from the American Institute of Architects (AIA) and is credited for the design of Case Study House #20 in Altadena (1958). This firm was nationally

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Resolution No.____

July 8, 2026
recognized for innovative residential design and completed numerous projects during the postwar period in the Southern California region. Their signature design feature includes the exposed and exaggerated post-and-beam construction with low slung roof forms that accentuate the horizontality of the structures. Their design influence is recognized through their many projects throughout California, and 300 W. Merito Place is an intact example of their design aesthetic with high artistic value. Criterion v is met. (Criterion vi) The resource represents a significant and distinguishable entity whose components may lack individual distinction, as used in evaluating applications for designation of historic districts, for parcels on which more than one entity exists; or
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 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 location of the structures and amenities on the site have not changed from the original design; therefore, the integrity of location is met.

2. Design:

The design of 300 W. Merito Place exhibits character-defining features of both the Late Modern and Mid-century Modern architecture, as described in the Citywide Historic Context Statement.

The residence is composed of one-story structures with flat roofs, simple rectilinear forms, and exaggerated post-and-beam construction. The primary elevation as viewed from the street incorporates a uniform use of masonry cladding, while the deep roof overhangs and expansive glazing further emphasize the Modernist characteristics of the design.

The site design integrates the natural desert landscape, and the structures are arranged in reverse squared C-shape creating a central courtyard containing the cruciform-shaped swimming pool. The structures on the site consist of the main house, guest house and loggia

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Resolution No.____

July 8, 2026
feature connected to the original pool house. All structures utilize a post-and-beam construction with deep overhangs and large expansive glazing of fixed and sliding doors. The alignment of the posts and beams establish a cohesive architectural composition that creates a strong indooroutdoor connection.

The original cruciform-shaped swimming pool remains a focal point of the courtyard and visually connects the surrounding structures. Desert landscaping and strategically placed planters help soften the hard lines and reinforce the integration of the design with the natural setting.

The permit records show that a major restoration project was completed in 2017 and included mechanical upgrades, replacement paving materials, and replacement fenestration. These exterior alterations were completed in a manner that complemented the original design and preserves character-defining features. Modifications to the form and layout were limited to areas with limited visibility or impact on the overall composition of the site. Based on these findings, City Council finds the integrity design is intact.

3. Setting:

The home remains situated within its original setting, surrounded by low-density residential development. The structures, pool and tennis court retain their historic spatial relationship on the parcel in the surrounding desert landscape. The integrity of setting is intact.

4. Materials:

The residence is constructed using building materials that include field stone, exposed post-andbeam structures, expansive floor-to-ceiling glazing and glulam beams throughout the home.

Although some original materials, such as the original pavers, have been replaced with new material, a majority of the character-defining primary building materials appear to remain intact, and the fenestration appears to have been replaced in kind. The property retains integrity of materials.

5. Workmanship:

The field stone walls throughout the residence exhibit a high degree of precision in its execution, and the detailing around each post and beam reflects a strong level of craftsmanship and intentional design. The simple layout of the buildings, the unadorned walls, and clean lines created by the exposed post-and-beam construction highlight the advanced level of workmanship.

6. Feeling:

The integrity of feeling is retained on the site because the design, setting, and materials convey the characteristics of the Late Modern style of architecture. The site design and the materials reinforce the design intent, and no major deviations or inappropriate alterations draw attention away from the original design.

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Resolution No.____

July 8, 2026

7. Association:

The design of the home reflects the original vision of architects Conrad Buff III and Donald C.

Hensman and remains associated with the original owner Laurence Harvey. The integrity of association is met.

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:
• Site design and placement of structures on the site
• Open front yard planter delineated with a stone retaining wall that abuts the guest house • A reverse squared C-shaped building footprint organized around a central courtyard and pool area
• Loggia feature connecting the main house to the original pool house (now the guest suite and cabana)
• Post-and-beam structure with carefully detailed column wraps and restored beam trim detail
• Long, linear field stone veneer walls supporting thin roof overhang profiles are layered to provide a private, human-scale face to the street along with low field stone planter wall • Flat, deep roof shielding the long runs of operable glazing from the strong sunlight • Deep overhangs create numerous protected/covered outdoor living spaces • Large expanse of exterior glazing and limited interior partitions providing strong indooroutdoor connection • Cruciform-shaped swimming pool
• Placement of boulders around the pool
• Original planters shown on the original site plan throughout the exterior locations Non-contributing elements:
• Front hedging
• Courtyard fence walls
• East-facing northeastern façade
• Rear elevation that faces the tennis/pickleball court • Roof-mounted PV panels
• Terrazzo flooring that extends from the interior to the exterior spaces • Additional spa abutting the north elevation near the guest suite

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Resolution No.____

July 8, 2026
• Minor additions to the east elevation of the home that filled areas of the overhang • Mechanical room and storage addition to the north side of the guest suite and cabana structure added in 2024
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 Laurence Harvey Residence located at 300 W. Merito Place, a Class 1 (Landmark) Historic Resource (Case HSPB #180).

ADOPTED THIS EIGHTH DAY OF JULY, 2026.

SCOTT STILES

CITY MANAGER

CITY OF PALM SPRINGS

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Resolution No.____

July 8, 2026
ATTEST:

BRENDA PREE, MMC

CITY CLERK

CITY OF PALM SPRINGS

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Resolution No.____

July 8, 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

CITY OF PALM SPRINGS

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ATTACHMENT C
(Application)

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Laurence Harvey Residence
Louise & Lionel Steinberg Residence
Donald C. Hensman, FAIA - Conrad Buff III, FAIA
designed 1964, built 1969-1970
300 West Merito Place
Palm Springs, CA
Historic Resource Nomination
Prepared by Jade Thomas Nelson
“For me a home must be either very old or very modern.” -Laurence Harvey, July 1965

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2 Table of Contents
Acknowledgements ….................................................................................................................3

1. Introduction ………………………………………………………………………………………………………………………4

1.1 Executive Summary ……………………………………………………………………………………………..4

1.2 Designation Criteria ……………………………………………………………………………………………..5

2. Architectural Description ........................................................................................................6

2.1 Site and Setting.........................................................................................................6

2.2 Building .....................................................................................................................8

2.3 Existing Conditions Photographs .........................................................................9-10

3. Permit History; Chronology of Development and Alterations Summary ……………………….11-13

4. Historic Contexts and Historic Resource Summary ................................................................14

4.1 Post-World War II Development in Palm Springs ...................................................14

4.2 Historic Resource Summary ..............................................................................15-57

4.3 Architectural Style ‘Mid-century Modern’..............................................................58

5. Regulations and Criteria for Evaluation .................................................................................59

5.1 City of Palm Springs Historic Resources and Historic Districts ............................59-61

6. Evaluation of Significance ......................................................................................................62

6.1 Previous Surveys and Designations ........................................................................62

6.2 Contexts, Themes, and Registration Requirements ...............................................62

6.3 City of Palm Springs Class 1 Historic Resource ..................................................63-65

6.4 Integrity Assessment ……………………………………………………………..........................65-67

6.5 Character-Defining Features ..................................................................................67

7. Conclusion ..............................................................................................................................67

8. Bibliography ..........................................................................................................................68 Appendix A. Chain of Title ……..…………………………………………………………69 Appendix B. Owner Letter of Support ……………………………………………….70 Appendix C. Property Data Form …………………………………………………71-72 Appendix D. 2013 Project Description ………………………………………………73 Appendix E. Current Drawings and Site Plans ………………………………74-75 Appendix F. Historic Plan Diagram ……………………………………………………76 Appendix G. Historical site/construction photos ………………………….77-80

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3 CLASS ONE HISTORIC RESOURCE NOMINATION
Laurence Harvey Residence / Louise & Lionel Steinberg Residence Buff and Hensman, designed 1964, built 1969-1970

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

Sarah Yoon
Steven Keylon
Katherine Hough
Greg Fish
Leo Marmol
Pamela Bonino
Glenn Ostergaard
John K. Grist
Chris Keller
Rob Severe
Brian Montero
Cassandra Edney
DISCLAIMER: This report is based on the available records that have been found from various public sources and set within the broader knowledge of the related history of the local area, key architects, designers, contractors and other prominent locals. The author of this report has sourced information to the best of their ability and presented both findings and conclusions in good faith. Some public records may be incomplete and/or, in some cases, lost. Additionally, private files may exist beyond either the knowledge or reach of the author. Where there are gaps in records and public information, the author has made his best effort to hypothesize what may have likely happened and in certain instances made educated guesses to bridge gaps in the record. While the author believes this report to be as complete and accurate as is reasonably possible, he cannot be held accountable for any errors or omissions.

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4 Donald C. Hensman and Laurence Harvey, November 1967 photo: Mark Traughber, source: U.S. Modernist

1. INTRODUCTION
The author of this Historic Resource nomination, Jade Thomas Nelson, is a Palm Springs native and past chair of the Palm Springs Historic Site Preservation Board. He is the owner/operator of P.S. Walk With Me, guided tours of historic Palm Springs and a self-employed researcher/historian. Jade is also a longtime board member of the Palm Springs Modern Committee and serves on their Education Committee, teaching students about modern architecture and Palm Springs history. The owners of 300 West Merito Place asked Mr. Nelson to write the Class One Historic Resource nomination for the Laurence Harvey/Louise and Lionel Steinberg Residence.

1.1 Executive Summary
Statement of Significance: The residence, located at 300 West Merito Place in Palm Springs, was custom designed in 1964 by master architects Buff and Hensman as a commission from the prominent actor Laurence Harvey. Construction began in 1969 and was completed in 1970 by builder John Newland. The period of significance is 1964 through 1981. Laurence Harvey (and Joan Perry Cohn) owned the property and residence from 1962 until 1972, when it was sold to husband-and-wife Lionel and Louise Steinberg who occupied the residence until 1981.

An important residential example of a Late Modern structure, the residence is in an early tract, Merito Vista (now known as the Old Las Palmas neighborhood), developed in the small resort town of Palm Springs. As defined in the Citywide Historic Context Statement & Survey Findings created by Historic Resources Group, the home exhibits numerous stylistic features that place it within the historic context of The Modern Period (1925-1960’s); and The Influence of the Entertainment Industry (1945-1969); the second period during which wealthy influential people and celebrities were building vacation/weekend homes in the growing and increasingly well-known resort town.

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5 300 West Merito Place street-facing facade as of 2026

1.2 Designation Criteria
Criteria for the Designation of a Class 1 Historic Resource: Pursuant to the Palm Springs Municipal Code (PSMC) Section 8.05.070.C.1.: A site, structure, building or object may be designated as a Class 1 historic resource, provided one or more of the criteria in subsections “a” and “b” are met. Refer to the U.S. Department of the Interior National Register Bulletin “How to Apply the National Register Criteria for Evaluation” of potentially historic resources for further information.

As outlined in the evaluation and analysis beginning on page 59, the Laurence Harvey/Louise and Lionel Steinberg Residence is eligible as a City of Palm Springs Class 1 historic resource.

The residence possesses strong historic significance and meets the following four of seven of the eligibility criteria outlined in Municipal Code Section 8.05.070.C.1.a: (ii) Association with persons of significance who made a meaningful contribution to national and state history: Laurence Harvey, Lionel Steinberg, Buff and Hensman; (iii) Exemplifies a particular period in local history; (iv) Embodies the distinctive characteristics of a type, period or method of construction; and (v) Presents the work of a master architect(s), whose individual genius influenced their age (i.e., peers, profession), and possesses high artistic value.

Furthermore, the site possesses a high degree of historic integrity as outlined in Municipal Code Section

8.05.070.C.1.b in terms of Design, Materials, Workmanship, Location, Setting, Feeling, and Association.

The historic context within which the Laurence Harvey/Louise and Lionel Steinberg Residence was evaluated as outlined in the Citywide Historic Context Statement & Survey Findings is THE MODERN PERIOD (1925-1960’s); and THE INFLUENCE OF THE ENTERTAINMENT INDUSTRY (1945-1969). The period of significance for 300 West Merito Place is associated with the timeframe in which Buff and Hensman designed/built the residence (1964/1969-1970) and Laurence Harvey owned the property (1962 -1972), enjoying it part-time for two years once the residence was completed. Significant subsequent owners, Louise and Lionel Steinberg, made sensitively appropriate changes between 1972    -1981.

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6 2. ARCHITECTURAL DESCRIPTION

2.1 Site and Setting
The subject property, 300 W. MERITO PL., is located about a quarter mile west of North Palm Canyon Drive and about a quarter mile north of Alejo Road and consists of a residential parcel (APN: 505293005) where N. Cahuilla Road meets W. Merito Pl. The land lies within Section 10 of the Agua Caliente Indian Reservation and is classified as a fee allotment.2
Site as outlined in red on the Agua Caliente Band of Cahuilla Indians GIS portal.

Left side shows main dwelling on Lot 93, right side shows combined portions of Lots 92/93.

Development in the adjacent neighborhood consists of low-scale large residential properties, reflecting a range of construction eras and styles that spans from the 1920’s to the 2000’s. The city block of the subject property location is in the housing tract known as “Merito Vista” within what is today known as the “Old Las Palmas Neighborhood” and contains single-level residences directly to the north, east, and west. The surrounding street grid was fashioned to run mostly perpendicular to Palm Canyon Drive so as not to adhere to a perfectly rectilinear plan and thus discouraging the main street traffic to make shortcuts through the vicinity.

The topography on three sides of the parcel is flat but approximately one mile to the west are the Mount San Jacinto foothills which provide a scenic backdrop to the subject residence. The main house parcel is rectangular in shape and measures 40,075 square feet (.92 acres) while the eastern unbuilt remainder of the site (a portion of lots 91 and 92) measures 18,731 square feet (.43 acres) for a total of 58,806 square feet (1.35 acres); the site’ssouth facing frontage runs alongside Merito Place, an east-west connector between the “uptown” commercial district and “Old Las Palmas.” The legal description of the site/parcels is “.92 ACRES M/L IN POR LOTS 91 & 92 AND LOT 93 MB 012/094 MERITO VISTA and .43 ACRES M/L IN POR LOTS 91 & 92 MB 012/094 MERITO VISTA.” 3 2 Agua Caliente Band of Cahuilla Indians GIS Portal, accessed February 2026, https://www.aguacaliente.org/gis.

See also Appendix B, Agua Caliente Band of Cahuilla Indians Land Status Map, February 2026. 3 Parcel dimensions obtained from the Riverside County Assessor‐County Clerk‐Recorder, February 2026. (This portion of lot 90
belongs to 815 N. Prescott
Drive)

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2.1 Site and Setting (cont…)
Current aerial view of the site which sits just north of West Merito Place Note: the lot line (orange) to the north ends just beyond tennis/pickleball court then drops south to east of court and runs further east along the north edge of side yard to eastern perimeter hedging. The highlighted, red-roofed structure at the top center of the image is not part of this site.

The residential structure is comprised of a reverse squared C-shape building with the central notched out portion for outdoor living at the site’s western half. The bulk of the structure sits near the middle of the site with the northern and southern wings jutting towards the west. The low linear front elevation is punctuated by a recessed covered entryway just west of the side-by-side four car garage. The immediate surroundings of the residence are developed with poured terrazzo decking, both polished and rough, and concrete pads. Street facing landscaping is a mix of palo verde, mesquite, desert spoon (daisylirion wheeleri), red yucca (hesperaloe parviflora), and decomposed granite to match the terrazzo that begins at the front entryway. A low native field stone wall runs parallel to the western half of the front elevation, creating a raised planter bed for many of said plantings while the others are at street level. The primary façade of the residence is entirely visible from the public right of way and faces south, towards West Merito Place, and sits at the top of the T-intersection of Merito and North Cahuilla Road.

There is one neighboring home to the east and one to the west as well as one directly behind to the north. The eastern half of the property (portion of lots 91/92) is fronted by a 6-foot-high native field stone wall into which two bronze plaques reading “Villa Serena” and “300 Merito Pl.” were installed in the late 1980’s.

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8 2.1 Site and Setting (cont…)
Riverside County Assessor’s Map (site is highlighted top right)

2.2 Building
The subject property contains a one-story late modern residence completed in 1970, with minor alterations and additions made in the 1970’s and subsequent decades (including pushing the garage closer to the street which has since been sensitively reversed). The building plan has a symmetrical C-shaped footprint and a concrete foundation. The building has a low flat roof with a flat parapet. The building’s fenestration is mostly single, floor-to-ceiling tinted glazing, both fixed and sliding. The materials are comprised of steel, wood, stucco, glulam beams, metal, field stone, and glass.

According to Marmol-Radziner, the architecture firm retained for the 2014-2017 restoration/refresh and for the pending free-standing addition:
“The main facades of the residence remain largely unchanged, relative to the condition the (current) owner/client accepted it. From the exterior, the largest impact of the renovation was the highlighting of the structural details of the post and beam language through use of a dark brown/black paint. Glazing was increased on the East façade, simplifying the layout to return the design closer to the original construction. The landscape was updated with layers of native planting.

Interior light quality was further balanced with the addition of skylights, bringing light deeper into the building. The Dining Room and Den were combined into an open, modern Great Room, further complimenting the original structure and further reducing visual obstruction to the outside”

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9 2.3 Existing Condition (Post-Restoration) Photographs Since the 2013-2017 restoration, the house has been featured in various magazine publications including Architectural Digest; Architect; Elle Décor; and Palm Springs Life.

Front Entrance (looking north) Living Room (looking north) Dining Room (looking northwest) Primary Bath (looking northwest) Primary Bedroom (looking west)

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10 2.3 Existing Condition (Post-Restoration) Photographs Pool Area view toward residence, looking southeast
View toward Front Entrance, looking south
photos courtesy Marmol + Radziner

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3. PERMIT HISTORY: CHRONOLOGY OF DEVELOPMENT & ALTERATIONS The author has compiled this chronological list of historical building permits based on City of Palm Springs official records for 300 West Merito Place:

Date Owner Permit Type Descrip?on/Vendor
01/24/1969 Magla Produc`ons Building Plan Ch. 1-24-69
Building Permit B-65
“Architect, Buff &
Hensman, AIA”
Job Record Card
Permit nos. B-557, B608, P-273, M-201, A614. John Newland, contractor
5/16/1969 Magla Produc`ons Building Building Permit B-557 “construct 9 room
dwelling and garage.

Frame and stucco
Construc`on.

Composi`on roof.

J.L. Newland, contractor
6/04/1969 Magla Produc`ons Electrical Permit no. A-03291 Coast Elect + Ref.,
contractor
6/06/1969 Magla Produc`ons Building Permit no.B-608
“Construct 130’ x 4’
masonry retaining wall
10i from rear property
line”
Ray McBride, contractor
6/18/1969 Magla Produc`ons Mechanical Permit no. M-201
Desert Air Cond.,
contractor
6/20/1969 Magla Produc`ons Plumbing Permit no. P-273
Ross + Son Plumbing,
contractor
7/16/1969 Magla Produc`ons Swimming Pool
(bonding + lights only)
Job Record Card
Permit no. B-741
Master Pools, contractor
Date Owner Permit Type Descrip?on/Vendor

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12 Date Owner Permit Type Descrip?on/Vendor
8/06/1970 Magla Produc`ons Plumbing permit no. P-841
Ross + Son Plumbing,
contractor
9/22/1970 Magla Produc`ons
and Joan Harvey
Cer`ficate of
Occupancy
COO for Lot 93, B-557
4/25/1983 Steinberg Roofing permit no. B-1404
Bob’s Roofing, contractor
8/22/1988 Bonino Building Permit no. B-13563
Change out four exis`ng
AC condenser units with
four new units.

True Air Temp,
contractor
9/08/1988 Bonino Building Permit no. b-13675
“Construct approx. 45
L.F. of 4.5’ high block
wall per City Detail.”
(was built instead at 8’h)
03/10/2009 Kaplan Building Permit no. C-23674
Replace water heater
4/05/2011 Kaplan Building Permit no. C-28886
Bathroom demo
4/05/2011 Kaplan Building Permit no. C-29108Plan
Check no. 9549
“Remodel and enlarge
master bathroom”
“New sliding glass doors”
Solterra, contractor
John Walsh, architect
Campbell Engineering
08/28/2013
Final Inspec`on:
08/05/2014
Laccone Building Permit no. 2013-2510 –
Remodel
Contractor / Architect:

Marmol Radziner
“Extensive structural and
non-structural remodel
of exis`ng residence.

Decrease square footage
by 150 sf”

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13 08/28/2013 cont…
Final Inspec`on:
08/05/2014
Laccone Building Job Card: plumbing,
HVAC, Electric, Framing,
Insula`on, Drywall, Lath,
and Gas.

See Appendix D p.73 this
report for project desc.
05/31/2017 Laccone Building Permit no. 2017-2005 –
HVAC
“Change out 7 splits on
ground”
N/A 2019 Stevens
(300 Merito LLC)
Building/Electrical Permit no. 2019-984 –
PV system
3/16/2020
Final inspec`on:
8/25/2020
Stevens
(300 Merito LLC)
Building (Pool/Spa) Permit no. 2020-867
“New spa/relocate pool
equipment”
Architectural Blue,
contractor
05/20/2020
Final inspec`on:
10/1/2020
Stevens
(300 Merito LLC)
Building Permit no. 2020-1369
Electrical Panel Upgrade
04/10/2024 Stevens
(300 Merito LLC)
Building Permit no. BLDR 2023-
1639
“Massage room remodel,
addi`on of mechanical
room and laundry room"
Date Owner Permit Type Descrip?on/Vendor
Alterations summary:
• In 1973, the Steinberg’s hired Hal Broderick of Arthur Elrod and Associates to design/finish the interior. • In 1983, the Steinberg’s added a new roof.
• In 1988, the Bonino’s replastered the pool, added an 8 ft high block wall to the eastern side of the property and added bronze markers “Villa Serena” and “300 Merito Pl.” to the field stone wall fronting lots 91/92. • In 1993, the Axelrod’s retained the office of architect James Rodney Cioffi to design and build a 162 sq.ft. breakfast room addition (no permit on file) (removed in the 2018 restoration), renovate the kitchen and replace a sliding glass door with a fixed glass window between the then-existing living room and dining room elevations, as well as moving the dining area to be directly west of the kitchen for a new bedroom (see blueprints p. 54-55 of this report).
• In 2011, David Kaplan remodeled/enlarged the primary en-suite bathroom, adding new sliding glass doors. • In 2013, Rea Laccone embarked on a multimillion-dollar restoration, returning the property to its original footprint and refreshing the structure for modern-day living. • In 2017, Rea Laccone changed out and updated the HVAC. • In 2019, 300 Merito LLC added a new PV electrical system. • In 2020, 300 Merito LLC added a spa to the pool, moved pool equipment and upgraded an electrical panel. • In 2024, 300 Merito LLC remodeled a massage room and added both a mechanical and laundry room.

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14 4. HISTORIC CONTEXTS AND HISTORIC RESOURCES SUMMARY
Historic contexts or significant historical themes provide the relevant framework within which to evaluate significance of the subject property. The subject property falls under the following historic contexts, themes and subthemes as identified in the Palm Springs Citywide Historic Context Statement (2018):

Context: Post-World War II Palm Springs (1945-1969)
Theme: Post World War II Single-Family Residential Development (1945-1969) Context: Architectural Styles & Local Practitioners
Theme: Modern Styles of the Post-World War II Era
Sub-theme: Mid-century Modern
Registration requirements for each theme are listed and used in Section 6, Evaluation of Significance.

Additional historic context relevant to the understanding of 300 WEST MERITO PLACE is provided below.

4.1 POST WORLD WAR II DEVELOPMENT IN PALM SPRINGS
Prior to World War II (WWII), the first subdivisions in what would become Palm Springs were built in the 1920’s, mostly surrounding the early resorts and shops. That decade and the next saw steady growth until the 1938 incorporation of the village to the City of Palm Springs. Given the initial developmental infrastructure put in place was primarily built to sustain early tourism and support services, the next ten years saw a rather clairvoyant and necessary development of utilities and services to pave the way for increased demand beginning in the mid 1940’s.
“Shortly after the end of World War II in September 1945, Palm Springs experienced a population boom much like the rest of Southern California. The City resumed annexation efforts in the late 1940s to expand its footprint and prevent encroachment from nearby cities.4 By the early 1950s, air conditioning became more and more common in the average home, turning Palm Springs into a feasible, year‐round place of residence (though seasonal population fluctuations continued as well).5 Opportunistic custom and tract home developers took advantage of newly incorporated undeveloped land to build…” -paraphrased from Historic Resources Group, City of Palm Springs Citywide Historic Context Statement & Survey Findings, prepared for the City of Palm Springs Department of Planning Services, December 2018, 142. 4 “P.S. Township To Be Extended,” The Desert Sun, August 6, 1948, 1. 5 City of Palm Springs Citywide Historic Context Statement & Survey Findings, 181.

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15 4.2 HISTORIC RESOURCE SUMMARY
THE LAND Tract Development: Merito Vista Date: 1925 Developer: Prescott T. Stevens Boundary: N Via Monte Vista to the north, parcels to the north of North Palm Canyon Drive to the south, east side of West Crescent Drive to the west, and generally the west side of West Via Lola to the east.

Prescott T. Stevens
Prescott Thresher Stevens (1846-1932) was Palm Springs’ largest pre-World War II residential real estate developer. Stevens, a successful Colorado cattle rancher, relocated with his wife Frances to California in 1912 to seek refuge from her respiratory problems. They first settled in Hollywood, where he invested in Hollywood real estate, then moved to Palm Springs for the cleaner air quality.

By 1920, Stevens had purchased a large amount of land north of what is now downtown Palm Springs.

He also bought several thousand acres from the Southern Pacific Railroad to the east and the north of the then “Palm Village” to ensure a steady supply of water for his holdings. He bought shares in the original Palm Valley Water Company and then co-formed the Whitewater Mutual Water Company and the Palm Springs Water Company. With his colleague Alvah Hicks, a master carpenter and nascent homebuilder, they subdivided many of Palm Springs’ earliest developments: the Merito Vista tract (1925), Las Palmas Estates (1926), and Palm Springs Estates (1927). Recognizing an ideal way to sell homes was through tourism, Stevens, Hicks and other developers built the legendary El Mirador Hotel in 1927 to attract wealthy mid-west/east coast elites looking to escape harsh winters.

Before long, Stevens was convincing tourists to trade up to home ownership.

Ad for Merito Vista
The Los Angeles Times, February 7, 1926
DEVELOPMENT HISTORY: Merito Vista was advertised for its “natural beauty,” its status as a playground for the wealthy, and its subdivision into “small estate parcels” for those who “...do not necessarily care to erect pretentious homes here.”6 Indeed the parcel sizes for the 125 lots in Merito Vista are narrow and deep. However, the design of the subdivision deviates from a basic grid pattern to include curving and rounded streets evocative of the suburban residential community plans of Frederick Law Olmsted.7 Merito Vista was a success as it reportedly “...practically sold out during the first season.”8 Sanborn maps from 1929 reveal that sales may have been brisk, but building was far slower; just twelve parcels in the development had structures associated with them by 1929.9 Homes in Merito Vista were chiefly Spanish Colonial Revival, or early iterations of the California Ranch style. More than twenty of them were reportedly built by carpenter turned general contractor, Alvah Hicks, who developed a reputation for quality building. Often these houses were built on speculation, then quickly sold.10 Often, homeowners purchased multiple parcels for their estates, contributing to relatively low- density development. Even as late as 1952, aerial photographs show significant numbers of undeveloped parcels within the tract.
6 “Display Ad 109,” Los Angeles Times, February 7, 1926. 7 Olmsted was America’s pre-eminent landscape designer in the late 19th century. He designed the Columbian Exposition of 1893, New York’s Central Park, and 1902 improvements to the White House grounds.
8 “Desert Acres Jump to $1500,” Los Angeles Times, April 25, 1926, E7. 9 Sanborn Maps online Los Angeles Public Library Database, Palm Springs Feb 1929, Sheet 8-9. 10 Greg Niemann, Palm Springs Legends (San Diego, CA: Sunbelt Publications, 2006), 130.

Source: City of Palm Springs, Citywide Historic Context Statement & Survey Findings, Historic Resources Group

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16 LAND TITLE HISTORY (1925 – 1969)
Merito Vista land subdivision tract map, May 28, 1925. The subject parcels are highlighted. 29 May 1925: Prescott Thresher Stevens / Francis Sallie Stevens to Hellman Commercial Trust & Savings Bank
27 April 1926: Hellman Commercial Trust & Savings Bank
to Elizabeth W. Freeman
12 July 1926: Elizabeth W. Freeman
to California Trust Company, a corporation (LOTS 90, 91, 92) 20 August 1930: B of A of California, a corporation (LOT 93) to Vincent S. Kerans and Marjorie B. Kerans
5 February 1931: California Trust Company, a corporation to Elizabeth W. Freeman
15 November 1935: Elizabeth W. Freeman Hamlin (LOTS 90, 91, 92) to Henry E. Crawford

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17 LAND TITLE HISTORY (1925 – 1969) cont…
11 December 1935: Henry E. Crawford (1/125th of 1/10th interest to each lot water rights) to The Whitewater Mutual Company
22 September 1937: Vincent S. Kerans and Marjorie B. Kerans (LOT 93) Indenture to The Whitewater Mutual Company
22 January 1938: Frank J. Walsh and Alma S. Walsh (LOT 93) to Selma E. Winter
11 May 1951: Selma E. Andrews (LOT 93)
to Bessie Litman
7 April 1953: Bessie Litman (LOT 93)
to Glenn B. Austin and Vivian I. Austin
At the time of this 1953 article in The Desert Sun, and, according to the title history, the Austin’s had only
purchased Lot 93; it would be 5 more years before
they took ownership to Lots 91 and 92.
18 March 1954: Estate of Henry E. Crawford (LOTS 90, 91, 92) to Leona M. Crawford
16 January 1958: Glenn B. Austin and Vivian I. Austin (LOT 93?) to Frank Sale and Julia B. Sale
(Next entry illegible)
21 February 1958: Trustees of Columbia U. and Shirley Sandusky Young (LOTS 90, 91, 92) to Glenn B. Austin and Vivian I. Austin
(Next entry illegible)

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18 LAND TITLE HISTORY (1925 – 1969) cont…
8 April 1959: Frank Sale and Julia B. Sale (LOT 93)
to Irvin Jacobs and Adele Jacobs
Frank Sale was a Beverly Hills resident from Missouri. President of Aluminus Co. of America, he stayed at Villa Hermosa during visits to PS in the 1940’s. Frank Sale’s primary Palm Springs residence was 385 Vereda del Sur which he purchased in January 1956. -The Desert Sun, “By The Way” Dec. 14, 1948 and Jan. 10, 1956 Dr. Irvin Jacobs, 1887-1977, was from Lingonie, IN, lived in San Diego and died in Riverside, CA. His wife Adele B. Jacobs, 1895-1974, was from Glenco, IL. One of her sisters, Julia Blum Sale, was married to Frank Sale from whom the Jacobs’s bought LOT 93 in 1959. The Jacobs’s had three daughters, Lucille Hollender; Katherine Baker and Elaine Korshak who, ironically, would befriend future owner Louise Steinberg. 2 January 1962: Irvin Jacobs and Adele Jacobs (LOT 93)
½ interest to *MAGLA PRODUCTIONS, INC. a NY corporation and Joan Perry Cohn, widow, ½ interest
*Magla Productions, Inc., was Laurence Harvey’s production company, formed on July 22, 1957 during his engagement to Margaret “Maggie” Leighton. The name Magla is most likely a portmanteau of their names – Maggie and Laurence.

The Desert Sun ad, 20 March 1964
(one of several from Feb. 21 to Mar. 28, 1964)
29 July 1964: Glenn B. Austin and Vivian I. Austin (WEST 100 FT LOT 91 & 92) to Michael Nidorf & Lorena Nidorf
Michael Meyer “Mike” Nidorf
b. 15 October 1904, Philadelphia, PA - d. 22 May 1975, Los Angeles, CA The middle of three sons born to Harry and Rosey ‘Indorf’ of Russia, Michael served as a captain in the U.S.

Military. Later, he was appointed chief president and chairman of the board of International Television Corporation, a British company. Nidorf is best known as a musical talent manager, building the careers of singer Jo Stafford and big band leader/composer Glenn Miller. In 1960, Nidorf met actress Lorena Mayer (widow of Louis B. Mayer) at a birthday party at The Waldorf-Astoria. They married in 1961, and, together, were known and celebrated for their philanthropic endeavors until Nidorf’s death in 1975.

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19 LAND TITLE HISTORY (1925 – 1969) cont…
Lorena (Jones) Danker Mayer Nidorf
b. 20 March 1907, Waycross, GA - d. 27 March 1985, Santa Monica, CA Lorena Jones arrived alone in Hollywood as actress Lorena “Layson” after her failed first marriage. She signed with Warner Brothers where she appeared mostly uncredited in twenty pictures. In 1934 her luck changed when she met and married Daniel J. Danker, called “the Mayor of Hollywood” for his many industry connections.

After Daniel’s death in 1944, Lorena Danker became known for her work at the J. Walter Thompson Company Hollywood office, securing actors for the Cecil B. DeMille Lux Radio Theatre. By late 1948, promptly retiring from show business, she became the second wife of MGM (Metro-Goldwyn-Mayer Studios) co-founder and studio mogul Louis B. Mayer until his death in 1957. Four years later, Lorena married her fourth husband, successful showbiz agent and talent manager, Michael Nidorf, with whom she remained until his death in 1975. A well-known philanthropic socialite, Lorena was a major supporter of The Music Center in Los Angeles (founder and member of the Blue Ribbon 400); active in charity work for the Salk Institute and St. John’s Hospital cancer research; the L.A.

Zoo; the Huntington Library; and Eisenhower Medical Center (EMC) in Palm Desert, CA, where she was a founding benefactor and, in 1973, the 31st named member of the EMC board of trustees. sources: IMDB, findagrave.com, The Desert Sun
Lorena pictured with Louis B. Mayer
27 October 1969: Michael Nidorf & Lorena Nidorf (WEST 100 FT LOT 91 & 92) to MAGLA PRODUCTIONS, INC. and Joan Perry Harvey, a married woman as her separate property, as tenants in common.
4 November 1969: Laurence Harvey, married man, husband of the grantee hereby remises, releases and forever quitclaims (WEST 100 FT LOT 91 & 92) to Joan Perry Harvey, a married woman, as her separate property.

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20 THE ARCHITECTURAL FIRM
Buff and Hensman
History
‘In 1948, while attending the University of Southern California (USC) School of Architecture and working together designing tract and model homes (but prior to beginning their practice), Conrad Buff III and Donald C. Hensman accepted a request by the Dean of the School of Architecture to assume teaching duties of a former senior professor. Therefore, Buff and Hensman were concurrently working professionals, students, and teachers, all before being licensed or graduating.’
‘In 1952, they began their practice Buff and Hensman, while both continuing to teach and be associated with USC. Calvin Straub joined the practice by 1957, becoming Buff Straub and Hensman (1957-1962) - all licensed by the American Institute of Architects (AIA); Straub was head of design at USC in the 1950’s, serving as a teacher, mentor, friend, and later, partner. During this period the firm designed some of its most significant work (and won more than 30 awards from the AIA) with their masterwork being Case Study House #20 aka the Saul Bass House (Altadena, 1958), built of factoryproduced stressed skin panels and plywood vaults. Despite meticulous engineering calculations, the architects were not awarded a building permit until completing a sample plywood vault loaded with weights. Their open plan introduced the concept of zoning: the owner's zone with studio office; garden; master bedroom & bath; a formal zone with living and dining rooms and entry atrium; a family zone with kitchen; family room; dining terrace; two additional bedrooms; and swimming pool. Straub's own design for his post-and-beam home in Pasadena also brought the practice many commissions.’
‘In 1962, the firm became known as Buff Hensman and Associates upon Straub’s acceptance of a professorship to teach architecture at Arizona State University in 1963. Even after Straub left Buff and Hensman, his designs and architectural style made an indelible mark on the firm and would continue to influence its projects without him. Conrad Buff died in 1989 and Dennis Smith joined the partnership that same year to form Buff Smith and Hensman, from which Hensman retired in 1998. Smith continues with the practice, located in Pasadena, CA.’ - paraphrased from: https://architectuul.com/architect/buff-smith-and-hensman The Architects
Conrad Buff III, FAIA (1926 – 1989) Born in Eagle Rock, California, Buff’s parents collaborated on children's books and his father, Conrad Buff II, was a prominent painter of the American southwest. Family acquaintances included opera singer Lawrence Tibbett along with architects Rudolph Schindler and Richard Neutra, one of whose first architectural commissions was re-designing the garage for the Buff family home. During WWII, Conrad Buff III served in the U.S. Navy, based in Maryland where he met his wife Elizabeth (Libby) - a skipper's yeoman. After the War, he enrolled at the University of Southern California (USC) School of Architecture, where he met Donald Hensman who had also returned from the War. Upon graduating, Buff was a faculty member at USC for ten years, contributing significantly to the design curriculum.

Donald C. Hensman, FAIA (1924 - 2002) Born in Omaha, Nebraska, Hensman grew up in Hollywood, California where he graduated from Hollywood High School in 1941. He was a parachute rigger in the South Pacific for the U.S. Navy during World War II and, by way of the GI Bill, entered the USC architecture program where he met Conrad Buff III. After graduation, Hensman returned to teach at his alma mater from 1952 to 1963; was eventually made assistant professor within the USC design curriculum; and chaired the joint USC/AIA education committee.

Meanwhile he and Buff became designers of tract homes for several regional developers and set up their own practice prior to collaborating with Calvin Straub. Hensman remained active in the Pasadena architectural community until his death in 2002.

Other significant Buff Hensman and Associates projects in the Coachella Valley include:
70-927 Fairway Drive, Rancho Mirage - Barney and Harriet Hayden Residence, 1968 2477 Southridge Drive, Palm Springs - Robert Brown Residence, 1971 71136 LaPaz Road, Rancho Mirage - James and Ruth Meade Residence, 1972 911 Juarez Avenue, Rose Hill, Las Palmas Heights, Palm Springs - Jerome Zarowitz Residence, 1972

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21 THE ARCHITECTURAL FIRM (cont…)
Buff and Hensman relationship to Laurence Harvey
Conrad Buff and Donald Hensman met Laurence Harvey in 1960, the same year they designed the campus of Idyllwild School of Music and the Arts (ISOMATA) in the mountains above Palm Springs. In 1962, Buff, Straub and Hensman designed and built their first project for Harvey, a residence in Beverly Hills at 1196 Cabrillo Drive (as seen at the construction site below). This relationship begat much of the firm’s work for entertainment industry clients. photo: “Buff & Hensman” USC Guild Press, 2004, p. 20
In 1964, Hensman completed blueprints for the residence to be built at 300 West Merito Place, the land for which Harvey had bought in 1962 with the help of Joan Perry Cohn (his eventual second wife). In 1969, the same year construction began on the house in Palm Springs, Buff and Hensman remodeled both Harvey’s Malibu residence and his commercial antiques store (opened in 1966) at 8417 Melrose Place, then known as “Antiques Row.” “In 1960, while the partnership was still called Buff,
Straub & Hensman, they received a pivotal commission. It was a house for Helen Rose, the renowned fashion stylist for the Hollywood Elite. Although the design was for a
relatively simple, elegant house in Beverly Hills (1320 Carla Lane), it had great reverberations for the firm. Actor
Laurence Harvey of Butterfield 8 and Manchurian
Candidate fame was interested in building a house, and
happened to ask Helen Rose if she could recommend any
good, young architects. She recommended Buff, Straub &
Hensman. Hensman often told the story of their first
contact with Harvey, how the phone in the office rang and Conrad answered. The well-trained voice on the other
end said, with a heavy accent, “this is Laurence Harvey.” Conrad said, “And I’m Walt Disney,” and hung up.

Fortunately for Buff, Laurence Harvey persisted, and
became a best friend and most influential client. They
built three residences and a showroom with Laurence
Harvey in Beverly Hills and Palm Springs. Over the years, they traveled the world on various personal and
professional adventures with him. Famous clients begat
famous clients…Paul Anka saw the residence for Laurence Harvey while at a party in Palm Springs and insisted on knowing who the architects were.

As a result, Buff & Hensman built a residence in Monterey, California, for Paul and Anne Anka in 1974, developing a long friendship with the family.”
– Buff & Hensman, USC Guild Press, p. 28
- Donald C. Hensman, 2004

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22 THE 1964 BLUEPRINTS
Name on Blueprints: Donald C. Hensman, FAIA, Buff and Hensman Architects & Associates A.I.A.

Original blueprints, courtesy Marmol + Radziner, 2017 restoration architects of 300 West Merito Place

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23 THE 1964 BLUEPRINTS
Name on Blueprints: Donald C. Hensman, FAIA, Buff and Hensman Architects & Associates A.I.A.

Original blueprints, courtesy Marmol + Radziner, 2017 restoration architects of 300 West Merito Place

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24 THE 1964 BLUEPRINTS
Name on Blueprints: Donald C. Hensman, FAIA, Buff and Hensman Architects & Associates A.I.A.

Original blueprints, courtesy Marmol + Radziner, 2017 restoration architects of 300 West Merito Place

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25 THE 1964 BLUEPRINTS
Name on Blueprints: Donald C. Hensman, FAIA, Buff and Hensman Architects & Associates A.I.A.

Original blueprints, courtesy Marmol + Radziner

THE DRAFTSMAN
John Kenneth Grist, A.I.A. was born 1936 in Connecticut to a British father and American mother and was raised in Baltimore, Maryland:
“I enrolled at USC in 1956. Don Hensman was my first-year instructor; Conrad Buff was my second year and third year instructor. I went to work for them after my second year. I graduated second in my class in 1961.” - John K. Grist*
In addition to being a cum-laude graduate of USC and a National Council of Architecture Registration Board (NCARB) Certificate holder, Grist is past president (1987) of the Pasadena and Foothill Chapter, American Institute of Architects (AIA).

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26 THE DRAFTSMAN (cont…)
When asked about his work on 300 West Merito Place, Grist replied:
“I was the draftsman, and I did attend a few meetings with Mr. (Laurence) Harvey…I would say that (he) was a gentleman - I wish all of my clients were like him!” “I started my own office in 1965. It is now 2022 and I am still working on two projects. Over the years I have done three types of projects: Residencial (sic), Churches, and Shopping Centers.” *quotes by John K. Grist (in email exchanges with Jade T. Nelson, August 28-September 8, 2022) His office, presently located in Claremont, CA, was established originally in Glendale as John K. Grist / Architect and is currently reorganized as Grist Associates.

John K. Grist designed the Gene and Ina Autry Residence in Palm Springs, along with twelve surrounding ¯ bungalows in 1970, now a part of the Parker Palm Springs hotel:

The Desert Sun
6 March 1970

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27 THE DRAFTSMAN (cont…)
Grist (below, bottom left) also designed the 1973 banquet room of the Gene Autry Hotel (built by local developer John Wessman) and the 1975 freestanding 50-room building on the property, now the Parker Palm Springs:

The Desert Sun, 13 November 1972
The Desert Sun, 21 November 1975

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28 THE BUILDER “CONTRACTOR” of 300 West Merito Place
Job Record Card for 300 West Merito Place, dated 24 January 1969 John Louis “Jack” Newland (1914 - 1992)
b. 12 April 1914 Portland, OR – d. 20 February 1992 Williams Lake, B.C., CANADA Father: Herbert Browning Newland, b. 1889 - d. 1931
Mother: Marre “Marie” Angela (Comini) Spriggs, b. 15 August 1891 – d. 25 May 1974 m. Mary Elizabeth Emerson, Oct 1941
In his youth, John Newland lived with his parents in Portland, OR, where he was a student and ship clerk.

By 1924, he resided in Oakland and, later, in Vallejo, CA working as a laborer. From 1925-1938, according to voter rolls, he was a farmer in Merced, CA. In 1936, Newland was recruited to the United States Marine Corp and, by 1940, he had registered for the WWII draft.

By 1941, Newland was a storekeeper in Chula Vista,
San Diego, CA, living with his wife Mary.

National City Star-News
10 October 1941

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29 THE BUILDER “CONTRACTOR” of 300 West Merito Place (cont…) In 1949, Newland, working as a carpenter, was caught forging bad checks, and arrested. Apparently, the day before his arrest (his 35th birthday), he was due to come into an inheritance, but forgery warrants had been issued four months earlier:

Source: Ancestry.com - Washington, US, State Corrections and Jail Records Clark County Gvmt., Mug Shots, 1939-1951
Pasadena Independent, 15 April 1949
The Sacramento Bee, 15 April 1949
At age 36, according to the 1950 census, Newland had divorced and was living with his mother Marre (Marie) A.

Spriggs, a widow, at Casa Palmeras, 175 Tamarisk Road, unit #5, Palm Springs, CA. They then moved together to a house she purchased in what is now Cathedral City:

The Desert Sun, 16 February 1951
For a while Newland assumed his
mother’s married name Spriggs…
The Desert Sun, 1 October 1953

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30 THE BUILDER “CONTRACTOR” of 300 West Merito Place (cont…) Newland’s bad habits continued as he was arrested again:

The Fresno Bee,
29 March 1954
Articles in The Desert Sun show that Newland held
the following positions throughout the 1960’s:
• Building Inspector
Palm Springs Unified School District
• Superintendent
Byerly Construction Co., Banning, Ca
-built Vista Del Monte School, 1962
• Construction Superintendent
Bell Construction Co.
-builder of Sandcliff, 1964
During the period from 1951 until his mother’s death
in 1974, Newland appeared to live at 32-852 Shifting
Sands Trail (her home) in Cathedral City. Sometime
after her passing, perhaps the late 1970’s, it appears
Newland moved to British Colombia, Canada where
he served in the Canadian Army and later died in 1992
at the age of 77.

The Tribune, Williams Lake, British Colombia, Canada
10 March 1992

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31 THE CLIENT
Laurence Harvey (Larushka Mischa Skikne)
(actor, director, collector, bon vivant)
b. 1 October 1928, Joniškis, Lithuania
d. 25 November 1973, Hampstead, London, UK
m. Margaret “Maggie” Leighton, 1957–1961;
Joan Perry Cohn, 1968–1972;
Paulene Stone, 1972–1973
Born at 14 Vilniaus Street in the tiny Lithuanian village of Joniskelis to Boris and Ella (Zotnik) Skikne, Laurence Harvey’s given Hebrew name was Zvi Mosheh. As a boy, he was called Hirshkeh, a play on the Yiddish word Zvi, meaning young deer or, in this case, youngest son. Harvey’s civil birth name was Larushka which his mother fondly called him until age six when the family moved to Johannesburg, South Africa, and, at which time, he insisted on the name “Harry.”
‘As a young boy, Harvey adopted his Aunt Hava’s sharp tongue which he used carelessly. Belonging to the “priestly caste” on their father’s side, he and his brothers were taught early on that they were special. Among family, the boys were regarded as princes, and Harvey grew up and went through life holding himself as such. A family trait, his flair for theatrics was begat by his mother Ella’s largesse and verve while dad Boris was quiet and gentle. Harvey would become a perfect distillation of the two.’ -paraphrased from: Reach for the Top: The Turbulent Life of Laurence Harvey, Anne Sinai At the age of 15, “Harry” joined the Entertainment Unit of the South African Army during WWII. By 1946, he moved to London and, after a brief enrollment at the Royal Academy of Dramatic Arts, dropped out to make his own way into theatre, taking the name “Larry,” a blend of Larushka and Harry.

Regarding the name Laurence Harvey, according to his final wife Paulene Stone, who asked him:
“Did you really take the name Harvey from the Harvey Nichols store (a British luxury department store chain)?” “Yes,” he said. “But it wasn’t such an impulse-steal as people suppose.

A man must find a name to fit his destiny: it must proclaim him as clearly as a battle cry. It must fit his looks, his passions, his mistakes. Jimmy Woolf (Harvey’s longtime agent and lover) told me that once and he was absolutely right. A man’s name is finally the outcome of experience and suffering and upheavals and time. I’ve always been Laurence Harvey in my soul, in the dead of night.” - One Tear is Never Enough, Paulene Stone

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32 THE CLIENT (cont…)
In 1952, Harvey completed a season with the Royal Shakespeare Company in Stratford-on-Avon, where he met his future first wife, the actress Margaret “Maggie” Leighton. On July 22, 1957, Harvey formed his production company, Magla Productions, Inc., “Magla” being a likely portmanteau of their names: Maggie and Laurence. They married on August 8, 1957, after being engaged nearly two years. The ensuing ten-year period saw Harvey’s breakthrough into international stardom from his BAFTA and OSCAR nominated turn in Room At The Top to acclaimed roles in Butterfield 8 and The Manchurian Candidate, considered his best-known film. Meanwhile, Magla Productions only made two films: Blast of Silence, in 1961; and The Ceremony, produced, directed by, and starring Harvey in 1963.
“I’m a flamboyant character, an extrovert who doesn’t want to reveal his feelings. To bare your soul to the world, I find unutterably boring. I think part of our profession is to have a quixotic personality. Once someone asked me, ‘Why do so many people hate you?’ and I said, ‘Do they? How super! I’m really quite pleased about it.” source: https://lizeggleston.com/2011/06/08/mensday-the-loves-of-laurence-harvey/ In 1960, while dining at a Beverly Hills restaurant with James (Jimmy) Woolf, his longtime agent and not-so-secret lover, (whose Romulus Films kickstarted Harvey’s Hollywood career), Harvey met Joan Perry Cohn (widow of Hollywood mogul Harry Cohn) thus beginning a long, transactional relationship of convenience and companionship.

Joan introduced Laurence to Palm Springs, and they began spending time there, first at her houses then his. They were married from 1968-1972, during which time Harvey also dated British model Paulene Stone with whom he had his only child, Domino (namesake of the 2005 film about her life as a bounty hunter). After going back and forth between California and England, Stone and Harvey married in 1972 and settled in Hampstead, north London.

Laurence Harvey’s acting career spanned 27 years; comprised of 58 film roles, 36 television appearances, and 13 theatrical productions. Nominated twice for a BAFTA (British Academy of Film and Television Award); once for a Golden Globe; and once for an Academy Award (for Best Actor in Room at the Top), his only real win of note was the 1956 Theatre World Award for his work in Isle of Goats that played the Fulton Theatre in Manhattan. Harvey received mass critical acclaim for his role as social climber Joe Lampton in Room at the Top (1959) as well as for The Manchurian Candidate (1962) co-starring Frank Sinatra and Angela Lansbury.

A heavy smoker, avid drinker of wine, and gourmand,
Laurence Harvey succumbed to stomach cancer in
London at the age of 45 in 1973. He is buried at the
Santa Barbara Cemetery in Santa Barbara
County, California at an ocean view plot next to his
daughter, Domino.

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33 Laurence Harvey’s spouses (during the period of significance) Joan Perry Cohn Harvey née Elizabeth Rosiland Miller
b. 7 July 1911, Pensacola, FL
d. 16 September 1996, Montecito, CA
Known as “Betty” Miller during her modelling
career in 1930’s New York City, Joan Perry went on to
become a singer and actress in Hollywood. In 1935,
she signed to Columbia Pictures during which time
she met and co-starred with actors Ronald Reagan
and Ralph Bellamy, co-founder of the Palm Springs
Racquet Club. Following a brief stint at Warner
Brothers where she made two films, Joan married her
first husband, Harry Cohn, the head of Columbia
Pictures, and they were together 17 years until his
death in 1958. Joan met Lawrence Harvey in 1960
and, after him being branded her “boy toy,” they had
a long courtship during the latter of which he also
dated British model Paulene Stone. Joan and
Laurence finally married in 1968. They separated
August 27, 1971, with a divorce (at her request)
finalized on February 14, 1972. Joan is buried at
Hollywood Forever cemetery in the Cohn family plot. Joan Cohn and Laurence Harvey at the 1968 Academy Awards
Paulene Stone
b. 10 May 1941, Guildford, Surrey, England
Paulene Stone, Laurence Harvey, Sophie Harvey
In her teens, Paulene Stone won a modelling
competition and, by 1960, landed a contract with
VOGUE magazine. Her “look” quickly became the
embodiment of 1960’s “Swinging London,” a youth
movement that emphasized fun-loving hedonism and
modernity. In 1966, she married Take 6 men’s fashion
chain founder Tony Norris and they had one
daughter, Sophie. Later, through mutual journalist
friend Peter Evans, Stone met Laurence Harvey in
1966 at The Connaught hotel then fell in love with him
on the film set of A Dandy In Aspic. Harvey fondly
called her “redbird,” and, in 1969, she gave birth to
their daughter Domino (his only child). They married
New Year’s Eve 1972, more than six years after
meeting, and less than a year before Harvey’s death.

Domino died aged 35 in 2005, but Sophie was so fond
of her stepfather that she still goes by Sophie Harvey.

In 1976, Paulene wrote One Tear is Enough, a memoir
of her life and times with Laurence Harvey. In 1978
she married Peter Morton, co-founder of the Hard
Rock Café chain, for 8 years, and they had a son,
Harry. She was married to English actor Mark Burns
from 1995-2007. Stone has survived three bouts with
cancer and currently resides in London.

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34 LAURENCE HARVEY IN PALM SPRINGS
“He began dreaming of creating a spectacular new house in Beverly Hills and hired one of the finest architectural firms on the west coast to construct it in conformity with his ideas. He sent for the head of the firm (Conrad Buff) periodically, paying all his travel expenses, to discuss his plans and, also, in this period developed an additional project or two. One was to open an antiques store on Robertson Boulevard in Los Angeles, where several expensive stores of various kinds already existed. Another was to open an even larger antiques store in Palm Springs where he had bought a house and, during his weekend excursions with Joan, who owned three palatial houses there, he had discovered a motel that could be converted to house an antiques store on the ground floor with an apartment block with penthouse suites, carports, and saunas to be erected above it.” - Pg. 297, Reach for the Top: The Turbulent Life of Laurence Harvey by Anne Sinai The Desert Sun, 19 January 1968
“In Los Angeles, Harvey moved his antiques shop to Antiques Row (Melrose Place) on expensive La Cienega Boulevard and opened a second antiques shop on Palm Canyon Drive in Palm Springs. Neither shop did as well as he had hoped. His large collections were expensively priced and not altogether to the public’s taste. And besides, he kept taking choice pieces to his house because he could not bear to part with them.” - Pg. 325, Reach for the Top: The Turbulent Life of Laurence Harvey by Anne Sinai The Desert Sun, 10 October 1968

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35 LAURENCE HARVEY IN PALM SPRINGS (cont…)
“Why they had decided to marry at this point has not been documented. Perhaps he had a chivalrous impulse not to abandon her after so many years together. Or he needed to have the security that, in the somber days of looking for work, her wealth afforded. On the other hand, he always found money for his projects, somehow, and he was loud in his protestations that he was not Joan’s ponce. Joan had always called their relationship “perfect” as it stood. Perhaps it was she who had demanded the change in their status. Whatever the truth, they appeared happy and comfortable with each other, and returning to her house on Crescent Drive in Beverly Hills, concentrated on remodeling two houses in Palm Springs that Joan owned and in adding another belonging to him (300 West Merito Place) with the assistance of a leading architect who was flown to Palm Springs on weekends in either the twin-engine Air Commander that Harvey had purchased, or by helicopter. In keeping with his grandiose ideas, the third house was to be enormous, containing a large dining room and bar, a master bedroom and study, two master bathrooms, two guest suites, servant’s quarters, a large sauna, a gigantic swimming pool, Jacuzzi’s, fountains, loggias, garages, a tennis court, and a putting green.” -Pg. 329, Reach for the Top: The Turbulent Life of Laurence Harvey by Anne Sinai For at least TEN years during 1960-1970, Harvey spent as much time as his schedule and health would allow in Palm Springs, often sighted at Ruby’s Dunes and mentioned by local society columnists or in local periodicals:

1. An early mention of Harvey in print as part of Palm Springs society, was on December 29, 1960, in The Desert Sun, “Women of the Desert” gossip column by Hildy Crawford, Society Editor:
“Christmas Eve dining at The Dunes were the Al Harts, who were with New Yorker Bob Altman, Laurence Harvey and the former Joan Cohn. Also in over the Christmas weekend was Bob Goldstein of 20th Century Fox, who was with his two sisters Phyllis and Della, who have a home here.”

2. “On December 31, 1960, he (Harvey) served as best man at the wedding of director Vincente Minelli…The wedding was at the home of Anne and Kirk Douglas in Palm Springs. Kirk Douglas was still a great star in the 1960s, and he was one of Larry’s friends, with whom he said he could talk about the trials and tribulations of having been born Jewish in a world where Jews were still looked down upon.” -Pg. 259, Reach for the Top: The Turbulent Life of Laurence Harvey by Anne Sinai Around the time of this clipping below, Harvey and Joan Cohn took 50/50 possession of Lot 93 (300 W. Merito Place).

Note: On Harvey’s earliest visits to Palm Springs, he sometimes stayed at the home of Kirk Douglas. ¯ The Desert Sun, 4 January 1961

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36 LAURENCE HARVEY IN PALM SPRINGS (cont…)

3. The Desert Sun, “Around Town” with Hildy Crawford, 21 March 1962:
“Don the Beachcomber continues the popularity which has marked it ever since it was established in 1952 and even mid-week diners without reservations are likely to have to wait for a table. Celebrities, too, are to be noted, usually in one of the numerous side rooms. The other evening, for instance, Lawrence(sic) Harvey and Joan Cohn were entertaining a group of friends. It was a farewell party for the young actor who is leaving for Europe for six months.”

4. In the Palm Springs Telephone Directory, 1963 and 1964, at Laurence Harvey’s first Palm Springs address 419 Valmonte Sur (which was Joan Cohn’s house that she shared with him), Jas S. Robb (James Sandilands Robb) is listed as employee (butler) of L A Harvey.

A native of Scotland, Robb had been a private in the US Army during WWII and was a butler for the remainder of his life until his death in Cathedral City at age 84. -The Desert Sun

5. The Desert Sun, “Desert Martini” by Douglas Brown, 15 October 1965:
“EVERYWHERE you turned last weekend there was action. Some 600 outers sampled Don the Beachcomber's fare; Ruby's Dunes was packed, and diners included Laurence Harvey, Joan Cohn, producer Bill Bixby, and actor William Demarisk(sic), of the "My Three Sons” teevee show...”

6. As stated above, Harvey’s first P.S. address (1961-1969) was 419 E. Valmonte Sur, that Joan Cohn bought from noted interior designer (and their friend) Arthur Elrod who had remodeled and owned it from 1955- 1961. Originally a small adobe, the house first belonged to Palm Springs pioneers Frank and Melba Bennett.

In March 1966, Harvey opened the home for the American Association of University Women’s annual home tour as seen in this article from The Desert Sun, 2 February 1966:

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37 LAURENCE HARVEY IN PALM SPRINGS (cont…)

7. The Desert Sun, 25 February 1966 - Harvey attended an event honoring his friend and onetime boss, Frederick “Fritz” Loewe (seen in historical photos on p.72 at the building site of 300 West Merito Place):

8. The Desert Sun, 4 & 11 March 1966 - Harvey attended a dinner feting Frederick “Fritz” Loewe on 26 February 1966:

The Desert Sun, 4 March 1966
The Desert Sun, 11 March 1966

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38 LAURENCE HARVEY IN PALM SPRINGS (cont…)

9. The Desert Sun, 30 March 1966
Harvey participated in that year’s
Desert Circus Parade:

10. Harvey’s last mention in The Desert Sun:

The Blue Vest was an Italian Restaurant
owned by Vince Pastere that opened in Oct
1969 at 622 N. Palm Canyon Drive, present
day location of Cheeky’s:

By the end of Harvey’s mentions in the local paper, construction had finally begun on 300 West Merito Place, and he was busy with his antique stores as well as managing his affair with Paulene in London while still married to Joan and working on multiple film projects despite his ailing health. “While a man is building, he is alive.” -Laurence Harvey to Paulene Stone Harvey under the loggia of 300 Merito Place, looking south

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39 LAURENCE HARVEY IN PALM SPRINGS (cont…)
Construction site view, looking north
Southeast view from pool house toward main entrance
In 1972, two years after the house was completed, and, to satisfy the conditions of Joan’s divorce from Harvey, they sold the house and property.
9 August 1972: “MAGLA PRODUCTIONS, INC. a NY corporation and Joan Perry Harvey, a married woman as her separate property, as tenants in common, as to PARCEL 1; and MAGLA PRODUCTIONS, INC. a NY corporation as to an undivided ½ interest, and Joan Perry Cohn, a widow, as to an undivided ½ interest, as tenants in common, as to PARCEL 2.

PARCEL 1: The west 100 FT of LOTS 91 & 92
PARCEL 2: LOT 93
to Lionel Steinberg and Louise E. Steinberg”

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40 SECOND OWNER(S) OF SIGNIFICANCE
Lionel Sanford Steinberg
b. 20 April 1919, Fresno, CA - d. 8 Mar 1999, Cathedral City, CA m. Mary “Louise” Endfield, 1949-1977; Katrina Heinrich, 1978-1999 Son of William Steinberg (who died aged 34 when Lionel was just 6) and Mrs. David Freedman (Selma Frederica), Lionel was a member of the California Young Democrats Club (CYD), Fresno chapter; attended Fresno State College; became a fruit shipper; and, in 1942, entered the U.S. Naval Air Reserve. In 1947 he was elected president of CYD. In the late 40’s he would visit Palm Springs with his parents and stay at The Rossmore. - The Fresno Bee January 16, 1949 Democratic National Committee Chairman J. Howard McGrath (left) and Lionel Steinberg, president of California (Federation of) Young Democrats (CYD), ca. 1948 “Steinberg had great credibility with established politicians: during the close 1948 Presidential election, he helped organize a last-minute whistle-stop train ride through California’s Central Valley that helped Harry Truman carry the state by only 17,000 votes – the same margin Steinberg delivered for the Democrats in Fresno County alone. After the 1948 election, Steinberg began organizing young people he had met on the campaign. Steinberg later became the first table grape grower to sign an historic contract with Cesar Chavez and his United Farm Workers in 1970.” - cayoungdems.com

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41 SECOND OWNER(S) OF SIGNIFICANCE (cont…)
The Tribune, 26 February 1949
On 2 April 1949, Lionel and Mary “Louise” Endfield
(b. 15 September 1922 – d. 3 August 1984) of
Scranton, PA were married. Their first Palm Springs
home was 797 Via Vadera (a Charles Du Bois designed
A-Frame they bought new in Sept 1958). Together
they had three children: William E. “Billy,” Barbara
“Betty,” and Mary; the family was featured in a 1962
edition of Palm Springs Life magazine (below). That
same year, the Steinberg’s hired Arthur Elrod
Associates to design interiors for the house,
beginning an association that would continue to their
next home.

The Steinberg Family at their first Palm Springs home,
a Charles Du Bois design @ 797 W. Via Vadera.

L to R: Lionel, Louise, Billy, Betty, and Mary
Palm Springs Life magazine archives, 1962

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42 SECOND OWNER(S) OF SIGNIFICANCE
“Lionel Steinberg was appointed to the California State Board of Agriculture in January 1959 and served as Vice President of the board from 1960-1968. He was also appointed to the White House Food for Peace Council in May 1971, by President John F. Kennedy, and served on that board until December 1964. In February 1963, Steinberg served as a member of the first 7-man mission that was sent by President Kennedy, the U.S. Department of State, and the governor of California, to Chile to initiate an agricultural program in that country. In 1946 he (Steinberg) acquired an interest in a large farming operation, supervising farming operations in ten counties, and participated in the growing and harvesting of some thirty of California's 200 crops.” - The Desert Sun 10 July 1971 In 1963, Steinberg was also the Democratic co-chair of the 38th Congressional District, which at the time included Riverside County and Imperial County.
“By 1971, the Steinberg’s went into business with Steve and Gloria Volpe and Marra Associates to open Travertine Vineyard Associates in Thermal, CA. That same year Lionel was co-chair of the Coachella Valley Democratic Advisory Committee.” - The Desert Sun 31 March 1971
In August 1972, two years after Laurence Harvey completed the house, Louise and Lionel Steinberg bought 300 West Merito Place from:

MAGLA PRODUCTIONS, INC., a NY corporation (Laurence Harvey) and Joan Perry Harvey.

By 1975, Lionel had been elected Chairman of the Desert Grape Advisory Board and was also president of CA State Board of Food and Agriculture on which he served 15 years before resigning in 1979. “Lionel Steinberg of Palm Springs has been named the chairman of the 37th Congressional District’s caucus of the Governor Brown for President Committee. A Coachella Valley grape grower, (he) was appointed by Assemblyman Howard Berman. The district includes San Gorgonio Pass, Palm Springs, Hemet, Coachella Valley, Palo Verde and much of rural San Bernardino County.” - The Desert Sun 10 April 1976 The front of 300 West Merito Place as it appeared in 1976 Note: many mature trees were already on the site prior to construction in 1969.

Photo: Fritz Taggart, courtesy Frank Lopez, Palm Springs Art Museum ADC Library

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43 SECOND OWNER(S) OF SIGNIFICANCE (cont…)
The Steinberg’s again retained (as they had done for their prior home) Arthur Elrod Associates, and Hal Broderick, ASID, designed new interiors for the house that were featured in Interior Design magazine. By the time this project was completed, Elrod and his colleague William Raiser had perished in a tragic auto accident in February 1974.

Harold “Hal” Christian Broderick II (b. 8 April 1925 – d. 14 April 2006) was born in Oakland, Ca to Laura and Harold C.

Broderick. After serving in the military during the mid-1940’s, Hal received a degree in business administration from University of Texas, Austin; attended California College of Arts and Crafts; and graduated from the Rudolf Schaeffer School of Design. In the early 1950’s Hal went to work at W.J. Sloane in New York and San Francisco, where he met Arthur Dea Elrod, who invited him to become his business partner in Palm Springs. Together with colleague Barbara Wills, they opened Arthur Elrod Ltd. located at 886 N. Palm Canyon Drive (later the site of Laurence Harvey’s antique shop). Hal and Arthur became life partners until the mid 1960’s and Hal assumed control of Arthur Elrod Associates upon Arthur’s death, managing the company for another 22 years. In 1996 Hal and his partner Cal Vander Woude retired to Sonoma, CA.

Interior Design, June 1976, courtesy Frank Lopez, Palm Springs Art Museum ADC Library Hal Broderick-designed bedroom, Arthur Elrod: Desert Modern Design, p.134-135

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44 SECOND OWNER(S) OF SIGNIFICANCE (cont…)
Arthur Elrod: Desert Modern Design, p.144-147

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45 SECOND OWNER(S) OF SIGNIFICANCE (cont…)
Arthur Elrod: Desert Modern Design, p.148

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46 SECOND OWNER(S) OF SIGNIFICANCE (cont…)
Arthur Elrod: Desert Modern Design, p.149

-Donald Hensman, 2004

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47 SECOND OWNER(S) OF SIGNIFICANCE (cont…)
In 1977, Lionel and Louise divorced, at which time he deeded the house to her:
29 June 1977: Lionel Steinberg to Louise E. Steinberg
PARCEL 1: The west 100 FT of LOTS 91 & 92
PARCEL 2: LOT 93
In February 1978, Lionel married Katrina Heinrich, daughter of famous German author Joseph Heinrich, and a realtor who would later have the listing for the house when the Steinberg family placed it on the market and again when the next owners listed the property for sale.

After the divorce, Louise continued to live at 300 West Merito Place until 1981 and remained active with the Palm Springs Desert Museum and various charitable organizations. Friends included philanthropists Rosalie Hearst and Barbara Sinatra. Louise retreated from society in the final years of her life and died the 3rd of August 1984, aged 61.

Lionel Steinberg died the 8th of March 1999, aged 79, and is interred at Forest Lawn Memorial Park, Cathedral City.

The Desert Sun, 9 January 1980

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48 SECOND OWNER(S) OF SIGNIFICANCE (cont…)
William “Billy” Endfield Steinberg
b. 26 February 1950, Fresno, CA
d. 16 February 2026, Los Angeles, CA
The Steinberg’s son, Billy, a Palm Springs High School
graduate, was an acclaimed Grammy-winning
songwriter; the first Coachella Valley native to join
the Songwriters Hall of Fame (2011); and has a star on
the Palm Springs Walk of Stars (2008). In 1981, Billy
wrote Precious Time, originally covered by singer Pat
Benatar, based on time he spent at 300 W. Merito
Place and with his mother….
“Yeah. "Precious Time" is one of the songs that I wrote by myself. And that song is about my mother. My mom and I
were really close, and she really encouraged my
songwriting, and the poetry I was writing, she encouraged it. But she was also kind of domineering, and so that song was sort of about her.”
“Specifically, “"Your home is like a fortress, no one comes in but the florist, the gardener, and the maid."” The whole thing was really kind of about her. I was quite proud of that song, really.” -Billy Steinberg
https://www.songfacts.com/blog/interviews/billy-steinberg ((END OF PERIOD OF SIGNIFICANCE FOR
300 WEST MERITO PLACE (1962 – 1981))
Some of Billy’s other original songs (with songwriting
partner Tom Kelly) include the No. 1 hits "Like a
Virgin” by Madonna (1984), “True Colors” by Cyndi
Lauper (1986), “Alone” (covered by Heart in 1987),
“So Emotional” by Whitney Houston (1987) and
“Eternal Flame” (co-written with Susanna Hoffs and
recorded by the Bangles in 1989). Steinberg and Kelly
also wrote/co-wrote the hit songs “I Drove All Night”
(recorded by various artists, initially recorded by Roy Orbison in 1987 but first released by Lauper in 1989),
“I Touch Myself” by Divinyls (1990) and “I’ll Stand By
You” by The Pretenders (1994).

Precious Time
as sung by Pat Benatar
“I don't want to argue about who is the victim
'Cause maybe we both got burned
I don't want to talk about who is the traitor
'Cause both of our loyalties turned
I don't want to fight about who is the liar
'Cause there's too many ways to lie
I don't want to hear about who is the winner
'Cause we both know it's a tie
Cut it out, drop it, count me out, baby stop it
Life is too short, so why waste precious time?
Life is too short, so why waste precious time?
You were on a liquid diet, you were sure you had to try it And you lost all your pounds
The doctor's on vacation, so you took the medication
And wound up in Lost and Found
So we took a trip to Paris 'cause you swore that
It would scare us out of our swift decline
All that I remember 'bout those days in that September
Is the "Merci" and the wine
Cut it out, drop it, count me out, baby stop it
Life is too short, so why waste precious time?
Life is too short, so why waste
Precious time, precious time, precious time, oh, precious time Life is too short, so why waste precious time?
You talk on the telephone, long distance to New York or Rome Some would say you got it made
Your home is like a fortress, no one comes in but the florist The gardener and the maid
You call me on the telephone, you say "You feel so alone" Too tired to get dressed and get out
First you're happy, then you're sad, somehow you always hang up mad Excuse me if I shout
Cut it out, drop it, count me out, baby, stop it
Life is too short, so why waste precious time?
Life is too short, so why waste precious time?
Life is too short, so why waste precious time?
Precious time, precious time, oh precious time
Life is too short, so why waste precious time?”
Source: Musixmatch
Songwriters: William “Billy” E. Steinberg
Precious Time lyrics © Sony/atv Tunes Llc

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49 300 West Merito Place, 1981 – PRESENT
The house was on and off the market a few times starting in 1981:

The Desert Sun, 30 January 1981
The Desert Sun, 9 March 1984
The Desert Sun, 31 May 1986
The Desert Sun, 31 July 1987
The property went into probate in 1984 before finally
selling on:
27 June 1988: Louise E. Steinberg Estate Et Al.
to “Joe” (Giuseppe) Bonino and Pamela K. Bonino
During a personal interview with Pamela Bonino at her home on January 12, 2023, she relayed the following details related to 300 West Merito Place:
• Joe Bonino came up with the name “Villa
Serena” for the house because they enjoyed the
peace and quiet there. Subsequently, they
commissioned renown Italian sculptor Riccardo
Cordero to design the “Villa Serena” bronze
plaque (right) they had installed within the
street-facing perimeter rock wall to the east of
the driveway ®

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50 300 West Merito Place, 1981 –PRESENT (cont…)
• Pamela and her husband Joe were told that Laurence Harvey personally selected and directed the placement of the boulders in the pool to resemble a penis and that water came out the center boulder like a fountain (see attached newspaper photo of the pool (built by Master Pools) in 1970, shortly after being completed for Harvey):

The Desert Sun, 15 October 1970 (note: 300 Merito was sometimes referred to as 298 early on) • Pamela created the wine bottle house as an addition to the already built historic “pony stall” as she called it, using a variety of empty wine bottles from her husband’s vast collection (see below right). • They had a bronze bas-relief sculpture of a dancing bull (made by Italian sculptor Riccardo Cordero) installed on the bottom of the pool which was removed by subsequent owners and returned to them. • In March 1991, the Bonino’s opened the house to the annual home tour sponsored by the American Association of University Women. This article (below left) offers further clues to details during their ownership:

The Desert Sun, 2 March 1991 Photo Courtesy Glenn Ostergaard

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51 300 West Merito Place, 1981 –PRESENT (cont…)
In July 1992, the Bonino’s put the house on the market and it sold 11 months later in June 1993 for $1,499,000.

The Desert Sun, 5 July 1992

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52 300 West Merito Place, 1981 –PRESENT (cont…)
Sales Brochure – 1992

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53 300 West Merito Place, 1981 –PRESENT (cont…)
Sales Brochure – 1992
In 1993, new owners Henrietta and Leonard Axelrod retained the office of architect James Rodney Cioffi to design and build a 162 sq.ft. breakfast room addition (removed in the 2018 restoration), renovate the kitchen and replace a sliding glass door with a fixed glass window between the then-existing living room and dining room elevations, as well as moving the dining area to be directly west of the kitchen for a new bedroom (see blueprints):

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54 300 West Merito Place, 1981 –PRESENT (cont…)
BLUEPRINTS FOR 1993 RENOVATIONS BY JAMES CIOFFI

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55 300 West Merito Place, 1981 –PRESENT (cont…)
BLUEPRINTS FOR 1993 RENOVATIONS BY JAMES CIOFFI

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56 300 West Merito Place, 1981 –PRESENT (cont…)
From 2000-2013, 300 West Merito Place was owned and occupied by David Kaplan and his life partner Glenn Ostergaard. Like the Bonino’s before them, who were “Founding Benefactors” of Palm Springs Desert Museum, now the Palm Springs Art Museum, David and Glenn were “Grand Benefactors” of the museum. They are the namesake of the Kaplan-Ostergaard Glass Collection, a permanent exhibition made possible by promised gifts from their personal collection along with their ongoing support. Glenn worked for a Los Angeles brokerage firm for 20 years and is an accomplished fine artist specializing in resin sculpture and painting. His artwork is featured in many private and corporate collections. David ran a successful international manufacturing company in the San Francisco Bay Area and has served on the boards of the following organizations, to name a few: San Francisco Art Institute; Names Project/AIDS Memorial Quilt; and Desert AIDS Project, to whom they have donated $75,000 to help fund medical and social services.

In an email exchange with Jade T. Nelson on December 17, 2022, Glenn shared the following details regarding the house during the time they resided there. (Some of these details pertain to the exterior photographs seen on p.74 of the report and others to the photos below):
- “There is one image showing sidewalk on the lot side of the house and it appears to have been taken before the kitchen was pushed out (by the Axelrods). Then there are images showing the addition to the kitchen. (see below: left upper and lower)
- Several images of the patio area by the outside bar. One shows wicker furniture. That might have been original. The other images of metal furniture must have been later as that furniture was at the house when David purchased it. (center upper and lower)
- Image of the bottle house (enoteca veja) (see p. 50). - When we had the pool re-done, we removed the two narrow jacuzzi units on each side (by the boulders). You can see them in pool images. Also, the bull in the pool was given back to Pamela Bonino. (right upper) - There is an image of the front entrance. I remember someone saying that the entry was designed to be hidden by the front garden (somewhat pre-existing). (right lower) - Lastly, the beam extensions were in trouble due to years of rain exposure, so we added metal on the tops to protect them from more water damage. ”
Photos Courtesy Glenn Ostergaard

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57 300 West Merito Place, 1981 –PRESENT (cont…)
In 2017, a meticulous restoration and update of 300 West Merito Place was completed for then owner Rea Laccone: (restoration photos in section 2.3, pages 9-10) “The Harvey House, originally built by Buff & Hensman in 1969 for actor Laurence Harvey, was purchased by Vince clothing company co-founder Rea Laccone (in 2013), for whom Marmol + Radziner (MR) restored another home in Beverly Hills. MR's primary goal for the restoration of “Harvey House” was to elevate and refresh the overall quality of the home. Marmol + Radziner did the architecture, interiors, and landscape. MR's interiors department worked very closely with Rea to select furnishings and art that simultaneously suit the home and reflect(ed) Rea’s refined architectural sensibilities.” - Marmol + Radziner Project Credits
Architect: Marmol Radziner, Los Angeles. Leo Marmol, FAIA; Ron Radziner, FAIA; Robert Tsurimoto Kirsten, AIA (associate, studio director) Interior Designer: Marmol Radziner Structural Engineer: Risha Engineering Group General Contractor/Construction Manager/Landscape Architect: Marmol Radziner Design/Build Installer: ElectricMan Contractor Land Surveyor: Feiro Engineering, Inc.

Low Voltage Design: AVIR
“This house is a very strong example of their (Buff and Hensman’s) work,” says Ron Radziner, cofounder of the Los Angeles-based firm that refurbished the 5,500-square-foot structure, which includes 2 acres with a cruciform pool and pool house, a tennis court, and thoughtful layers of native plants. “The forms of the original house are fantastic. In the end, we wanted to enhance them but for the home to feel like it had always been this way.” “The spirit of the original home should really remain,” Radziner says. “It shouldn’t feel like new architects came in and did something that wasn’t based on the initial concept, and I hope we have been successful at that.” He continues, “Updating these midcentury houses so they’re modernized for the people living in them 50 and 60 years later is something we need to be able to do. This ensures that these important pieces of history are not in danger of being torn down and replaced with something new.” -Palm Springs Life, April 2020
The project was recognized with an Honorable Mention by the 2018 AIA Los Angeles Residential Architect Design Awards for Restoration and Preservation.
“Los Angeles–based Marmol-Radziner was called upon to restore and update the classic…midcentury desert house in Palm Springs, Calif., with a brief to add modern conveniences and eliminate formal and visual barriers from the original design.”
“The house is configured on three sides around an exterior courtyard, with extensive outdoor spaces—it comprises a great room, kitchen, master suite, guest suite, massage room, sauna, outdoor bar area, and pool, with a tennis court adjacent to the complex. Buff & Hensman were known for their skillful deployment of exposed post-and-beam construction, and the Harvey House was no exception; Marmol-Radziner chose to enhance the outline of the frame with new brown-black trim that contrasts with the original white.” “Through thoughtful and strategic planning, the architects opened the space, increased glazing, and added skylights to maximize natural light and amplify many of the original designer’s formal and spatial concepts. For example, a wall between the original dining room and den was removed to create a new great room along the eastern edge of the courtyard, and the architects fabricated a new metal screen to provide formal separation between the kitchen and dining room, while maintaining a clear visual connection between the two spaces.

The architects installed new gleaming terrazzo flooring that extends throughout interior and exterior space, providing a virtually seamless transition that reflects how the new owners use the home as a weekend destination and winter getaway.” -Architect Magazine, 24 July 2018 END of Historic Resource Summary

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58 4.3 Architectural Style “Mid-century Modern”
Mid-century Modern is a term used to describe the post-World War II itera`on of various Modern styles in both residen`al and commercial design, including such hallmarks of Interna`onal Style architecture as geometric forms, smooth wall surfaces, and an absence of exterior decora`on.

Mid-century Modern represents the adapta`on of these elements to the local climate, to new building technologies (such as modular materials and structural systems), and to the postwar need for efficiently built, moderately priced homes; in Palm Springs, this typically meant the use of wood post-and-beam construc`on. Oien characterized by clear expression of structure and materials, large expanses of glass, and open interior plans, Mid-century Modern was further adapted to Palm Springs using various forms of screening walls or ‘brise soleil’ made from wood, concrete, or metal to help shield against the intense desert sun while allowing for air flow.

The roots of the style are traced to early Modernists like Frank Lloyd Wright, Richard Neutra and Rudolph Schindler, whose work inspired “second genera`on” Modern architects like Gregory Ain, Craig Ellwood, and Harwell Hamilton Harris, to name a few. Mid-century Modernism was adapted to Palm Springs by prominent local postwar architects including John Porter Clark, William Cody, Albert Frey, Donald Wexler, and E. Stewart Williams, as well as Los Angeles architects William Krisel and Dan Palmer, all of whom helped develop an indigenous “Desert Modernism” that was born from Interna`onal Style Modernism but matured into a fundamentally regional style, fostered in part by Art and Architecture magazine’s pivotal Case Study Program (1945-1966), along with specific local condi`ons. The style gained popularity due in part to its use of standardized, prefabricated materials that permised quick and economical construc`on. As a result, Mid-century Modern became a predominant architectural style in Palm Springs in the postwar years, represented in almost every property type, from single-family residences to commercial buildings to gas sta`ons.

Common Mid-century Modern character-defining features include:
• One or two-story configuration
• Horizontal massing (for smaller-scale buildings)
• Simple geometric forms
• Screening made from concrete block, wood, or
metal
• Little or no exterior decorative detailing
• Unadorned wall surfaces
• Post-and-beam construction, in wood or steel
• Flat roof or low-pitched gable roof with wide
overhanging eaves and cantilevered canopies;
some examples have folded plate roofs
• Wood, glass, plaster, concrete, steel, brick or stone used as exterior wall panels or accent materials
• Flush-mounted metal frame fixed windows and
sliding doors, and clerestory windows
Expressionistic/Organic subtype features: sculptural forms and geometric shapes, including butterfly, A-frame, folded plate or barrel vault roofs
-paraphrased from City of Palm Springs Historic Context statement, pg. 361 Notable examples of Mid-century and Late Modern residences in Palm Springs include:

Koerner Residence, 1275 S. Calle De Maria, E. Stewart Williams, 1955, Class 1 HR Dr. Franz Alexander Residence, 1011 West Cielo Drive, Walter S. White, 1956, Class 1 HR Abernathy Residence, 611 N. Phillips Road, William F. Cody, 1962, Class 1 HR Kramer Residence, 800 E. Granvia Valmonte, James McNaughton, 1963, Class 1 HR Garber Residence, 2455 Southridge Drive, Richard A. Harrison, 1970, Class 1 HR

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59 5. REGULATIONS AND CRITERIA FOR EVALUATION

5.1 City of Palm Springs Historic Resources and Historic Districts The City of Palm Springs administers a local designation program in which significant individual sites or concentrations of properties within a site can be designated as historic resources or historic districts. The designation of such properties is governed by Title 8, Chapter 8.05 (Historic Preservation) of the Palm Springs Municipal Code (as amended in 2019 and 2020 ordinances) – referred to hereafter as “the Ordinance.” The Ordinance establishes and authorizes a seven-member Palm Springs Historic Site Preservation Board (HSPB) to issue decisions regarding applications to alter or demolish designated or potentially eligible resources and for new construction in historic districts; make recommendations to City Council regarding designation of historic resources; advise the City Council and/or Planning Commission in all matters concerning historic preservation; and educate and inform the community on historic preservation matters.11 To facilitate this process, the Ordinance establishes requirements that a property or properties must meet in order to qualify for designation as a historic resource or historic district.12 The City of Palm Springs classifies individual historic resources and potential historic resources into four different categories, as defined in Article I of the Ordinance (General Provisions)13:

Landmark/Class 1 historic resource - Any site, structure, building or object not located on Tribal Trust or Allotted Trust Land designated by resolution of the City Council as having historic, architectural, archaeological, cultural or aesthetic significance that contributes to an understanding and awareness of the community’s history. A Class 1 historic resource may include a structure, building or object on the site, or may include all or a portion of the site itself. Class 1 historic resources are eligible for the execution of a Mills Act historic property preservation agreement, as determined by the City Council.

Historic Merit/Class 2 historic resource - A site, structure, building or object not located on Tribal Trust or Allotted Trust Land that does not qualify for Class 1 historic resource designation under this chapter, but is otherwise deserving of official recognition as having historic, architectural, archaeological, cultural or aesthetic significance and is designated as a Class 2 historic resource by resolution of the City Council. A Class 2 historic resource may lack some aspects of historic integrity, or may include a site where the structure, building or object of historic significance has been lost, damaged or removed. Class 2 sites on which the historic resource still exists are eligible for the execution of a Mills Act historic property preservation agreement, as determined by the City Council.

Potentially Eligible/Class 3 building - Any building which is not a Class 1 or Class 2 historic resource but is identified in a City historic resources survey as eligible for designation as a historic resource. A building may be a Class 3 building regardless of the construction date or the improvements thereon. Class 3 sites are not eligible for the execution of a Mills Act historic property preservation agreement. 11 City of Palm Springs Municipal Code, 8.05.030.
12 The City of Palm Springs is also a designated Certified Local Government (CLG), which is a preservation partnership between the National Park Service (NPS), the State Historic Preservation Offices (SHPOs) and local communities with a goal to create local commitments to historic preservation.
13 City of Palm Springs Municipal Code, 8.05.020.

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60 5.1 City of Palm Springs Historic Resources and Historic Districts (cont…) Class 4 building - Any building which is not a Class 1 or Class 2 historic resource or a Class 3 building, and on which the building or improvements thereon were constructed before January 1, 1978, or whose age cannot be determined. The City Council shall review this date and update it as it deems appropriate through amendment to this chapter.

Class 1 and Class 2 Historic Resource Eligibility Criteria Article III of the Ordinance (Procedures for Designation of Historic Resources and Historic Districts) defines the following criteria for designating Historic Resources (Class 1 and Class 2 historic resources) in the City14:

1. Class One Historic Resources. A site, structure, building or object may be designated as a Class 1 historic resource, provided one or more of the following criteria in subsections “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:
i. The resource is associated with events that have made a meaningful contribution to the nation, state or community; or
ii. The resource is associated with the lives of persons who made a meaningful contribution to national, state or local history; or
iii. The resource reflects or exemplifies a particular period of national, state or local history; or iv. The resource embodies the distinctive characteristics of a type, period or method of construction; or v. The resource presents the work of a master builder, designer, artist, or architect whose individual genius influenced his or her age, or that possesses high artistic value; or vi. The resource represents a significant and distinguishable entity whose components may lack individual distinction, as used in evaluated applications for designation of historic districts, for parcels on which more than one entity exists; or
vii. The resource has yielded or may be likely to yield information important to national, state or local history or prehistory.
b. The site, structure, building or object shall be evaluated for integrity of location, design, setting, materials, workmanship, feeling and association according to the United States Department of the Interior, National Park Service’s National Register Bulletin titled: “How to apply the National Register Criteria for Evaluation” as revised from time to time.
14 City of Palm Springs Municipal Code, 8.05.070.

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61 5.1 City of Palm Springs Historic Resources and Historic Districts (cont…)

2. Class Two Historic Resources. A site, structure, building or object may be designated as a Class 2 historic resource, provided the site, structure, building or object exhibits significance and meets one or more of the criteria listed above. A Class 2 historic resource shall not be required to meet the findings for integrity as described above.

As noted above, for a property to qualify as a City of Palm Springs Class 1 Historic Resource, it must not only be significant under one or more of the above evaluative criteria but also retain integrity, which the National Park Service defines as “the ability of a property to convey its significance.”15 The National Register has identified seven aspects of integrity as follows; to convey historic integrity, a property will possess several, if not most, of these aspects.16 :

1. Location - the place where the historic property was constructed or the place where the historic event occurred.

2. Design - the combination of elements that create the form, plan, space, structure, and style of a property.

3. Setting - the physical environment of a historic property.

4. Materials - the physical elements that were combined or deposited during a particular period and in a particular pattern or configuration to form a historic property.

5. Workmanship - the physical evidence of the crafts of a particular culture or people during any given period in history or prehistory.

6. Feeling - a property’s expression of the aesthetic or historic sense of a particular period.

7. Association - the direct link between an important historic event or person and a historic property.

Class 3 and Class 4 Buildings
As noted above, the City of Palm Springs defines Class 3 buildings as those previously identified as eligible in a historic resources survey -- and Class 4 buildings as those that are not Class 1 or Class 2 historic resources or a Class 3 building, but were constructed before January 1, 1978 or whose age cannot be determined. The Ordinance does not provide separate eligibility criteria for Class 3 and Class 4 buildings but notes any Class 3 or 4 building may be designated as a Class 1 or Class 2 historic resource if they meet the Class 1 or Class 2 eligibility criteria as listed above.17
15 National Park Service, National Register Bulletin #15: How to Apply the National Register Criteria for Evaluation (Washington D.C.: U.S.

Department of Interior, 1990), 44.
16 National Park Service, National Register Bulletin #15, 44. 17 City of Palm Springs Municipal Code, 8.05.080.

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62 6. Evaluation of Significance

6.1 Previous Surveys and Designations
The Palm Springs citywide historic context statement and historic resources survey of 2015 identified 300 W. MERITO PLACE as an eligible resource, both in the Architectural Resources Group Reconnaissance Survey of 2003 and the assignment of status code 5S3 (appears eligible for local listing or designation through survey evaluation) for the 2015 City of Palm Springs Historic Resources Survey. The 2016 Citywide Historic Resources Inventory (updated 2023) property data information for 300 W. Merito Place states: “This property was re-evaluated during the 2015 survey as part of an update to the City of Palm Springs’ list of potential historic resources. Itis significant as an excellent example of Mid-century Modern residential architecture. It exhibits quality of design and distinctive features including its blank, windowless primary facade, stone veneered walls, and exposed post-and-beam construction.”18

6.2 Contexts, Themes, and Registration Requirements
The subject property is evaluated using the following registration requirements for the two relevant themes as defined in the 2018 Historic Context Statement: Post World War II Single-Family Residential Development (1945- 1969) and Modern Styles of the Post-World War II Era: Mid-century Modern.

Context: Post-World War II Palm Springs (1945-1969)
Theme: Post World War II Single-Family Residential Development (1945-1969) Registration Requirements: To be eligible under this theme, a property must:
• Date from the period of significance; and
• Reflect important single-family residential development from the period; or • Represent an excellent example of an architectural style or property type; and • Display most of the character-defining features of the property type or style; and • Retain the essential aspects of historic integrity.

Sub-Context: Architectural Styles & Local Practitioners Theme: Modern styles of the post-World War II era Sub-theme: Mid-century Modern Registration Requirements: To be eligible under this theme as an excellent example of its architectural style, a property must:
• Retain most – though not necessarily all – of the character-defining features of the style, and continue to exhibit its historic appearance
• If important for illustrating a particular architectural style or construction technique, must retain most of the physical features that constitute that style or technique.19 18 City of Palm Springs Department of Planning Services, Citywide Historic Resource Inventory, Eligible - as of October 2023 https://www.palmspringsca.gov/home/showpublisheddocument/64260/638088476736030000 19 Palm Springs Citywide Historic Context Statement 2018, 300.

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63 6.3 City of Palm Springs Class One Historic Resource As outlined in the 2018 Historic Context Statement, an individual single-family residence from this period may be eligible for historic designation under one or more of the following criteria:20 The subject property is evaluated against City of Palm Springs Class 1 eligibility criteria, including an assessment of integrity, as follows:

This property appears eligible for local designation under three City of Palm Springs Class One Criterion: II, III, and V. Furthermore, the property exhibits exceptional historic significance and retains sufficient integrity to convey its significance.21 The property’s period of significance is 1964-1972, corresponding with its original design and construction period and simultaneous ownership by prominent actor Laurence Harvey. Evaluation under each of the City’s seven eligibility criteria and an integrity assessment follows.

EVALUATION
Criterion I: Significant Event. To qualify for listing under this criterion, a property must be associated with one or more events important in the defined historical context. Criterion 1 recognizes properties associated with events or historical trends, such as the gradual rise of the city's prominence in architectural excellence in midcentury modern architecture that is an important event within this associated context. While 300 West Merito Place, having been designed in 1964 and built in 1969, marks a strong culmination of the historical trend of architecturally significant late modernist architecture during that period, the residence is not associated with any significant single event. Therefore, the residence likely does not appear eligible for listing as a Class 1 Historic Resource under Criterion I.

Criterion II: Significant Persons. Criterion 2 recognizes properties associated with the lives of persons who made meaningful contributions to the national, state or local history. Laurence Harvey was an internationally recognized Hollywood film star who rose to prominence during the time he lived in and built his house in Palm Springs. Likewise, the architects Conrad Buff, FAIA and Donald C. Hensman, FAIA were major contributors to the modernist architectural movement in Southern California. The residence qualifies for listing as a Class 1 Historic Resource under Criterion II. 20 The current City interpretation for Criteria III and IV holds that an architectural style is considered a trend or pattern of development and is evaluated using Criterion iii. Criterion iv is evaluated under the topic of architecture looking specifically at construction type, period and methods. Palm Springs Citywide Historic Context Statement 2018, 244. 21 The author’s evaluation of this resource under City of Palm Springs Class 1 eligibility criteria means to follow the current City interpretation of Criteria iii and iv as above.

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64 6.3 City of Palm Springs Class One Historic Resource (cont…) ARCHITECTURE (Criteria 3 – 6):

Criterion III: The resource reflects or exemplifies a particular period of the national, state or local history. 300 West Merito Place, designed in 1964 and built in 1969, exhibits many stylistic markers which place it directly in the historical context of Palm Springs’ Modern Period. The private residence represents a prime example of the significant late modernist architecture for which Palm Springs is widely known. The residence also represents the period when Hollywood entertainers and moguls were buying or building second homes in the desert resort. As such, the residence may be viewed as an important component of the historical trends that have come to define Palm Springs’ image as a center of important midcentury architecture, i.e., a historic trend that exemplifies a particular period of the national, state, or local history. The residence qualifies for listing as a Class 1 Historic Site under Criterion 3.

Criterion IV: The resource embodies the distinctive characteristics of a type, period, or method of construction. Typically, the review of architectural styles of potential historic resources in Palm Springs has been evaluated under Criterion iii while Criterion iv focuses more so on distinctive construction and physical features. "Type, period, or method of construction" refers to the way certain properties are related to one another by cultural tradition or function, by dates of construction or style, or by choice or availability of materials and technology. To be eligible under this Criterion, a property must clearly illustrate, through "distinctive characteristics" a pattern of features common to a particular class of resources. "Distinctive characteristics" are the physical features or traits that commonly recur in individual types, periods, or methods of construction. To be eligible, a property must clearly contain enough of those characteristics to be considered a true representative of a particular type, period, or method of construction. Characteristics can be expressed in terms such as form, proportion, structure, plan, style, or materials. A unique material used in the construction of 300 West Merito Place is glulam beams: Even though glulam technology appeared by the 1920’s in the United States, it wasn’t until the introduction of higher performance adhesives in the post-WWII period that glulam was considered truly durable. By the 1960’s, due to heightened awareness around environmental impact of building materials, glulam began to be recognized for its sustainability. As such, glulam beams appealed to architects such as Buff and Hensman and builders practicing eco-friendly building, offering them a renewable resource alternative to steel and concrete. 300 West Merito Place appears not to be eligible under Criterion IV; however, while it doesn’t necessarily embody unique construction technology or innovative construction methods, it does possess distinctive characteristics that make up the many qualities of its style, such as these from HRG’s Palm Springs Citywide Survey:
• Bold geometric volumes
• Large expanses of unrelieved wall surfaces
• Uniform use of cladding materials including glass, concrete, or masonry veneer • Exaggerated expression of structure and systems
• Hooded or deeply set fenestration
• Little or no applied ornament
Note: C/3/4,5 (Architecture) A property important for illustrating a particular property type, architectural style or construction technique; or that represents the work of a master must retain most of the physical features that constitute that type, style, or technique.* A residential property significant under Criterion C/3/4,5 (Architecture) should retain integrity of design, workmanship, materials, and feeling, at a minimum, in order to be eligible for its architectural merit. A property that has lost some historic materials or details can be eligible if it retains a majority of the features that illustrate its style in terms of the massing, spatial relationships, proportion, pattern of windows and doors, texture of materials, and ornamentation. The property is not eligible, however, if it retains some basic features conveying massing but has lost a majority of the features that once characterized its style. *National Register Bulletin 15.

Criterion V: The resource represents the work of a master builder, designer, artist, or architect whose individual genius influenced his age; or that possesses high artistic value. Work of a Master: The master architects Conrad Buff, F.A.I.A. and Donald C. Hensman, F.A.I.A. (see attached biographical information and associated drawings within the Historic Resource Summary, p.20-25 of this report) were major contributors to the modernist architectural movement in Southern California. For the unique qualities and distinctive characteristics of Buff and Hensman’s influential Late Modern architecture on the overall period and style, the residence qualifies for listing as a Class 1 Historic Site under Criterion 5.

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65 6.3 City of Palm Springs Class One Historic Resource (cont…) Criterion VI: That represents a significant and distinguishable entity whose components may lack individual distinction.

This Criterion was created to address the resources contained within a potential historic district and as such it does not apply to this nomination. Hence, the residence does not appear to be eligible under Criterion 6.

ARCHEOLOGY
Criterion VII: That has yielded or may be likely to yield information important to the national, state, or local history or prehistory. 300 West Merito Place is not likely to yield information important to the national, state, or local history or prehistory. Hence, the residence does not appear to be eligible under Criterion 7.

6.4 Integrity Analysis (using U.S. Secretary of Interior Standards) Integrity is the ability of a property to convey its significance. To be listed in the local registry, a property must not only be shown to be significant under the criteria but 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 how they relate to its significance. Historic properties either retain integrity (that is, convey their significance) or they do not. To retain historic integrity a property will always possess several, and usually most, of the aspects. Determining which of these aspects are most important to a particular property requires knowing why, where, and when the property is significant.

To be eligible as a Class 1 Historic Resource, it is paramount for a property to retain sufficient integrity to convey historic significance. Evaluakon of integrity is founded on “an understanding of a property’s physical features and how they relate to its significance.” The seven aspects of integrity are: LocaXon, Design, Se[ng, Materials, Workmanship, Feeling, and AssociaXon.

NaAonal Register BulleAn #15 “How to Apply NaAonal Register Criteria for EvaluaAon” states that “[to] retain historic integrity, a property will always possess several, and usually most, of the aspects” as follows:

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

The relationship between the property and its location is often important to understand why the property was created or why something happened. The actual location of a historic property, complemented by its setting, is particularly important in recapturing the sense of historic events and persons. Except in rare cases, the relationship between a property and its historic associations is destroyed if the property is moved. 300 West Merito Place remains in its original location and therefore qualifies under this aspect.

DESIGN
Design is the combination of elements that create the form, plan, space, structure, and style of a property. It results from conscious decisions made during the original conception and planning of a property and applies to activities as diverse as community planning, engineering, architecture, and landscape architecture. Design includes such elements as organization of space, proportion, scale, technology, ornamentation, and materials. A property’s design reflects historic functions and technologies as well as aesthetics. It includes such considerations as the structural system; massing; arrangement of spaces; pattern of fenestration; textures and colors of surface materials; type, amount, and style of ornamental detailing. The space, structure, and style of 300 West Merito Place have survived largely intact, through restoration — especially on the most important street-facing façade along Merito Place. Similarly, the structural system; massing; and arrangement of spaces.

Though some hardscape detail has been lost; much of the type, amount, and style of detailing have survived relatively intact.

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66 6.4 Integrity Analysis (using U.S. Secretary of Interior Standards) (cont…)

SETTING
Setting is the physical environment of a historic property. Whereas location refers to the specific place where a property was built or an event occurred, setting refers to the character of the place in which the property played its historical role. It involves how, not just where, the property is situated and its relationship to surrounding features and open space. Setting often reflects the basic physical conditions under which a property was built and the functions it was intended to serve. In addition, the way in which a property is positioned in its environment can reflect the designer’s concept of nature and aesthetic preferences. The setting of 300 West Merito Place continues to reflect the original design relationship of site and structure.

MATERIALS
Materials are the physical elements that were combined or deposited during a particular period and in a particular pattern or configuration to form a historic property. The choice and combination of materials reveal the preferences of those who created the property and indicate the availability of particular types of materials and technologies. Much of the original building materials of 300 West Merito Place have survived. While some surfaces have been refinished or replaced, these changes do not constitute a significant loss of the physical elements that expressed the overall design during the building’s period of significance; the pattern and configuration that today forms the residence and contributing structures survives intact.

WORKMANSHIP
Workmanship is the physical evidence of the crafts of a particular culture or people during any given period in history or prehistory. It is the evidence of artisans’ labor and skill in constructing or altering a building, structure, object, or site. Workmanship can apply to the property as a whole or to its individual components. It can be expressed in vernacular methods of construction and plain finishes or in highly sophisticated configurations and ornamental detailing. It can be based on common traditions or innovative period techniques. Workmanship is important because it can furnish evidence of the technology of a craft, illustrate the aesthetic principles of a historic or prehistoric period, and reveal individual, local, regional, or national applications of both technological practices and aesthetic principles. Examples of workmanship in historic buildings include tooling, carving, painting, graining, turning, and joinery. The workmanship of 300 West Merito Place is comprised of materials like wood, stone, stucco, glulam beams and glass, with simple clean detailing. The residence continues to express a high degree of both original and contemporary period workmanship.

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 19th century. 300 West Merito Place is sited on a prominent double lot at the top of a T-junction entrance to Merito Vista Estates which takes advantage of panoramic mountain views to the west and south.

Accordingly, the residence and contributing structures retain their original integrity of feeling.

ASSOCIATION
Association is the direct link between an important historic event or person and a historic property. A property retains association if it is the place where the event or activity occurred and is sufficiently intact to convey that relationship to an observer. Like feeling, association requires the presence of physical features that convey a property’s historic character. For example, a Revolutionary War battlefield whose natural and man-made elements have remained intact since the 18th century will retain its quality of association with the battle.

Because feeling and association depend on individual perceptions, their retention alone is never sufficient to support eligibility of a property for the National Register. 300 West Merito Place is an important example of a master architect-designed modernist private residence in Palm Springs, which was owned by an internationally known actor of prominence. Accordingly, it continues its association with events that have made a meaningful contribution to the community, world-class modernist architecture (The Modern Period) and a Hollywood owner (The Influence of the Entertainment Industry).

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67 6.4 Integrity Analysis (using U.S. Secretary of Interior Standards)(cont…)

INTEGRITY SUMMARY
This integrity analysis confirms that the building and site of 300 West Merito Place still possess all seven aspects of integrity. Aside from some modifications to exterior landscape and hardscape elevations and to the structure itself, the original footprint and design integrity of 300 West Merito Place remains comparatively intact. In summary, the residence possesses more than a sufficient degree of integrity to qualify for designation as a Class 1 Historic Site due to the retention of its original footprint, preservation of its original setting and meticulous restoration and retention of its original design intent.

6.5 Character-Defining Features
The author recommends the following as character-defining features of 300 West Merito Place:
• Post and Beam structure with carefully detailed column wraps and restored beam trim • Long, linear field stone walls supporting thin roof overhang profiles are layered to provide a private, humanscale face to the street along with low field stone planter wall • Flat, deep roof shielding the long runs of operable glazing from the strong sunlight • Deep overhangs create numerous protected/covered outdoor living spaces, greatly increasing the livable space beyond interior square-footage
• Ample amounts of exterior glazing and limited interior partitions providing strong indoor-outdoor connection
• Cruciform Shaped Pool
The following elements are not character-defining features:
• Front hedging
• Current courtyard fence walls
• East-facing northeastern façade
• Rear elevation façade that faces the tennis/pickleball court

7. CONCLUSION
Based on available documentary and archival research, site analysis, the development of historic contexts, and evaluations against local eligibility criteria, the subject property of this historic resource nomination appears to meet City of Palm Springs Class 1 eligibility Criteria II, III, and V. As the property also retains sufficient integrity to convey its significance, 300 West Merito Place appears eligible for listing as a City of Palm Springs Class 1 Historic Resource.

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68 8. BIBLIOGRAPHY
Accessingthepast.com (Palm Springs Telephone Directory records) Agua Caliente Band of Cahuilla Indians GIS Portal
Ancestry.com, various records
billysteinberg.com
California Digital News Collective, various records
Chicago Tribune, various dates.

City of Palm Springs Department of Planning Services. “Citywide Historic Resource Inventory – Eligible.” January 5, 2023.
https://www.palmspringsca.gov/home/showpublisheddocument/64260/63808847673603000 0 City of Palm Springs Municipal Code, 8.05– Historic Preservation.

Cygelman, Adèle. Palm Springs Modern, 1999.

The Desert Sun, various dates.

Findagrave.com, various records.

Getty Images
Hensman, Donald C. Buff and Hensman, USC Guild Press
Historic Resources Group. City of Palm Springs Citywide Historic Context Statement & Survey Findings.

Prepared for the City of Palm Springs: Department of Planning Services, December 2018.

J. Paul Getty Trust, The Getty Research Institute.

The Los Angeles Times, various dates.

National Park Service. National Register Bulletin 15: How to Apply the National Register Criteria for Evaluation. Washington, D.C.: U.S. Department of the Interior, National Park Service, rev. 1991.

Newspapers.com, various dates.

Palm Springs Historical Society, various collections.

Riverside County Assessor-County Clerk-Recorder
Sinai, Anne. Reach for the Top: The Turbulent Life of Laurence Harvey Stone, Paulene. One Tear is Enough, 1976
UCLA Library Special Collections

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69 9. APPENDICES
Appendix A: Chain of Title
1962 (when Laurence Harvey and Joan Cohn acquired the first parcel) – PRESENT
2 January 1962: Irvin Jacobs and Adele Jacobs (LOT 93)
½ interest to *MAGLA PRODUCTIONS, INC. (Laurence Harvey) and Joan Perry Cohn, widow, ½ interest
29 July 1964: Glenn B. Austin and Vivian I. Austin (WEST 100 FT LOT 91 & 92) to Michael Nidorf & Lorena Nidorf
27 October 1969: Michael Nidorf & Lorena Nidorf (WEST 100 FT LOT 91 & 92) to MAGLA PRODUCTIONS, INC. (Laurence Harvey) and Joan Perry Harvey, a married woman as her separate property, as tenants in common
4 November 1969: Laurence Harvey, married man, husband of the grantee hereby remises, releases and forever quitclaims (WEST 100 FT LOT 91 & 92) to Joan Perry Harvey, a married woman, as her separate property. 9 August 1972: MAGLA PRODUCTIONS, INC. (Laurence Harvey) and Joan Perry Harvey, a married woman as her separate property, as tenants in common, as to PARCEL 1; and MAGLA PRODUCTIONS, INC. (Laurence Harvey) as to an undivided ½ interest, and Joan Perry Cohn, a widow, as to an undivided ½ interest, as tenants in common, as to PARCEL 2.

PARCEL 1: The west 100 FT of LOTS 91 & 92
PARCEL 2: LOT 93
to Lionel Steinberg and Louise E. Steinberg
27 June 1988: Louise E. Steinberg Estate Et Al.
to Joe Bonino and Pamela K. Bonino
27 May 1993: Joe Bonino Et Ux. (Pamela K. Bonino)
to Leonard Axelrod Et Ux.
14 January 2000: Leonard Axelrod Et Ux.
to David A. Kaplan
24 January 2000: David A. Kaplan
to David A. Kaplan Et Al.
3 July 2013: David A. Kaplan Rev. Trust
to Rea Laccone, Laccone Living Trust
24 January 2019: Laccone Living Trust
to 300 Merito LLC (B.D. Stevens)

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70 Appendix B: Owner Letter of Support
February 9, 2026
City of Palm Springs
Palm Springs Historic Site Preservation Board
Palm Springs City Council
3200 E. Tahquitz Canyon Way
Palm Springs, CA 92262
To Whom it May Concern:

As the current owners of the Laurence Harvey / Steinberg Residence aka “Villa Serena” and “Harvey House,” designed in 1964 by architects Conrad Bu4 and Donald Hensman and built in 1969/1970 for actor Laurence Harvey, we strongly support the historic resource nomination and designation of our property, 300 West Merito Place, by the City of Palm Springs.

Merito 300 LLC engaged historian Jade Thomas Nelson and the firm Marmol-Radziner to advise and assist the homeowners with all the required nomination paperwork/application and we are grateful for their work on our behalf.

Please contact us with any questions or concerns at:

Sincerely,
Homeowners, 300 Merito LLC
[email protected]
(310)826-6222

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71 Appendix C: Property Data Form (1 of 2)
In addition to being identified on the City of Palm Springs Historic Resources Survey in 2003, 300 Merito Place was reevaluated and listed again in 2015:

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72 Appendix C: Property Data Form (2 of 2)

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73 Appendix D: 2013 Project Description

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74 Appendix E: Drawings - Exterior elevations
WOOD SIDING, TYP.
(PT-6)

EXISTING STONE SITE WALL

CUSTOM WOOD ENTRY GATE

PER SCHEDULE
121.5 121.6

EXISTING CHIMNEY
S00.2

BRAKE METAL
SHROUD

EXTERIOR WOOD DOOR

PER SCHEDULE

GARAGE DOOR PER

SCHEDULE

EXISTING STONE

SITE WALL

SKYLIGHT PER SCHEDULE

ALUMINUM SLIDING DOOR

PER SCHEDULE

ALUMINUM SLIDING DOOR

PER SCHEDULE

EXTERIOR FASCIA AND
FLASHING, PT-5, TYP.

WOOD TRIM AND CASING, CEMENT PLASTER, PL-1
PL-3, TYP.

SKYLIGHT PER

SCHEDULE
119.A 116.A

EXTERIOR WOOD DOOR

PER SCHEDULE
CEMENT PLASTER, PL-1

WINDOW PER SCHEDULE WINDOW PER SCHEDULE

EXISTING COPPER CAP AT
END OF BEAM, TYP.

WOOD TRIM & CASING, CEMENT PLASTER PL-1
PT-5

EXTERIOR FASCIA,
PT-5

INTERCOM ENTRY

KEYED SECURITY LIGHT SWITCH

SHUTTER SWITCH

EXHAUST VENT BUILD-UP

OPEN TO BEYOND OPEN TO BEYOND OPEN TO

EXTERIOR

KITCHEN
EXISTING GLU-LAM BEAM, PT-4, TYP.

EXISTING WOOD FENCE CEMENT PLASTER, PL-1 WOOD TRIM AND CASING, PT-3, TYP.

EXTERIOR FASCIA AND
FLASHING, PT-5, TYP.

ALUMINUM WINDOW

PER SCHEDULE

EXISTING GLU-LAM BEAM,
PT-4, TYP.

WOOD TRIM AND CASING,
PT-3, TYP.

CEMENT PLASTER,
PL-1, TYP.

SKYLIGHT PER

SCHEDULE

EXHAUST VENT BUILD-UP
HARVEY HOUSE 2013099
A3.01 300 WEST MERITO PLACE PALM SPRINGS, CA 92262 EXTERIOR ELEVATIONS 1/4" = 1'-0" 3 NORTH ELEVATION
1/4" = 1'-0" 1 EAST ELEVATION
1/4" = 1'-0" 2 SOUTH ELEVATION
1/4" = 1'-0" 4 WEST ELEVATION

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75 Appendix E: Drawings - Current Site Plan

EXISTING RESIDENCE

MERITO PLACE
255' N 00* 09' 00"W
150' N 89* 36' 00"E
150' N 89* 36' 00"E

EXISTING

GUEST HOUSE

EXISTING
SPA

BUILDING

EXISTING

TENNIS COURT
(E) PLANTER

EXISTING STONE

SITE WALL

EXISTING STONE

SITE WALL
(E)

PLANTER (E) PLANTER

EXISTING COURTYARD

EXISTING POOL

EXISTING BOULDERS
(E) PLANTER

EXISTING CONCRETE
PAVERS

EXTERIOR

KITCHEN

EXISTING FENCE
(E) PLANTER
(E) PLANTER

EXISTING TENNIS

COURT ENCLOSURE
(E) PLANTER
(E)

PLANTER

EXISTING SITE
GATE
(E) PLANTER
MECH.

TYP.
88' N 00* 09' 00"W
116' N 00* 09' 00"W
51' N 00* 09' 00"W
16' N 89* 36' 00"E
16' N 89* 36' 00"E
HARVEY HOUSE 2013099
A1.01 300 WEST MERITO PLACE PALM SPRINGS, CA 92262 SITE PLAN 3/32" = 1'-0" 1 SITE PLAN

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76 Appendix F: Historic Plan Diagram (showing Unaltered, Updated, Altered) FAMILY
ROOM
LIVING
ROOM
DINING
ROOM

DEN OFFICE
MASTER

BEDROOM
MASTER
BEDROOM 2
GARAGE
MASTER
BATH
CLOSET

MECHANICAL
ROOM
PANTRY
MASTER
BATH 2

LAUNDRY
ROOM
MAIN
POWDER
MASTER

COURTYARD

PUBLIC SPACES

UNALTERED

BEDROOM SUITES AND

KITCHEN INTERIOR

PARTITIONS AND

INTERIOR FINISHES

ALTERED

POOL DECK AND

FLATWORK

FINISHES UPDATED

OUTDOOR KITCHEN AND

SPA ELIMINATED

GUEST SUITES AND

CABANA UNALTERED
GUEST
SUITE 1
GUEST
SUITE 2

KITCHEN
POOL

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77 Appendix G: Historic Site/Construction Photos
SITE/CONSTRUCTION PHOTOGRAPHS: Summer 1969 – March 1970, 300 West Merito Place From Top to Bottom, L to R. 1: site view, looking north. 2: view looking southwest. 3 (center): northwestern view of pool house. 4: Laurence Harvey w/ Fritz Lowe, looking west. 5: southwest view toward guest wing.

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78 Appendix G: Historic Site/Construction Photos
__________________________________________________________________________________ From Top to Bottom, L to R. 1: “Larry” Harvey under the loggia, looking south. 2: pool under construction, view looking southeast. 3: “Larry & Fritz” under pool house loggia. 4: Larry in bathrobe w/unidentified persons, looking west. 5: northwest view. 6: north view of pool house and loggia, March 1970

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79 Appendix G: Historic Site/Construction Photos
Pool house view looking southeast toward guest wing and main entrance Northeastern view of covered entry walkway looking toward living room Photos courtesy of owner, digitally restored by Marmol + Radziner

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80 Appendix G: Additional Historic Construction Site Photos, 1970 Photos courtesy of Glenn Ostergaard, dated “APR.70”
Note: The bottom left photo shows Joan Cohn and Laurence Harvey walking the site “Larry’s extravagance was never greater than when he was instructing builders or collaborating with architects. When one consultant pointed out to him that the sunken bar he wanted would more than double the cost of the room, Larry said to him, ‘When a man builds, he should always convince himself it is forever. And forever, dear heart is priceless.” -Paulene Stone (One Tear is Enough, p.23-24)
######

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ATTACHMENT D
(HSPB Resolution, Report, Minutes)

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HISTORIC SITE PRESERVATION BOARD

STAFF REPORT
DATE: June 2, 2026 PUBLIC HEARING
SUBJECT: APPLICATION BY CHRIS KELLER, APPLICANT REPRESENTATIVE,

FOR HISTORIC SITE DESIGNATION OF THE LAURENCE HARVEY
RESIDENCE LOCATED AT 300 WEST MERITO PLACE, (APN 505-293- 005) CASE: HSPB #180 (SY)
FROM: Department of Planning Services

SUMMARY
This request for Class 1 historic designation was submitted by the current owner of the property after discussing future work on the site with staff. 300 W. Merito Place was identified as a Class 3 site eligible for reclassification as a historic landmark based on its existing integrity and associations with the significant individuals and a period of significance that covers single-family residential development during the post war period.

The site retains excellent design integrity, and the period of significance, based on the details found in the report, extend from 1969 to1972.

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 #180, “A RESOLUTION OF

THE HISTORIC SITE PRESERVATION BOARD OF THE CITY OF PALM

SPRINGS, CALIFORNIA, RECOMMENDING THAT THE CITY COUNCIL DESIGNATE THE “LAURENCE HARVEY RESIDENCE” LOCATED AT 300 WEST MERITO PLACE, AS A CLASS 1 (LANDMARK) HISTORIC RESOURCE, HSPB #180, (APN #505-293-005).”
BACKGROUND AND SETTING:

The residence was constructed within the Merito Vista tract in the neighborhood currently known as the Old Las Palmas. The original owner, Laurence Harvey, commissioned the architectural firm Buff and Hensman in 1964. The home reflects Late Modern and Midcentury Modern design principles through its post-and-beam construction and strong emphasis on indoor-outdoor living. According to the original building permits, the home

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Historic Site Preservation Board Staff Report June 2, 2026 HSPB-180 – The Laurence Harvey Residence

was completed between 1969-1970, and Harvey owned the property until 1972.

Subsequent owners have modified certain aspects of the home, but there was a significant restoration completed in 2017 that reinstated many elements of the original design intent. This work included the removal of incompatible additions and the restoration of exposed structural detailing.

AERIAL VIEW OF THE SUBJECT PARCEL.

WEST (REAR) ELEVATION AND SWIMMING POOL, 2026.

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Historic Site Preservation Board Staff Report June 2, 2026 HSPB-180 – The Laurence Harvey Residence

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

June, 2026 Site inspection by members of the HSPB and City Staff.

Ownership Status
January, 2019 Purchased by the current owner.

Historic Context Statement “Post-World War II (1945-1969)” Since the early 1920s, Palm Springs has attracted Hollywood celebrities and entertainment executives, establishing the city as a popular desert retreat. By the 1960s, the presence of prominent entertainers not only helped promote Palm Springs nationally but also contributed to the local economy through investments in businesses and other philanthropic endeavors. Many celebrities became active members of the community and an integral part of the city’s cultural identity.

Context: Post-World War II Palm Springs (1945-1969)
Theme: Post World War II Single-Family Residential Development (1945-1969) Registration Requirements: To be eligible under this theme, a property must:
 Date from the period of significance; and
 Represent an excellent example of an architectural style or method of construction; or be associated with a significant architect or designer; and  Display most of the character-defining features of the property type or style; and
 Retain the essential aspects of historic integrity.

Theme: The Influence of the Entertainment Industry (1945-1969) Registration Requirements: To be eligible under this theme, a property must:
 Date from the period of significance; and
 Represent a known association with an important person or persons in the entertainment industry; and
 Display most of the character-defining features of the property type or style; and
 Retain the essential aspects of historic integrity.

Context: Architectural Styles & Local Practitioners
Theme: Modern Styles of the Post-World War II Era
Sub-theme: Mid-century Modern
Registration Requirements: To be eligible under this theme as an excellent example of its architectural style, a property must:
 Retain most – though not necessarily all – of the character-defining features of the style, and continue to exhibit its historic appearance  If important for illustrating a particular architectural style or construction technique, must retain most of the physical features that constitute that style or technique.

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Historic Site Preservation Board Staff Report June 2, 2026 HSPB-180 – The Laurence Harvey Residence

ANALYSIS:

A historic resources report (“the report”), site visit, and city documents and forms are the basis of this staff report.
300 W. Merito Place is a custom designed single-family residence located in the Old Las Palmas neighborhood on a 1.35-acre lot. The home was designed in the Late Modern/ Mid-century Modern style by architects Buff & Hensman for the actor Laurence Harvey.

Following its completion around 1969, the home underwent a series of alterations and modifications but was extensively restored in 2017.

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

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

8.05.020.

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

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

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

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

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

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

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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Historic Site Preservation Board Staff Report June 2, 2026 HSPB-180 – The Laurence Harvey Residence

The following is an analysis of the criterion and integrity findings for historic designation. (Criterion i) The resource is associated with events that have made a meaningful contribution to the nation, state or community; No information was found in the report indicating any significant events occurred on this site. The site does not qualify under Criterion i.
(Criterion ii) The resource is associated with the lives of persons who made a meaningful contribution to national, state or local history; The design and construction of the 300 W. Merito Place are directly associated with actor Laurence Harvey, whose acting career spanned approximately from 1946 to 1973. During this period, Harvey achieved international recognition through his work in film and television. As an influential actor who made contributions to his field of work, the residence was designed and constructed during the height of his prominence in the entertainment industry. The report demonstrates Harvey’s active involvement in the design of the home and his decision to build a home in Palm Springs further contributes to the historic context of the entertainment industry’s influence on the city during the postwar era. Based on the findings in the report, Criterion ii is met.
(Criterion iii) The resource reflects or exemplifies a particular period of national, state or local history;
The Harvey Residence exemplifies a period during which architects and designers experimented with new materials and Modernist design concepts. Specifically designed in the Late Modern/Mid-century Modern aesthetic, 300 W. Merito Place incorporates character-defining features such as flat roofs, simple forms, exposed and exaggerated post-and-beam construction, expansive floor-to-ceiling glazing, deep overhangs, and a strong focus on indoor-outdoor living. The integration and design response to the desert environment makes the residence an excellent example of Desert Modernism specific to the Palm Springs region. This home is an important example of the architectural trends and residential development patterns that defined the city during this period. Criterion iii is met.
(Criterion iv) The resource embodies the distinctive characteristics of a type, period or method of construction;
Palm Springs evaluates criterion iv as a distinctive characteristic associated with construction type, construction period, and construction methods. The construction of the home appears to utilize conventional methods and materials. 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;

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Historic Site Preservation Board Staff Report June 2, 2026 HSPB-180 – The Laurence Harvey Residence

Architects Conrad Buff III and Donald C. Hensman began their practice in 1952 and were later known as Buff Hensman and Associates when they received this commission to design the Laurence Harvey Residence in Palm Springs around 1964. According to the report, this architectural firm received over 30 awards from the American Institute of Architects (AIA) and is credited for the design of Case Study House #20 in Altadena (1958). This firm was nationally recognized for innovative residential design and completed numerous projects during the postwar period in the Southern California region.

Their signature design feature includes the exposed and exaggerated post-and-beam construction with low slung roof forms that accentuate the horizontality of the structures.

Their design influence is recognized through their many projects throughout California, and 300 W. Merito Place is an intact example of their design aesthetic with high artistic value. Criterion v is met.
(Criterion vi) The resource represents a significant and distinguishable entity whose components may lack individual distinction, as used in evaluating applications for designation of historic districts, for parcels on which more than one entity exists; or
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 is available on any pre-historic significance of the site. Criterion vii is not met.

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

The Laurence Harvey Residence is evaluated based on the following topics of integrity based on the Secretary of the Interior’s Standards:

Location.

The location of the structures and amenities on the site have not changed from the original design; therefore, the integrity of location is met.

Design.

The design of 300 W. Merito Place exhibits character-defining features of both the Late Modern and Mid-century Modern architecture, as described in the Citywide Historic Context Statement. The residence is composed of one-story structures with flat roofs, simple rectilinear forms, and exaggerated post-and-beam construction. The primary elevation as viewed from the street incorporates a uniform use of masonry cladding, while the deep roof overhangs and expansive glazing further emphasize the Modernist characteristics of the design.

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Historic Site Preservation Board Staff Report June 2, 2026 HSPB-180 – The Laurence Harvey Residence

The site design integrates the natural desert landscape, and the structures are arranged in a reverse squared C-shape creating a central courtyard containing the cruciformshaped swimming pool. The structures on the site consist of the main house, guest house and loggia feature connected to the original pool house. All structures utilize a post-andbeam construction with deep overhangs and large expansive glazing of fixed and sliding doors. The alignment of the posts and beams establish a cohesive architectural composition that creates a strong indoor-outdoor connection.

The original cruciform-shaped swimming pool remains a focal point of the courtyard and visually connects the surrounding structures. Desert landscaping and strategically placed planters help soften the hard lines and reinforce the integration of the design with the natural setting.

The permit records show that a major restoration project was completed in 2017 and included mechanical upgrades, replacement paving materials, and replacement fenestration. These exterior alterations were completed in a manner that complemented the original design and preserves character-defining features. Modifications to the form and layout were limited to areas with limited visibility or impact on the overall composition of the site. Based on these findings, staff finds the integrity design is intact.

Setting.

The home remains situated within its original setting, surrounded by low-density residential development. The structures, pool and tennis court retain their historic spatial relationship on the parcel in the surrounding desert landscape. The integrity of setting is intact.

Materials.

The residence is constructed using building materials that include field stone, exposed post-and-beam structures, expansive floor-to-ceiling glazing and glulam beams throughout the home. Although some original materials, such as the original pavers, have been replaced with new material, a majority of the character-defining primary building materials appear to remain intact, and the fenestration appears to have been replaced in kind. The property retains integrity of materials.

Workmanship.

The field stone walls throughout the residence exhibit a high degree of precision in its execution, and the detailing around each post and beam reflects a strong level of craftsmanship and intentional design. The simple layout of the buildings, the unadorned walls, and clean lines created by the exposed post-and-beam construction highlight the advanced level of workmanship.

Feeling.

The integrity of feeling is retained on the site because the design, setting, and materials convey the characteristics of the Late Modern style of architecture. The site design and the materials reinforce the design intent, and no major deviations or inappropriate alterations draw attention away from the original design.

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Historic Site Preservation Board Staff Report June 2, 2026 HSPB-180 – The Laurence Harvey Residence

Association.

The design of the home reflects the original vision of architects Conrad Buff III and Donald C. Hensman and remains associated with the original owner Laurence Harvey. The integrity of association is met.

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 from alterations, additions or features that were added later. Distinguishing original character-defining features from non-original elements assists the HSPB when it is tasked with evaluating future alterations to the historic resource.

Character-defining features on page 67 of the historic resources report and the staff analysis of important features are listed as follows:
• Site design and placement of structures on the site
• Open front yard planter delineated with a stone retaining wall that abuts the guest house
• A reverse squared C-shaped building footprint organized around a central courtyard and pool area
• Loggia feature connecting the main house to the original pool house (now the guest suite and cabana)
• Post-and-beam structure with carefully detailed column wraps and restored beam trim detail
• Long, linear field stone veneer walls supporting thin roof overhang profiles are layered to provide a private, human-scale face to the street along with low field stone planter wall
• Flat, deep roof shielding the long runs of operable glazing from the strong sunlight • Deep overhangs create numerous protected/covered outdoor living spaces • Large expanse of exterior glazing and limited interior partitions providing strong indoor-outdoor connection
• Cruciform-shaped swimming pool
• Placement of boulders around the pool
• Original planters shown on the original site plan throughout the exterior locations Non-contributing elements:
• Front hedging
• Courtyard fence walls
• East-facing northeastern façade
• Rear elevation that faces the tennis/pickleball court • Roof-mounted PV panels
• Terrazzo flooring that extends from the interior to the exterior spaces • Additional spa abutting the north elevation near the guest suite

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Historic Site Preservation Board Staff Report June 2, 2026 HSPB-180 – The Laurence Harvey Residence

• Minor additions to the east elevation of the home that filled areas of the overhang • Mechanical room and storage addition to the north side of the guest suite and cabana structure added in 2024
ENVIRONMENTAL ASSESSMENT:

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

NOTIFICATION:

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

CONCLUSION:

The Laurence Harvey Residence is a resource in excellent condition that is associated with significant individuals and reflects its period of significance meeting Criterion ii, iii and v; therefore, staff recommends Class 1 designation which recognizes the site as a local historic landmark.

PREPARED BY: Sarah Yoon, Associate Planner/Historic Preservation Officer REVIEWED BY: Anthony Riederer, Assistant Director of Planning Services Attachments:

A. Vicinity Map
B. Draft Resolution
C. Application

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EXCERPTS OF MINUTES
At the Historic Site Preservation Board meeting of the City of Palm Springs, held June 2, 2026, the Historic Site Preservation Board took the following action:
2A. AN APPLICATION BY CHRIS KELLER, APPLICANT

REPRESENTATIVE, FOR HISTORIC SITE DESIGNATION OF THE
LAURENCE HARVEY RESIDENCE LOCATED AT 300 WEST MERITO
PLACE, (APN # 505-293-005), CASE: HSPB #180, (SY).

Historic Preservation Officer Yoon presented the staff report and answered questions of the board.

PUBLIC COMMENTS:

No public comments provided.

Motion by Member Herr, seconded by Member Paonessa to adopt a resolution for HSPB #180, that the City Council designate the Laurence Harvey Residence as a historic Class 1 site. This action is not a project pursuant to CEQA.

AYES: Hansen, Bachman, Herr, Paonessa.

NOES: None.

ABSENT: Maschka Hitchcock, McCready.

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CITY COUNCIL STAFF REPORT
DATE: JULY 8, 2026 PUBLIC HEARING
SUBJECT: APPLICATION BY ROBERT WEINSTEIN FOR HISTORIC SITE DESIGNATION OF TEMPLE ISAIAH LOCATED AT 332 WEST ALEJO
ROAD, (APN 505-313-007) CASE: HSPB #173
FROM: Scott C. Stiles, City Manager
BY: Department of Planning Services
SUMMARY:

Temple Isaiah was originally constructed in 1952 and subsequently underwent several architectural transformations resulting in its present configuration completed in 1987 by architect David Christian. Identified as a significant religious and cultural institution within the community, the site exemplifies both social and architectural history that is significant to Palm Springs. If designated as a local 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 TEMPLE ISAIAH AS A CLASS 1 (LANDMARK) HISTORIC RESOURCE HSPB #173, SUBJECT TO CONDITIONS (APN 505-313-007).” 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
July 8, 2026 - Page 2
Historic Designation – Temple Isaiah
Related Relevant City Actions by HSPB, Planning, Fire, Building, etc.

May 4, 2026 Site inspection by members of the HSPB and City Staff.

May 5, 2026 HSPB considered the application for designation at a public hearing recommending Class 1 designation.

Ownership Status
1951 Purchased by current owners.

SOUTH ELEVATION FROM WEST ALEJO ROAD, 2025.

SANCTUARY SPACE (LIBERMAN CHAPEL) DESIGNED BY E. STEWART WILLIAMS, 2025.

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City Council Staff Report
July 8, 2026 - Page 3
Historic Designation – Temple Isaiah
The application for designation was submitted by the Board President of Temple Isaiah and the historic resources report was reviewed by the HSPB on May 5, 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 for the designation is detailed in the attached HSPB resolution and staff report dated May 5, 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 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 Temple Isaiah possesses sufficient historic integrity to qualify as a Class 1 (Landmark) historic site.

During the public hearing, the Board supported the application for Class 1 Historic Site designation, based on its findings that the property met the required criteria and integrity standards. The motion carried on a 4-0 vote, with two members absent.

Temple Isaiah meets the definition of a historic resource based on Criterion 1, 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.

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)

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City Council Staff Report
July 8, 2026 - Page 4
Historic Designation – Temple Isaiah
(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:

While this action would have no direct fiscal impact, it would make the property eligible for a Mills Act contract in the future. That could reduce property tax revenue at that time, if authorized by Council. 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. 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: Teresa Gallavan for 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 #173 – Temple Isaiah
332 W. Alejo 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 TEMPLE ISAIAH,
LOCATED AT 332 WEST ALEJO ROAD, AS A CLASS 1
(LANDMARK) HISTORIC RESOURCE HSPB #173, SUBJECT TO
CONDITIONS (APN 505-313-007).

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 applicant Robert Weinstein, President of Temple Isaiah, submitted an application seeking historic site designation of Temple Isaiah located at 332 W. Alejo Road; and C. WHEREAS, on May 4, 2026, members of the Historic Site Preservation Board (HSPB) and City staff conducted site inspections of the proposed historic resource; and D. WHEREAS, on May 5, 2026, a noticed public hearing of the Palm Springs Historic Site Preservation Board to consider Case HSPB #173 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 4-0 to recommend that the Council designate Temple Isaiah a Class 1 (Landmark) historic resource; and F. WHEREAS, on July 8, 2026, a noticed public hearing of the Palm Springs City Council to consider Case HSPB #173 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.____

July 8, 2026
(Criterion i) The resource is associated with events that have made a meaningful contribution to the nation, state, or community;
Constructed as a place of worship for the Jewish community in Palm Springs, Temple Isaiah has long served as a center for religious events, ceremonies, and activities. While the report specifically identifies a fundraising concert featuring Frank Sinatra that generated $4 million for the 1980s expansion, this event alone does not independently satisfy this Criterion.

Beyond its religious function, Temple Isaiah developed into an important cultural center within the community by opening its doors as a venue for concerts, community events, and early education initiatives. The temple also demonstrated an early commitment to the arts through the commissioning and display of art throughout the site.

For more than seventy-five years, Temple Isaiah has maintained a continuous presence as a religious, social, educational, and cultural center for Palm Springs. Its longstanding commitment to the local community as a gathering place reflects a broader pattern of events that has contributed in a meaningful manner to the cultural identity of the city. The site qualifies under Criterion i.
(Criterion ii) The resource is associated with the lives of persons who made a meaningful contribution to national, state or local history; Temple Isaiah contains several notable works of art that were commissioned specifically for this site, including pieces by Yaacov Agam, Erik Ray, and Victor Ries. While Frank Sinatra’s fundraising efforts and Rabbi Joseph Hurwitz’s leadership were important to the temple’s development, they do not meet Criterion ii because there is no evidence demonstrating a direct association with the property during their most productive periods nor is the site where they lived or made their most important contributions. Criterion ii is not met. (Criterion iii) The resource reflects or exemplifies a particular period of national, state, or local history;
Constructed and re-envisioned during the post-war period, Temple Isaiah is a distinctive resource that captures multiple periods of religious architectural development. The original 1950-1952 design reflects the postwar adoption of Modernist design principles in Palm Springs, where civic and religious buildings emphasized simple forms, minimal ornamentation, and the use of utilitarian materials. As the congregation grew, the site adapted to the changing community needs. The addition of six classrooms in the 1960s reflects the integration of educational facilities onsite.

By the 1980s, the demand for a larger space resulted in a major expansion project to accommodate larger gatherings. Rather than removing or significantly altering the configuration of the original sanctuary, a new auditorium space was constructed, and the exterior appearance of the building adopted a contemporary design expression that reflected Late Modern/Brutalist design.

While the site embodies many significant iterations of design history, the original 1950s design of the Temple is no longer visible from the exterior    . Its current appearance is a

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Resolution No.____

July 8, 2026
significant and distinctive example of architect David Christian’s work which exemplifies the architectural movement of the 1980s in Palm Springs. Criterion iii is met. (Criterion iv) The resource embodies the distinctive characteristics of a type, period, or method of construction;
In Palm Springs, Criterion iv evaluates whether a resource embodies distinctive characteristics associated with construction type, construction period, and construction methods. The construction of the temple appears to utilize conventional methods and materials. In contrast to the report’s analysis, 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;
Temple Isaiah reflects three distinct periods of architectural development in Palm Springs.

The earliest phase, designed by E. Stewart Williams between 1950-1952, exemplifies Mid-Century Modern architecture for a religious building. In the 1960s, the addition by Wexler and Harrison complemented the original design using similar materials and compatible massing. All three architects associated with the site are recognized as master architects whose work has had a profound impact on the field.

Today, much of the earlier design is primarily experienced from the interior. The Liberman Chapel, with the reinforced concrete beams and white oak woodwork reflects the design aesthetic of E. Stewart Williams, and the use of utilitarian materials to create spatial organization represents the work of Wexler and Harrison. In the 1980s, architect David Christian re-envisioned the temple with a major expansion characterized by bold geometry, sweeping curves, and a sense of monumentality. Although the stucco exterior encapsulates the original building, the report indicates the earlier structure remains intact within the new building envelope.

Christian’s redesign of Temple Isaiah represents a dramatic design shift. The building now has a sculptural quality that is associated with the Late Modern and Brutalistinfluenced architecture. While the individual contributions of earlier architects are less visible externally, the overall design of the building demonstrates a high level of artistic value, and the site collectively reflects the work of master architects. Criterion v is met. (Criterion vi) The resource represents a significant and distinguishable entity whose components may lack individual distinction, as used in evaluating applications for designation of historic districts, for parcels on which more than one entity exists; or
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.

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Resolution No.____

July 8, 2026
SECTION 2: PART “B” ANALYSIS OF HISTORIC INTEGRITY.

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

The 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 Temple Isaiah at 332 West Alejo Road was constructed in the 1950s. The original building appears to still occupy the same location on site, but it is now covered by the exterior stucco finish. The site maintains its historic relationship with the surrounding landscape and context; thus, integrity of location is met.

2. Design:

The strongest design integrity is associated with the Late Modern/Brutalist period, as the original design by E. Stewart Williams and the Wexler/Harrison additions have been encapsulated and are no longer visible on the exterior. Although the interior features are not protected under the local preservation ordinance, the original sanctuary space remains largely intact and continues to exemplify the design principles of its period. The later expansion, significant in its own right, is highly representative of Late Modern design. Its bold geometric forms, sculptural massing, and dramatic rooflines clearly convey the design intent of the 1980s. While the Mid-Century Modern phase has been substantially diminished externally, the property as a whole retains sufficient design integrity across multiple periods to communicate its design significance.

3. Setting:

The temple structure is surrounded by residential development to the north and east, Welwood Murray Cemetery is to the west and the O’Donnell Golf Course to the south. Based on the permit history, some stand-alone structures to the north were demolished but the overall character of the setting around the site remains similar to the conditions when it was first developed. The integrity of setting remains intact.

4. Materials:

The building materials from 1950-1952 consists of exposed concrete blocks, steel casement windows and precast concrete slabs. Most of this material remains encapsulated except for the north elevation and the interior space that remains extant. The materials from David Christian’s design includes exterior stucco cladding, stained glass windows and clerestory glazing remain and visually unify the exterior design of the building. The integrity of material from all periods survives with an emphasis on the 1980s    expansion.

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Resolution No.____

July 8, 2026

5. Workmanship:

Although the material evidence of the earlier period is largely concealed, the high quality of workmanship is evident in the interior spaces. The craft and workmanship of the 1980s period of significance dominates the exterior and shows clean finishes and well-maintained features.

The integrity of workmanship is present.

6. Feeling:

The overall scale of the building underwent a significant transformation in the 1980s, and the design went from a simple rectilinear massing to an arced volume with a dramatic roofline. The use and function of the site as a community gathering space remains the key function and identity. While the appearance of the building has changed, the integrity of feeling of the site remains intact.

7. Association:

The original purpose of the site as a space for the Jewish community of Palm Springs remains unchanged. Its evolving architectural identity also is a testament to the community it serves. The integrity of association to the community remains strong and continues to be an architectural statement.

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:

Overall Massing and Form
• Composition of canted geometric forms dominated by upswept main sanctuary volume • Two-level structure integrating basement and main level functions • Dramatically curved, upswept roofline rising toward Mt. San Jacinto • Heavy geometric massing with sloping profiles referencing Pueblo architectural traditions • Long horizontal volumes punctuated by vertical elements • Integration of sculptural roof forms with functional spatial organization Exterior Materials and Finishes
• White stucco facade on metal studs encapsulating original Williams building • Consistent white finish unifying multiple building phases

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Resolution No.____

July 8, 2026
• Long series of louvered stucco vertical fins on side elevations • Textural variation through angular planes and shadow lines • Desert-appropriate material palette emphasizing permanence and solidity Rooflines and Roof Forms
• Dramatically curved west elevation roofline creating sculptural silhouette suggesting spiritual uplift
• Sawtooth roofline composed of triangular clerestory elements providing rhythmic modulation
• Sweeping curved roof over sanctuary as dominant architectural element • Angular fascia wrapping and integrating earlier Williams structure • Complex interplay of flat, sloped, and curved roof planes Fenestration and Glazing
• Eighteen angular windows punctuating façades on two sides (The word chai means "life" in Hebrew, making the number 18 a powerful symbol of good luck and well-being). • Panoramic window above Bimah with 12 panes of glass representing 12 tribes of Israel • Fixed glass panels facing west in vertical fins
• Continuous band of dark-tinted recessed glazing wrapping sanctuary volume • Clerestory windows creating sophisticated natural light choreography • Strategic window placement balancing light, views, and privacy • Deep reveals and recessed glazing creating pronounced shadow lines Landscape Integration
• White terraced retaining walls defining circulation and grade changes Interior Spatial Organization - Main Level
• Large south lobby (Vener Reception Hall) running length of new wing • Bochner Sanctuary seating 500, expandable to 700 with adjacent Levy Hall • Levy Hall with dramatic clerestory windows framing mountain and palm tree views • Long north lobby for secondary circulation
• East lobby with adjacent professional kitchen
• Warsaw Ballroom for social and event space
• Conference room, library, and administrative offices
• Non-traditional sanctuary orientation facing west toward mountains rather than east toward Jerusalem
Interior Spatial Organization - Basement Level
• Large central multi-purpose/classroom space
• Mechanical rooms, storage rooms, warming kitchen
• Support facilities including bathrooms, janitor's room, bride's room • Efficient circulation connecting functional spaces
Interior Finishes and Details
• Color-graduated upholstery on the pews coordinated with Agam ark: muted blue at front (near bimah) transitioning through pinkish hue to red at back • Interior design by Cathleen Jones in collaboration with Yaacov Agam

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Resolution No.____

July 8, 2026
• Integration of artistic elements with architectural design Site Features and Context
• Alejo Road frontage establishing primary public identity • Service areas discreetly located
• Integration with surrounding residential neighborhood scale • Dramatic San Jacinto Mountains backdrop as designed visual element Surviving Williams Elements (1949-1952)
Exterior:
• North elevation brick construction (now painted white) retaining textural variation • Original steel casement windows with slender Mid-Century profiles • Foundation and structural elements incorporated into Christian expansion • Precast concrete panels embedded with pink granite chips (Mo-Sai panels) with the Star of David pattern inscribed on the surface.

Interior:
• Exposed reinforced concrete beams (bents) left unpainted on ceiling and walls • Naturally finished white oak woodwork with clear lacquer on altar, choir screen, Ark, and trim
• Sandblasted and stained ceiling in soft mulberry color • Cantilevered stairs
• Small choir enclosure (seating 12) with small organ console below high windows • Single eternal light hanging from ceiling
Non-contributing elements:
• Modern mechanical equipment and rooftop installations • Updated life and safety systems (fire alarm, sprinkler, emergency lighting) • Contemporary signage not part of original Christian design • Parking lot configuration
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.

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Resolution No.____

July 8, 2026

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 Temple Isaiah located at 332 W.

Alejo Road, a Class 1 (Landmark) Historic Resource (Case HSPB #173).

ADOPTED THIS EIGHTH DAY OF JULY, 2026.

SCOTT STILES

CITY MANAGER

CITY OF PALM SPRINGS
ATTEST:

BRENDA PREE, MMC

CITY CLERK

CITY OF PALM SPRINGS

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Resolution No.____

July 8, 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

CITY OF PALM SPRINGS

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ATTACHMENT C
(Application)

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1 T E M P L E I S A I A H
332 West Alejo Road, Palm Springs, California 92262
Rendering from David Christian drawings, courtesy Palm Springs Art Museum, Architecture & Design Center Archives.

NOMINATION APPLICATION FOR

CITY OF PALM SPRINGS
CLASS 1 HISTORIC RESOURCE

PREPARED BY

STEVEN KEYLON

FOR THE
PALM SPRINGS PRESERVATION FOUNDATION – FINAL NOVEMBER 28, 2025

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2 Contents
INTRODUCTION....................................................................................................................................... 3 EXECUTIVE SUMMARY............................................................................................................................... 3 STATEMENT OF SIGNIFICANCE.............................................................................................................. 11 Character-Defining Features of Temple Isaiah...............................................................................................................17 Contributing Elements: ............................................................................................................... 18 Non-Contributing or Altered Elements:........................................................................................ 20 BACKGROUND / HISTORIC CONTEXT ................................................................................................. 20 INTEGRITY ANALYSIS.............................................................................................................................. 22 A P P E N D I C E S ................................................................................................................................... 24

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3 INTRODUCTION
The Palm Springs Preservation Foundation (PSPF) is a non-profit organization whose mission is "to educate and promote public awareness of the importance of preserving the historical resources and architecture of the city of Palm Springs and the Coachella Valley area." In June of 2025, the PSPF board of directors assigned the task of writing the Temple Isaiah Class 1 Historic Resource nomination to Steven Keylon.

EXECUTIVE SUMMARY

SIGNIFICANCE
Temple Isaiah at 332 West Alejo Road in Palm Springs is a multi-phase religious complex representing three significant periods of mid-century and contemporary architecture. The original building was designed in 1949- 1952 by master architect E. Stewart Williams, FAIA, expanded in 1970-1972 by the firm of Wexler & Harrison, and comprehensively redesigned in 1982-1987 by David Christian, AIA. The complex houses internationally significant artwork by kinetic artist Yaacov Agam and has served as the spiritual and cultural center for Palm Springs' Jewish community for over 75 years, making it an exceptional example of evolving Reform Jewish sacred architecture in Southern California.

Founded in 1950, Temple Isaiah has served continuously as the focal point of organized Jewish communal life in the Coachella Valley, providing religious, educational, and social services to Conservative, Reform, and Orthodox communities across the desert region.1 The building gained additional cultural significance through its association with the historic 1982-1983 Frank Sinatra fundraising concerts, which raised approximately $4 million for the temple expansion.2
The complex exemplifies the architectural evolution of Reform Jewish worship spaces over four decades, reflecting changing liturgical practices, demographic growth, and aesthetic sensibilities while maintaining continuity of sacred purpose and community service.3

DESIGNATION CRITERIA
Pursuant to Palm Springs Municipal Code (PSMC) Section 8.05.070(C.1.):

A site, structure, building, or object may be designated as a Class 1 Historic Resource or a Contributing Resource in a proposed historic district by the Palm Springs City Council, provided both of the following findings are met. Refer to the U.S. Department of the Interior National Register Bulletin How to Apply the National Register Criteria for Evaluation for additional guidance.

As outlined in the analysis beginning on page 25, Temple Isaiah qualifies as a City of Palm Springs Class 1 Historic Resource.

The property possesses exceptional historic and architectural significance and meets four of seven of the eligibility criteria outlined in Municipal Code Section 8.05.070(C.1.a):
• (i) Significant events in local history;
• (iii) Exemplifying a particular period in local history;

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4 • (iv) Embodies the distinctive characteristics of an architectural type; • (v) Represents the work of master architects and artists whose individual contributions influenced their age (i.e., peers, profession) and possess high artistic value.

Furthermore, the building possesses a high degree of historic integrity as outlined in Municipal Code Section

8.05.070(C.1.b), retaining integrity of Location, Setting, Design, Materials, Workmanship, Feeling, and Association, particularly as they relate to the 1982–1987 David Christian expansion, which now constitutes the building’s primary period of significance, for the exteriors.

The historic context within which Temple Isaiah was evaluated, as outlined in the Citywide Historic Context Statement & Survey Findings, is most closely related to the Post–World War II period (1945–1969), though the exteriors fall outside that 1969 end date,

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5 APPLICATION

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10 Architect E. Stewart Williams’ rendering for Temple Isaiah, 1950. Courtesy Palm Springs Art Museum, Architecture and Design Center Archives.

Architectural Evolution
The building represents three distinct periods of significant religious architecture:

E. Stewart Williams Period (1949-1952): The original design exemplifies the postwar national trend, as approximately 85% of new Jewish synagogues adopted modernist principles.4 Williams's design featured poured concrete construction,5 with distinctive interior elements including concrete arches flanking the sanctuary, exposed aggregate concrete block walls, cantilevered entrance stairs, and naturally finished white oak liturgical furnishings.6 The building originally featured a C-shaped plan organized around a central courtyard, with a south facade composed of forty precast Mo-Sai slabs (concrete with pink granite chips) featuring incised Stars of David—creating what was described as "an impressive mosaic pattern of basic simplicity."7 Williams's approach reflected "the other tradition" of Modernism, emphasizing human scale and natural materials influenced by Scandinavian architects including Eliel and Eero Saarinen and Alvar Aalto.8 The building received recognition from the American Institute of Architects as one of the finest religious facilities of its kind in the nation.

Wexler & Harrison Period (1960-1962): As the congregation grew, prominent desert modernist architects Donald Wexler and Richard Harrison designed a six-classroom addition inserted into the former central courtyard, a sensitive expansion compatible with Williams's original design vocabulary. Wexler later contributed liturgical furnishings, including an ark, Torah stand, and lectern, and coordinated the integration of significant artistic elements. Donald Wexler alone also later designed an expansion for the Temple, which was not realized.

David Christian Period (1982-1987): Following Frank Sinatra's fundraising success, Palm Springs architect David Christian—who served on the city's Planning Commission—designed a major expansion that completely absorbed the Williams and Wexler & Harrison exteriors while preserving their interior spaces. Christian's Late

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11 Modern design is a sculpture in and of itself, with strong bold geometries and heavy white stucco that represent significant 1980s contemporary religious architecture. The composition features canted shapes and sloping profiles referencing Pueblo architectural traditions (perhaps inspired by his time working for Hugh Kaptur), a dramatically swooping roofline suggesting spiritual uplift, and sophisticated natural light choreography through clerestory windows. The expansion increased the building's size from 14,140 to 51,000 square feet, including the Bochner Sanctuary (seating 500, expandable to 700), Levy Hall with mountain-framing clerestory windows, the Warsaw Ballroom, the Vener Reception Hall, and extensive support facilities.9 The sanctuary faces west toward the mountains, rather than the traditional east toward Jerusalem, creating a uniquely Californian interpretation of sacred space that celebrates the connection to the dramatic natural landscape.10 Artistic Contributions
Into this living work of sculpture by David Christian, the artwork designed for the spaces creates a remarkable dialogue between architecture and liturgical art spanning multiple decades. Temple Isaiah features exceptional artistic elements spanning multiple decades. Eric Ray's 1969 stained glass windows depict Jewish history through abstract designs representing the fire of Torah, tablets of stone, Star of David, Tower of David, and redemption.

Victor Ries created Hebrew calligraphy in metal forming the Ten Commandments, arranged to appear soaring toward heaven.11 Most significantly, internationally recognized kinetic artist Yaacov Agam designed the Tash/Agam Ark—one of the first computer-controlled liturgical elements in American synagogue architecture.

The ark features lucite and acrylic panels with color decals coordinating with the sanctuary's graduated pew upholstery colors, and incorporates pioneering technology where the Ner Tamid (eternal light) lowers while Torah scrolls rise from a bottom shaft via computer control. Agam's vision that "the most daring innovations in technology and electronics should be employed to enhance our worship experience" found groundbreaking expression at Temple Isaiah.12

STATEMENT OF SIGNIFICANCE
Summary
Temple Isaiah, constructed in multiple phases between 1949 and 1987, reflects the work of master architects E.

Stewart Williams, Donald Wexler, and David Christian, and serves as the historic religious and cultural center of Palm Springs’ Jewish community.

Location
Temple Isaiah is located at 332 West Alejo Road, adjacent to the O’Donnell Golf Course and within central Palm Springs.

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12 View of Temple Isaiah from Alejo Road. November 2025 photograph by the author.

THE ARCHITECTURE OF TEMPLE ISAIAH
Temple Isaiah is a multi-building religious complex reflecting several phases of construction, with its current exterior appearance defined almost entirely by the 1982–1987 David Christian Late Modern expansion.

The present complex exhibits the massing, materials, roof forms, and fenestration patterns characteristic of contemporary religious architecture of the 1980s, with limited surviving exterior fabric from the original 1949– 1952 E. Stewart Williams design. The following description documents the building as it exists today, organized by elevation.

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13 Two views of the primary façade seen from Alejo Road. November 2025 photographs by the author.

PRIMARY (SOUTH) FACADE – ALEJO ROAD
The primary façade presents a composition of angular stucco volumes characteristic of Christian’s 1980s design vocabulary. The elevation begins at the left with a tall, sharply angled white stucco mass forming folded planes that create deep shadow lines. Mounted on this plane is a vertical geometric screen composed of dark linear members, forming an abstract decorative element. Signage reading “Temple Isaiah” and “Leah and Florence Elkin

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14 Jewish Community Center” is affixed to this wall. Tall fan palms flank this section and provide vertical contrast to the angular massing.

Moving eastward, the façade transitions to a long horizontal volume capped by a pronounced sawtooth roofline composed of triangular clerestory elements. This serrated profile introduces rhythmic modulation to the roof edge while admitting natural light to interior spaces. Beneath this roof, the wall surface alternates between recessed glazing and solid stucco planes. The primary entrance is located within this bay, accessed by a short run of steps and sheltered beneath the projecting roof canopy.

Further right, the façade continues with lower horizontal stucco masses displaying minimal fenestration. Window openings appear in both horizontal bands and vertical slots. The consistent white stucco finish unifies the composition. Xeriscape planting, gravel beds, and additional palm trees frame the base of the elevation, reinforcing the building’s integration with its desert context.

The west facade. November 2025 photograph by the author.

WEST FACADE – SANCTUARY ELEVATION
The west façade reveals the sanctuary as the dominant architectural element. A large curved roof sweeps upward in a broad arc, creating the most prominent roof form in the complex. Beneath this overhanging roof plane, a continuous band of dark-tinted glazing wraps the sanctuary volume. The glass is recessed to create deep shadow lines that visually separate the roof from the wall plane below.

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15 The lower portion of the façade consists of white stucco walls stepping down in height to accommodate grade changes. Shrubs trimmed into spherical forms line the base of the wall, introducing a uniform landscape element.

Wall-mounted text identifies the “Rabbi Joseph Hurwitz Pavilion.” Parking along this elevation includes accessible spaces and blue-painted curbs. Tall fan palms and low-water desert planting surround the façade, integrating the structure into its broader landscape setting.

The east facade. November 2025 photograph by the author.

EAST FACADE
The east façade serves secondary functions and includes service and support spaces. A substantial Chinese elm tree anchors the foreground and partially screens the elevation. The façade is composed of white stucco masses arranged in stepped and angled forms that follow the site’s topography.

A recessed entry with stairs and metal handrails descends to a lower-level doorway defined by white retaining walls. Above this area, the wall surfaces rise in simple planar forms with limited fenestration. The roofline features sloping planes and clerestory modules consistent with Christian’s overall design vocabulary. Portions of gray-toned building fabric appear behind the primary white volumes, suggesting later modifications.

The San Jacinto Mountains form a dramatic backdrop to this elevation. A tall hedge defines the eastern property edge. Adjacent paved parking and gravel-based xeriscaping maintain continuity with the remainder of the site.

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16 The north facade. November 2025 photographs by the author.

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17 NORTH FACADE
The north façade reflects the complex architectural history of the site, incorporating both surviving Williams fabric and Christian’s later construction.

At the far left stands the only remaining exterior portion of the original Williams design, now painted white to match the later work. The underlying brick construction remains discernible through its textural variation.

Original steel casement windows with slender profiles remain in place, representing the mid-century fabrication methods used during the 1949–1952 construction period.

Above this Williams volume, a heavy angular fascia—part of Christian’s redesign—wraps the roofline, visually integrating the earlier structure into the later composition.

Proceeding rightward, the façade transitions into Christian’s white stucco volumes of varying height, arranged in stepped masses. Recessed openings, clerestory windows, and terraced levels provide light to interior rooms.

White retaining walls define grade changes and circulation pathways.

Portions of the rear yard are enclosed by chain-link fencing, delineating outdoor areas used for children’s play and recreation. A sand-covered play area with swings and shade structures reflects the community center function of the facility. Tall palm trees and the mountain backdrop remain prominent features.

A long single-story wing extends horizontally near the center of the elevation. This section is clad in white horizontal siding, contrasting with the smooth stucco finish of the adjacent volumes. Minimal fenestration punctuates the wall plane. A flat parapet roof completes this utilitarian wing.

Beyond this, the sanctuary volume rises above the lower masses, distinguished by the angular stucco planes and sawtooth roofline characteristic of Christian’s work. Terraced levels reveal rooftop mechanical equipment and service areas. The overall composition emphasizes horizontal lines, solid planes, and recessed glazing.

The juxtaposition of the small surviving Williams element with the more extensive Christian redesign documents the architectural evolution of the complex, illustrating two successive phases of mid-century and late modernist religious architecture in Palm Springs.

Character-Defining Features of Temple Isaiah
The 1982-1987 expansion by David Christian represents a significant example of 1980s contemporary religious architecture. The design absorbed the earlier Williams and Wexler & Harrison structures while creating a bold new Late Modern architectural statement characterized by heavy geometric forms, dramatic rooflines, and sophisticated natural lighting. The 51,000-square-foot complex exemplifies Christian's design vocabulary of canted shapes, sloping profiles, and expressive monumentality, while incorporating groundbreaking artistic collaborations and liturgical innovations.

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18 Contributing Elements:

Overall Massing and Form
• Composition of canted geometric forms dominated by upswept main sanctuary volume • Two-level structure integrating basement and main level functions • Dramatically curved, upswept roofline rising toward Mt. San Jacinto • Heavy geometric massing with sloping profiles referencing Pueblo architectural traditions • Long horizontal volumes punctuated by vertical elements • Integration of sculptural roof forms with functional spatial organization Exterior Materials and Finishes
• White stucco facade on metal studs encapsulating original Williams building • Consistent white finish unifying multiple building phases • Long series of louvered stucco vertical fins on side elevations • Textural variation through angular planes and shadow lines • Desert-appropriate material palette emphasizing permanence and solidity Rooflines and Roof Forms
• Dramatically curved west elevation roofline creating sculptural silhouette suggesting spiritual uplift • Sawtooth roofline composed of triangular clerestory elements providing rhythmic modulation • Sweeping curved roof over sanctuary as dominant architectural element • Angular fascia wrapping and integrating earlier Williams structure • Complex interplay of flat, sloped, and curved roof planes Fenestration and Glazing
• Eighteen angular windows punctuating façades on two sides (The word chai means "life" in Hebrew, making the number 18 a powerful symbol of good luck and well-being). • Panoramic window above Bimah with 12 panes of glass representing 12 tribes of Israel • Fixed glass panels facing west in vertical fins
• Continuous band of dark-tinted recessed glazing wrapping sanctuary volume • Clerestory windows creating sophisticated natural light choreography • Strategic window placement balancing light, views, and privacy • Deep reveals and recessed glazing creating pronounced shadow lines Landscape Integration
• Xeriscape planting with gravel beds and native/adapted species • Tall fan palms providing vertical punctuation
• Spherically-trimmed shrubs as uniform landscape elements • Terracing and grading responding to site topography

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19 • White retaining walls defining circulation and grade changes • Desert planting reinforcing integration with Palm Springs context • Mountain views framed as integral design element
Interior Spatial Organization - Main Level
• Large south lobby (Vener Reception Hall) running length of new wing • Bochner Sanctuary seating 500, expandable to 700 with adjacent Levy Hall • Levy Hall with dramatic clerestory windows framing mountain and palm tree views • Long north lobby for secondary circulation
• East lobby with adjacent professional kitchen
• Warsaw Ballroom for social and event space
• Conference room, library, and administrative offices
• Non-traditional sanctuary orientation facing west toward mountains rather than east toward Jerusalem Interior Spatial Organization - Basement Level
• Large central multi-purpose/classroom space
• Mechanical rooms, storage rooms, warming kitchen
• Support facilities including bathrooms, janitor's room, bride's room • Efficient circulation connecting functional spaces
Interior Finishes and Details
• Color-graduated upholstery on the pews coordinated with Agam ark: muted blue at front (near bimah) transitioning through pinkish hue to red at back
• Interior design by Cathleen Jones in collaboration with Yaacov Agam • Integration of artistic elements with architectural design Yaacov Agam Artistic Features (Groundbreaking Computer-Controlled Liturgical Elements) • Tash/Agam Ark: colorful glass and acrylic cabinet structure with visible Torah scrolls representing radical departure from traditional concealed ark
• Kinetic mechanism with computer-controlled system where Ner Tamid (eternal light) lowers and Torah scrolls rise from bottom shaft
• Engineering innovation allowing Torah scrolls to disappear for non-religious community events • Lucite and acrylic panels with color decals creating dynamic visual effects • Five framed Agam works on sanctuary south wall
• Integration of cutting-edge 1980s technology with liturgical tradition Site Features and Context
• Alejo Road frontage establishing primary public identity • Parking areas landscaped to minimize visual impact

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20 • Service areas discreetly located
• Outdoor play areas with swings and shade structures supporting community center function • Chain-link fencing defining children's recreation zones • Integration with surrounding residential neighborhood scale • Dramatic San Jacinto Mountains backdrop as designed visual element Surviving Williams Elements (1949-1952)
Exterior:
• North elevation brick construction (now painted white) retaining textural variation • Original steel casement windows with slender mid-century profiles • Foundation and structural elements incorporated into Christian expansion Interior:
• Exposed reinforced concrete beams (bents) left unpainted on ceiling and walls • Naturally finished white oak woodwork with clear lacquer on altar, choir screen, Ark, and trim • Sandblasted and stained ceiling in soft mulberry color • Cantilevered stairs
• Small choir enclosure (seating 12) with small organ console below high windows • Single eternal light hanging from ceiling
Non-Contributing or Altered Elements:
• Modern mechanical equipment and rooftop installations • Updated life safety systems (fire alarm, sprinkler, emergency lighting) • Contemporary signage not part of original Christian design

BACKGROUND / HISTORIC CONTEXT
Criterion 1 — Significant Events
Temple Isaiah has served as the center of organized Jewish communal life in the Palm Springs area since 1950, providing religious, educational, and social services to the community. The property also hosted significant cultural events, including the 1982 and 1983 fundraising concerts organized with Frank Sinatra, which raised approximately $4 million for the temple expansion. Through its longstanding role as a religious and cultural hub, Temple Isaiah made a meaningful contribution to the development of Palm Springs.

The property qualifies under Criterion 1.

Criterion 2 — Significant Persons
Although associated with notable individuals—including architect E. Stewart Williams, Rabbi Joseph Hurwitz, and entertainer Frank Sinatra—these associations do not reach the level of significance required under this

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21 criterion. Williams’s exterior architectural work is no longer extant, and associations with Rabbi Hurwitz and Sinatra, while locally important, are not directly expressed through the physical fabric of the resource.

The property does not qualify under Criterion 2.

Criterion 3 — Exemplifies a Particular Period of History Temple Isaiah reflects several significant phases of American synagogue architecture. The original 1949–1952 sanctuary and classroom buildings by E. Stewart Williams embody the postwar shift toward Modernist religious design. The 1960–1962 classroom addition by Wexler & Harrison reflects the mid-century expansion of the congregation and the development of flexible educational facilities. The 1982–1987 sanctuary expansion by David Christian illustrates late twentieth-century religious architecture characterized by expressive geometric massing and contemporary construction methods, and includes Yaacov Agam’s computer-assisted kinetic ark, an early example of technologically integrated liturgical design.

The property qualifies under Criterion 3.

Criterion 4 — Embodies Distinctive Characteristics
Temple Isaiah incorporates architectural elements from multiple periods, including surviving Williams-designed interior features from the early Desert Modernist phase and the intact 1980s sanctuary by David Christian.

While the extensive removal of the original Williams exterior architecture in the 1982–1987 expansion prevents the property from embodying the distinctive characteristics of its mid-century period, the Christian expansion represents a significant example of Late Modern architecture as defined in Historic Resources Group's Citywide Historic Context Statement & Survey Findings.

Christian's design exemplifies the character-defining features of Late Modern architecture: bold geometric volumes with canted shapes and sloping profiles, large expanses of heavy white stucco creating unrelieved wall surfaces, uniform cladding materials, exaggerated sculptural expression, and dramatic manipulation of natural light through deeply set clerestory windows. The building's sculptural massing and sophisticated geometric composition demonstrate the "deliberate sculptural quality" that distinguishes Late Modern from earlier modernist approaches. As a substantial example of 1980s Late Modern religious architecture in Palm Springs, the Christian expansion embodies the distinctive characteristics of this architectural type.

The property qualifies under Criterion 4 for the David Christian Late Modern expansion (1982-1987).

Criterion 5 — Work of a Master / High Artistic Value
Temple Isaiah represents the work of several master designers. E. Stewart Williams’s contributions illustrate his early Modernist approach and experimental use of concrete materials. Donald Wexler’s classroom addition demonstrates his sensitivity to existing architectural vocabulary. David Christian’s 1980s expansion reflects his command of contemporary religious design principles. Artistic contributions include Yaacov Agam’s kinetic ark, Eric Ray’s stained-glass windows, and Victor Ries’s metal Hebrew lettering. Collectively, these works contribute to the artistic significance of the property.

The property qualifies under Criterion 5.

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22 Criterion 6 — Historic District
Criterion 6 applies only to historic districts and collective resources. Temple Isaiah is evaluated as an individual property.

The property does not qualify under Criterion 6.

Criterion 7 — Information Potential
Temple Isaiah is unlikely to yield information important to national, state, or local history or prehistory beyond what is already known.

The property does not qualify under Criterion 7.

INTEGRITY ANALYSIS
(Using the U.S. Secretary of the Interior Standards)
Integrity is evaluated through seven aspects: location, design, setting, materials, workmanship, feeling, and association. Because the earlier exterior architectural work by E. Stewart Williams and Wexler & Harrison is no longer extant, the integrity analysis focuses solely on the 1982–1987 David Christian expansion, the building’s surviving and character-defining architectural expression.

DESIGN
The David Christian expansion retains excellent integrity of design. Christian’s comprehensive reconfiguration established a unified architectural envelope defined by sculptural geometric massing, sharply angled wall planes, clerestory glazing, and a multi-level sanctuary plan. The intact organization of volumes—including the westfacing sanctuary, narthex, circulation routes, and associated programmatic spaces—continues to reflect the design intent of the 1980s expansion. The overall composition remains coherent, legible, and representative of contemporary religious architecture of the period.

Design integrity is excellent.

MATERIALS
Christian’s material palette remains intact and clearly expresses the architectural character of the 1980s expansion. Surviving materials include stucco cladding over steel framing, angular and clerestory glazing systems, metal fins and trim, interior finishes, and fixed liturgical elements. The Agam kinetic ark, Eric Ray stained glass, and Victor Ries metal calligraphy continue to represent the artistic and material vocabulary of the period.

Material integrity is excellent for the Christian phase.

WORKMANSHIP
The expansion retains high workmanship integrity, visible in the precise execution of its angled stucco forms, clerestory window installation, integrated lighting and mechanical systems, and interior finishes. The fabrication and installation of the kinetic ark further represent the emerging electro-mechanical craftsmanship of the era.

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23 Workmanship integrity is strong and remains legible throughout the Christian-designed portions.

LOCATION
The building remains on its original site at 332 West Alejo Road. Christian’s design was conceived specifically in response to this location—most notably the west-facing massing oriented toward the San Jacinto Mountains—and continues to express this relationship.

Location integrity is complete.

SETTING
The Christian expansion maintains its historic setting, including its orientation toward the mountains, its relationship to the O’Donnell golf course, and its position within a maturing urban neighborhood. These environmental conditions remain consistent with those at the time of Christian’s design and continue to reinforce the architectural intent of the 1980s expansion.

Setting integrity is excellent.

FEELING
The building strongly conveys the feeling of a late-twentieth-century religious complex. Christian’s distinctive geometric volumes, dramatic rooflines, clerestory lighting, and sculptural exterior surfaces remain intact and clearly communicate the expressive design sensibilities of the 1980s.

Feeling integrity is very strong for the Christian period.

ASSOCIATION
Temple Isaiah retains clear associative integrity with the era of the Christian expansion. The building continues to function as an active synagogue, reinforcing its original religious and communal purpose. Surviving artistic elements—including the Agam ark and other liturgical artworks—preserve associations with the artists and designers involved in the 1980s renovation.

Association integrity remains high.

INTEGRITY SUMMARY
When evaluated solely on the basis of the 1982–1987 David Christian expansion, Temple Isaiah retains excellent integrity across all applicable aspects. The Christian design has now achieved historical significance in its own right and is the building’s defining architectural period. Its exterior massing, materials, workmanship, and spatial organization remain largely unchanged, allowing the property to clearly convey its 1980s design intent and architectural character.

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24 A P P E N D I C E S
I OWNER’S LETTER OF SUPPORT

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25 II ASSESSOR’S MAP AND AERIAL
Property Address 332 W ALEJO RD
PALM SPRINGS, CA 92262
Assessment No. (PIN) 505313007
APN (GeoCode) 505313007
Property Type Place of Worship
TAG 011-003 PALM SPRINGS
Acreage 3.30
Doing Business As
Business Use
Legal Description

3.30 ACRES M/L IN LOTS 1, 2, 3 & 4 BLK 3 MB 011/002 VISTA ACRES FOR TOTAL DESCRIPTION SEE ASSESSORS MAPS Lot 1 Block 3
SubdivisionName VISTA ACRES Acres 003.30 M/L LotType Lot RecMapType Map Book MapPlatB 011 MapPlatP 002 Lot 2 LotType Lot Lot 3 LotType Lot Lot 4 LotType Lot

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26 III ARCHITECTURAL HISTORY
Palm Springs Art Museum, Architecture and Design Center Archives.

THE ARCHITECTURAL HISTORY OF TEMPLE ISAIAH
Temple Isaiah stands as a significant example of mid-century modern religious architecture in Palm Springs, representing a bold departure from traditional synagogue design. Designed by Williams and Williams (later Williams, Williams, & Williams) between 1949 and 1951, the building embodies the postwar embrace of contemporary design in houses of worship, reflecting a broader national trend where approximately eighty-five percent of new Jewish synagogues and temples adopted modernist principles emphasizing simplicity and clean, uncluttered lines.

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27 Palm Springs Art Museum, Architecture and Design Center Archives.

Initial Design and Construction (1949-1950)
The first phase of Temple Isaiah, completed in 1950, established the architectural vocabulary that would define the entire complex. Williams conceived a C-shaped structure organized around a central open square courtyard, creating an intimate relationship between interior spaces and the desert landscape. The west side featured a large social room, while the east side housed three classrooms and a larger nursery room. The north wing contained offices, a kitchen, and other utility rooms.

The central courtyard became the heart of the composition, featuring a large grass panel punctuated by multitrunk olive trees. A covered, colonnaded walkway faced south toward Alejo Road, creating a welcoming transitional space between street and sanctuary. This flat-roofed structure established a consistent rhythm through square concrete block columns supporting the roof, which was distinctively covered in Tropicool white rocks—a practical response to the desert climate.

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28 The landscape design integrated architecture and nature with particular ingenuity. Against the social room wall, wires supported pyracantha espaliers trained in the form of menorahs, creating living religious symbols.

Foundation plantings of various shrubs softened the building's edges while maintaining the elegant simplicity of the modernist composition.

Plans for the building were prepared by E. Stewart Williams and presented to the congregation by Building Chair Leo Baker. Palm Springs Mayor Charles Farrell turned the first shovels of earth at the groundbreaking, made possible with funds raised by members of the community. The initial building site measured 225 feet by 115 feet.13
Two critical constraints shaped the architectural approach: a limited construction budget and the building committee's lack of a specific programmatic direction regarding denominational affiliation (Liberal, Reformed, or Orthodox). These limitations, paradoxically, became creative opportunities. Williams responded with what Edith Carlson described as "a straightforward approach," selecting common cement blocks as the primary wall material and leaving them exposed both inside and out, producing "an effect of rugged solidity."14 E. Stewart Williams design for Temple Isaiah. Julius Shulman photograph, courtesy Palm Springs Art Museum, Architecture and Design Center Archives.

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29 The Sanctuary Addition (1951-1952)
The second phase, starting in 1951 and completed in 1952, introduced the sanctuary—a dramatic two-story rectangular volume that became the architectural centerpiece of the complex. As The Desert Sun reported on May 25, 1951: "The building will be a distinctly modernistic type and will be unique in church architecture, planners said. Stewart Williams of Williams, Williams and Williams, local architects, will supervise construction." This addition used the same concrete block with exposed aggregate finish used in the first iteration.

Temple Isaiah represented what may be considered E. Stewart Williams's experimental project, where he mastered his craft of poured concrete.15 The sanctuary interior is flanked by poured concrete arches—a structural and aesthetic achievement that demonstrated his command of this demanding material.16 The building also features cantilevered stairs at the entrance, another expression of Williams's mastery of concrete construction techniques.17
E. Stewart Williams site plan, courtesy Palm Springs Art Museum, Architecture and Design Center Archives.

The sanctuary's primary south elevation, facing the O'Donnell golf course, presented the most distinctive and symbolically charged element of the entire complex. The wall was covered with forty-five-foot-square precast Mo-Sai slabs—concrete embedded with pink granite chips—with a Star of David incised into each panel, creating "an impressive mosaic pattern of basic simplicity."18 This repeated geometric motif achieved monumentality through simplicity rather than ornament—a thoroughly modern approach to sacred architecture. The front was further adorned with a custom-designed menorah sculpture created using square metal tubing, which stood as a bold three-dimensional counterpoint to the pattern of incised stars.

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30 Inside, the sanctuary (also known as the Liberman Chapel) seated 300 to 350 people, with an outdoor court accommodating an additional 400.19 The two-story height of the sanctuary created a dramatic interior volume befitting its sacred purpose. The ceiling was sandblasted and stained a soft mulberry to match the chair seats, while acoustic plaster finished the ceilings of classrooms and the social room. Though acoustics presented potential challenges due to the hard surfaces and parallel walls, the projecting ceiling beams effectively broke up sound waves, preventing echo or unpleasant reverberations.20 Williams designed the sanctuary with a utilitarian theme, meaning it could serve multiple purposes beyond religious services. The two side walls originally had partitions that could be opened and closed, allowing the space to be configured for lectures, meetings, and even fashion shows and concerts.21 When used for nonreligious events, a curtain would cover the entire front Bimah area, temporarily concealing the sacred elements.22 This flexibility reflected the practical needs of a growing congregation while maintaining architectural integrity.

Detail showing the Mo-Sai pink aggregate precast concrete panels, incised with a repeating Star of David motif. Courtesy Palm Springs Art Museum, Architecture and Design Center Archives.

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31 Mo-Sai brochure pages, showing the various textures available, as well as a very wide range of colored aggregate and concrete.

Williams selected pink aggregate Mo-Sai panels at Temple Isaiah.

A single "eternal light" hung from the ceiling, maintaining the essential Jewish tradition through minimalist expression. High windows provided accent light for the stage and Ark, creating a carefully choreographed play of natural illumination that enhanced the sanctuary's spiritual atmosphere. Directly below these high windows, a small choir enclosure seated 12 persons plus a small organ console, integrating musical elements into the architectural composition without overwhelming the space.

The lighting throughout the sanctuary demonstrated Williams's attention to every detail of the design. The fixtures were custom designed by the architects and manufactured by Ledlin Lighting Co., ensuring that even utilitarian elements contributed to the building's unified aesthetic vision. These included a menorah sconce created using square brass tubing, and a matching menorah squared brass candelabrum for the travertine platform on the bimah. Williams also designed six beautiful spun aluminum chandeliers with pierced shades for the sanctuary, though they were unfortunately removed during later renovations when Rabbi Joseph Hurwitz, who was not fond of certain aspects of the original architecture, altered the interior.23 The matching spun aluminum wall sconces that Williams designed still remain. The exposed concrete floors were also covered during these changes.24
The completed complex comprised a sanctuary, library, offices, patio, meeting rooms, and classrooms, totaling 10,752 square feet. Physical facilities included the chapel, seating 350, and a social room for 150.

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32 View towards bimah, with lighting fixture designed by E. Stewart Williams above, fabricated by Ledlin Lighting Co. Note the tall vertical window openings, which lit the stage. Julius Shulman photograph, courtesy Palm Springs Art Museum, Architecture and Design Center Archives.

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33 Over time, the Liberman Chapel became renowned for its art and symbolism as much as for its architecture.

Stained glass windows by artist Eric Ray were added in 1969 and feature relatively abstract designs that relate to Judaism—depictions of the fire of Torah and the two tablets of stone, a Star of David, the Tower of David, and beams of light. Ray, whose grandparents were hairdressers to the royal family in England, came to Los Angeles where he studied art and later became a rabbi. His windows for the sanctuary represent the history of the Jewish people throughout time and also tell the story of redemption and humility. The chapel also features Hebrew letters styled like calligraphy by metal artist Victor Ries, spelling out the Ten Commandments and arranged to appear as though they're soaring up to heaven—a powerful visual metaphor for divine ascension.25 Palm Springs Art Museum, Architecture and Design Center Archives.

Functional Flexibility and Jewish Ritual
The building's design responded intelligently to the dual demands of Jewish worship, which requires both religious and social spaces, particularly for high holiday feasts. The social room was placed adjacent to the large auditorium, separated by folding partitions that allowed flexible configurations: closed for small meetings or opened to combine with the auditorium for large gatherings.26 Sliding doors opened the social room to the patio, so that the entire floor space—auditorium, social room, and patio—could flow together for social events, feasts,

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34 or the Succoth service, where an outdoor covered shelter symbolizes the Tabernacle in the Wilderness. A curtain separated the religious corner during these combined uses.27 Interior religious elements maintained the building's aesthetic of restrained elegance. A bronze seven-armed candelabra stood at the entrance, with additional menorahs appearing inside on the altar by the Ark and by the reading table. The altar, choir screen, and Ark were crafted of white oak, with the altar extending in a vertical pattern across the full width and ends of the space. This "softening effect of the wood" struck “a pleasing contrast to the starkly rugged concrete of the Temple walls."
The unifying experiences of the war years and the leadership's vision of unity instilled a philosophy of total service. This unique Temple/Center became the focal point of organized Jewish communal life in the Palm Springs area, with service to the Conservative, Reform, and Orthodox communities.

Architectural Philosophy and Influences
Notably absent from Temple Isaiah were sculptured pieces or stained-glass windows in the original design.

Instead, Williams chose clear plate glass to frame views of the garden and mountains, allowing sunlight to create "an ever-changing play of color shadows on the walls."28 This decision reflected a fundamental principle of desert modernism: the integration of architecture with its dramatic natural setting.

Lauren Weiss Bricker, Archivist at Cal State Polytechnic University at Pomona, identified the architectural lineage informing Williams's design. The building's "form and aspects of the site plan convey a restraint and simplicity that reflects the influence of Finnish architect Eliel Saarinen...and his son, architect Eero Saarinen." Williams's response to the Saarinens indicated his attraction to Scandinavian Modernism, first evidenced in notes he made about buildings visited in Norway, Sweden, and Denmark in 1938.29 Bricker characterized Williams's approach as aligned with what British architect and critic Colin St. John Wilson termed "the other tradition" of Modernism—"an approach defined by human scale and the use of natural materials rather than a dependence on the machine aesthetic." Like the Saarinens and Finnish architect Alvar Aalto, Williams "took a non-doctrinaire approach to Modernism. He embraced a rational use of technology but did not let it override the expression of humanizing values conveyed through scale and natural materials."

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35 Palm Springs Art Museum, Architecture and Design Center Archives.

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36 Photograph shows the new wall enclosing the former open courtyard, after Wexler & Harrison’s classroom addition. Palm Springs Art Museum, Architecture and Design Center Archives.

Wexler & Harrison’s plan for six new classrooms. Palm Springs Art Museum, Architecture and Design Center Archives

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37 The Wexler & Harrison Classroom Addition (1960-1962) A decade after the original construction, the growing congregation required additional educational space and parking. To meet these needs, a fundraising initiative began, with campaign chair A. L. Levin stating: "Although I realize that $200,000 is a considerable sum to raise, I feel certain that our members and friends will respond to this challenge adequately to ascertain the construction of these much-needed buildings in 1962." 30 Architects Donald Wexler and Richard Harrison were engaged for the expansion in 1960. The six-classroom addition was inserted into the former grass panel open courtyard at the center of the original 1950 structure, transforming what had been a contemplative outdoor space into enclosed functional area. The design included a roof structure located within the Temple's courtyard.

This pragmatic expansion necessarily altered the character of the original courtyard, which had served as the organizing element of the C-shaped plan. As part of this addition, the once-open colonnade facing south toward Alejo Road was enclosed with a new wall constructed using the same concrete block with exposed aggregate finish as the original building, demonstrating respect for Williams's material palette. Doors and windows punctuated this new wall to provide access to the classrooms, maintaining visual and physical connections while adapting the building to its evolving programmatic needs. The original E. Stewart Williams Star of David facade, roofline, colonnade, and covered walkway along Alejo Road were maintained.

Completed in 1962, the addition increased the total building size to 14,140 square feet.

Between 1960 and 1969, further additions to the Liberman Chapel included an ark, Torah stand, and lectern designed by Donald Wexler, who was a very good friend of Rabbi Joseph Hurwitz. Wexler's contributions also included Eric Ray's stained-glass windows depicting the history of the Jewish people, and Victor Ries's Ten Commandments—Hebrew letters sculpted in metal.31

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38 Donald Wexler’s proposed addition. Palm Springs Art Museum, Architecture and Design Center Archives.

The Wexler Proposed Addition (1971)
In 1971, Donald Wexler prepared plans and renderings for a major Temple expansion with a large addition to the west, preserving the original E. Stewart Williams temple building.32 As Lauren Weiss Bricker and Sidney Williams reported: "The proposed Jewish Community Center in Palm Springs entailed a series of additions to an existing synagogue designed by E. Stewart Williams. Wexler's plan added a dramatic new 560-seat sanctuary and social hall west of the chapel and classrooms to the east. The dramatic upward slope of the new sanctuary created a visual foil for the flat-roofed rectilinear volume of the original synagogue; a large picture window at the end of the sanctuary provided a view of the mountains."33 Wexler's design incorporated landscape into the complex by opening a number of spaces onto a courtyard and surrounding terrace. "The soaring roof profile and visual connection with nature expanded Wexler's architectural symbolism beyond the literal reference to the Star of David on the facade of the original synagogue." This ambitious proposal, however, was not realized.

At the time of the Center's silver anniversary in 1972, the Temple boasted a membership of 525 and a religious school attendance of 175 children.34

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39 David Christian’s site plan shows how addition relates to the existing structure. Palm Springs Art Museum, Architecture and Design Center Archives.

The David Christian Expansion and Remodel (1982-1987)
The growth of Temple Isaiah/Jewish Community Center made it imperative to expand once again. The story of this expansion is inseparable from an extraordinary friendship between Rabbi Joseph Hurwitz, who spent four decades at Temple Isaiah, and entertainer Frank Sinatra. Hurwitz also served as a chaplain at the Desert Regional Medical Center, where he struck up a friendship with Frank Sinatra while Sinatra's mother, Dolly, was hospitalized. After Dolly Sinatra died in a plane crash near Palm Springs in 1977, Hurwitz was asked to give a small pre-eulogy at her service. Frank Sinatra was so touched that he told Rabbi Joe to let him know if he could do anything, and two years later, when it came time to build an expansion, Sinatra made good on his promise in spectacular fashion.35
He performed a series of concerts and fundraising events in 1982 and 1983, bringing many of his friends from Los Angeles and New York, ultimately raising approximately $4 million for the new temple. Although Sinatra was Catholic, he received a lifetime membership at the temple and his name is preserved in perpetuity on two pews inside the new chapel. Sinatra was a very good friend of the Jewish people in America, and the Sinatra family continues to maintain this relationship. Both Sinatra and Rabbi Hurwitz helped to dedicate the new sanctuary, which was completed in 1987.36
Palm Springs architect David Christian was engaged to design the new addition. Christian had served on the city's Planning Commission, and his architectural work was in vogue at the time; he is also known for designing Lulu's California Bistro and several other restaurants in Palm Springs. Rather than adding a new concrete structure as was proposed by Donald Wexler, Christian's design created a stucco facade on metal studs that encapsulated the original E. Stewart Williams synagogue, producing a sculptural building in the 1980s Brutalist style.37
The expansion was ambitious in scale and program, organized across two levels. The basement level featured a large multi-purpose/classroom space at the center, surrounded by mechanical rooms, storage rooms, a warming

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40 kitchen, bathrooms, a janitor's room, and a bride's room—accommodating the diverse functional needs of a growing congregation.

The main level created a dramatic processional sequence. Entry at the east opened onto a large south lobby (Vener Reception Hall) running the length of the new wing, establishing a generous gathering space. The centerpiece was Levy Hall with dramatic clerestory windows framing views of Mt. San Jacinto and the skyline of palm trees, maintaining the connection to the natural landscape that had been central to Williams's original design. The Bochner Sanctuary occupied the front of the hall, with storage behind. A long north lobby provided secondary circulation, while an east lobby with adjacent new professional kitchen facilitated social functions.

Bathrooms and additional storage rooms completed the program. The Warsaw Ballroom provided additional social and event space.

The graduated colors of the upholstery. November 2025 photo by the author.

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41 The upholstery fabric on the sanctuary's long pews featured a carefully considered color progression that gradually changed as one looked from the sanctuary to the back of the hall. The color scheme starts as a muted blue at the front, closest to the bimah, and transitions to a pinkish hue and then red in the back—creating a subtle visual gradient that enriched the spatial experience and reflected the spiritual journey from the sacred to the communal. Cathleen Jones from David Christian's team served as the interior designer, collaborating with artist Yaacov Agam on the interiors.

Artist Agam’s innovative Tash/Agam Ark. November 2025 photo by the author.

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42 In an unusual design decision, the sanctuary faces west toward the mountains, rather than east toward Jerusalem, which is the traditional orientation for synagogues where prayer is focused. This westward orientation prioritizes the connection to the dramatic natural landscape of the San Jacinto Mountains—a distinctly Californian interpretation of sacred space that places equal emphasis on the spiritual significance of the immediate natural environment.

Agam's contribution to the Bochner Sanctuary proved extraordinary and technologically innovative. When the Israeli sculptor and artist was commissioned to build an ark for Temple Isaiah, he designed a colorful glass and Plexiglas cabinet-like structure, leaving the Torah scrolls visible inside—a radical departure from tradition, as scrolls are typically placed in arks with cabinet doors or behind a curtain. The Tash/Agam Ark became the central focus in the sanctuary, with Agam-inspired colored upholstered pews creating a unified aesthetic. Agam designed and signed the ark—constructed of lucite and acrylic panels with decals of colors that mimic the seats of the sanctuary—setting the color tone for the entire space, its furnishings, and Torah scroll covers.38 Five framed Agam works were displayed on the sanctuary's south wall with the inscription "Presented to Temple Isaiah in honor of Rabbi and Mrs. Joseph Hurwitz by Agam 1976." Agam likely visited the temple and Rabbi Hurwitz during the opening of the Palm Springs Desert (now Art) Museum in 1976.39 An early figure of the "kinetic art" movement, Agam also has work on display at the Palm Springs Art Museum and Sunnylands Center and Gardens.

Agam's vision for sacred space was deeply considered. He once said: "my ideal synagogue would use architectural innovations to create a sacred space that would truly satisfy our needs…The most daring innovations in technology and electronics should be employed to enhance our worship experience." He implemented this experience at Temple Isaiah Jewish Community Center, where the ark was designed to be kinetic—a pioneering achievement in religious architecture. The Ner Tamid (eternal light) would lower itself down while the Torah scrolls would rise up from a bottom shaft, controlled by computer. The ark is also engineered so that the Torah scrolls can disappear for non-religious services—a remarkable fusion of ancient ritual and contemporary technology.40
The exterior architecture departed dramatically from Williams's modernist restraint. The main hall's roofline featured a dramatic curved upsweep with a slightly sloped profile, raising towards Mt. San Jacinto in a gesture of reaching skyward. The shorter west elevation also featured a curved roofline, creating a sculptural silhouette that contrasted sharply with the flat-roofed rectilinear volumes of the original 1950-52 complex. Many have observed that the west end of the building resembles an ark, though Christian and Temple Isaiah have said this wasn't intentional.

The exterior was clad entirely in stucco, creating a unified material palette across the expanded complex— though at the cost of concealing Williams's original exposed aggregate concrete architecture. Windows have symbolic meaning in the design. The side elevations featured a long series of louvered stucco vertical fins, with fixed glass panels facing west placed in each fin, flooding the hall with light. Additionally, 18 angular windows punctuate the façade (nine on each side), as the word chai means "life" in Hebrew, making the number 18 a powerful symbol of good luck and well-being. A panoramic window above the Bimah features 12 panes of glass representing the 12 tribes of Israel. The facade presented a composition of canted geometric forms, dominated by the long-upswept volume of the main hall—a bold architectural statement reflecting 1980s sensibilities.

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43 One of the major differences between the new chapel compared to the old—aside from size—is the incorporation of natural sunlight and modern feel. The Bochner Sanctuary seats 500 and can be increased to 700 when opened to the adjacent Levy Hall. The addition brought the total building size to 51,000 square feet.41 Recognition and Legacy
Temple Isaiah won recognition and praise from the American Institute of Architects and laymen as one of the finest facilities of its kind in the nation. The temple demonstrated that modernist principles could serve religious functions without sacrificing spiritual dignity, that budget constraints could inspire material honesty rather than compromise quality, and that contemporary architecture could create spaces of contemplation and community equally suited to the demands of both sacred and social life. Standing in the shadow of the San Jacinto mountain range, Temple Isaiah represented both a sophisticated response to its specific site and program, and a confident assertion of modernism's capacity to serve timeless human needs in radically new forms.

The importance of Jewish continuity and respect for the beliefs of others has been taught within these walls for more than half a century. Temple Isaiah continues as a vibrant spiritual and cultural home for the Jewish faith in the desert communities, offering settings for worship, study, education, social services, cultural events, weddings, and concerts. The building's multiple expansions—by Wexler and Harrison in 1960-1962 and by Christian in 1982-1987—testified to both the success of the original design and the evolving needs of a growing congregation, though these additions fundamentally altered Williams's original modernist vision.

IV BUILDING PERMITS
Date Owner Permit Type Description of Work
07-07-83 Jewish
Community
Center
Building Construct Type II 1-hour fire sprinklered
addition to multi-purpose assembly building.

Permit to include demolition.
06-13-11 Temple Building Permit to changeout 40 gallon water heater in the same location.
08-15-12 Temple Isaiah Building Install three new junction boxes with circuit wiring for emergency lighting in school use
within existing building.
08-16-12 Temple Isaiah Building Install four junction boxes for exit signs and four boxes for emergency lighting packs with
required circuit wiring and one circuit and box
for fire alarms systems.
07-07-21 Temple Isaiah Building Re-roof with foam. Upper section hall only. 10-08-24 Temple Isaiah Building Address assignment request (need to establish separate addresses for Montessori school and
Preschool, respectively)

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44 V ARCHITECTS BIOGRAPHIES
Palm Springs Art Museum, Architecture & Design Center Archives.

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

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

By this time, the Great Depression had swept across America, bringing with it major change. The Williams family’s affluent lifestyle was not spared. Architectural commissions evaporated. Schenk and Williams’ once thriving firm was reduced to just two partners scrounging for whatever work they could find. Undoubtedly this

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45 reversal of fortune had a profound effect on the young Stewart Williams (he resisted expanding his firm throughout fifty years in practice), steering him at times away from a career in architecture and towards a career in art and design. Fortunately, Williams found a position at Bard College (then part of Columbia University) teaching art and design from 1934-1938. While there, he supplemented his teaching salary by selling his etchings and paintings. Upon entering one of his artworks in the American Watercolor Society Exhibition in New York, he was awarded the Zabriskie Prize, the top purchase award.

In 1938, Williams departed on a long-delayed grand tour of Europe to study architecture and art. His travels took him to Stuttgart, Germany where he was profoundly influenced by the Werkbund (a modernist workingman’s housing complex designed by a collaborative of some of Europe’s greatest modernist architects).

Williams recalled in a 2000 interview for Palm Springs Life magazine: “I once went to a Seidling in Germany done by Gropius, Mendelsohn, Behrens, Mies van der Rohe and others where there were tract houses nearby. The little inexpensive houses were full of people while the elegant structures done by those world-famous architects were empty. So, I asked one of the guards why these houses were empty and he said people didn’t like living in boxes. This was early in the modern movement and people had not changed their thinking about being closer to the earth. The use of materials like beautiful wood, native stone and glass, to a certain extent, were mixed with colorful interiors. They loved fabrics that were patterned and they loved flowers and had vines growing in the house. There was a feeling of simplicity and warmth that made me feel this was the way I would like to work.”
While visiting the south of Sweden, Williams met the love of his life, Mari Schlytern, a young and beautiful art student at Stockholm’s Kunsthalle. After six months touring Europe, Williams returned home with hopes of making Mari his bride as well as with a profound appreciation of the Swedish design philosophy, significantly their use of natural materials. In 1940, after a brief stint working in his father’s architectural firm Williams took a job with famed industrial designer Raymond Loewy of New York, where Stewart and Mari eventually married in Woodstock.

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

Meanwhile, Harry Williams had decided to move to Palm Springs for semi-retirement and to a climate that would help alleviate the symptoms of his wife’s debilitating arthritis. After designing a home and a commercial building in Palm Springs for Julia Carnell, Harry was commissioned by Carnell to design The Plaza Shopping Center, now Class 1 Site No. 22, on Palm Canyon Drive in 1936. It was a mixed-use project combining retail/office and residential components - a novel concept at the time. It was the senior Williams’ first significant commission in almost 8 years after suffering the collapse of Schenk and Williams.

With World War II over, in 1946 Stewart decided to join his father and brother Roger in establishing an architectural practice in Palm Springs. From 1946 to 1956, the three Williams’s worked in partnership. During this time Harry taught his sons about specifications, building codes, zoning, and the ups and downs of working with clients. He also taught them how to run an architectural practice; there was little money to be made in a residential practice, so Harry encouraged his sons to pursue commercial work for banks, office buildings and schools. While Stewart continued designing an occasional house during his career (usually with spectacular results), the bulk of his work was in the commercial arena. He acted as lead designer, Roger as engineer and Harry as facilitator. The years 1946 to 1948 were busy for Williams. Besides the Sinatra Residence, he would

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46 design The Colony, Temple Isaiah, the Bissonte Lodge, and a modern addition to the 1924 Pepper Tree Inn. All but the Sinatra Residence have either been altered beyond recognition or demolished.

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

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

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

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

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

When asked about the essence of his style, Williams said over and over again, “Let the natural beauty of the materials be the thing you see.”
Palm Springs Art Museum, Architecture & Design Center Archives.

Wexler & Harrison, AIA (Partnership Years 1953-61)
Few architects or firms left a deeper imprint on the built environment of Palm Springs than Wexler & Harrison.

Through the course of a nine-year partnership, the duo designed buildings in almost every genre including important residential, commercial, and civic projects that helped define the essence of the Palm Springs School of Architecture. Donald Wexler and Richard Harrison met while working as draftsmen in the office of revered Palm Springs architect William F. Cody, FAIA. Here, the two young architects bonded over shared life experiences and the ambition to one day see their own designs made real. While with Cody, they learned many valuable lessons in both the artistic and business sides of running an architectural practice, but tired of Cody’s unpredictable hours and unorthodox working style.42 With their architectural apprenticeship requirements satisfied, they launched the firm of Wexler & Harrison in 1953. The firm’s first office was located inside a secondfloor suite at The Center (1947, Paul R. Williams and A. Quincy Jones, architects), and later moved to a location adjacent to the Sun Center on South Palm Canyon, which they had designed.

Commercial work in the early years of the partnership provided important inroads to the developers who were transforming Palm Springs in the early 1950s. Completed in September 1954, the exterior remodel of the Ramon Drugs building on South Indian Canyon Drive was an auspicious first effort for the firm as they began pursuing additional commercial commissions. This was quickly parlayed into significant jobs such as the sleek EF Hutton office (1955) —an addition to the interior courtyard area of The Center—where the firm’s office was located at the time.43 In 1958, Wexler & Harrison received one of their most important commissions when they were

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48 appointed as executive architects for the Spa Hotel Bathhouse project, a joint design effort with former employer William F. Cody and Philip Koenig. Located at one of the most prominent intersections in the city and sited on the ancestral grounds of the Agua Caliente Tribe’s natural hot springs, the Spa Bathhouse was widely regarded as one of the great pieces of Modern architecture ever built in Palm Springs. Another key commercial project was the Welmas Building (1959), sited across the street from the Spa and built for developers and lawyers Simon, Simon & Simon. The Simons named the building after Leon Welmas, one of the owners of the land upon which Canyon Country Club would one day be built. Harold Simon was the lead attorney who negotiated the long-term land lease at Canyon Country Club, and A.R. Simon partnered with oilman Ray Ryan in several real estate development ventures including Sunmor Estates (1955), designed by Wexler & Harrison.

Wexler & Harrison’s connection to the Simons may have led to the introduction to Canyon Country Club developer Robert Grundt who, as an outsider to Palm Springs, had no existing relationships in local architectural or construction circles. The Pavilion Lodge on Catalina Island (1958), the Pitts & Rosin Building in downtown Palm Springs (1960), and the Sun Center (1961) on South Palm Canyon Drive added to the firm’s impressive commercial portfolio in the later years of the partnership.

The Coachella Valley’s population boom in the late 1950s created the need for an expanded network of educational facilities. The firm’s first project in the educational sector was similar to its first effort in the commercial space: an addition and remodel to the Desert Hot Springs School (1956). This was followed by three projects that saw the firm contribute comprehensive design and planning work for entire campuses at Cahuilla Elementary School (1957), Cathedral City Elementary School (1958), and Nellie Coffman Junior High School (1958).44 Later in 1958, the firm added the distinguished administration building at Palm Springs High School, adding to the master plan designed by Williams, Williams and Williams in 1949. The first institution of higher learning in the Coachella Valley, College of the Desert, selected an architectural team consisting of Wexler & Harrison, John Porter Clark, Williams & Williams, and Frey & Chambers to work under master plan and design architect John Carl Warnecke of San Francisco.45 Residential projects helped establish Wexler & Harrison’s reputation as designers of both custom and massproduced homes. Liliana Gardens (1954) was a pair of quintessential post-and-beam homes in the Mesa neighborhood, built for developer Joe Pawling. The Wexler Family Home (1955) was designed to meet the needs of the architect’s growing family and would go on to become a designated Class 1 Historic Site in the City of Palm Springs. Sunmor Estates (1955) for developers A.R. Simon and Ray Ryan, and El Rancho Vista Estates (1960) and Caballeros Estates (1960) for developer Roy Fey, saw Wexler & Harrison contribute distinguished designs for tract housing.4647 The firm also produced designs for multi-family residential developments such as Royal Hawaiian Estates (1959), Bermuda Dunes Colonies (1961), and the Shadow Mountain Fairway Cottages (1961) in Palm Desert.

Some of the most enduring images of Wexler & Harrison’s legacy stem from their use of prefabricated steel in residential architecture. The 1960 Bel Air home for engineer and collaborator Bernard Perlin is the earliest example of the firm working in this mode, followed by the Calcor Prefabricated Homes/Alexander Steel Homes of 1961-2 in Palm Springs. Originally intended to be a tract of thirty-eight homes adjacent to the Racquet Club neighborhood, only seven were built due to rising costs in steel at the time of construction.48 All seven are now Palm Springs Class 1 Historic Sites and one is listed on the National Register of Historic Places. The designs of these homes—ranging from a reserved International Style model to an exuberant zig-zag roofline cast in poured concrete—exhibited the exciting creative possibilities of steel in residential architecture. In 1962, the Rheem

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49 Manufacturing Company’s Rheemetal Division, headed by Perlin, would construct a single Wexler & Harrison zig-zag model in Las Vegas, while a solitary flat-roof model was built in Palm Beach, Florida.49 Wexler & Harrison’s partnership culminated in the master plan and clubhouse architecture for Canyon Country Club, which opened on New Year’s Eve, 1961. When the two architects went their separate ways, Wexler intended to pursue further civic projects while Harrison chose to focus on working with developers on residential and commercial commissions. However, both architects went on to design significant buildings of all kinds as sole practitioners or as part of other partnerships each formed over the course of their respective careers.

Palm Springs Art Museum, Architecture & Design Center Archives.

David Christian, AIA (b. 1946)
David Lynn Christian, born November 26, 1946, in Clovis, New Mexico, to Orphane E. Christian and his wife Maxine, emerged as a significant figure in Palm Springs' architectural landscape during the 1980s and beyond.50 After graduating from Texas Tech University in 1970, Christian relocated to Palm Springs where he worked for prominent desert architects Don Wexler and Hugh Kaptur, gaining invaluable experience in the region's distinctive architectural traditions before establishing his own practice.

Christian founded Christian Associates in the mid-1970s, a firm that over thirteen years grew to employ almost 30 professionals and undertook projects of international scope, with considerable work in the Middle East during the early 1980s. Despite the firm's commercial success, Christian closed Christian Associates in 1989, explaining that he found himself "doing very little actual design work and was primarily just managing a large office. To me, that was no fun." For the subsequent 25 years, he maintained a smaller practice focused on "restaurants, residences and other design intensive projects," along with considerable conceptual design work.

Christian's early commercial work established his reputation for sophisticated interior environments. His 1977 design for the cocktail lounge at Melvyn's Restaurant in the Ingleside Inn reflected "the atmosphere of an authentic European restaurant," demonstrating his ability to create theatrical dining experiences that would become a hallmark of his career.51 This attention to ambiance and carefully curated environments would inform his later religious and institutional work.

Beyond his architectural practice, Christian distinguished himself through civic engagement. He served on Palm Springs' Architectural Advisory Committee and Planning Commission during the late 1970s and early 1980s, becoming "one of the most successful critics in town" and a "familiar face around City Hall." The Desert Sun noted in 1980 that "Christian often drops by the Planning Department to comment on how to make the city better." His advocacy for rigorous project review—particularly regarding traffic studies and financial impact

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50 analysis—influenced municipal policy and demonstrated his commitment to thoughtful urban development. 52 Although proposed for Palm Springs City Council appointment in 1980, concerns about potential conflicts of interest for a practicing architect serving in that role led to delays, and the appointment was ultimately not pursued.53
Christian's most architecturally significant commission came with the 1982-1987 expansion and redesign of Temple Isaiah, the result of Rabbi Joseph Hurwitz's friendship with Frank Sinatra and the entertainer's subsequent fundraising concerts that raised approximately $4 million. Speaking of the project, Christian acknowledged the unique challenge: "The temple was a particular challenge, especially with a name like Christian.

As a non-member of the temple, I felt a special obligation to try to be sensitive to the requirements of the Jewish faith and culture. Rabbi Hurwitz was the best possible guide for me. His assistance was invaluable during the design process, and the overall reaction of visitors has been most gratifying."54 The Temple Isaiah expansion represented Christian's mature design philosophy, featuring dramatically curved rooflines, sophisticated natural lighting through clerestory windows, and heavy geometric forms that referenced both Pueblo architectural traditions and contemporary religious monumentality. Working with interior designer Cathleen Jones, Christian created a 51,000-square-foot complex that more than tripled the building's previous size while completely absorbing the earlier E. Stewart Williams and Wexler & Harrison structures within a bold new architectural statement. The "soaring, finned construction set in a vista of surrounding mountains" became, according to officials, "a conversation piece in the community." Christian and Jones received awards of recognition from Rabbi Hurwitz at the temple's 1986 annual membership meeting for their design achievement.55 Christian's practice continued with diverse commercial and institutional projects throughout the 1980s and beyond. He designed a new office and publishing facility for The Desert Sun Publishing Company and developed plans for the complete renovation of the 450,000-square-foot Palm Springs Mall, both announced in 1986.56 His residential work included The Villas in Old Palm Springs, a gated community of 47 Tuscan-designed homes completed in the 2000s, where Christian himself chose to live. Reflecting on that project, he noted: "The Villas exceeded my wildest dreams and we really enjoy the social experience of life inside the Villas."57 Christian's restaurant designs became particular landmarks in Palm Springs' culinary landscape. Beyond his early work at Melvyn's, he designed LULU's California Bistro, which occupied a prominent corner at 200 S. Palm Canyon Drive and became sufficiently iconic that subsequent restaurateurs specifically sought to occupy the "Christian-designed" space.58 His architectural vocabulary—characterized by bold geometric forms, sophisticated material palettes, and carefully orchestrated spatial experiences—influenced Palm Springs' commercial architecture throughout the late twentieth and early twenty-first centuries.

A lifelong resident of the Coachella Valley who grew up in Bermuda Dunes and graduated from Palm Springs High School in 1979, Christian maintained deep roots in the community. In a 1996 interview, he emphasized his local commitment: "This is my home. I've lived here all my life. I'm not some guy from L.A. who's going to come in and leave. I'm going to be here for a long time." This personal stake in the region informed his architectural philosophy, which accepted "the inevitability of growth and development" while striving to create buildings that would be "praised, not vilified" by future generations.59 Christian's work at Temple Isaiah remains his most architecturally significant achievement, representing an important chapter in the evolution of contemporary American synagogue design. The building's 1980s contemporary aesthetic—with its swooping rooflines, angular geometries, and integration of cutting-edge

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51 liturgical technology through Yaacov Agam's kinetic ark—documents a pivotal moment when Reform Judaism embraced bold architectural expression and technological innovation in sacred space. The temple's continued recognition through Modernism Week tours and international visitor interest confirms Christian's success in creating a building that transcends its immediate function to become a significant work of religious architecture. 60 As Rabbi Steven Rosenberg has noted, the building provides "a tremendous amount of hope" for what architecture can offer future generations, serving simultaneously as house of worship, community center, and cultural landmark—a synthesis that reflects Christian's broader vision of architecture in service to community life.61

V CONTEMPORARY PHOTOGRAPHS

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52 THE PRIMARY FAÇADE ALONG ALEJO ROAD
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64 THE EAST FAÇADE

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67 THE NORTH FAÇADE

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75 THE WEST FAÇADE

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78 INTERIORS

DAVID CHRISTIAN ERA

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95 WEXLER & HARRISON CLASSROOM ADDITION

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97 E. STEWART WILLIAMS INTERIORS

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1 “Architecture in Service of the Sacred and Spiritual – A Study in Contrasts,” Modernism Week brochure, 2018, PDF 2 “Architecture in Service of the Sacred and Spiritual – A Study in Contrasts,” Modernism Week brochure, 2018, PDF 3 Modernism Week brochure, “Architecture in Service of the Sacred and Spiritual – a Study in Contrasts,” Nicolas Behrmann and Chuck Steinman, Co-Chairs, Temple Isaiah Modernism Week Tours, February 2018. 4 Impressive Temple Isaiah,” by Edith Carlson. Palm Springs Villager, May 1955. 5 Ibid.
6 Temple Isaiah – Modernism Week’s Man About Modernism episode, YouTube video, 0:00–6:01. 7 “Impressive Temple Isaiah,” by Edith Carlson. Palm Springs Villager, May 1955. 8 An Eloquent Modernist: E. Stewart Williams, Architect, Williams, Sidney (editor). Palm Springs, California: Palm Springs Art Museum, 2014.
9 “Architecture in Service of the Sacred and Spiritual – A Study in Contrasts,” Modernism Week brochure, 2018, PDF 10 “Architecture in Service of the Sacred and Spiritual – A Study in Contrasts,” Modernism Week brochure, 2018, PDF 11 “Architecture in Service of the Sacred and Spiritual – A Study in Contrasts,” Modernism Week brochure, 2018, PDF 12 “In Motion: Agam at Sunnylands,” Katherine Hough, Frank Lopez, authors; Janice Lyle, editor. Annenberg Foundation Trust at Sunnylands, 2020.
13 “Architecture in Service of the Sacred and Spiritual – A Study in Contrasts,” Modernism Week brochure, 2018, PDF 14 Carlson article

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15 Temple Isaiah – Modernism Week’s Man About Modernism episode, YouTube video, 0:00–6:01. 16 Temple Isaiah – Modernism Week’s Man About Modernism episode, YouTube video, 0:00–6:01. 17 Temple Isaiah – Modernism Week’s Man About Modernism episode, YouTube video, 0:00–6:01. 18 Carlson. Mo-Sai is a method of producing precast concrete cladding panels. It was patented by John Joseph Earley in 1940.

The Mo-Sai institute later refined Earley's method and became the leader in exposed aggregate concrete. The Mo-Sai Institute, an organization of precast concrete manufacturers, adhered to the Mo-Sai method of producing the exposed aggregate precast concrete panels.
19 Carlson
20 Carlson
21 Temple Isaiah – Modernism Week’s Man About Modernism episode, YouTube video, 0:00–6:01. 22 “Architecture in Service of the Sacred and Spiritual – A Study in Contrasts,” Modernism Week brochure, 2018, PDF 23 Temple Isaiah – Modernism Week’s Man About Modernism episode, YouTube video, 0:00–6:01. 24 Temple Isaiah – Modernism Week’s Man About Modernism episode, YouTube video, 0:00–6:01. 25 Temple Isaiah – Modernism Week’s Man About Modernism episode, YouTube video, 0:00–6:01. 26 Carlson
27 Carlson
28 Carlson
29 An Eloquent Modernist: E. Stewart Williams, Architect, Williams, Sidney (editor). Palm Springs, California: Palm Springs Art Museum, 2014.
30 The Desert Sun, Nov 15, 1961, 12.
31 Temple Isaiah – Modernism Week’s Man About Modernism episode, YouTube video, 0:00–6:01. 32 “Architecture in Service of the Sacred and Spiritual – A Study in Contrasts,” Modernism Week brochure, 2018, PDF 33 An Eloquent Modernist: E. Stewart Williams, Architect, Williams, Sidney (editor). Palm Springs, California: Palm Springs Art Museum, 2014.
34 “Architecture in Service of the Sacred and Spiritual – A Study in Contrasts,” Modernism Week brochure, 2018, PDF 35 Temple Isaiah – Modernism Week’s Man About Modernism episode, YouTube video, 0:00–6:01. 36 Temple Isaiah – Modernism Week’s Man About Modernism episode, YouTube video, 0:00–6:01. 37 “Architecture in Service of the Sacred and Spiritual – A Study in Contrasts,” Modernism Week brochure, 2018, PDF 38 Temple Isaiah – Modernism Week’s Man About Modernism episode, YouTube video, 0:00–6:01. 39 In Motion: Agam at Sunnylands, Frank Lopez essay. Sunnylands, 2022. 40 Temple Isaiah – Modernism Week’s Man About Modernism episode, YouTube video, 0:00–6:01. 41 “Architecture in Service of the Sacred and Spiritual – A Study in Contrasts,” Modernism Week brochure, 2018, PDF 42 Weiss Bricker, Lauren and Williams, Sidney. Steel and Shade: The Architecture of Donald Wexler. Palm Springs, CA: Palm Springs Art Museum.
43 “Work Starts on New Office for Hutton Firm in Center,” (Desert Sun, June 30, 1955), 1 44 “Sunmor Names Associated as Exclusive Agent,” (Desert Sun, March 14, 1956), 2. 45 “5 Architects Named for Junior College,” (Desert Sun, April 10, 1959), 1. 46 Weiss Bricker, Lauren and Williams, Sidney. Steel and Shade: The Architecture of Donald Wexler. Palm Springs, CA: Palm Springs Art Museum.
47 “Fey Tells Plans for Luxury Homes,” (Desert Sun, November 13, 1959), 7. 48 McGrew, Patrick. Donald Wexler: Architect. Palm Springs, CA: the Palm Springs Preservation Foundation. 49 “New Metal House Shown in Palm Beach Gardens,” (Palm Beach Post, March 11, 1962), 46 50 Ancestry.com
51 "Ingleside Inn Now Has Its Fourth Restaurant," Desert Sun, September 5, 1977. 52 George Rooney, "Scrutiny expected by PS nominee," Desert Sun, August 19, 1980. 53 "Commission appointment delayed by PS council," Desert Sun, September 3, 1980. 54 "AWARD - David Christian, architect, with Cathleen Jones, designer, receives an award from Rabbi Joseph Hurwitz," Desert Sun, April 19, 1986.
55 "AWARD - David Christian, architect, with Cathleen Jones, designer, receives an award from Rabbi Joseph Hurwitz," Desert Sun, April 19, 1986.
56 "Desert Sun to build new plant," Desert Sun, March 11, 1987. 57 "An evening view of the gated entry to The Villas in Old Palm Springs," Desert Sun, August 11, 2007. 58 Debra Gruszecki, "Familiar taste in new place: Palm Springs welcomes Acqua Pazza owners to downtown corner site," Desert Sun, January 13, 2011.
59 Sheila Murphy, "Architect has personal stake in track: INEVITABLE PROGRESS: Local designer hopes he's praised – not vilified – for role in project," Desert Sun, April 6, 1996.

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60 "Temple Isaiah attracts international visitors," Desert Sun, October 16, 2022, A7. 61 "Temple Isaiah attracts international visitors," Desert Sun, October 16, 2022, A7.

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ATTACHMENT D
(HSPB Resolution, Report, Minutes)

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RESOLUTION NO. HSPB #173

A RESOLUTION OF THE HISTORIC SITE PRESERVATION

BOARD OF THE CITY OF PALM SPRINGS, CALIFORNIA,

RECOMMENDING THAT THE CITY COUNCIL DESIGNATE
THE TEMPLE ISAIAH LOCATED AT 332 WEST ALEJO
ROAD, A CLASS 1 HISTORIC SITE (HSPB #173), APN
#505-313-007.

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

A. WHEREAS, Chapter 8.05 of the Palm Springs Municipal Code allows for the designation of historic sites and districts; and
B. WHEREAS, The City of Palm Springs filed an application pursuant to Article III, Section 8.05.070 (Procedure and Criteria for Designation of Historic Resources) of the Palm Springs Municipal Code requesting historic resources designation for the “Temple Isaiah” located at 332 W. Alejo Road. The application included a historic resources report (“the report”).

C. WHEREAS, on May 4, 2026, members of the Historic Site Preservation Board (HSPB) conducted site inspections of the proposed historic resource, accompanied by City staff; and
D. WHEREAS, on May 5, 2026, a noticed public hearing of the Palm Springs Historic Site Preservation Board (“HSPB”) to consider Case HSPB #173 was held in accordance with applicable law; and
E. WHEREAS, the HSPB carefully reviewed and considered all of the evidence presented in connection with the hearing on the project, including, but not limited to, the staff report and all written and oral testimony presented.

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

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

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

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

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Resolution No. HSPB #173 – Temple Isaiah