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These elements include Corinthian columns, fine hardwood floors, a sweeping main staircase, and marble fireplace mantles. It was built in the fashionable neighborhood (in the 19th century) of Boyle Heights. The Perry's Mount Pleasant House was considered the finest and most expensive residence to arrive in mid-1870s Los Angeles. During the rapid urban expansion of the 1960s, Victorian buildings in Los Angeles were being demolished at an alarming rate.
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This, combined with the great Southern California Land Boom of the 1880s, resulted in a proliferation of elaborate and eclectic architecture throughout Los Angeles. This 1895, Queen Anne-style house was built in the very trendy Victorian neighborhood of Boyle Heights. Located in the South Bonnie Brae Historic district, this multicolored wonder is on the National Registry of Historic Places. Built in 1894, it perfectly exemplifies the Victorian dictum of “more is more,” and is a combination of Richardson Romanesque, Queen Anne, and Moorish Revival styles. For the new money of boomtown Los Angeles, this exuberant combination of styles helped signal to neighbors that the owner had really arrived.
Greystone Mansion and Gardens
In the series, the Hale House features as the Californian hotel, Amanda's by the Sea, owned by Amanda Cartwright. Get our big stories about Hollywood, film, television, music, arts, culture and more right in your inbox as soon as they publish. To build an eight-sided house, Fowler devised a system of wood forms filled with a mixture of gravel and lime years before San Diego architect Irving Gill pioneered a similar approach. These fireproof, concrete walls could be fitted into position around a central stair topped with a rooftop cupola that provided air circulation in the winter and ventilation in the summer. In 1844, building a sphere was not technologically possible, but the next best shape, an octagon, was. Fowler reasoned that square corners created useless space but that a form with many angles, pierced with windows, provided just what’s needed, letting in healthy light.
Boddy House at Descanso Gardens
A passionate supporter of the arts, she was a stage producer—earning critical acclaim for her avante-garde productions for children and adults alike in Chicago, New York, and Los Angeles (while awaiting a Wright-designed theater that never came). In 1919, she purchased Olive Hill, a 36-acre mount on Hollywood’s eastern edge and far north of downtown Los Angeles. With the site secured, the commission grew to include plans for the theater, a cinema, artist residences, commercial shops, two guest houses, and a residence for Barnsdall.
Archiving 100 Years of History
With project delays and cost overruns, he then left the project only partially realized. Within a few years, Barnsdall began to consider gifting the house and surrounding parklands to the City of Los Angeles. She never questioned the beauty or significance of Wright’s work on Olive Hill, but with early leaks and no theater to speak of, the house had lost its luster for Barnsdall. She did, however, reengage with Wright on numerous occasions after 1921, enlisting him to design a school house for the property as well as preliminary plans for another residence in Beverly Hills; neither were realized. Hale House is a Queen Anne style Victorian mansion built in 1887 in the Highland Park section of northeast Los Angeles, California. It has been described as "the most photographed house in the entire city", and "the most elaborately decorated".[2] In 1966, it was declared a Historic-Cultural Monument, and in 1972 it was listed on the National Register of Historic Places.
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The home is particularly interesting because of its inhabitant – John J. Ford, a well-known wood carver. Ford's works include carvings for the California State Capitol, the Iolani Palace in Hawaii, and Leland Stanford's private railroad car. Because of his occupation, the exterior and interior carvings were all done by hand in ornate, one-of-a-kind patterns.
The Los Angeles Historic-Cultural Monument program, established in 1961, could evaluate properties and list-register them, but not protect them. In 1969, at the request of the Los Angeles Cultural Heritage Commission, a group of concerned citizens established the Cultural Heritage Foundation to counteract this destruction. The Foundation organized Heritage Square as a last-chance haven for architecturally and historically significant buildings to be moved to, which otherwise would have been demolished at their original locations. They might be fun for art and architecture fans to ogle from the sidewalk, but sadly, many of the most quintessential L.A. Homes — John Lautner’s Chemosphere, Wright’s Ennis and Millard houses and Ray Kappe’s wood and glass home in Rustic Canyon — aren’t open to the public because they are privately owned. Neutra ran his architectural from the original house from 1932 until a fire destroyed most of the main building in 1963.
Taylor House West Covina
However, the city-sponsored agency was limited as to the amount of public funding it could give the new project. In order to raise funds in the private sector, the Cultural Heritage Foundation of Southern California, Inc. was established. From the simplicity of the Longfellow-Hastings Octagon House to the opulence of the William Perry Mansion, the Museum provides a unique look at the lifestyles of the people who contributed so much to the development of modern Los Angeles.
The house was relocated in 1970 to the Heritage Square Museum in Montecito Heights where it remains open to the public. Sprawl reached San Pasqual Street, the Longfellow family moved its octagon a mile north to Allen Avenue. In 1973, the Cultural Heritage Foundation of Southern California, which runs the Heritage Square Museum, struck a deal with Walter Hastings, Longfellow’s grandson who lived in the house. The foundation would save his home from threatened demolition if he donated the octagon. When Hastings moved out in 1986, the organization relocated the Longfellow place to the Arroyo Seco. Along the Arroyo Seco Parkway from downtown Los Angeles to Pasadena is a collection of 19th century buildings saved from L.A.’s busy wrecking ball.
The outward sweep of the entrance stairway, the sculpted brackets under the eaves, the slanted bay windows, and the narrow Corinthian columns are characteristic of its Victorian Italianate style. In 1975, the house was moved from 1315 Mount Pleasant Street to the museum grounds, and restoration was begun by the Colonial Dames Society of America. Yet it was renovated several times, had long suffered from water intrusion, and was damaged in the 1994 Northridge earthquake. In 2007, the City and Project Restore, a public-private partnership, began planning a project to address structural needs and restoration. In 2010, the project team began four years of work to repair and prevent water damage, seismically strengthen the house, restore historic elements, and reverse past alterations.
Volunteer interpreters give thorough tours that incorporate the history, architecture, and culture of the region. Other specialized living history events, lectures, and items of historical interest are given on a periodic basis. One of the most eye-catching houses at the museum is the Hale House, a home that is covered in rather garish green and orange paint.
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