Los Angeles Interior Design Blog

MY FOUR-LEGGED HOME INTERIOR CLIENTS

So many of my clients’ furry, four-legged friends are important, interactive members of their families and households. When there is remodeling or extensive work being done in their homes, these little fur-babies can get pretty curious and a bit anxious. So many people coming and going, noises disrupting their morning sunbathe, or deliveries that get the barking going.

Right from the beginning, they get involved…greeting then checking me out with sniffing and sometimes barking until they decide that I’m accepted. As the days, weeks or months continue, we end up being pretty good friends. Well…the fact that I bring some treats now and then doesn’t hurt.

Once all deliveries are made and final touches finished, they settle into their new digs quite nicely. I think Bandit, Ollie and Buster approve!

Bandit’s compact home was opened up to create a space where cooking, eating and relaxing could take place all in one great room. The homeowner wanted a clean, bright interior that was functional and fresh. All the furniture was custom made. A drawer microwave installed in the kitchen’s island allowed for more counter space and hood installation above the stand-in stove. Large, built-in cabinetry holds all kitchen utensils, and a beautiful built-in refrigerator fits flush keeping the lines clean. Granite surfaces on the island and countertops give a nice contrast to the bright white cabinets. Stainless steel appliances and glass subway tile backsplash bring in a modern look. Continuation of the white built-ins enhances the living room, and the grey and white stone fireplace compliments the two club chairs’ refreshing fabric design.

Ollie just likes to be comfy…in style, of course. This cushy, burnt-orange sofa with ‘sink into’ pillows is his favorite place. The dining room features a unique, gorgeous cream color table with a stunning recessed design carved into the pedestal. Four nailhead trim wingback chairs compliment this table beautifully.

Who knew Buster had such elegant taste? The living room has a peaceful sitting area, with a wonderful place to nestle in and read a good book by the fireplace…

The hues of colors were chosen for the ‘scotch room’ to create a gentle calming yet sophisticated atmosphere. White wainscoting and built-ins complimented by rich blue wall covering gives the room a modern twist. Four updated wing chairs create a welcoming place to sit comfortably and have conversation while sipping on a glass of Scotch…

A home office does not need to be dull...why not make it a place you want to come and work in? Putting the office table at an angle gets one out of the corner and opens up the room.

I believe that the design of a space should be completely and totally about the clients who are going to use that space day in and day out…including those that are four-legged and furry!

DROUGHT TOLERANT SUCCULENTS ARE IDEAL FOR THE SANTA CLARITA VALLEY AND ENVIRONS

The world of succulents is vast, beautiful, exotic, sculptural and fascinating…and can add a whole new dimension and sparkle to your landscape! They remind me of never ending ‘flowers’ that ‘bloom’ year round, each with it’s own unique pattern and color. Succulents don’t ask for much, just a little water and praise.

Succulents, from the Latin word ‘succos’ (meaning ‘juice’), are drought tolerant plants that come in a variety of captivating colors, enchanting shapes, interesting textures and a wide array of sizes. Some are soft and furry, while others are dense and pointy. Others are brightly playful or softly muted pastel in color, while some mimic the appearance of small stones. Succulents have the unique ability to store moisture in their succulent tissue that either occurs in their leaves, stems or roots, which makes them ideal for the Santa Clarita Valley and environs.

Since 10 years old, I found succulents magical, and have been cultivating them to this day. I remember my father would tell me the name of each succulent in the pots on our front porch, then show how to pluck a leaf, place it on the soil, eventually growing into another whole plant. I have always been intrigued with how their leaves form patterns of small flowers, while many develop actual flowers that sprout out or gracefully drip down, attracting humming birds throughout the year.

Discover the beautiful planting opportunities hidden in rock walls, paver spaces and other garden gaps and hidden spots waiting for transformation into something unique and elegant. Take a bright container or pot, add a colorful succulent or two and have a gorgeous display in minutes. A succulent garden planted in a painted wood frame adds texture and sparkle to any outdoor table, wall or fence.

Whatever opportunity you might have in your landscape for adding succulents, be it a complete new design, to a small crevice or corner, Innovative Room Design will help you create the endless opportunities for beauty and character! Enjoy!

HIDDEN BEAUTY IN L.A.’s BROADWAY THEATER DISTRICT

Downtown Los Angeles has the most wonderfully diverse collection of historic movie and legitimate theaters in the country. The district is unique in the number of surviving structures, their state of preservation and the amazing variety of architectural styles. As the industry changed and business left downtown for Hollywood and other suburban areas in the 20’s and 30’s, there was little incentive to modernize the downtown theaters. Many of the auditoria are quite unchanged from when they opened. Although there are currently numerous retail stores in the lobbies of many of the theaters…beyond that, it’s an architectural wonderland of hidden beauty!

To personally experience the historical and architectural landmarks of this unique district, we recently went on the Los Angeles Conservancy’s “Broadway Theater and Commercial District” walking tour.

At 10 a.m., we met at Pershing Square Park, where our guide gave the group a quick prelude. During the two-hour tour, he led us to hidden places and theaters we never would have seen on our own or would otherwise be closed to the public.

Across the street, we headed south down Broadway...

The Roxie Theater (movie palace) was built in 1932, the last of the movie palaces built on Broadway. The Roxie had a seating capacity of 1,600 when it opened and was noted for its Art Deco or Zigzag Moderne style, including its stepped roofline, angular grillwork, chevron ornament and terrazzo sunburst in the sidewalk. The theater’s sleek Streamline Moderne ticket booth was removed when the theater was converted to retail use.

The Cameo Theater (nickelodeon) opened in 1910 with a seating capacity of 775. Designed by Alfred Rosenheim in a Renaissance Revival style, the Cameo was originally known as Clune’s Broadway. Until it closed in 1991, it was the oldest continuously operating movie theater in California. The Cameo has been converted into a swap meet-type market.

Opened in 1910 as a vaudeville house, the Arcade Theater (English-music-hall-style theater) was part of the Pantages vaudeville circuit. Morgan & Walls designed the Arcade in the Beaux Arts style with tripartite vertical division of the façade.

Our guide led us to a storefront just south on 6^th street to see inside the restored Dutch Chocolate Shop. The famous tile mason, Eanest Batchelder in his first major commission, designed the 1914 Dutch-themed, tiled interior. The interior is completely covered in Batchelder’s chocolately brown tile work—floor, walls, and ceiling, with larger tiles (around 4” x 4”) laid into the walls while bigger murals beneath the arches are more mosaic. We were not allowed to take photographs inside, but this original view from the USC Archives gives you a historic peek of this elaborate gem.

As we continued along Broadway, the street scene of downtown Los Angeles on a Saturday is an experience unto itself…storefronts are lined with tech stores, arcades, jewelry shops, ethnic eateries, vendors selling clothing in all colors and styles, to name a few.

The Los Angeles Theater (movie palace) opened in 1931 for the premiere of Charlie Chaplin’s “City Lights”. It had a seating capacity just short of 2,000. Designed by Charles Lee with Tilden Norton in the French Baroque style, the interior boasts the most elaborate of all the Broadway theaters. Our tour guide said that even the bathrooms are a sight to behold—each stall is made from a different color marble.

The nearby Broadway Arcade Building caught our attention. Thin twisted and beaded columns shape the delicate Spanish Baroque arch that traverse the basement level. The 88-year-old building is known for its retail arcade and 3-story glass ceiling between its two towers spanning from Broadway to Spring Street.

Continuing south, we reach what was once the busiest intersections downtown—7^th and Broadway, the end of the fabled Route 66. Because of its location on this particular corner, Lowe’s State Theater, with its Beau Arts exterior and eclectic Spanish interior, was once the area’s most profitable theater. Designed by Weeks and Day, the vaudeville theater opened in 1921 with a seating capacity of 2,450 and is said to be the largest brick veneer facade in Los Angeles. Today, the State is home to a church congregation that keeps it in fairly good shape.

On the other side of the street, the Pantages Theater, later known as the Warner Bros. Theater, opened in 1920 as a vaudeville house. Designed by Marcus Priteca, the Pantages is a rich ornamented Beaux Arts structure built to house a theatre and shops, with offices above. The white terra-cotta façade is covered with decorative details, including beautifully sculpted female herms (posts topped with busts of divinities). The theatre entrance faces the corner, at the base of a rounded tower crowned by a dome. Although converted to a jewelry mart in the 1980’s, much of the theater’s original ornamentation survives.

Between 8^th and 9^th Street, there are three more theaters sitting side-by-side: The Tower, Rialto, and Orpheum. A quick glance down Broadway, the Eastern Columbia Building is considered to be the most beautiful of Los Angele’s historic buildings, as well as its finest surviving example of Art Deco architecture. It is easily spotted from Interstate 10 due to its bright turquoise color. In the fall of 2006, a developer turned the property into condominiums.

Opened in 1927 with a seating capacity of 1,000, the Tower Theater (movie theater) was the first of dozens of movie theatres designed by legendary architect S. Charles Lee. The opulent French Renaissance designed Tower was the first movie theater in Downtown Los Angeles equipped to accommodate talking pictures.

The Rialto Theater originally opened as a nickelodeon in 1917. The exterior elements date from a 1923 remodel by architect William Woolett. A spectacular neon marquee representative of flickering candles and with the emblazoned words ‘Rialto’ is the longest on Broadway. Today, the theater has been retrofitted to house an Urban Outfitters store.

The final stop on our tour took us to one of the best-preserved Los Angeles movie palaces. Opening in 1926, architect Albert Lansburgh designed the Orpheum Theater with a seating capacity of 2,190.

The French Baroque fantasia is one of his more elaborate theaters, and the Françoise Premier style interior is amazing! It’s hard to get a sense of the grandeur of the old movie palace by looking at photos.

The Orpheum is lavish with an abundance of marble in the lobby, towering crystal chandeliers, and plush furnishings. Currently, the theatre regularly hosts many concerts and other events plus occasional film screenings sponsored by the L.A. Conservancy.

Whether you’re an Angeleno or from out-of-town, LA’s Conservancy’s Broadway Theatre tour is fun way to spend a few hours on a Saturday while enjoying the California sunshine. To make reservations, call 213-623-2489 or visit their website

ESCAPE TO L.A.’S MAGICAL ARBORETUM AND BOTANIC GARDEN

Lush, picturesque and magical, the Los Angeles County Arboretum is a great way to escape the city’s hustle and bustle. Nestled on 127 acres at the base of the majestic San Gabriel Mountains within the historic Rancho Santa Anita, this botanic garden has much more to offer than first meets the eye. Filled with exotic plant collections from around the globe, the Arboretum also features several historic buildings dating back to the 1800’s, a duck pond, a waterfall and some pretty impressive bird watching. Almost continually being used for location films, the location is one of Hollywood’s favorite spots for creating a world of make-believe. Shutterbugs will also find fantastic backdrops for some creativity of their own.

Once part of Mission San Gabriel’s vast acreage, this land was deeded during the Mexican period (1821-1848) to Hugo Reid, a Scot with Mexican citizenship, and his Native American Tongva wife, Victoria. Their sturdy adobe rancho and outdoor kitchen (circa 1840) are still standing, facing a re-created Tongva tent cluster. Following his death in 1852, a series of short-term owners acquired the property.

The site’s modern history began in 1875, when real estate baron “Lucky” Baldwin purchased Rancho Santa Anita and constructed its buildings and grounds. The house and coach barn he had built presently stands across from the Hugo Reid Adobe. Harry Chandler, former owner of the Los Angeles Times, was the land’s final owner, before Los Angeles County and California jointly purchased it in 1947. By 1949, the first greenhouse had been constructed and the site’s plants inventoried. In 1951, the first 1,000 trees were planted, and in 1956 the Arboretum was open to the public. Ongoing construction of gardens and greenhouses took place throughout the 1950’s and 1960’s. In 1976 the Tropical Greenhouse was opened and the Prehistoric and Jungle Gardens were completed. Construction and renovation of both greenhouses and gardens continues to this day.

Upon entering the Arboretum, be sure to pick up a visitor map from the information desk and get acquainted with the grounds. First to greet and welcome you are the resident peacocks. They strut and prance throughout the park, and are so used to the crowds that they barely flap a magnificent feather. It is a great opportunity to get a close up view of these regal birds.

Depending on the season, you might even spot some nesting peahens, or…if you visit in late spring, some little peachicks. There are also a wide variety of ducks, geese, chickens, aquatic creatures and several species of lizards that populate the area. Occasionally you see a hawk or two fly in as well.

The stunning Queen Anne Cottage is a must see, and has been maintained as a part of the Arboretum’s commitment to preservation. The ornate American Queen Anne style architecture was popular in the United States from 1880 to 1910. The Cottage and Coach Barn were constructed in 1885-86 for Elias Jackson (“Lucky”) Baldwin and his fourth wife, Lillie Bennett, daughter of Albert Bennett, the Cottage’s architect.

When Baldwin died in 1909, his daughter Anita closed the Cottage and disposed of its furnishings. Fortunately, Anita removed and stored in the Coach Barn some architectural elements, such as stained glass windows, black walnut doors, marble fireplace mantels, the hearth tiles, and the encaustic tile mosaic entry floor. All of these items, plus original bathroom fixtures and the exterior marble walkway, were returned to the Cottage during the 1951-53 restoration. Refurnishing continues today with appropriate period pieces.

The Cottage has been used for many television shows and films, such as “Fantasy Island, Murder, She Wrote” and “Roots: The Next Generation”. Outside of the Queen Anne Cottage, be sure to visit the Prehistoric Forest and Baldwin Lake (boarded by magnificent weeping willow trees), where the location has played host to several “Tarzan” movies, two “Jurassic Park” movies, “Objective, Burma”, to name a few.

The Arboretum houses a collection of 18,000 plants displayed in five botanical sections: Africa, Australia, The Americas, Asia, and Historic Circle. The grounds are just beautiful, including the Grace Kallam Perennial Garden, where each bed has a different color theme, and the Garden for all Seasons, which contains wildflowers, herbs, and vegetables that are tended by volunteers in the community. Another gorgeous feature is the Meyberg Waterfall. It’s one of the best spots in the Arboretum for amazing photos. You’ll find lots of tropical plants and brilliant flowers, or you can just relax by the water. Take a hike up to the top and see Los Angeles from above…the view is breathtaking.

The Arboretum helps you take a breath, slow down, and marvel at the nature around you. Once inside the gate, you can readily forget that a freeway is zipping past just out side the fence, and that across the street is not only a huge shopping mall, but also the Santa Anita Race Track. The gardens are also an integral education center and community partner, hosting concerts, giving tours to school children, preserving history of the area, offering programs/classes and exhibits, and serving as expert advisors on local fauna. You can walk the paths, ride a tram to get all around the acres, shop in the Garden and Gift Shop, eat at the Peacock Café, tour with a docent or attend a program or lecture. There’s also a delightful area right outside of the gardens if you want to bring a picnic lunch (Food may not be brought into the Arboretum).

Springtime is a wonderful time of the year to visit this paradise in the middle of a metropolis. For more information, please visit: The Arboretum

TRAVEL TO THE ROARING 1920’s AT SANTA MONICA’S MARION DAVIES GUEST HOUSE

The 1920’s! It was a time of prosperity and indulgence.

What makes the Marion Davies Guest House at 415 Pacific Coast Highway in Santa Monica so special is it’s history…specifically, Hollywood history. We decided to spend a fun and relaxing sunny afternoon touring this gorgeous, restored Georgian Revival guest house (Georgian Revival drew inspiration from the architecture that dominated the American colonies from about 1700 until 1780) lead by one of Santa Monica Conservancy’s volunteer docents.

Approaching the impressive, columned entrance, we noticed portions of the restoration were not returned to its original, new condition…instead leaving traces of the remaining layers, giving us a peek of the fascinating past awaiting inside.

Our docent welcomed us, and began setting the mood…revealing the colorful stories that the fiber of the Marion Davies Guest House.

The interior is light, bright, and beautiful in its simplicity. No original furnishings remain, but the building itself still contains much of its original character, hearkening back to its glory days. Restored Art deco moldings and giant windows surrounded us as we sat comfortably listening to our docent in what was then the living room. The marble fireplace and carved sconces are original as are the Tiffany & Co. chandeliers (in the living room, dining room and entryway).

Diverse installations set the mood, as our tour continued. Throughout both floors of the house, and in the entryway, we encountered numerous historical photography that focus on the life of Hearst and Davies. The dining room is devoted to the fabulous parties Marion held at the mansion. Large-scale photographic scrims cover the walls and windows, depicting the A-list celebrity guests in attendance. Four lovely restored Art Deco built-ins grace each corner. The stairway to the second floor is similar to one in the original main house.

The three original bathrooms remain upstairs, with their opulent tile work reflecting the colors of the sand, sky and sea. Previous occupants of the Guest House had painted over the original tiles, but they have since been restored to their original splendor.

From the west-facing bedroom’s balcony, we had a spectacular view of the beach and ocean. Glancing below; we notice a patch of tarmac…the guest house’s original pool was deemed too expensive to restore, so it is covered to this day. A portion of the wall built to keep back the tide still remains (a white tiled stripe runs throughout the property to indicate where the rest of the wall once stood).

Back down to the entry lobby, an interactive guest book allows visitors to explore the estate from the 1930’s through today. A scrapbook section lays in images and artifacts from the time Marion Davies owned it, to the time when the property became an exclusive membership club, to the public landmark it is today. In guest book mode, visitors can put their mark on the history of the site by signing their name electronically.

A little history…

William Randolph Hearst was 52 and married with five sons when he spotted Marion Davies on stage. She was 18 and dancing with the Ziegfeld Follies, and he was smitten. Their romance would last the rest of his life, and was widely considered the “worst kept secret” (His wife, Millicent, would not grant him a divorce so that he could marry Marion).

He gave her everything…a film career for one. After he got her started in silent films in New York, he took his own film company to Hollywood, where he moved the company (and Marion’s 18-room dressing room) onto the MGM lot.

In 1924, he bought 4.91-acres of prime beach frontage, and had a beach house built for Marion. This wasn’t just any beach house…it was to be the grandest property out of all the other homes on the Gold Coast. To accomplish this, Hearst commissioned architect Julia Morgan, to create an estate that would have no rival.

Julia Morgan was by far the most important female architect of the early 20^th century. Despite all the obstacles that faced her due to her gender: She was the first woman to receive her California license to practice architecture in March 1904, a civil engineering degree from the University of California at Berkeley in 1894, and an architectural degree from the Ecole des Beaux Arts in Paris (where she was the first female student) in 1897. Her repertoire included Hearst’s San Simeon castle, The Fairmont Hotel in San Francisco and more than 700 projects in a career spanning over 45 years.

With the beach house in Santa Monica, Morgan added another success to her resume…a 3-story Georgian Revival Mansion (with a total of 188 rooms including 34 bedrooms, 37 fireplaces and 55 bathrooms plus 3 guest houses, 2 swimming pools, tennis courts and dog kennels). Once completed, the official tab was unknown, but rumor put the price tag at $7 million dollars ($3 million to build and almost $4 million to furnish). This estate was the grandest in the neighborhood, and earned the simple but definite titles, “The Beach House, and the “Ocean House”.

In 1928, Hearst hired set designer, William Flannery, to decorate the home’s interior with rich American and English antiques and design, including Tiffany crystal chandeliers. The first floor functioned as the public area for the house, with a reception room, dining room, breakfast room, library, study, long entrance hall and double staircases. The second floor contained bedrooms, while the third floor contained Davies’ private suite, connected by a private staircase with the Hearst’s suite below. The ground floor featured a wine cellar that was later changed into an ice cream parlor, and pool changing rooms.

Hearst imported whole rooms from Europe, wallpaper, Grinling Gibbons paneling, paintings and furniture. White marble terraces lined with black diamond tile surrounded the home and grounds. The Library contained a movie screen that rose out of the floor by pushing a button. The Gold Room truly sparkled, with gold leaf decorating the walls and ceiling, and gold damask sofas, tasseled curtains and Georgian furniture. The Marine Room, lined with English walnut paneling, served as the game room. The 100-foot heated swimming pool was lined with Italian marble and traversed by a Venetian marble bridge. In 1933, it was reported that a staff of 20 ran the house, along with the house manager.

Davies moved into the house and began her role as Hollywood’s elite hostess. Her theme-based parties attracted the day’s biggest stars, international dignitaries and business titans, including Mary Pickford, Douglas Fairbanks, Greta Garbo, John Gilbert, Joan Crawford, Douglas Fairbanks, Jr., Jean Harlow, William Powell, Carole Lombard, Clark Gable, the Mayor of New York City, President Calvin Coolidge, Charles Lindbergh, and on and on. The 7,000 square-foot North Guest House was designed for the overflow of guests who didn’t fill in the mansion’s bedrooms. Those who knew Davies say she never took herself seriously and was beloved by all who knew her for her gracious spirit and charitable tendencies.

Marion retired from the screen in the late 1930’s so she could be with Hearst as his health was declining. When Hearst lay dying in 1951 at the age of 88, his lawyer gave Marion a sedative. When she awoke several hours later, she discovered that Hearst had died, and that his associates had removed his body as well as all his belongings and any trace that he had lived there with her. His family had a big formal funeral for him in San Francisco and banned Marion from attending.

Marion started lots of charities, including a children’s clinic that is still operating today. She went through a lot, even getting polio in the 1940’s. She developed cancer of the jaw and died in 1961.

The property was later sold to a private party, and then the State took it over, leasing it to the City of Santa Monica, which in turn leased it to the Sand and Sea (hotel and beach club). The mansion did not have enough bedrooms to make a go as a hotel, so all but the pools, servant’s quarters, tennis courts, and North Guest House were demolished. The Sand & Sea closed down in 1991. The State took it over, and opened the road to the public (the road was previously inaccessible to the general public, and could only enter Pacific Coast Highway through the Sand and Sea Club).

While the State and City Council debated on what to do with the property, they leased it for filming “Beverly Hills 90210”, using the club as its focal point in the hit TV series. Then the 1994 Northridge earthquake rattled the property to its foundation. All but one of the structures had been red-tagged as unsafe to occupy. The City Council estimated cost to rehab the property was at $18 million.

As the Council wasn’t willing to fund the rehabilitation project, they went in search of a private party. Thanks to Wallis Annenberg, Walter Annenberg’s daughter and advisor to The Annenberg Foundation (one of the country’s leading philanthropic organizations), generous offer to award a $21 million grant to the City of Santa Monica to help restore, renovate and reopen the former Marion Davies estate.

In a joint effort between The Annenberg Foundation, the City and the State, the guest house and the main pool have been restored, plus new buildings were designed and created to serve as a public beach house, currently called The Annenberg Community Beach House and Marion Davies Guest House.

With its spectacular views, splash pad, children’s play area, gallery, historic pool, and Marion Davies Guest House; The Annenberg Community Beach House is a great addition to the list of Santa Monica hot spots to experience while spending a fun day at the beach! For visiting information, please click Visit Us

AN ENRICHING JOURNEY THROUGH DOWNTOWN SANTA MONICA’S HISTORIC ARCHITECTURE

I’ve been to Downtown Santa Monica, CA many times but never discovered the hidden historical gems of this lovely beachfront community. All changed when we took the very enjoyable and informative Walking Tour presented by the Santa Monica Conservancy. Our enlightening two-hour stroll visits some of the city’s signature architecture while we learn about the culture and history that gives Santa Monica its unique identity. It’s a fun journey, covering more than 130 years, when downtown streets went by other names such as Oregon and Utah, and the city was struggling to find its way. The city’s past can be discovered by simply walking around and taking notice of the history embedded in buildings still standing, and by remembering those structures that are no longer here. Our docent, (a volunteer and local resident) was engaging, friendly and well informed. She shared stories that brought history to life by attaching real people to the events and buildings, with some timely interjections from another docent who joined us on the tour. What an enjoyable way to spend a Saturday morning in sunny California!

Our tour started, appropriately enough, at the city’s oldest building and first masonry structure, The 1875Second Street Rapp Saloon. Before downtown had the many brewhouses of today, the Rapp was the place to go for fresh tap beer, later serving as the first City Hall. Having passed through many adaptive reuses (wrapping historic structures with new construction for a different purpose), today it is incorporated into the American Youth Hostel facility. Old faded multiple painted signs (called “Ghost Signs”) on the north wall memorialize some of its previous occupants, and arches viewed from Second Street give it a Victorian Italianate semblance. The varied incarnations of the Rapp Saloon illustrate the ever-changing nature of the city’s history and fortunes since it was incorporated in 1886.

We continued south on Second Street to the Hotel Carmel (1928). Its four-story Beaux Arts design composition was based upon the European Renaissance palaces, which in turn were modeled after the classical column with a base, shaft and capital. For 1928, this conservative architectural style, as the more modern Art Deco style, was fashionable. The original windows have been replaced, but the interior lobby retains some of its earliest, richly ornamental Spanish Revival architectural themes.

During the 1930’s, Hotel Carmel was a favorite retreat for Hollywood film stars. Before Hollywood, Santa Monica (very briefly) was the center for movie making, with open air, three-walled studios facing the ocean. But they soon discovered the marine fog wasted half the filming day, so they packed up and moved to the not-too-far east…Hollywood.

Located at the corner of Broadway, the Whitworth Block structure stood out from its adjacent single-story shops in 1891. This two-story masonry block was originally an impressive Romanesque Revival building, with ground floor retail and the Palmer Lodgings above it. After much remodeling over the years, the 1891 cast iron columns still remain on some of the storefronts. The floral capitals on the columns, glossy white brick piers and tile entryway originate from a later remodel. Our guide often reminded us throughout the tour, “When you don’t look up, you will miss so much of the detail and beauty that is still here”.

Strolling up Broadway to Third Street, a distinguished example of Romanesque Revival architecture, with its rusticated stone, corner tower and arched windows, the 1893 Keller Block’s was a major milestone in downtown’s development, helping to establish Third Street as the heart of the commercial center. In 1987, its restoration project kicked off the Third Street Promenade revitalization.

We continued our journey down Third Street to the Broadway Cinema. The exuberant Art Deco design made it appear as if it was intended to ease the Depression’s doldrums. Originally opening as the El Miro Theatre in 1933, the façade was preserved and incorporated into the Promenade’s first large scale project with multi-screen theater, restaurant offices, residential units and underground parking.

Back at the corner of Fourth Street and Broadway, look up and you’ll be rewarded with the ornate flourishes of Fourth Street’s Spanish Baroque Builders Exchange, with its intact decorative interiors. Two years after its 1927 completion, the cartoon character Popeye was created in one of its offices.

The tour traverses along Fourth Street towards Santa Monica Boulevard, where our docent pointed out the 1929 JB Building. The entertaining façade of this building is a true original, and seems constructed from different pattern books with Art Deco design of the period at the roofline, two windows framed with Classical Revival ornamentation, and symmetrical hearts forming a square along unique piers that are dense enough to appear Churrigueresque (a Spanish Baroque architectural ornamentation developed in the 17^th century).

Close by, the 1925 Central Tower Building was one of the city’s principal Art Deco highrises. The storefronts are mostly remodeled, but few retain the original multi-colored tile bulkhead with yellow and green chevrons on a black background. Inside the lobby, the original lively Art Deco features continue with geometric coffered ceiling and cream and black marble floor. In the far corner, a vintage bronze mailbox is still in use. Since 1931, the popular Harvelle’s Blues and Nightclub has occupied one of its storefronts and is the oldest live music venue in the city.

Heading west down Santa Monica Boulevard, we arrive at the terra cotta clad 1929 Junipher Building. Its Classical Revival design was the height of style for that period, and its steel frame was a major new project replacing smaller wood. The fourth story addition and easternmost bays were added in 1925. Small metal hooks at the corners remain from the wiring system of the electric trolley that operated on Santa Monica Blvd.

We cross Third Street to the Bay Cities Guaranty Building. Located within the Bayside Commercial District adjacent to the Third Street Promenade, this was Santa Monica’s first true skyscraper. The Art Deco ornamentation of the building is defined by alternating wide and narrow full-façade-height pylons, receded chevron patterns, and zigzag motif, which are continued on the stepped clock tower. Prior to landmarking, the building went through more than $6 million in rehabilitation. Like many properties in downtown Santa Monica, the building suffered notable damage in the Northridge earthquake. It underwent a $1.6 million seismic retrofit, and the 1929 clocks adorning the signature clock tower were repaired and now linked to a satellite system that keeps the time accurate.

Our tour continued along the Third Street Promenade towards Santa Monica Boulevard, where you can see an almost seamless blend of old and new. The 1911 Majestic Theater, later the Mayfair, was the city’s first theater built to showcase the budding film industry. By 1929, it was remodeled and given a new extravagant Churigueresque façade, possibly motivated by the advent of “talkies”. Sculptural floral ornamentation, vertical shafts and decorative wrought iron balconettes add richness. Following the Northridge earthquake, it was closed for years. The façade is currently being renovated and incorporated into a condominium project (visible from the side), approved by the city in 2006.

You can see two distinct layers of history on the 1929 Bank of Italy (later becoming Bank of America). The 1964 remodel and modernization were typical of the renovations concurrent with the creation of the original Third Street Mall. In a 1994 restaurant remodel, decorative Art Deco panels were reveled. The sunburst design with scrolls and chevrons are characteristic Art Deco motifs.

An exemplification of Art Deco façade, the 1929Third Street Promenade’s exuberant details were revealed following the removal of a metal facing that was overlaid in the 1960’s. The rich ornamentation creates a dynamic rhythm that recalls the optimism and energy of the Jazz Age.

The Classical Revival 1924 Kress Building has an architecturally distinctive façade with attention to quality and detail. The ground floor had retail and offices above. Arched upper windows, accented by decorative molding, are the building’s most distinctive feature. Structural brick walls and ceiling rafters were exposed following renovation of the interiors.

The clothing store ‘Zara’ at 1338 Third Street Promenade is housed in the historic W.T. Grant Building. This 1936 structure is a fine example of the late phase Art Deco (known as Classical Modern) and Streamline Moderne styles. The building’s transition to an upscale fashion shop now mirrors the city’s own evolution of growth.

In the Post World War II period, Early Modern (a more abstract modernism) became a predominant part of the architecture. The 1949 Woolworth Building is a typical example, with its geometric composition and emphasis on expression through the qualities of the building materials. The store closed in 1997 following closure of the entire Woolworth chain. The only traces recalling Woolworth is the Streamline Moderne sign redone in black and silver.

We saw some nice eclectic features along the tour, including a large-scale public-art installation called “Cradle”, featuring hundreds of stainless-steel spheres suspended from one of the garage’s exterior walls. An interesting variety of hats and colorful knitted scarves were displayed along some storefronts on the Third Street Promenade. Unique lampposts added character to the open-air atmosphere.

Along Arizona Avenue, the Saturday Downtown Farmers market, also known as the Organic Market was setting up to open for its eager shoppers. A flamboyant Irish tea leaf reader agreed to have her picture taken.

Before heading back, our guide took us to the Ocean Avenue Hotel Shangri-La. Built in 1939; this Streamline Moderne high-end luxury hotel recently received a $30million renovation. During World War II, it was opened to the military for R & R.

Have we peaked your interest? Take a couple of hours and check it out! You can get more information by calling 310-496-3146 or visiting Santa Monica Conservancy.

DISNEY CONCERT HALL ~ AN EXTRAORDINARY ARCHITECTURAL AND ACOUSTICAL SENSATION!

From the outside to within…its sweeping contours, undulating surfaces and sophisticated acoustics leaves no doubt why Disney Hall is known as one of the most breathtakingly stunning feats of the last century.

When approaching the main entrance from Grand Avenue, we first noticed the beautiful exterior, sheathed in billowing sheets of steel floating above expanses of glass at the top of the staircase.

Past the oval courtyard through the massive clearstory glass-paneled doors, we signed in at the Grand Lobby’s front desk for the next 60-minute guided tour. Our docent explained the concert hall’s history from conception to completion while guiding our small group through much of the interior space and throughout the gardens while presenting the highlights of this architecturally stunning building.

Disney Hall is located on Bunker Hill in downtown Los Angeles, next to the Dorothy chandler Pavilion between First Street and Grand Avenue. The 367,000 square foot concert hall built on 3.6-acres took approximately 16 years to complete, from its design conception in 1987; construction, which began in 1999; and finally to its inauguration in 2003, with an estimated cost of $274 million.

The plan to build a world-class concert hall in the city was launched in 1987, when Lillian Disney, widow of Walt Disney, donated $50 million to build a performance venue as a gift to the people of Los Angeles and a tribute to Walt Disney’s devotion to the arts and the city.

Frank Gehry, a world renowned Los Angeles based Pritzker Prize winning architect, was chosen to design the Disney Hall following an international competition, in which there were over 70 submitted proposals. The synthesis of acoustical and architectural design is an iconic example of deconstructivist architecture (a type of postmodern architecture with roots in the late 1980’s), and represents the style of Gehry. He blended design elements inspired by a clipper ship with its wind filled sails, reflecting his love of sailing, and inspirations from Mrs. Disney’s fondness of flowers, gardens and nature.

Taking the escalator up to the sunny fifth-floor overlook, our tour started with views of City Hall and the downtown skyline. Fingerprints are not a problem here…that’s because a sign at the edge of the observation area warns visitors not to touch the building’s hot steel surface. Our docent told us on a typical sunny Los Angeles day, the steel surface gets hot enough to fry an egg.

As our tour continued, we learned Gehry had employed software used in the design and construction of French fighter jets. Called CATIA (computer-sided three-dimensional interactive application), this software translated Gehry’s organic forms, panel by panel, into buildable construction plans for the contractors. Each of the 12,500 pieces of corrugated stainless steel take a unique form of agreement to their location, and no two are alike. In areas outside of regular forms, stone was used. Glass surfaces function as a link between the various volumes.

We’re lead to an area where the building’s structural skeleton has been left uncovered by the building’s steel panels. “There are no right angles here,” our guide explained. She pointed to a rain gutter “lip” which keeps water from sheeting down the curving side of the building during stormy weather. The most frequently asked question is “How is this building washed?” A good rain is the easiest way, although maintenance crews use ladders, cherry pickers and an automated rooftop device for cleaning. Fingerprint-removal is a frequent task in high-traffic areas, shaded from the sun.

We proceeded through the glass-doored entry that leads to the performance hall balcony level. Architectural curves and movement from the outside, continues inside with the use of products and materials conveying a warm and comforting feeling. The stairwell ushering us down towards the third level performance lobby cascades with curved terraces, illuminated by a combination of natural light from glass panels, skylights and subtle electric lighting. Gehry’s intricate composition of convex and concave forms with a play of light and shadow creates exquisite visual ‘melodies’.

We walked onto the wool/linen carpet of geometric floral design in colors of red, orange, green and yellows. Gehry himself drew up the ‘lily’ design, called “Lillian” representative of Lillian Disney, and is replicated in the fabric upholstery created for the performance hall’s 2,265 seats.

Features throughout the Concert Hall are named for benefactors. As we approached the main auditorium, we’re shown the subtle yet striking Cornerstone Donors Wall. The names of major donors are spelled out in steel lettering embedded in laser-cut industrial felt, which from a distance appears like a greyish speckled solid wall.

We were escorted through the thick acoustical doors of the auditorium, and soon realized why it’s considered the “Pearl” of this architectural wonder. Acoustician Yahuhisa Toyota was integral in making sure that sound coverage from an unamplified orchestra were as amazingly breathtaking as the chamber itself. Gehry designed the auditorium to look like the hull of a ship, with a Douglas fir ceiling forming voluptuous curves, wilting down over the room like wind swelled sails. The aesthetically pleasing concave “walls” surrounding the room are an optical illusion; sound passes through transparent mesh and reflects off a series of convex curves hidden behind the concave mesh. Angled shingles on the terraced walls direct the sound down toward the audience rather than up into the air, aides to the room’s resonance. Natural light from the upper four skylights and a wide T-shaped window just behind the top balcony seats provides a soft, warm glow. The wild flower design of the seat covering adds a striking dimension to the auditorium, and the vineyard style seating brings the audience close to the orchestra, and offers an intimate view of the musicians and conductor from any seat. Suspended silver shapes sparkle from the ceiling lights, adding to the holiday ambience.

But of all the eye-catching features in the auditorium, the most spectacular is the Disney Hall’s organ; a collaborative design of Ghery and organ builder, Manuel Rosales. We’re told some refer to it as “the French fries” or “hurricane mama”; but wherever you’re seated, it claims your attention. The $3-million organ has 6,134 pipes, reflecting a marriage of form, function and ‘a larger-that-life set’ piece that still manages not to overwhelm by maintaining the human scale.

Our tour then took us down the sweeping Henry Mancini Family Staircase to the third-floor’s Blue Ribbon rooftop garden and Fraternity of Friends courtyard.

Nearly an acre in size, tucked beneath the hall’s gleaming exterior, the garden serves both as a public space and an urban oasis for Downtown LA. All 45 trees come from Los Angeles, and represent six different varieties from Orchid Trees to Pink Trumpet Trees, surrounded by lush landscaping that blooms throughout the year. Chefs of the flagship restaurant, Patina, maintain the organic herb and edible flowers throughout. From here, you can also catch views of the Los Angeles Central Public Library, the Hollywood sign and San Gabriel Mountains to the north.

The centerpiece of the community garden is The Lillian Disney Fountain. Inscribed with “A Rose for Lilly”, the Gehry-designed fountain pays tribute Lillian Disney and her love for Royal Delft porcelain vases and roses. Its large rose shape echoes features found throughout Disney Hall, and is artfully covered in thousands of broken pieces of Delft porcelain tiles, creating a one-of-a-kind mosaic.

Weaving our way towards the outdoor performance space, the towering steel lined path invites a unique photo opportunity.

Once back inside, we continue down the staircase to the second floor, where the Library of Congress Ira Gershwin Gallery displays rotating musically themed historical exhibits for the public to enjoy. Walking past another space dedicated to thanking the many donors, we came to the intimate B.P. Hall. Like the main auditorium, B.P. hall was built with both acoustics and the concertgoer in mind, and hosts pre-concerts talks, musical performances, receptions and private events.

Once descending the travertine staircase back to the Grand Avenue lobby, where the Lobby Bar made of glistening layers of sanded blue glass is located, we’re ushered just around the corner to the Founder’s Room. Its signature Frank Gehry wavy plaster ceiling rises 50 feet to reveal a skylight, making you feel as if you’ve just entered an upside-down tulip. This 4,800-sq. ft. dining room with its dozens of suspended glass chandeliers, millwork, private dining patio with travertine stone, is normally reserved for board members and VIPs during symphony performances.

As we headed back to the Lobby’s front desk, our docent points out the aesthetically pleasing rising wood columns shaped like tree trunks, noting each column contains the inner workings of the building and deliver air conditioning and lighting to the main lobby. Before ending our tour, we’re shown the Lobby’s abstract Christmas tree display, and Menorah commemorating the season.

Once outside, we look back up to Disney Hall from Second Street and attest that perhaps this building does symbolize the creative spirit of the city that houses it.

GRIFFITH OBSERVATORY ~ THE ART DECO SPLENDOR OF STELLAR ATTRACTIONS

An enduringly impressive building that brings the beauty of the stars to Earth! Situated atop the south-facing slope of Mount Hollywood in Los Angeles’ Griffith Park, Griffith Observatory’s architecture and mission make it one of the most famous and most visited icons of Los Angeles.

An observatory, its goal is to fulfill Griffith J. Griffith’s vision of making an observation of the universe accessible to all. Its Art Deco architecture with a mix of Greek Revival, Beaux-Arts and Moderne elements, bridge the real world we observe around us and visions of the dimly glimpsed edges of the universe.

As we drove the road that winds up the sides of the Hollywood Mountain, the stunning bright white walls of the observatory and copper-plated domed roofs can be seen perched majestically high above. Colonel Griffith J. Griffith donated the 3,015 acres of land surrounding the observatory to the City of Los Angeles on December 16, 1896. In his will, Griffith donated funds to build an observatory, exhibit hall, and planetarium on the donated land. His objective was to make astronomy accessible to the public, as opposed to the existing idea that observatories should be located on remote mountaintops, and restricted to scientists.

Construction began in 1933, using an Art Deco design developed by architect John C. Austin, who also participated in the design of several landmark buildings in Southern California, including Los Angeles City Hall and the Shrine Auditorium. The mix of old and new is what characterizes Art Deco architecture - a “jazzed” zigzag design approach popular in the late 1920’s and 30’s. The observatory closed in 2002 for renovation and a major expansion of exhibit space. It reopened to the public in 2006, retaining its Art Deco exterior.

Greeting us on the front lawn, a fully restored large concrete Astronomers Monument pays homage to six of the greatest astronomers of all time. Mounted in the sidewalks towards the observatory’s front entrance, is a scale-model of our solar system. Seven stone and bronze embedded lines radiate out from the building toward the western horizon; each line points toward a notable sunset or moonset position on the horizon.

Upon entering through the spectacularly elegant bronze and glass front doors, we immediately noticed the surrounding walls and ceilings within the rotunda under the center cupola (home to the 40-foot-tall Foucault pendulum) were decorated with striking murals painted by Hugo Ballin, depicting great figures and moments in science history. There is a Heinsbergen Mural brilliantly covering the entire ceiling in the South Gallery, painted by A.B. Heinsbergan, portraying the Sun with outward emanating rays. Greek Revival, Beau-Arts and Moderne influences are present throughout, including bronze elements, wall moldings, ornaments, light fixtures, vent grills, travertine walls and marble floors.

Once outside, we marveled at the spectacular views from the West and East Observation Terraces, and Roof Observation Deck.

The exterior concrete walls are painted a “warm white”, and adorned with decorative iron-grill windows, which contribute to the decorum of the façade. The domes are fashioned with copper panels, which most are a bight green color, reflecting 71 years of patination. The walkway around the south side of the Samuel Oschin Planetarium, is crowned with concrete arches characteristic of Greek Revival and Art Deco architecture.

What’s so appealing about the Griffith Observatory is its versatility. Angelenos and tourists alike can go to this magical-looking mountaintop place to pursue their own wishes, from architectural exploration to hiking, viewing the city from above or star-gazing, both celestial and celluloid. What could be more L.A. than that?

For visiting information, please ‘click’: Griffith Observatory

PHILADELPHIA’S MAGIC GARDENS ~ THE FANTASTICAL MOSAICKED WORLD OF ISAIAH ZAGAR

Last summer, while visiting family in Philadelphia, I had the fortune to stopover at South Street’s Magic Gardens; an unusual place of mosaicked artistic passion, gallery, and community arts center…the brainchild of Isaiah Zagar.

These “gardens” aren’t filled with flowers, but the glistening myriad of fanatical creations made from colorful reclaimed pieces of pottery, tiles, mirrors, and other found objects as well as contributions from the community. Covering an indoor/outdoor space equivalent to half a city block, 74-year-old Isaiah Zagar has been growing his garden since the late 1960’s, and he’s still tilling it. He and his wife, Julia, have a mission to beautify, vitalize and breathe new life into South Street.

When Isaiah and Julia moved to South Street over forty years ago, the area was being slated for demolition by the city in order to create a highway. Due to the proposed construction, the area was desolate. The Zagars were one of the first people to come to this area and begin to turn its image around. They opened the Eyes Gallery on 401 South Street in 1968, which was the first property that Isaiah would mosaic. Here they still showcase and sell the art of Latin-American artists.

The Zagars went on to purchase and rent out several other buildings, and Isaiah would go on to create several other mosaicked spaces and public murals. He bought the building that currently houses Philadelphia’s Magic Gardens in 1994. Over the next 14 years, Isaiah began creating the Magic Gardens, fencing off the two vacant lots next door. In 2002, due to increased property values on South Street, the landowner of the two vacant lots wanted to sell the land. Together with members of the community, Isaiah was able to purchase the lots. With this purchase “Philadelphia’s Magic Gardens” was born, and is currently dedicated to preserving Isaiah’s works, and teaching the public about mosaic and folk art.

Sensory overload doesn’t begin to describe the Magic Gardens. Trust me, you’ll know it when you see it…an intriguing, invigoratingly exciting, visually stimulating space! Once inside, it takes a moment to realize that all of the 3000 square foot space…walls, floors, ceilings, niches are covered with a labyrinthine of Zagar’s fantastical mosaicked world of artistic dedication and inspiration…a geographic renaissance.

Many stairways, nooks and crannies wind throughout the building, taking you through courtyards of ethnic art popping up here and there among an abundance of green plants. Covered stairs and walkways feature distinctive sayings spelled out in tiles. Multi-segmented faces made of bottle-bottoms and glittering mirrors watch as visitors explore the caverns and rooms. A chandelier of bicycle parts hangs just above some central seating; other chairs and benches (be sure to see those shaped like turtles) welcome visitors to take a seat. Inside the fully tiled gallery, newspaper articles about Zagar’s 40-plus years in Philadelphia hang prominently, along with photos of and letters from famous visitors.

Philadelphia’s Magic Gardens is so full, that it’s truly impossible to take it all in. I was taken back by the incredible dedication to beauty and ingenuity! When looking at all of these spaces, there’s a childlike feeling, as if all the art subconsciously exploded; no apologies…purely unlimited expression. You’ll soon be mesmerized in contemplating the mystery of how many individual pieces of broken ceramic, odd items, and uniquely shaped shards were used to create the place’s images and quotations. Spend an hour or more there, and you’ll leave entranced, just maybe inspired to create something yourself.

I loved seeing this fanciful side of Philadelphia! Now a nonprofit organization, Philadelphia’s Magic Gardens invites visitors to enjoy its visual candy with guided or self-guided tours. For complete information, visit: phillymagicgardens.org

THE GETTY VILLA ~ AN ARCHAEOLOGICAL EXPERIENCE IN ANCIENT ARCHITECTURE

Nestled in a small canyon off Pacific Coast Highway within the Mediterranean climate of Pacific Palisades, the Getty Villa offers an experience in archaeological architecture that will fill the senses all at once!

Oil magnate J. Paul Getty used some of his vast wealth to accumulate an incredible collection of Greek, Roman and Etruscan antiquities. Quickly running out of room in a gallery adjacent to his home in Pacific Palisades, he had a Romanesque villa constructed on the property down the hill from the original gallery to be a permanent museum for his collection in the early 1970’s.

Constructed by the architectural firm of Landon and Wilson, the Villa is modeled after the Villa dei Papiri, a Roman country house in Herculaneum buried by the eruption of Mount Vesuvius in A.D. 79. Since much of the Villa dei Papiri remains unexcavated, many of the Villa’s architectural details are based on elements from other ancient Roman homes in the towns of Pompeii, Herculaneum, and Stabiae. Architectural consultant Norman Neuerbury worked closely with J. Paul Getty to develop the interior and exterior details of the Museum. It opened in 1974, but was never visited by Getty, who died in 1976.

Following his death, the museum inherited $661 million and plans began for a much larger campus, the Getty Center, in nearby Brentwood. To meet the museum’s total needed space, the museum decided to split between the two locations with the Getty Villa housing the Greek, Roman and Etruscan antiquities. In 1993, the Getty Trust selected Rodolfo Machado and Jorge Silvetti to design the renovation of the Getty Villa and its campus.

After a nine-year, $275 million renovation and expansion, the newly restored Getty Villa re-opened in 2006.

Although the Villa and gardens are familiar to those who visited in the past, the original building was stripped down to the bare framework and re-built as an earthquake-resistant, enhanced version of itself. The rest of the ‘canyon’ was built up from bottom to top, covering the steep hillside with strata of wood-grained concrete and stone in a highly resembled version of an archaeological dig.

Once inside the south parking structure, we’re guided to a spectacular open-air path to the Entry Pavilion. The different textures of the surrounding retaining walls represent the strata of volcanic deposits that covered the Villa dei Papiri, which enhances the feel of a dig. The scenic pathway continues to the heart of the site, a 450-seat outdoor classical theater, based on ancient prototypes. While out of place so near the villa, the Theater emphasizes the importance of theater in the arts of the Etruscans, Greeks and Romans and also conveys the physical depth of a dig to this site. At the bottom level of the Theater, between the Auditorium and the Museum Store, a magnificent square pool of Chinese black marble collects water seeping from between layers of travertine, bronze and red porphyry stone and board-formed concrete to add to the archaeological concept.

As we gathered at the Museum entrance for the morning walking Architecture Tour, we were handed handheld listening devices to assure that the docent leading the tour can be heard even in a large, scattered group. Our docent, Betty, was a pleasure and offered a treasure of her own personal experiences since the Getty Villa first opened in 1974 along with a colorful mix of humor.

We first entered the Atrium, which was the main public room in a Roman House. The center ceiling (compluvium) opened to light and air, allowing rainwater to fall into a small pool-like area (impluvium), which channeled the gathered water to an underground cistern to provide for the household’s water supply. The center pool is surrounded by black-and-white mosaic pavement inspired by a mosaic from Pompeii.

The Atrium flows into the Inner Peristyle where decorative motifs are often drawn from nature. Ionic columns surround a garden with small marble fountains and a central, narrow pool lined with replicas of bronze statues of women once found at the Villa dei Papiri.

Around the Inner Peristyle is a series of small rooms, filled with the thematic exhibits combining Greek, Etruscan and Roman antiquities of every type and size. In the spectacular “Room of Colored Marbles,” 14 kinds of colored ancient and modern marbles are used in the walls. Even more intricate patterns of marble occurs in other rooms, like the alternating small triangles of honey-colored and black marbles in the circular floor of the “Temple of Hercules”

Beyond the East yellow marbled stairway, Betty guided us to the East Garden, one of the most tranquil spaces at the Villa. Shaded by sycamore and laurel trees, the splashing water from two sculptural fountains enhances this walled sanctuary. Theatrical masks adorn the mosaic-and-shell fountain on the east wall, while sculpted bronze civet heads stream splashing water into the more traditional circular pool planted with waterlilies and other complementary plants.

Our docent then lead us to the right of the Inner Peristyle, to the Triclinium – a fancy dining room in a 1st century Roman villa. This space is vacant to allow you to appreciate the intricate geometric marble designs on the floor and walls, and the grapevine–painted ceiling. The crowns (or capitals) of the Corinthian columns are influenced by the curling leaves of the acanthus, which is planted in the Peristyle and East Garden.

The Triclinium opens onto the Outer Peristyle and Garden, with a spectacular 220-foot-long reflecting pool running its length. Common to the architecture of that day, the gardens, fountains and pools were made an integral part of the interior of the property. Ancients used these water features for bathing, cooking, drinking, and irrigation. An open-air wonder and another recreation from the Villa dei Papyri, the Outer Peristyle is complete with copies of bronze sculptures that once graced the original, along with a host of Mediterranean plants arranged in patterns known from wall frescoes of the period. The peristyle (or covered walkway) surrounds the formal garden and leads us past illusionistic wall paintings, Corinthian and Doric columns, floor mosaics, latticed openings and carved ceilings, also copied from the original. At the far end of the garden, Betty introduced us to her favorite bronze figure of a sitting youth, she described as “Quite the handsome fellow”.

Departing the Outer Peristyle, we move onto the Villa’s lovely, fragrant Herb Garden. Horticulturists had planted the Garden with species from the Mediterranean – fruit trees (apples, pears, quince, olive, citrus, apricots), flowering shrubs, grapevines, and herbs that the ancient Romans would have used for cooking, ceremony, and medicine. Nestled at one end is a delightful little fountain and water lily pool with a playful assortment of Koi. Towards the ramp leading back up to the Museum entrance, a magnificent 114 year-old Italian Stone Pine captures our attention. The hillsides surrounding the Villa have been planted with many Stone Pines, which will eventually tower above the other trees, creating a typical ancient Roman horizon.

After our tour concluded at the Museum entrance, we started our way up through the archaeological layers to the open-air path. Before heading towards the parking structure, we paused a few moments to take ourselves back again, as in the days of the Villa of the Papri, (which overlooked the Mediterranean Sea) to admire the breathtaking view of the Pacific Ocean. The Roman roads below are the Villa’s main drive, simulating the ancient streets of Pompeli and Herculaneum, which were paved with large, irregular stones.

The setting surrounds and captivates the visitor, and the experience makes the Getty Villa a place to revisit and explore the ancient world before 79 A.D.! Admission is free, however advance, timed tickets are required. You can book in advance via phone or the museum website. For more information, please visit The Getty website