photo from ?
As I've mentioned before, Modern’s roots reach to mud, namely the white-washed walls of the Mediterrean (Le Corbusier, Loos), the adobes of New Mexico (Shindler), and the temples of Central America (Wright). Gill’s inspiration into what became Modern was no different. Having worked with Louis Sullivan in Chicago (along with Wright), Gill was well aware of Sullivan’s mantra “form follows function” as well as Wright’s subsequent Praire School.
After moving to San Diego for health reasons, Gill quickly built a successful firm and reputation in the area by expertly aping popular styles of the time. However, it wasn’t until he experienced muddy vernacular that he blazed his own path. The first experience was overseeing the restoration of the San Diego Mission. It was here he developed a deep appreciation for the elegant simplicity of materials and design (as well as the ethereal impact of white).
The mission, the first mission in California, is gorgeous: Simple shapes and minimal ornamentation whitewashed into an otherwordly beacon on the hill.
Later, in 1907, Gill teamed up with Frank Mead, who had just toured Northern Africa and the Mediterrean to photograph its simple, whitewashed towns huddled against brown hills. Again, simple construction, simple shapes, minimal ornamentation, and that ethereal white that works so well with Mediterrean sun. With these two vernacular exposures and an architectural collaborator, Mead, with the same influences, they designed what some consider to be the first Modern homes in California if not the world.
Bailey House, 1907, with Frank Mead
Allen House, 1907, with Frank Mead
Historical photo of the Allen House from here.
Melville Klauber House, 1907, with Frank Mead (photo from here). Demolished.
Klauber House
Homer Laughlin House, 1907, with Frank Mead (photo from here). Demolished.
1909
Teats House #2, 1912-1913
Historical photo of the Teats House #2 (source)
Teats House #3, 1922
Bishop's Day School, 1909
Americanization School, Oceanside, 1930-1931
Americanization School, Oceanside, 1930-1931
Americanization School, Oceanside, 1930-1931
pooch on artificial turf at the Americanization School
First Church Christ Scientist, 1909
First Church Christ Scientist, 1909
First Church Christ Scientist, 1909
The Bishop's School, 1909
The Bishop's School, 1909
The old bell tower at the Bishop's School (demolished)
The old bell tower at the Bishop's School (demolished)
Gill’s work designing the first building for Scripp’s is probably the closest building he did that approaches Modern. Simple lines, cubic (except for the entry), flat roofed, and white. The building is still there although the seaward third has been swallowed by by something out of the eighties. Across the small drive lies another building designed by Gill’s son with Mission Revival elements (and where Charles Keeling designed the CO2 monitoring project for Hawaii).
Scripps Institution of Oceanography, 1909-1010
Across the street is a building designed by Louis Gill, cousin to Irving Gill
and in this building the monitoring of CO2 in Hawaii was designed. Small world.
A Gill kitchen.
Interior of the Dodge House
Interior of the Dodge House
It’s unclear how much the Europeans were aware of Gill’s work. Gill was well published in California and American architectural magazines, so there’s a chance, but he’s not mentioned in the materials I’ve read. Wright was also well-published, but it wasn’t until the German-pressed Wasmuth Portfolio hit the streets that the Europeans took notice.
San Diego is proud of Gill and his work. However, his buildings continue to be torn down, most recently in La Jolla and in downtown San Diego.
A Gill cottage undergoing renovation.
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