Maybeck-whose work for the Panama-Pacific Exposition at San Francisco in 1915 we have already seen (Fig. 272)-worked mainly in the San Francisco Bay area from about 1890. While studying in Paris he had learned much from theories on the use' of new materials, structural systems, and technologies propounded by the nineteenth-century French architect Viollet-le-Duc.
Maybeck's residential architecture is a curious combination of Beaux-Arts historicism and progressive design, while his use of materials ranged from exposed native redwood columns to reinforced concrete. His houses appear to be a combination of "medieval-hall" design and California materials, such as redwood timbers and mission-type roofing tiles. There is also an innovative, informal openness about the houses that makes them particularly suitable for California life.
Two brothers-Charles Sumner Greene (1868-1957) and Henry Mather Greene (1870-1954)-formed the firm of Greene and Greene, which created the epitome of the California house in this early phase.
In a manual training school in St. Louis, the brothers had gained the skills of woodworking. and were also introduced to the theories of William Morris and the Arts and Crafts Movement. At MIT they had been exposed to the tradition of the Ecole des Beaux-Arts, and, while in the Boston area, to the Shingle style of H. H. Richardson. On their way to California in 1893 to join their parents, the brothers visited the World's Columbian Exposition in Chicago. There. Like Frank Lloyd Wright, they were struck more by the Japanese house than by the grandeur of the Beaux-Arcs buildings.
By the first decade of the new century, the Greene brothers were designing a type of residence seen in the David B. Gamble House (Fig. 27 18). Critics agreed that they had perfected the bungalow type. This was a one-floor, rambling, lowroofed house, with projecting eaves and jut-
ting porches. The exterior environment and interior space were commingled and built of beautiful woods that were exquisitely finished and joined. The Californian climate invited the incorporation of terraces, pools, porches, gardens, and patios into the design, to permit living out of doors nearly as much as indoors. A house such as the one designed for the Gambles stands in marked contrast to the earlier fine houses built in California, like the William Carson House in Eureka(Fig.20.8).Here, the influences are no longer French Beaux-Arts, Victorian, or Italianate, but rather Japanese, the Arts and Crafts Movement, Spanish mission—and the southern California region itself.
THE NEXT GENERATION
With the next generation of California architects came a noticeable change in style. The leading figures in this severe, hardedged, machine-age style were Irving Gill (1870- 1936), Rudolph Michael Schindler (1887-1953), and Richard Neutra (1892-1970). The new style is already obvious in Gill's Walter L. Dodge House in Los Angeles(Fig. 2719), Gill, son of a Quaker carpenter, found early employment in the Chicago offices of Adler and Sullivan when that firm was working on the Transportation Building for the Columbian Exposition of 1893. Later in 1893 he moved to San Diego, where he became interested in yet another of the non-Beaux-Arts styles that so affected his generation of California architects: The mud-walled mission architecture.
Using concrete to replace the mud, Gill became one of the leading experimenters in the application of poured concrete for residential architecture. In allowing the material to dictate a form of its own, he achieved a result that was an arrangement of cubic forms with sheer walls, precise edges, no moldings or decoration, and a flat roofline. In the severity of the design, the utter simplification of all form, and its rectilinearity, there is a pronounced austerity. This is relieved by careful attention to landscaping and by making outdoor patios and porches integral extensions of the interior spaces. 住宅建筑设计英文文献和中文翻译(2):http://www.youerw.com/fanyi/lunwen_51857.html