Must-Know Modern Homes: The Gamble House
by John Hill · 14 photos · 17 comments
The Greene brothers' client for the Gamble House was David Gamble, an heir to the Proctor & Gamble soap empire. He has been described as an ideal client, both for his openness to the Greenes' design sensibilities and for working closely with them on issues like site selection.
This view shows the front of the house, which faces east.
by Alexander Vertikoff Photography
This view shows the front of the house, which faces east.
The house, a winter residence for Gamble and his wife, Mary, is located on a large lot on Westmoreland Place, and it benefits from mature trees and a view of the San Gabriel Mountains over Arroyo Seco Canyon (up in this aerial view).
Gamble House
The brothers positioned the house to channel prevailing breezes, but they had to tweak it to fit within the required setbacks.The design exploits the potential of the site by lifting the house on a plinth above the landscape, as well as in how it addresses the generous outdoor spaces.
Here we are looking at the west-facing rear of the house.
by Alexander Vertikoff Photography
Here we are looking at the west-facing rear of the house.
The Greene brothers' mature works, of which the Gamble is a part, clearly exhibit the brothers' love of wood, steeped in an appreciation of Japanese and Swiss architecture. But equally important is how the brothers treated outdoor space. Their floor plans are shaped to embrace the landscape, for one, and on the second floor they incorporated large sleeping porches; in the case of the Gamble House, the latter are positioned over the former, so the terraces receive shade. The combination of sleeping porches and large overhangs gives the house its exterior character, a mix of wood surfaces and deep shadows.
by John Hill
The Gamble House's interior qualities are conveyed to the visitor from the outside, not just in terms of how much wood is used, but in how it's used. Wood is used for the structure, the skin and the window frames. Yet it is the articulation of the beams supporting the roofs and the porches that gives the strongest hint at what is happening inside: The ends of the wood members are rounded off, in effect softening their projection beyond the roof and floor edges.
by John Hill
This curving of corners and edges extends to just about every piece of timber within the house, even when members are stacked to create a surface. Instead of making the wood appear flat in these instances, the curved edges allow each member to read individually. It also means that the surfaces, predominantly mahogany, are soft to the touch — and irresistibly so at that.
While Henry conducted the office's business matters, Charles spent much of his time away from the office, be it at the mill or on the jobsite working with craftsmen; many of the details were actually determined onsite by Charles, working with the carpenters. No wonder the Gamble House is so exquisitely constructed.
by Kiler Photography
While Henry conducted the office's business matters, Charles spent much of his time away from the office, be it at the mill or on the jobsite working with craftsmen; many of the details were actually determined onsite by Charles, working with the carpenters. No wonder the Gamble House is so exquisitely constructed.
Beyond the attention paid to the wood's surface, Greene and Greene devoted a lot of consideration to connection details. Where wood is exposed, their connection is also exposed. Wood covers over the nails, wood pegs, iron straps — every corner, intersection or addition of something like a lamp is celebrated. But upstairs in the attic, as the British critic Reyner Banham (a frequent visitor to and sometimes resident in the house) pointed out, "the construction of what isn't seen, far from being carefully and lovingly wrought, tends to be the usual old U.S. carpenter's crudwork, trued up with odd ends of lumber and spiked together with cock-eyed six-inch nails."
by Kiler Photography
Regardless, the pegs and other connections were not all for show; they allowed the materials to shift in the event of an earthquake, an important consideration in Southern California.
by Kiler Photography
The previous detail of the stair and this detail of a lamp hanging near the fireplace in the living room illustrate a few of the connection details that permeate the interior. We see the mahogany buttons that cover the nail holes, the pegs that fit into notches between the members, the iron straps from which wood pieces are suspended below the beam, the leather straps holding the lamp, and the wood piece that holds the leather strap through wood pegs and friction. So much is happening in just the small area of where the lamp is hung, but it all works so well together that the exaggerated aspects of the construction aren't overwhelming to the senses.
by Kiler Photography
The brothers also lavished attention on the glass that helped infuse their interiors with a glow that highlights the colors and textures of the wood. The stained glass entry doors are a good case in point. Rather than typical leaded joints, they developed a copper joint holding the various glasses (including Tiffany). Treated with a bluestone solution, the copper took on a soft green color that worked well with the natural design of the glass and the wood that it fit between.
by Kiler Photography
About five years after the Greene brothers perfected their California bungalow style, their work in Pasadena dried up, in response to both the area's shift from a resort-like place to a growing metropolis and the popularity of the Spanish colonial style after the 1915 Pan Pacific exhibition in San Diego. Regardless, the duo influenced many buildings in the area, most of which were not built to their exacting standards.
Gamble House
The Gamble family's appreciation of the house carried down to their son and stepdaughter, who deeded the house to the city of Pasadena as a cultural heritage site with the University of Southern California, amid fears of a new owner's changing the house for the worse. Their foresight means the Gamble House is the most intact example of the brothers' architecture. Restored in 2003–04, a few years before its centennial, the house now welcomes visitors six days a week.
Gamble House
References
Gamble House
- Banham, Reyner. Los Angeles: The Architecture of Four Ecologies. The Penguin Press, 1971.
- Curtis, William J.R. Modern Architecture Since 1900. Prentice-Hall, third edition, 1996 (first published in 1982).
- Frampton, Kenneth and Larkin, David. American Masterworks: The Twentieth Century House. Rizzoli, 1995.
- The Gamble House
- McCoy, Esther. Five California Architects. Hennessey + Ingalls, 1987 (originally published in 1960 by Reinhold Book Corporation).
- The University of Southern California
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Another factoid about the Gamble house - it took less than a year to build!!!
:) Rhoda
I love this house and the narrative was really well researched.