By Kris Grant

In the northeast sector of Pasadena, where the city begins its gentle rise into the foothills of the San Gabriel mountains, lies an amazing collection of some 800 bungalow homes, most of which were built between 1900 and the 1930s.
Many are still intact and many more are in various stages of restoration. Most are modest one- and two-story Craftsman-architecture homes; other styles dotting the district include Queen Anne and Gothic-, Spanish-, Colonial- and English-Revival.
Welcome to heaven…bungalow heaven, that is, a place where dreams are made for anyone interested in the history of the Arts & Crafts movement as well as the history of Pasadena.
As part of the annual Pasadena Heritage Weekend, two-hour walking tours of Bungalow Heaven (its name was coined by a city architect in the 1970s) provided up close and personal stories from knowledgeable docents on the homes, the area and elements of Craftsman styling.
Four homes along the tour route were opened up for interior views and included interviews with architects, homeowners and structural engineers on the right (and wrong) way to renovate properties. Many tour goers traveled from other areas of Los Angeles and neighboring counties to secure tips for renovating their own Craftsman homes.
Bungalow Heaven was the first historic district in Pasadena, designated in 1989, following more than four years of work by neighborhood residents of the four-block area who dedicated themselves to preserving its look and feel. Many of the residents were driven in their preservation efforts after witnessing development of massive condominium projects along Washington Boulevard, now one of the district’s boundary streets, which replaced original bungalow homes and were incongruous with the texture of the neighborhood.
In 2008 Bungalow Heaven was added to the National Register of Historic Places.
Last month, Bungalow Heaven received a “20th anniversary” present of sorts: the American Planning Association named it one of America’s Top Ten Great Neighborhoods for 2009 – the only one in California that was cited in the APA’s flagship program that celebrates places of “great character, quality and planning.”
The APA called the Bungalow Heaven conservation plan a “model for citywide restoration policies; the plan strives to eliminated unnecessary demolition, stipulates when restoration or modification requires historic preservation review and stimulates the area’s health.”
Here you’ll find most houses clad in similar materials – clapboard, shingles and stucco – Brick and stone, including Arroyo river-rock boulders used generously on foundations, porches, chimneys and fireplaces and retaining walls. Repetition of gabled rooflines and nearly ubiquitous presence of wide front porches contribute to the neighborhood’s architectural character.
Each street in Bungalow Heaven features a different signature tree – camphor, California live oaks, Mexican fan palms and jacaranda among them – all of which form a dense tree canopy across the front yards, most of which are 50 feet wide with parking in the back of the homes. The result is a rich streetscape, the type you dream of raising a young family on, and during this Halloween month, the pumpkins, ghosts, bats and spider webs were adorning many a Craftsman porch.
Bungalow Heaven was also Pasadena’s fist green district, encouraging recycling and reuse activities and now the community is considering group purchases of solar installations.
The walking tour began at McDonald Park, itself a symbol of what a neighborhood can achieve when working together. In 1980 the north end was filled with water as a reservoir for the city. Drug dealers hung out here. Once the neighborhood took interest in the park, began planting trees and purchasing play equipments, it became a central meeting place. Now the park hosts annual Halloween parties, summer movie nights, puppet shows and community picnics.
Along Mentor Avenue, tour guide Lynn Kolberg, a 20-year volunteer for Pasadena Heritage, pointed out an “art stone” wall.  Art stone, she reported, was sold to contractors because they were mixed and molded on site. Some of it was used in its natural state; sometimes it was painted. Next, Kolberg called attention to retaining walls of Arroyo stone, rounded river-rock stones indigenous to the San Gabriel lowlands.  “It was part of the Craftsman philosophy to use local, natural materials,” Kolberg said.
She pointed to a recently restored home, and a front yard garden of native low-water plants. “This design attracts natural wildlife, another philosophy of the Craftsman movement being to bring nature closer to home,” she said. “You will see the drought-tolerant, native plants in a lot of our newer restoration projects around the neighborhood.”
Kolberg said that the single-story Craftsman design was a perfect choice for Pasadena homes, where overhanging eaves, cross ventilation, sleeping porches, outdoor verandas and wide front porches took advantage of the mild to warm climate.
Working-class families appreciated the bungalows’ livability and built-ins provided more space. Bungalow Heaven was part of Pasadena’s population boom that saw the city’s population quadruple from 10,000 to 45,000 between 1900 and 1920.
The area, which had earlier been agricultural land where citrus was the main crop, was annexed to the city of Pasadena in 1906 and a street grid and houses began filling in the area between existing farmhouses.
At the first house on the tour in the 800 block of Mentor, Ben Gonzalez of Classic Architectural Wood Restoration, gave a quick show-and-tell on the right and wrong way to strip wood. “I strip wood from walls in the same way you would strip it from an antique piece of furniture, Gonzalez said. “First, I remove layers of paint with a heat gun, not wire brushes.  Then I use steel wool, not wire brushes.
Gonzalez shows a section of wall that had been stripped by another contractor using sander.  He pointed out the leopard-like contrast of dark and light patterns of the wood – the dark being where the wood’s sap left darker impressions, and the soft wood became far light, more susceptible to the sander.  Gonzalez plans to go back and restrip the wood.
As the group began to walk up Mar Vista Avenue, Kolberg explained that the street name is Spanish for “ocean view” and that, indeed, in the early days of development before the trees matured, one could see glimpses of the Pacific from the elevated foothill district.
She pointed out a Greene and Greene home, the only one in Bungalow Heaven, with a “No comment, reach your own conclusion.” She said it was one of the Greene brother’s earliest works and has been extensively altered over the years, ahem, “prior to the governance of the district.”
At an interior stop at a home on Mar Vista, Kolberg noted that it was one of about 10 homes built by W. A. Waldock. The original 1908 sales price: $1,800. The home is a 1 ½ story with a steeply pitched side-facing gable roof, a full front recessed porch, an Arroyo stone chimney, clapboard siding with shingles in the dormer and gable peaks. Decorative dentil courses across the gable ends that separate the upper and lower stories, and Craftsman frames around all windows and doors.
The house was repossessed by the bank in the 1970s and many inappropriate changes were made to “update” its style; then the house was resold and sold again in 1984 to Mary Gandsey, who owns a wood stripping and painting firm, the Dynamic Advantage. She demonstrated to the group how she is painstakingly renovating and matching paint colors. She too, removes paint with a heat gun, then chemicals, then hand-sanding, then staining and finally, varnish. She works with several pigments which she mixes with DAP putty. Gandsey demonstrated how she would put a bead of three colors on the side of her hand then cover nail holes with the appropriate mix.  “Another problem I’ve had that comes with a house settling are big cracks in corners between built-ins and the walls,” she said.  “Here I used a clear caulk that I mix with a super saturated stain.”
And then Gandsey turned her attention to the granite fireplace. “It was painted white,” she told the group to the sound of gasps. “And so I stripped it.”
But, she confessed, she wasn’t happy with the results. And so she climbed up on the roof, with her painter’s palette in hand, to examine the same stones used in the chimney and to capture their colors.
“And so I painted the fireplace,” she explained to an amazed crowd.
“You mean it’s a faux fireplace?” asked one tour goer.
“Yes,” Gandsey said.  “I used French tapered brushes to get into the edges. I even painted the grout. And because granite has sparkly specks in it, I used just a little gold glitter.”
Kolberg calls the group’s attention to a 1910 home that is in the process of achieving national historic registry designation on its own. “So much of the original structure remains,” she explained, including an L-shaped porch, elephantine posts and a pergola over the driveway. The home is for rent:  two bedrooms, one bath for $2,600 a month.
The homeowners, Joe and Molly Stephens, are eager to show off their 1910 Craftsman, built by Edward Zube, who built about a dozen homes here. The Stephens purchased the home this past March and are in the early stages of restoration. On the front porch they note metal poles that the previous owner had apparently installed to present the upper balcony from sagging. Instead, they’d prefer to remove them and replicate the side columns.
Inside, the Stephens has refinished the floors, but they have much work left to do on the walls, which they say was covered in wall-to-wall paneling of the ’60s era and covered most of the brick fireplace. “We didn’t even know we had a brick fireplace ‘till after we bought the house and removed the paneling,” said Holly.
Although the original casement windows are intact, said Joe, they have all been painted shut. “So we’re very safe,” Holly chirped.
The home yielded more discoveries for a couple young enough to be able to see their way through many happy years of future remodeling.  “We found ghostliness showing us where bookshelves and colonnades were. And we know there was a bay window in the dining room and we will rebuild that,” said Joe.  “And we found some of the original bathroom tile in the back yard.”
The couple didn’t realize that they had a walk- through closet until the former owner removed all their belongings.
Joe, who works for Yahoo, and Holly, an artist, say their next projects are to open those casement windows up and install the bay window.
As the tour proceeds along Michigan Avenue, Kolberg notes a “Boulder Bungalow” home by Coast Construction Co. Here, massive Arroyo stones form the porch foundation between piers of boulder and clinker brick.  “It has a strong rustic effect,” she said.  “Complete with a front porch deer.”
Coast Construction of Los Angeles secured 10 permits to frame bungalows on Michigan Avenue. Each was sold for about $2,900. And each home was somewhat different in is craftsmanship, allowing for individuality and an always interesting mix of residence on the same street.
Kolberg stops by a Hollywood bungalow apartment complex in the district. Although not a Craftsman style, Hollywood bungalows, she said, shared the simplicity of design feature and sense of community.  “These were perfect for single residents or young couples, particularly people who were just getting situated in this area.  Typically, Hollywood bungalows would have a central gathering area and maybe a room in the back for parties. They created, in essence, their own little community.”
At a final stop, Kolberg points out a 1920 bungalow, where a second story pops up like an airplane cockpit on a 747 and has been dubbed an “airplane bungalow.” “Of course, the house was built before airplanes were widely known of,” said Kolberg. “So the name came into being sometime later.” z

A unique three gable design is featured in this Orange Heights Historic District home.

Tour goers come away with design inspirations for future projects

By Kris Grant

You might call it the mother lode of design ideas for aficionados of everything Craftsman.
Pasadena is one of the, if not the, showplaces for Craftsman design in the United States, the location where architects William and Henry Greene set up shop, where Ernest Batchelder began designing unique tiles that found themselves onto fireplaces and fountains, and where preservationists today have come together to stage the largest and most comprehensive celebration of the Craftsman movement in the Western United States.
There were walking tours, seminars and three stories of vendors at Pasadena’s Masonic Temple, tempting attendees with antique Stickley pieces, Batchelder tile reproductions and Arts & Crafts inspired greeting cards.  There were lamps and pillows and curtains and hardware and rugs and plein aire paintings.  And then there was “the tour.”
The signature event of the Pasadena Heritage weekend held Oct. 17 and 18 and now in its 18th year is the Craftsman house tour, a drive-yourself tour to five homes that have been fully restored, furnished and decorated in the Craftsman style.
Here are highlights of four of the five homes. (Next year, I’ll be sure to step across the threshold of the first home promptly at 9 a.m. to allow enough time in the day to take in every home!)

Goodbye aluminum; welcome home, wood
Six years ago on Christmas Eve, Lisa Brault closed escrow on her 1911 home on Casa Grande. The home was built by Foss Design and Building Co., with Harry Banfield serving as the chief architect. Banfield put his own distinct touches into the home, most notably the “railroad” patterns in the windows, built-in cabinetry, large wide elephantine entry columns and the scoring of the steps up from the sidewalk. The home had gone through several renovations including the installation of aluminum siding.
“It didn’t really look that bad,” said Brault, “but if you were to knock up against it, it would sound like you had bumped into a car, kind of ‘ting-y.’ We really wanted to return it to its original shingles.”
Docent Barbara Schneider explained that the home had gone through many owners over the years and that one of them replaced the “creaky wood windows” with “smoothly operating weatherproof windows that last forever.”
“Tragically, they do,” chimed in one tour guest.
Schneider has been leading Pasadena Heritage tours for 27 years and says it’s like having a historic home of her own, “but without the blood sweat and tears.”
“Any of you have a historic home you’re in the process of renovating?” she asks the group.  “I usually have at least one hard-working masochist per group.”
The Braults also replaced 23 aluminum windows with Craftsman wood windows, including one with the railroad pattern in the upstairs window. Lisa Brault had been assured by experts that when the aluminum siding was removed, the underlying shingles would be in unusable shape – “baked and disintegrated” is the condition she expected.  However, three out the four sides were in near perfect condition, so only the front needed to be reshingled.
The home features a Batchelder fireplace, two original Stickley rockers, and matching china cabinets, again sporting the railroad wood motif, that flank a long window seat in Brault’s favorite room of the house, the dining room. “The Craftsman architects thought of everything,” said the dining room docent. There was no air conditioning in those days, but the cross ventilation from the French doors and front windows kept the room cool.
The kitchen features a 1943 Wedgewood double-burning oven, and marmoleum flooring, a natural linoleum floor tile made with all natural ingredients of linseed oil, cork, limestone, tree rosin and natural minerals, explained the kitchen docent.  “The color goes all through the flooring, so that if it is scratched, it can be buffed out and the color remains.” It’s also softer than a tile floor. The kitchen renovation also features a farmhouse-style sink, big enough for large pans.
An L-shaped countertop was designed in two heights:  one a few inches lower that allowed for lower shelves above and easy lifting of serving pieces.  It also allowed the two sides to not require dovetailing.

Stucco on a Craftsman home?
This year’s homes included a Grable & Austin-designed 1910 Craftsman in Pasadena’s Arroyo Seco historic neighborhood that featured the “innovation” of the day: dash-coat stucco, which was “flicked” onto the home by paint brush. Grable & Austin, a design/build firm, catered to an affluent audience and their median construction price one hundred years ago was $7,500. Their homes infused a Prairie-style influence with strong longitudinal lines and oversized beams, giving the house a sense of grandeur. This home received a 2009 City and State Preservation award.  Inside the home features the original picture rails in the living rooms and a collection of Kathleen West prints and an original.
In 1918 the home was expanded with the addition of a sunroom, a downstairs sun porch and an upstairs sleeping porch. The current owners removed 16 layers of paint to bring the wood back to its original luster.
Upstairs, docent Robert Bilheimer pointed out the birds-eye cherry wood flooring, which has been sanded and refinished as much as it can ever be. As tour goers stepped across a creaky board or two, Bilheimer said, “They’ve earned their squeaks.”
The home’s basement was enlarged, by lowering the floor eight inches. In this downstairs area that now functions as a warm and inviting guest quarters, a bedroom and full bath were added and the main room features deep cherry wood ceilings and paneling and a floor-to-ceiling flagstone fireplace. A retaining wall was put to good use as the base of a window seat in the living room.
A triple dormer home and a triple-digit lifespan
In Orange Heights, a 1909 bungalow sold for $2,264, an average cost for that year. No architect of record was associated with the property and a tour guide noted that plans were probably borrowed from another property in the vicinity. The home was commissioned by George Frank Thompson, the original subdivider of the Orange Heights Tract. This was the last house, and one of the largest, built in Pasadena by the architect W. D. Peckham. The first residents of the house were John William and Katherine Munroe. Mr. Munroe owned Munroe Hardware in Pasadena and established Munroe Motors, one of the first automobile dealerships in the city. In 1920, the home was sold William and Katherine Rempel. William was 20 years old at the time and lived there for 82 years until his death at the age of 102.
Perhaps because of its pedigree of just two owners before its present owner, the home is loaded with original features – all the wood had been painted white and was painstakingly renovated. Box beam ceiling surrounds remain in the living room and adjoining sitting room; the dining room includes all the original beams intact. The home contains a Batchelder fireplace and an Arroyo stone fireplace. Many of the 100 year old windows still contain the original rolled glass panes. Quarter stone oak floors are original, as is an extra-wide window seat.

A modest bungalow
A beautiful yet modest bungalow on Elizabeth Street in the Historic Highlands neighborhood, also won a 2009 City and State Historic Preservation Award for a property that had gone through a long list of owners and had been used most recently as a rental property.
It was purchased in 2001 by newlyweds Anthony Molinaro and Bridged Fennell, who received a call from their realtor while on their honeymoon in Ireland.  Luckily, the home was still on the market when they returned to the states and they moved in a few months later. Anthony then updated his woodworking skills from his middle school days by enrolling in the “Woodworkers Place” classes at Cerritos College. He then put those skills to work, refinishing woodwork in the living room and dining room and constructing the home’s dining room table and a rocker. The kitchen and bath areas were completely renovated under the direction of Lisa Henderson, AIA or Harvest Architecture. The homeowners shared a list of 12 contractors and subs who worked on the project, many of whom were on hand to share design ideas.
In the front yard, one side contains a small vegetable garden and the other, a labyrinth of Arroyo stone, both features replacing a thirsty grass lawn.  Outside decking in the back and around the sides invites indoor/outdoor living
Yes, children do live in Craftsman homes today as they did yesterday! And it’s a sure bet that the kids who play in the back yard swing set here are sure to derive as much pleasure as those who might have swung on similar sets nearly a century ago. (And inside, they’ll probably enjoy swinging on Dad’s rocker, too.)

Wander around Spanish Village’s art displays in Balboa Park and eventually you’ll find sparkling Studio 25. It’s the cheerful, colorful home of the Art Glass Guild, where natural light pours into skylights to illuminate the gleaming works of 35 members.
Energy flows here. Color and curves entrance the eye.
“I’ve always found glass to be really seductive. It’s so beautiful and it can be so many things,” said Gail Pulkrabek, guild chairman for 11 years. “It flows. There’s movement to it when it’s molten and you’re manipulating it. Even when it cools, you can see the motion.”
Still more glittering glass is on display Oct. 31-Nov. 15 in “Waves of Glass,” the 28th annual juried show of the guild’s larger sister organization, the Art Glass Association of Southern California. The exhibition, which includes functional, wearable and decorative works in a variety of techniques, occupies Spanish Village’s Studio 21.
No wonder glassmaking is a mesmerizing art form. Its natural origins are mysterious: Lightning? Camp fire leavings? Volcanic eruption? Probably all of the above. People stumbled onto glassmaking around 3,000 B.C., during the Bronze Age. At the beginning of the Roman Empire, glass vessels were considered luxuries, then came into widespread use. By the Middle Ages, lead “strings” made it possible to affix glass pieces to window openings and Venetian glassblowers were threatened with death if they revealed trade secrets. In the Space Age, NASA contributed the science behind dichroic glass, coveted for its otherworldly sparkle.
“Every generation adds to the path,” said Pulkrabek. “I think (the invention of the coating that makes dichroic glass) really revived the public’s interest in glass. It’s just so pretty.”
Pulkrabek, who is also president of the Art Glass Association, recalls being entranced at age 4 by the amazing transformations occurring in glass furnaces she visited with her father. While the molding process she witnessed then seemed magical, she now knows that when glass meets fire exact science is imperative.
“I liken it to cake batter,” she said, referring to varying rates of expansion and specific effects of heating and cooling glass. “You don’t mix carrot cake and pound cake ingredients and expect them to bake under the same conditions.”
A “magical dance of selectively heating and cooling the glass” is how Lea de Wit describes her artistic life in front of a furnace blazing heat at 2,200 degrees Fahrenheit. “The experience of working with a medium that can be molten in one state and breakable in another is fascinating,” she writes on her Web site: www.luckystripe.com.
She’s interested in the repetition of patterns in nature and the play of light on surfaces, especially water. A seven-year-old came up with the name “Dragon Scale” for one of de Wit’s  mottled patterns in glass. Pieces in the Dragon Scale series have a watery look (or is it cellular?) and hint at the way “light dances across the bottom” of shallow water along the coastline. In some of her vessels, ribbons of color seem to float to the top, like sea grasses.
De Wit, who studied with Italian glass masters in Italy and others in this country at the Corning Museum of Glass Studio and Haystack Mountain School of Arts and Crafts, works with homeowners, interior designers and architects on custom pieces. She’s also known for imaginative sculptural installations in commercial settings, including a cake display that moved. This month she’s installing glass rondelles in 24 luminous niches at a corporate headquarters in Temecula.
Ivan Adaniya, who favors classical shapes for his vases, has been blowing glass since 1985 when he was a student at the University of Hawaii. He continued his studies at Palomar College, a regional center for glassmaking. Using tongs, he has coaxed molten glass into the shape of a starfish more than 2,000 times and in a rainbow of colors. He also creates life-size birds and flowers, both simplified to their essential shapes and shot with color.
At the Glass Art Guild’s Patio Sale in October, Adaniya’s standouts were a lone iridescent vase, a small beauty with the sheen of a pearl, and one stunning glass pumpkin. Unlike most other pumpkins offered at the sale, this one was opaque and hauntingly black. Its glass stem curled as naturally as can be into the air. “A glass form needs life,” he explained. “When something is reaching up into the sky, you feel that energy.”
Stained-glass artist Gary Mercurio contains the energy and flow of his pictorial and geometric panels and windows within the confines of lead canes, but that doesn’t mean he’s restricted. His favorite period, in fact, is the curvaceous Art Nouveau.
P.J. Horn, who made stained-glass windows for an entire Craftsman bungalow in North Park, showed her 30-year mastery of stained-glass technique in a round medallion featuring a Celtic knot and a weathervane with a stained-glass hummingbird and flower.
Another artist who sometimes looks to the past for inspiration is Patricia G. Yockey (www.yockeyglass.com), a veteran glassblower for 15 years. Among other things, she makes hanging vases in a shape reminiscent of ancient amphoras.  These large vessels have a narrow neck, two flat sides and a pair of handles. “Most people buy them to use as a flask,” she said, although they looked handsome in the garden setting where Yockey had hung several from shepherd’s crooks. If asked, she’ll provide the metal crook and maybe a custom stopper, too.
Guild members aim to please. They demonstrate their craft (minus the fiery furnace for safety reasons) and teach classes at Studio 25. They keep their gallery prices low and offer white gift boxes in exacting sizes. And once a year, each one donates a piece of his or her work to benefit another nonprofit organization.
“More than any other community of artists that I know of glass artists really want to share their passion,” said Pulkrabek.
De Wit, for one, hopes viewers are “drawn into” her swirling “Dragon Scale” work and want “to look at it, touch it, own it, look at it every day… I’m doing something that’s making people’s lives better in a small way.  I’m making a connection with other people.”

***
“Waves of Glass,” Oct. 31-Nov. 15, Spanish Village Art Center Studio 21, 1770 Village Place (off Park Blvd.), Balboa Park. Open daily 11 a.m. to 4 p.m. Free. Artists reception Nov. 6, 6  to 9 p.m.  Ongoing Art Glass Guild exhibition and sales gallery in Studio 25. For more information, call (619) 702-8006 or visit www.agasc.org.

RARE IRVING GILL FURNITURE
ON DISPLAY AT MARSTON HOUSE, BALBOA PARK

Redwood furniture designed a century ago by Irving J. Gill, San Diego’s foremost modernist architect, is on public view together for the first time at the recently reopened Marston House Museum and Gardens in Balboa Park. 

A simple bed, a dining room server, three chairs with cowhide upholstery and an occasional table that the architect designed for the 1907 Wheeler J. Bailey house in La Jolla are on loan from Bailey’s family to Save Our Heritage Organisation, the new operator of the Marston House Museum.

SOHO recently reopened the House, which has been furnished in the Arts and Crafts style. The exhibit occupies a newly restored bedroom that was previously closed to public view. 

Gill’s rare, rudimentary furniture reflects the Arts and Crafts spirit of the home, but contrasts with the polished craftsmanship of the Marston House’s redwood- and oak-paneled interior, which the architect designed as a partner in Hebbard & Gill in 1904 for the prominent George White and Anna Gunn Marston family. However, the unvarnished, nailed-together furniture suited the rustic character of the Bailey house and can be seen in many published period photographs of that redwood home, which overlooks the ocean.

”Unlike Pasadena-based architects Greene and Greene, who designed homes complete with all the furnishings, Gill did not design the total environment for his clients,” said Erik Hanson, a SOHO board member and Gill expert. “He designed this furniture to match the Bailey house in a style not readily available. The wood is thick and well chosen, but Gill used house-building technology in nailing the pieces together.”

In addition, a redwood chest of drawers with leather straps for pulls designed by San Diego architects Richard Requa and Frank Mead for Hopi House, a Pueblo Revival home near the Bailey house, is also on view. A carved bench by William Templeton Johnson that was commissioned by the Marstons for their garden and is a part of the museum’s permanent collection completes the exhibit of early 20th-century architect-designed furniture. Gill (1870-1936) designed the six-bedroom, seven-bath Marston House early in his San Diego career. Listed on the National Register of Historic Places, the house is the finest remaining example of Hebbard & Gill’s residential work. A grand house used often for indoor-outdoor entertaining, it also includes such design innovations as raised thresholds to keep rooms cleaner, solar heating, built-in furniture, and interior windows that bring light and fresh air into closets.

The Marston House is at 3525 Seventh Ave. Regular hours are 10 a.m. to 5 p.m. Friday through Sunday. Admission is $5. For information, call (619) 232-6203.

STICKLEY ROAD SHOW
OCT. 28, SEASIDE HOME
7509 GIRARD AVE., LA JOLLA
A program featuring Mike Danial, L&J.G. Stickley corporate historian. Wine and cheese, 6 p.m.; program at 7 p.m.
Seating limited. For reservations, call (858) 454-0866.

OLD PASADENA
WALKING TOUR
PASADENA HERITAGE
NOV. 7
Pasadena Heritage hosts a tour of Pasadena’s historic Old Pasadena. Tours begin at 9 a.m. and include a slide presentation and a 90-minute guided walk. Old Pasadena, with its array of historic buildings, is a National Register Historic Diostrict and is one of the best examples of downtown revitalization in the country. Tickets are $10 per person. Reservations are required. To reserve, call (626) 441-6333 or visit www.pasadenaheritage.org.

SEASONS OF THE HEART
CRAFT FAIR
NOV. 13-15
DEL MAR FAIRGROUNDS
Handcrafted items and one-of-a-kind gifts from nearly 100 vendors. No admission charge.
Hours are 10 a.m. to 5 p.m. Friday and Saturday and 10 a.m. to 4 p.m. on Sunday.

CENTURY OF STYLE ANTIQUES & DESIGN SHOW
NOV. 20-22, DEL MAR FAIRGROUNDS

Calendar Shows LLC presents antiques and designs in Modernism, Arts & Crafts, Art Deco, Mission, Art Nouveau and more. The show is designed to appeal to collectors and dealers who focus on these categories. Hours are 11 a.m. to 7 p.m. on Friday and Saturday and 11 a.m. to 5 p.m. on Sunday. Admission is $8; under 18 free. For more information, call (626) 791-8310.

CORONADO MUSEUM OF HISTORY AND ART
“Hotel del Coronado Tour”: The Coronado Museum of History and Art offers a one-hour, docent-led tour of the Hotel del Coroado and its history. It is the only tour to go inside the hotel. Make reservations through the Coronado Visitors Center by calling (619) 437-8788. The fee is $15. Tours run Tuesdays at 10:30 a.m. and Fridays, Saturdays and Sundays at 2 p.m.
“Promenade Through the Past”: Departs from the lobby of the Museum of History and Art, 1100 Orange Ave, Wednesdays at 2 p.m. Learn about some of Coronado’s famous buildings and architectural sites, including Tent City resort. Tour fee includes “Promenade Through the Past – A Walking Tour Guidebook of Coronado” and covers admission into the Museum of History and Art. $10. 
(619) 437-8788. Reservations Required.

GAMBLE HOUSE
ONGOING, PASADENA
The David B. Gamble House, constructed in 1908, is an internationally recognized masterpiece of the turn-of-the-century Arts & Crafts movement in America. It is the most complete and original example of the work of architects Charles and Henry Greene and a National Historic Landmark. One-hour guided tours Thursday-Sunday noon to 3 p.m. Closed national holidays. General admission: $8; Students/65+: $5; Children under 12 with an adult, free. Group tours available by reservation. For information call (626) 793-3334.

MUSEUM OF ART
ONGOING, LONG BEACH
The museum home includes a splendid, imposing example of the Craftsman bungalow. Built in 1912 as the summer home of heiress Elizabeth Milbank Anderson, it has the natural materials and rugged texture of wood shingles and clinker brick. The prominent gables and projecting rafter beams, like the rest of the main house and carriage house, retain their original integrity. The style is echoed by similar homes in the nearby Bluff Park Historic District. 2300 E. Ocean Blvd. (562) 439-2119.

STANLEY RANCH MUSEUM
ONGOING, GARDEN GROVE
A California bungalow built in 1916 is one focal point of this two-acre property, home to some of Garden Grove’s oldest homes and business buildings. Phone the Garden Grove Historical Society at (714) 530-8871.

LUMMIS HOME MUSEUM
ONGOING, HIGHLAND PARK
The arroyo-stone home built by Charles Fletcher Lummis, founder of the Southwest Museum, is a state historic monument listed on the National Register of Historic Places. 200 E. Ave. 43. Friday-Sunday, noon-4 p.m. Free; donations accepted. For information, call (323) 222-0546.

LANTERMAN HOUSE TOUR
ONGOING, LA CANADA
The Craftsman-style house, built in 1914 by Arthur Haley, was the region’s first concrete residence. Located at 4420 Encinas Dr., it is open Tuesdays and Thursdays, and the first and third Sundays of the month, from 1-4 p.m. Adults, $3; students, $1; under 12, free. For more information, call (818) 790-1421.

HOMESTEAD MUSEUM
ONGOING, CITY OF INDUSTRY
Documenting a century of Southern California history, the six-acre museum features the Workman House, La Casa Nueva and El Campo Santo cemetery; 15415 E. Don Julian Road. Tuesday through Friday, 1 to 4 p.m. (626) 968-8492.

L.A. ART DECO TOURS
ONGOING, LOS ANGELES
Tours of downtown Los Angeles are led on Saturdays; $5 admission. For reservations, call (213) 623-CITY.

JUDSON STUDIOS
ONGOING, LOS ANGELES
The Judson Studios served as the turn-of-the-century core of the Arroyo Craftsman movement, located at 200 S. Ave. 66. For more information, call (800) 445-8376 or click on judsonstudios.com.

HERITAGE VILLAGE TOUR
ONGOING, CLAREMONT
The first Saturday of each month. The 1 3/4 hour walk begins at 10 a.m. in front of the Historic Claremont Metrolink Depot, 200 W. First St. (Walk is canceled if it’s raining at 8 a.m.) Call (909) 621-8871.

RIORDAN MANSION PARK
ONGOING, FLAGSTAFF, ARIZ.
One of Arizona’s best examples of Craftsman architecture, the mansion was designed by Charles Whittlesey and built as a duplex. Original furnishings, including pieces by Ellis, Stickley and Tiffany Studios, are found at the house museum. Guided, handicapped-accessible tours are held daily. The house is located at 409 Riordan Road. Further details are available at (520) 779-4395.

BOETTCHER MANSION
OF LOOKOUT MOUNTAIN
ONGOING, GOLDEN, COLO.
Tour a 1917 Arts & Crafts mansion, a 10,000-square-foot summer home built by Charles Boettcher, famous Colorado entrepreneur. Dramatic cathedral ceilings with carved beams, massive stone walk-in fireplace, some original hardware and lighting. See permanent exhibit of early mansion photos and original blueprints, including an ink-on-linen drawing. Open all year, generally Monday through Saturday 8 a.m. to 5 p.m.; Sunday varies. On 110 forested acres with views of the Continental Divide and the Colorado plains. Twenty minutes from Denver. Free for touring. Call (303) 526-0855.

MOSS MANSION
ONGOING, BILLINGS, MONT.
Nearly unchanged since 1903, Moss Mansion, designed by Henry Janeway Hardenbergh, can be found on the National Register of Historical Places. Visitors will find original furniture, Oriental carpets, handmade light fixtures, and a variety of design styles inside the mansion. Contact (406) 256-5100.

KELL HOUSE
ONGOING, WICHITA FALLS, TEXAS
Frank Kell built one of the most architecturally significant buildings in Wichita Falls, the red-brick neoclassic Kell House in 1909. It features distinctive architecture, original family furnishings, textiles, decorative arts and early-20th-century costumes. Exhibitions change in April and September. Ask for directions to the Southland and Floral Heights bungalow neighborhoods when you visit. The Kell House is open Tuesday, Wednesday and Sunday from 2-4 p.m. Adults, $3; children 12 and under, $1. For information, call (940) 723-2712.

VAN BRIGGLE POTTERY
ONGOING, COLORADO SPRINGS, COLO.
With its works showcased in world-renowned museums such as the Louvre and Metropolitan Museum of Art, complimentary tours of the Van Briggle studio were established in 1899. Call (719) 633-7729 for further information.

FRANK LLOYD WRIGHT HOME AND STUDIO
ONGOING, OAK PARK, ILL.
These 45-minute guided tours of the restored Frank Lloyd Wright Home and Studio are offered year-round at 11 a.m., 1 p.m. and 3 p.m. Monday through Friday and 11 a.m.-4 p.m. Saturday and Sunday. 951 Chicago, Oak Park, IL 60302, (708) 848-1976.

UNITY TEMPLE
ONGOING, OAK PARK, ILL.
Designed by Frank Lloyd Wright, the temple is open weekdays, 1-4 p.m., with weekend guided tours. Call (708) 383-8873. More Craftsman gems are evident throughout Chicagoland neighborhoods.

JOHNSON WAX CO. BUILDING
ONGOING, RACINE, WIS.
Reservations are required for tours, held Fridays only, of the Frank Lloyd Wright-designed building. Call (262) 260-2000 for information.

BRYN ATHYN CATHEDRAL
ONGOING, BRYN ATHYN, PENN.
Guided tours of the center of the Swedenborgian community. Specialty tours by request. The cathedral was built between 1919-1927 using a purist idea of the Arts & Crafts Artisan Guild System. Some of the original guild shops are still in use and continue to house craftsmen. This building and its environment are unique among Arts & Crafts communities in that the religious beliefs of the Swedenborgian community were blended with the Arts & Crafts ideology. Tours for individuals are free. Tours for large groups $2 per person. Contact the cathedral between the hours of 9 a.m.-1 p.m. at (215) 947-0266.

GUSTAV STICKLEY EXHIBIT
ONGOING, SYRACUSE, N.Y.
A small ongoing exhibit of Gustav Stickley and the Arts & Crafts era. Showing period examples of his work along with his peers. At the Everson Museum, corner of Harrison and State streets. Call (315) 447-6064.

GUGGENHEIM MUSEUM
ONGOING, NEW YORK
Designed by Frank Lloyd Wright, the museum is open 10 a.m.-6 p.m. Sunday through Wednesday and 10 a.m.-8 p.m. Friday and Saturday. Call (212) 423-3500 for more.