When the Moore, Lyndon, Turnbull, and Whitaker Architects-designed University of California, Santa Barbara (UCSB) Faculty Club opened in 1968, architectural historian and critic David Gebhard wrote in Forum that the complex was “theatrical (like Hollywood) and planned, even though on the surface everything appears haphazard and disjoined.” The compliment applies in opposite to the recently-completed $11.25 million renovation, restoration, and expansion to the complex by Charles Moore’s successor firm Moore Ruble Yudell (MRY), where a series of rationally-organized dining facilities, hotel accommodations, and administrative offices conceal nuanced and rich architectural detail.
The complex was originally designed as an homage to the era’s Pop Architecture phenomenon that blended Spanish Colonial Revival stylings with a 1960s penchant for dumb shacks and postwar vernacular modernism. Though from the outside, the building originally appeared as a stuccoed mass of disjointed shapes, Moore and Turnbull’s original vision was decked out inside with soaring framed archways, criss-crossing mezzanine walks and stairways, and neon signs and symbols decorating its walls. The project’s showpiece, a central, multi-story dining room, contained all of these elements and more, including deep-cut architectural references to other famous works—like a sloped entry reminiscent of Le Corbusier’s Carpenter Center at Harvard—that were amplified and repurposed throughout the UCSB Lagoon-adjacent complex.
Today, the expanded club boasts a wholly new 15,760-square-foot wing hosting 34 guest rooms wrapped by perimeter circulation, as well as a renovated and restored central dining hall and a bevy of new sustainability features. Overall, the building has more than doubled in size from 14,595 square feet to over 30,000 square feet today, an effort that has overtaken but not necessarily overshadowed the existing PoMo gem. MRY has taken a gradient-driven approach to the project by restoring the easternmost two-thirds of the original building while also adaptively reusing the remainder of the existing complex and adding the new wing on the building’s west side.
The upgraded dining room—dialed down in terms of its furnishings and place settings from the 1960s version, as one might imagine—is more spare than before. Gone are the expanses of wall-to-wall red carpeting, Mid-Century Modern-styled dining chairs, and glass-topped dining tables and their frilly, folded napkin arrangements, which have been replaced with more paired-down and contemporary elements.
Many other aspects of the existing building have been retrofitted for contemporary times as well, including the building’s windows, which have been replaced with energy-efficient panes. The complex boasts passive design features that facilitte matural ventilation throughout. Added too are new sensitive lighting designs that allow for task-level lighting control in the hotel rooms, as well as new ambient lighting in the dining areas that compliments the large glass light fixtures already inhabiting the space.
Perhaps the most unique elements of the complex come in at ceiling height, where many areas feature drop-down roof rafters that evoke the vigas of the Spanish Revival as well as the slap-dash 2×10 ceiling joists of the Mid-Century vernacular, as well.
These elements are complemented in the hotel rooms and in the building’s many shared areas by peculiar ceiling geometries that result from the building’s heaped architectural forms. Everywhere rooms and entire wings explode askew to the structural grid, with massive octagonal arches doing the work of keeping the building standing, as sloping ceilings, pop-out window walls, skylights, and transom openings combine to create delightful ceiling geometries.
Overall, the architects have proven that it is possible to respect and embrace history—even what might be considered by some today as an over-wrought PoMo relic—while also building for the future.
In Santa Barbara, PoMo isn’t “back,” and it’s certainly not dead—It’s been here and will continue to remain.