Modern Architecture
Landscape Design
Tour a Celebrated Modernist Landscape Architect’s Final Project
See the art-inspired design, showcased at Palm Springs Modernism Week, that pulled Robert Royston out of retirement
In 2007, Brent Harris called San Francisco landscape architecture firm Royston, Hanamoto, Alley & Abey and asked if Robert Royston could design a garden for his architecturally significant midcentury modern property in Palm Springs, California. Royston, who was 89 at the time, had been semiretired for 18 years from the firm he cofounded in 1958. But JC Miller, a principal in the firm, knew better than to dismiss the offer.
The Hefferlin and Becket gardens, as the landscape is now called, turned out to be the last project of Royston’s illustrious career. Miller completed it in 2011 after Royston died. In its first public showcase, the garden was open to tour at this year’s Palm Springs Modernism Week. A new book on Royston’s life and career, co-written by Miller and published this month, also was spotlighted at the Palm Springs event with a book signing and a conversation between Miller and garden owner Harris.
The Hefferlin and Becket gardens, as the landscape is now called, turned out to be the last project of Royston’s illustrious career. Miller completed it in 2011 after Royston died. In its first public showcase, the garden was open to tour at this year’s Palm Springs Modernism Week. A new book on Royston’s life and career, co-written by Miller and published this month, also was spotlighted at the Palm Springs event with a book signing and a conversation between Miller and garden owner Harris.
Miller is deeply respectful of Royston’s work and had collaborated with him on his final projects at RHAA. He also assisted the firm in organizing and preserving decades of Royston’s work, including spectacular drawings that had been stored in boxes under desks.
Miller’s interest in Royston culminated in his co-authoring of the monograph titled Robert Royston (University of Georgia Press, March 2020) with Reuben M. Rainey, which covers Royston’s career from 1937 to 2007. The book’s cover is shown here.
Miller’s interest in Royston culminated in his co-authoring of the monograph titled Robert Royston (University of Georgia Press, March 2020) with Reuben M. Rainey, which covers Royston’s career from 1937 to 2007. The book’s cover is shown here.
Robert Royston at work at his firm in the late 1960s. Photo from the collection of JC Miller
A Modernist’s Approach to Landscape Design
During the 1930s, a small circle of landscape architects that included Royston, Dan Kiley, Garrett Eckbo and James Rose began to challenge traditional landscape design ideals, rejecting the classical principles of buttoned-down symmetry. Instead, they explored and aimed to strengthen the connection between landscape and innovative modern architecture and art.
Royston gained his fame designing private gardens and public parks. As a veteran of World War II, he was acutely aware of large-scale postwar development in the San Francisco Bay Area and advocated for public parks to accommodate the growing population. He carefully studied the public’s needs and then “zoned” his park designs for the various activities, often creating multiuse areas for spontaneous play. Royston also carefully considered pavilions and trellises to help define areas of his park designs.
Royston believed that modern art could be adapted to landscape design but that the forms always had to be carefully adapted for human use. Inspired by the artist Wassily Kandinsky, he incorporated biomorphic shapes of lawn, paved areas and pools into his designs, lending a playful and organic feel to the gardens. He understood that parents needed to feel that their children were safe, for example, and he designed a wading pool that was shallowest in the middle, the farthest point from a parent’s reach.
A Modernist’s Approach to Landscape Design
During the 1930s, a small circle of landscape architects that included Royston, Dan Kiley, Garrett Eckbo and James Rose began to challenge traditional landscape design ideals, rejecting the classical principles of buttoned-down symmetry. Instead, they explored and aimed to strengthen the connection between landscape and innovative modern architecture and art.
Royston gained his fame designing private gardens and public parks. As a veteran of World War II, he was acutely aware of large-scale postwar development in the San Francisco Bay Area and advocated for public parks to accommodate the growing population. He carefully studied the public’s needs and then “zoned” his park designs for the various activities, often creating multiuse areas for spontaneous play. Royston also carefully considered pavilions and trellises to help define areas of his park designs.
Royston believed that modern art could be adapted to landscape design but that the forms always had to be carefully adapted for human use. Inspired by the artist Wassily Kandinsky, he incorporated biomorphic shapes of lawn, paved areas and pools into his designs, lending a playful and organic feel to the gardens. He understood that parents needed to feel that their children were safe, for example, and he designed a wading pool that was shallowest in the middle, the farthest point from a parent’s reach.
Site plan by JC Miller
Two Homes Connected With One Landscape
The garden provided Royston with plenty of challenges despite his extensive experience designing complex civic projects. The property consists of two distinct houses on adjacent lots, which Royston was tasked with merging to form one flowing space. On the southern lot sits a large curved house, known as the Hefferlin House, designed in 1961 by San Diego architect Richard George Wheeler. Two additions were done by renowned architect Albert Frey. On the northern lot is a smaller house designed in 1957 by Welton Becket and Associates, a firm known for its large-scale urban projects, including the cylindrical Capitol Records building in Los Angeles.
In his recently published book, Miller recounts visiting the site with Royston before the design work began. Royston loved the view of the desert and the San Jacinto Mountains in the distance. According to Miller, Royston had never been to Palm Springs before and had little experience designing desert gardens. This was unimportant to the client, who wanted an authentic midcentury modern landscape architect to create a garden setting for the midcentury houses he owned. As one of the few remaining midcentury masters, Royston was a natural choice.
At the time, little of the houses’ original gardens remained.
Soaring Above the Desert: Albert Frey’s Cree House Reborn
Two Homes Connected With One Landscape
The garden provided Royston with plenty of challenges despite his extensive experience designing complex civic projects. The property consists of two distinct houses on adjacent lots, which Royston was tasked with merging to form one flowing space. On the southern lot sits a large curved house, known as the Hefferlin House, designed in 1961 by San Diego architect Richard George Wheeler. Two additions were done by renowned architect Albert Frey. On the northern lot is a smaller house designed in 1957 by Welton Becket and Associates, a firm known for its large-scale urban projects, including the cylindrical Capitol Records building in Los Angeles.
In his recently published book, Miller recounts visiting the site with Royston before the design work began. Royston loved the view of the desert and the San Jacinto Mountains in the distance. According to Miller, Royston had never been to Palm Springs before and had little experience designing desert gardens. This was unimportant to the client, who wanted an authentic midcentury modern landscape architect to create a garden setting for the midcentury houses he owned. As one of the few remaining midcentury masters, Royston was a natural choice.
At the time, little of the houses’ original gardens remained.
Soaring Above the Desert: Albert Frey’s Cree House Reborn
“Several Circles” painting by Wassily Kandinsky. From the collection of the Solomon R. Guggenheim Museum
During an early design meeting between Miller and Royston, Royston pulled out a book of Kandinsky’s paintings, pointed to one titled Several Circles and said, “This is our garden.” The painting consists of a large circle and numerous smaller circles.
Royston used this inspiration to conceive of a large circular swimming pool, with smaller circular shapes that included a spa, planters and even individual pavers.
During an early design meeting between Miller and Royston, Royston pulled out a book of Kandinsky’s paintings, pointed to one titled Several Circles and said, “This is our garden.” The painting consists of a large circle and numerous smaller circles.
Royston used this inspiration to conceive of a large circular swimming pool, with smaller circular shapes that included a spa, planters and even individual pavers.
Model of the Hefferlin House pool and garden. Photo by Jennifer Loring
Royston insisted that a traditional physical model be made to flesh out the concept, Miller says. Royston loved physical models because they helped his clients understand the design and made the overall vision difficult to ignore. Miller also thought that at 89, Royston may have known he might not see the project through, and a model would preserve his vision.
Royston insisted that a traditional physical model be made to flesh out the concept, Miller says. Royston loved physical models because they helped his clients understand the design and made the overall vision difficult to ignore. Miller also thought that at 89, Royston may have known he might not see the project through, and a model would preserve his vision.
View from the street, with Royston’s desert landscaping in the foreground. Photo by Millicent Harvey
Native Desert Meets Midcentury Garden
Royston’s big idea was to “bring the desert to the house” and to make the house feel surrounded by it. He rejected the idea of defining the property line with a masonry or hedge wall. Instead, he conceived of a desert garden along the street, which he called a “gift to the street,” to be enjoyed by the public and to act as a buffer to the house.
Native Desert Meets Midcentury Garden
Royston’s big idea was to “bring the desert to the house” and to make the house feel surrounded by it. He rejected the idea of defining the property line with a masonry or hedge wall. Instead, he conceived of a desert garden along the street, which he called a “gift to the street,” to be enjoyed by the public and to act as a buffer to the house.
View from the street, with the Hefferlin House and desert landscaping framing the entry and driveway. Photo by Millicent Harvey
For the outer zone, Royston brought in more than 200 tons of boulders and worked with native plants and trees to create a desert setting.
For the outer zone, Royston brought in more than 200 tons of boulders and worked with native plants and trees to create a desert setting.
Site plan by JC Miller, with overlay by Flavin Architects
The garden site plan prepared by Miller is annotated to indicate Royston’s zoning of the garden into four distinct areas. The client owns both houses, the Hefferlin House on the left and the Becket House on the right.
The garden site plan prepared by Miller is annotated to indicate Royston’s zoning of the garden into four distinct areas. The client owns both houses, the Hefferlin House on the left and the Becket House on the right.
Hefferlin House exterior. Photo by Millicent Harvey
Between the outer zone and the private zone inside the house, Royston designed an intermediate zone, separated from the outer zone by a secure but visually open metal fence and sliding gate. The curved fence has its center radius at the middle of the property’s new round swimming pool, beautifully tying the shape of the vintage house to its new garden.
The intermediate zone between the public space of the street and the home’s interior accommodates carport parking and entry terraces to the home’s front door. This area is densely planted, maintaining existing vegetation where possible.
John Lautner’s Organic Architecture in the Desert
Between the outer zone and the private zone inside the house, Royston designed an intermediate zone, separated from the outer zone by a secure but visually open metal fence and sliding gate. The curved fence has its center radius at the middle of the property’s new round swimming pool, beautifully tying the shape of the vintage house to its new garden.
The intermediate zone between the public space of the street and the home’s interior accommodates carport parking and entry terraces to the home’s front door. This area is densely planted, maintaining existing vegetation where possible.
John Lautner’s Organic Architecture in the Desert
Photo by Millicent Harvey
Royston refers to the most protected part of the garden behind the houses as the oasis zone. Here, the garden’s most private areas, including the pool, spa and patios for alfresco dining, are buffered by the concave shape of the Hefferlin House.
Midcentury Marvel: Is That a Pool in the Living Room?
Royston refers to the most protected part of the garden behind the houses as the oasis zone. Here, the garden’s most private areas, including the pool, spa and patios for alfresco dining, are buffered by the concave shape of the Hefferlin House.
Midcentury Marvel: Is That a Pool in the Living Room?
Diagram by Flavin Architects
This cross-sectional diagram illustrates how the inner oasis zone is buffered by the Hefferlin House and thickly planted intermediate and outer zones.
This cross-sectional diagram illustrates how the inner oasis zone is buffered by the Hefferlin House and thickly planted intermediate and outer zones.
Photo by Colin Flavin
The pool’s circular form echoes the Hefferlin House’s curved roof overhang.
The pool’s circular form echoes the Hefferlin House’s curved roof overhang.
The curved wall of the rear garden. Photo by Millicent Harvey
Rather than place the garden’s rear wall along the property line, Royston designed it on a curve, with the center radius point in the middle of the swimming pool. This eliminates the fortress-like feel that he objected to and also leaves room between the wall and the property line for trees to grow and form an intermediate backdrop to the spectacular view of the mountains.
Rather than place the garden’s rear wall along the property line, Royston designed it on a curve, with the center radius point in the middle of the swimming pool. This eliminates the fortress-like feel that he objected to and also leaves room between the wall and the property line for trees to grow and form an intermediate backdrop to the spectacular view of the mountains.
Photo by Millicent Harvey
The circular form of the pool continues with a band of grass defining curved paths and a seating terrace.
The circular form of the pool continues with a band of grass defining curved paths and a seating terrace.
Photo by Colin Flavin
The bedroom terrace, with lounger and circular planters, is seen in the foreground. A private outdoor terrace for the bedroom suite’s bathroom sits behind the curved concrete block wall.
The bedroom terrace, with lounger and circular planters, is seen in the foreground. A private outdoor terrace for the bedroom suite’s bathroom sits behind the curved concrete block wall.
Photo by Millicent Harvey
The sunroom addition designed by Albert Frey picks up the vocabulary of the original house and creates a gateway between the two houses.
Rare Modernist Home Uncovered in Palm Springs
The sunroom addition designed by Albert Frey picks up the vocabulary of the original house and creates a gateway between the two houses.
Rare Modernist Home Uncovered in Palm Springs
Photo by Colin Flavin
The lap pool behind the home designed by Welton Becket and Associates is raised to give it a presence in the garden and offers a wall for guests to sit on — making it less likely that someone will fall into the pool during a party!
The lap pool behind the home designed by Welton Becket and Associates is raised to give it a presence in the garden and offers a wall for guests to sit on — making it less likely that someone will fall into the pool during a party!
Photo by Colin Flavin
The garden terraces up from the pool in the form of curved concrete benches, walkways and planted spaces, all with their focal point to the center of the pool.
The modest lawn area is a classic Royston design element, with a biomorphic curb separating the lower lawn area on the left, which serves as a putting green. The raised curb stops errant golf balls.
The garden terraces up from the pool in the form of curved concrete benches, walkways and planted spaces, all with their focal point to the center of the pool.
The modest lawn area is a classic Royston design element, with a biomorphic curb separating the lower lawn area on the left, which serves as a putting green. The raised curb stops errant golf balls.
Photo by Colin Flavin
Intimate seating areas are defined with a wood-and-stainless steel screen. Biomorphic shapes in the lawn edging and overhanging citrus trees complete the scene.
Intimate seating areas are defined with a wood-and-stainless steel screen. Biomorphic shapes in the lawn edging and overhanging citrus trees complete the scene.
Photo by Colin Flavin
Privacy screens define the outdoor shower area.
Privacy screens define the outdoor shower area.
Photo by Colin Flavin
Miller recalls that he found these remnant pavers from the old garden of the Hefferlin House. Demonstrating his own creativity, he arranged them in a composition reminiscent of Kandinsky’s Several Circles. We can imagine that Royston would be pleased.
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Miller recalls that he found these remnant pavers from the old garden of the Hefferlin House. Demonstrating his own creativity, he arranged them in a composition reminiscent of Kandinsky’s Several Circles. We can imagine that Royston would be pleased.
More on Houzz
See other iconic historic homes
Read more about landscape design
Find a landscape architect for your next project
The Project Worth Waiting a Lifetime For
When Miller delivered news of the Palm Springs commission to Royston, the retired architect wryly said that he “might be able to squeeze it in.” Royston later told Miller: “This is the garden I’ve been waiting for.” According to Miller, Royston was keenly interested in the project because it was an opportunity to revisit his earlier design ideas. It was a substantial project, and the curved shape of the main house complemented Royston’s love of circular garden geometry.
Miller jumped at the opportunity to collaborate with Royston on the design. He visited the architect at his home in Mill Valley, California, to review sketches, and traveled with him to the desert to see the location firsthand. Royston died less than a year after receiving the commission, before the drawings and plant selection had been finalized.
Even though Royston didn’t see the project through to completion, Miller credits him for the final design. He felt he understood Royston’s intent when it was left to him to make decisions about hardscape materials and the selection of plants and trees. Miller completed the schematic work with Royston while he was still at RHAA, before leaving to join Vallier Design Associates as a partner. At the latter firm, Miller completed the drawings, coordinated construction and was invited to oversee the garden’s subsequent maintenance.