December 10, 2010 § 9 Comments
The Theosophical Society’s Beachwood Canyon sojourn lasted less than 15 years, from late 1911 until 1926, but it produced a planned community of distinctive public buildings and houses, roughly two dozen of which survive. The Krotona Colony’s buildings can be identified by their eccentric architecture, which includes domed roofs, keyhole windows, arched doorways and art glass panels.
Upon closer examination, one can make out details such as the star of David, cross, swastika (an ancient Hindu symbol used also by Buddhists) and lotus, which connote the melange of religions contained in the Theosophical doctrine.
Gone forever are the lovely grounds of the Krotona Colony. As I wrote in my previous post, “The Agrarian Origins of Beachwood Canyon,” the Theosophists wanted to grow as much of their own food as possible, a desire reflected in the Colony’s fields and vegetable gardens. But–as the map shows–considerable attention and land were devoted to gardens whose purpose was recreational and contemplative. Chief among these was the Italian Gardens, located at the top of Temple Hill. Its formal layout was crowned by a magnificent Mogul-style pergola that provided members a place for reflection, as well as an impressive view of Hollywood to the south.
Hollywood’s burgeoning urbanism would drive the Theosophical Society to relocate to the Ojai Valley in 1926. The Krotona Colony’s public buildings were turned into apartments and private homes; its houses were sold to new, non-Theosophist owners. But the grounds, including the Italian Gardens, were subdivided into residential lots. Houses soon rose up, leaving no trace.
For more about the Krotona Colony, purchase the documentary “Under the Hollywood Sign” at http://hopeandersonproductions.com/?page_id=3361
The film is also available for rent at https://vimeo.com/ondemand/uths
July 6, 2009 § 7 Comments
Moorcrest stands on a hill overlooking Beachwood Drive. Its hybrid Moorish-Mission architecture, imposing size and prominent location lead many people, even Beachwooders, to assume it is a public building rather than a home. When I was working on my documentary, “Under the Hollywood Sign,” people kept asking if I had filmed the “temple” on Temple Hill Drive. They were surprised when I told them it was called Moorcrest and always had been a private home. (The Theosophical Society’s actual temple–the Temple of the Rosy Cross–is now part of the Krotona Apartments on Alta Vista Street, just to the south.)
Those who know Moorcrest is a home tend to call it “The Charlie Chaplin House.” While Chaplin did briefly live in Moorcrest, he was a renter and soon moved on, to a house he had his set builders construct for him (the infamously nicknamed “Breakaway House”) in Beverly Hills.
Retiring from the stage, Marie Russak began a new life as a rich Upper East Side matron but soon turned her sights to the wider world, moving to Paris with her husband in 1901. She had become a Theosophist in 1898 and deepened her commitment by relocating to the Theosophical Society’s headquarters in Adyar, Madras, India in 1906. (No word on what happened to her marriage, as Frank Russak seems to have stayed in Paris.) Her four years in India, where she studied under Annie Besant, not only schooled her in Theosophy but sowed the seeds of a new avocation: architecture.
In India, Marie Russak no doubt saw magnificent examples of the Mogul style that would inspire the Theosophist buildings of Beachwood. The arches, keyhole windows and domes of the Krotona Colony are directly inspired by India’s Islamic architecture of the 16th-18th centuries, the best-known example of which is the Taj Mahal. The Theosophical Society’s headquarters in Adyar, Madras (now Chennai), a hybrid of Indian and British Colonial styles, probably inspired the ecclecticism of the Beachwood’s Krotona Colony, whose buildings were as much Italianate and Spanish as Islamic in their derivation.
In his otherwise excellent study of Krotona architecture, “The Surviving Buildings of Krotona in Hollywood,” (Architronic vol. 8, 1998), Alfred Willis bemoans Marie Russak Hotchener’s lack of architectural training, dismissing her proportions as “awkward” and her interiors as “rather garish.” Further noting that all her houses were “somewhat vulgar,” he concedes that they reflect “their designer’s own middle-class taste but also the vulgarity increasingly evidenced in the commercial and domestic buildings of boomtime Los Angeles in the 1920’s.” That the hardly middle-class Marie Russak Hotchener was reaching for an architectural style as unique and hybridized as Theosophy itself apparently never occurred to him.