Scripps Hall - Pasadena Waldorf School, Altadena California

Historic Mansion Converted into Pasadena Waldorf School Destroyed in Los Angeles Wildfires

Date added: January 12, 2025

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Scripts Hall was built in 1904 on twenty acres (since reduced to five), and remained in the family until 1983. In 1986 it was sold to Pasadena Waldorf School who used the building for students K-8^th grades. Unfortunately, on January 7^th, 2025, it fell victim to the Los Angeles Wildfires and was burned to the ground.

Scripps Hall was completed in 1904 and designed by a well-known local architect, C. W. Buchanan (only one of two of his major works still standing in Altadena). It is the most intact example of the estates that once lined Altadena's "Millionaire's Row."

In November 1903, William Armiger Scripps, a descendant of a prominent family of publishers, commissioned renowned Pasadena architect Charles W. (C. W.) Buchanan to design a twelve-room "suburban residence" for him and his family on property in Altadena that he had owned since approximately 1898. The house was completed in late 1904 at an estimated cost of $30,000, with C.N. Stanley serving as builder.

The Scripps family married into the Kellogg family who built a now-demolished house just east of Scripps Hall in 1907, known as "Highlawn." The Scripps and Kellogg families held title to Scripps Hall until 1977 and remained as occasional residents until 1983. In 1986, the property was sold to the Pasadena Waldorf School for their new campus. Altadena Heritage, the community's historic preservation organization, was formed over the struggle to preserve Scripps Hall.

Scripps Hall was built at the height of the 1887-1910 era of Altadena's residential development, identified as the time immediately following the formation of the short-lived Pasadena Improvement Company which founded and initially laid out the community. This is the era that saw the first spurt of development when Altadena's earliest, mostly wealthy, residents constructed large, architecturally significant homes. Scripps Hall was built at the westernmost boundary of the original Altadena subdivision, anchoring that end of Mariposa Street's "Millionaire's Row." It is the largest remaining residence from that era in all of Altadena; and, although its original 20+ acres have been decreased to just over 5 acres, its grounds now form the largest intact estate on Mariposa Street. (It is, in fact, also the largest remaining estate from that era in all of Altadena.) Other still-extant mansions built along Mariposa Street during that era have had their grounds considerably reduced or are completely surrounded by newer development. Because of this, Scripps Hall can best inform the present-day community regarding the surroundings and ambience that the other early residents of Mariposa Street once enjoyed.

The architect, C. W. Buchanan, had already gained great renown as a commercial and residential architect in Pasadena by the time he designed Scripps Hall. There are only two documented Buchanan-designed houses still remaining in Altadena, and, of these, Scripps Hall is by far the largest and most detailed in its design and workmanship.

Alterations to the property have been relatively minor. In 1906, a now-vanished Japanese garden was added to the east end of the property. By 1913, the front porch of the house had been altered; an elevator and its tower were installed in 1913 or 1914; and sometime before 1923 alterations were made to the west facade and to rooms on the second floor. A caretaker's cottage was built around 1920, and a tennis court was constructed in 1930. The west half of the property was sold off and subdivided in 1945. A fire in 1950 required major repairs to the rear and interior of the building. Further alterations occurred in 1987 and 1988 after the property was converted into a private school. The building was seismically strengthened following the 1994 earthquake.

The Owners:

William Armiger Scripps was descended from an English family who very early made a name for themselves in the publishing business. He was named after William A. Scripps (1772-1851) who, for over twenty years, was the publisher of the Londen Daily News and later of the London Gazette. One of the senior Scripps' children, James Mogg Scripps (1803-1873), was ranked as one of the two best bookbinders in London and was supposedly the first to bind books in cloth. After the death of his second wife in 1844, James Mogg Scripps emigrated to America with his five surviving children, one of whom was William Armiger Scripps, the younger. This W. A. Scripps, named after his grandfather, had been born in Chelsea, England in 1838. His mother was James' second wife, Ellen Saunders Scripps. William was six years old when the family settled on a farm in Rushville, Illinois.

Two of James' children, William's brothers, distinguished themselves in the newspaper publishing world. James Edmund Scripps founded the Detroit Evening News in 1873 and later became interested in newspapers in Cleveland, Chicago, St. Louis, and Cincinnati. Edward Wyllis Scripps assisted in the founding of the Cleveland Press, Cincinnati Post, and St. Louis Chronicle. By 1903, he was part owner of fifty newspaper properties. About 1891, he founded the Scripps Ranch in Miramar, near San Diego, where he lived upon assuming the directorship of the Scripps newspaper chain, later the Scripps-McRae League, and most recently known as the Scripps-Howard chain.

Their sister, Ellen Browning Scripps, was a college graduate and engaged in journalism with her brothers in Detroit. She joined Edward at Miramar until she built a house for herself in La Jolla, where she lived until her death in 1932. Ellen was well-known throughout Southern California for her interest in welfare, education, and civic betterment. She founded the Woman's Club, the Bishop School, and perhaps most importantly, Scripps College for Women at Claremont. The Scripps Institute of Oceanography and Scripps Memorial Hospital, both in San Diego, also benefitted from funding by the Scripps family.

William A. Scripps, after being brought up on the farm in Rushville, where he attended local schools, went into partnership with another brother, George, in a printing business in Detroit, but never engaged in the newspaper trade himself. In about 1885, a fire destroyed the printing business. With the insurance money, added to his share of the family inheritance, William abandoned most of his Detroit interests. He made a trip around the world in 1888, and in 1892 visited his brother and sister in California. It is commonly assumed that he purchased his twenty-acre property in the Woodbury subdivision of Altadena about 1898. The boundaries of the property were Fair Oaks Avenue on the west, Mariposa Street on the south, Piedmont (later Foothill Blvd. and now Altadena Drive) on the north, and a right-of-way known as Scripps Place on the east.

William had married Ambrosia Clarinda Sutherland of Detroit in 1869. They had two daughters Florence May and Ellen Winifred. Mrs. Scripps died in 1894. William married for a second time, in 1895, to Mrs. Katherine Pierce of Maine.

Mr. and Mrs. Scripps commissioned Charles W. Buchanan to design a twelve-room "suburban residence" for them in November 1903. The house was completed in late 1904 at an approximate cost of $30,000, a great amount of money at a time when a typical bungalow and lot could be purchased for less than $2,000. C. N. Stanley was the builder; he used day workers as assistants. Mr. and Mrs. Scripps evidently lived in a tent cottage on the property while their house was being built. When completed, the house and its grounds, planted with orange, lemon, and olive orchards, were called among the most beautiful in Southern California.

After settling into their new home, which they called "Scripps Hall," William and Katherine Scripps involved themselves in the emerging cultural life and development of Altadena. William Scripps is perhaps best known locally for his philanthropy, most notably his co-founding with his wife in 1911 of the Home for Aged People in Altadena-an institution that is still flourishing today under the name of "Scripps Home." The Scripps contributed over $50,000 towards the maintenance of the Home and Mrs. Scripps took an active role in its governance. William Armiger Scripps lived at Scripps Hall for about ten years, busying himself with travel and looking after his investments and real estate holdings. He died in December 1914. Soon after his death, Mrs. Scripps moved to La Jolla, where she died in July 1933.

Both of William's daughters married into newspaper publishing families. Ellen Winifred married Griffith Ogden Ellis who was a Detroit publisher. In 1890, Florence May married Frederick William Kellogg, the publisher of many newspapers, including the Call of San Francisco, the Daily News of St. Paul, the Des Moines Daily News, and the Minneapolis Daily News. Mr. Kellogg later founded the Pasadena Evening Post and the Hollywood Daily News, and purchased such papers as the Glendale Press and the Santa Monica Outlook. In 1907, the Kellogg's built another Buchanan-designed residence, called "Highlawn," on Scripps Place, just east of Scripps Hall. The name of "Highlawn" was supposedly suggested by John Muir when he visited the site. It has also been said that Muir advised William Scripps on some of his landscaping plans for Scripps Hall, but this has never been substantiated. ("Highlawn" was razed and the land subdivided in 1960 after Mrs. Kellogg's death in 1958.)

The Kellogg's had three children: Elena (whose 1912 Buchanan-designed artist's studio still stands at 2764 Scripps Place), Dorothy Winifred, and William Scripps Kellogg, who was associated with his father in newspaper work. In 1929, Mr. and Mrs. Frederick Kellogg gave Scripps Hall to William and his wife Alice Crowe Kellogg as their residence. (The house had remained vacant for some time after Mrs. Scripps departed. It was advertised for sale briefly in 1920, but the family must have re-considered and were offering it as a rental in 1923. It was probably during its status as a rental that interior alterations were made to the second floor.) It was during William Scripps Kellogg's residency that the major fire occurred in 1950 which caused $12,000 in damage to the north side of the house. G. R. Pollock was the contractor in charge of repairs, but no architect was listed on the building permit.

The Kellogg's and their son William Crowe Kellogg (William Armiger Scripps' great-grandson) retained ownership of Scripps Hall until 1977 when William Scripps Kellogg gave title of the property to Scripps Home as an unrestricted gift but with the hope it could be preserved. The Scripps family reserved the right to a lifetime tenancy, which they relinquished in 1983. Thus, a 79-year family occupancy came to an end.

In 1985, Scripps Home put Scripps Hall on the market, feeling that, as a non-liquid asset, it had no worth to then, but that funds generated from its sale would help ensure financial stability for the Home. The Altadena Town Council, a quasi-official body serving as a liaison between the unincorporated community and the Los Angeles County Board of Supervisors, feared that the property might be sold to developers and the house razed. The Council created the Altadena Heritage Committee to work towards preservation of Scripps Hall. (This committee would later become Altadena Heritage, the community's historic preservation organization which eventually became independent of the Town Council, gaining non-profit corporation status in 1988.) Due in part to this demonstration of concern by the community and by William Crowe Kellogg, Scripps Home decided to sell the property in 1986 to the Pasadena Waldorf School. The School promised to do the best it could to retain the character of Scripps Hall and to build future structures that would be harmonious with the existing architecture. The School's 1987 alterations to the residence cost $10,000 and were designed by architect Tim Andersen. Griffin & Sons was the contractor.

The Architect:

Charles W. Buchanan (or "C.W. Buchanan" as he was commonly referred to) was born in Indiana on February 15^th, 1852. His father, John A. Buchanan, was one of the pioneers of that state and founded the Republican Party there. Charles attended the public schools and learned the trade of carpenter and millwright. While working in the building trades and mill supply business, Charles took up the study of architecture over a period of six years. In about 1885, seeking a more equable climate for his chronic health problems, Charles Buchanan relocated to Pasadena.

In Pasadena, Charles soon became involved in various municipal ventures and was seen as being instrumental in the growth of the city. He served as president of the Pasadena City Railway Company and was a member of the school board. He worked to provide the City's north side with a water system, helping to organize, and later working for many years as a director and the treasurer of the North Pasadena Land and Water Company. Charles' father followed his son out west in 1886, and together they formed a building company. (John Buchanan had been for many years a prominent contractor in Indiana and had served as president of the Builders' Exchange.)

By the late 1890s, his father had retired from their construction business, and C. W. Buchanan increasingly became known as an architect of great skill and popularity, who could work well with contractors, having been one himself. His first offices were in the Vandervort Building, but in 1896 he moved them to the Strong Block on East Colorado Street. Buchanan is identified with many of the young city's most prominent buildings. Although he designed several business and civic structures, such as the Union Savings Bank, La Pintoresca Hotel, the Columbia School, and the original Pasadena Public Library (all demolished), he was especially known for his large, solidly imposing residences, mostly in the Craftsman style, in the Flintridge, Oak Knoll, and central neighborhoods of town. But Buchanan didn't restrict himself to Pasadena. He also accepted commissions for buildings in Alhambra, Covina, and Pomona. Besides William Scripps, some of Buchanan's clients included George Clark, F. W. Kellogg, Mrs. George W. Childs, J. D. Giddings, and B. O. Kendall.

Unfortunately, many of his works in central Pasadena have since been demolished due to redevelopment, re-zoning, and road construction. By 1903, Buchanan was also investing in real estate, designing smaller homes on his own lots that he would then sell. All his residential designs, whether small or large, were known for incorporating the latest ideas for comfort and convenience, including first-class plumbing, electric lights, and built-in china cupboards, closets, mantels, and grates. Full front porches and large bay windows were hallmarks of his designs. Interior finishes were often in different varieties of pine. Buchanan is remembered as being particularly adept at achieving a massive, sturdy look for his residential buildings, a design feature that earned him write-ups in The Ladies' Home Journal and The Craftsman magazines.

In 1916, Buchanan formed a partnership with Leon C. Brockway. Buchanan & Brockway, with Buchanan as the senior partner, set up new offices in the Chamber of Commerce Building in Pasadena. Buchanan lived with his wife, the former Delphine Robinson of Indianapolis (whom he had married in 1873), at 67 North Hudson Avenue. They had two sons and a daughter.

C. W. Buchanan, upon his death on February 3^rd, 1921 at the age of 69, was characterized as a quiet, but friendly, man whose accomplishments belied his seemingly frail physical condition. He was a 32^nd-degree Mason and his obituary said he was "honored and respected in the city at large as a fine type of solid and substantial citizen."

Scripps Hall represents the midpoint in the prolific architectural career of C. W. Buchanan. It became one of his most well-known commissions, due to the social prominence of his client and the sheer size of the project. Other still-extant Buchanan works include the following, all in Pasadena: the Bolter house, 939 South Marengo Avenue (1910); the Bukowski house, now at 447 North El Molino Avenue (1912); the Flintoft house, 800 South Oakland Avenue (1911); the Hale house, 835 North Holliston Avenue (1910); the Kelley house, 629 South Oakland Avenue (1910); the Peterson house, 503 South Hudson Avenue (1912); Reinway Court, 380 Parke Street (1915); the Tintsman house, 544 Prescott Street (1914); and the White house, 645 South Euclid Avenue (1908). Altadena also has two documented Buchanan designs that still stand. These are: Scripps Hall (1904) and 932 New York Drive (1909).

Building Description

Located on a 5.28-acre parcel in the foothills of Altadena, Scripps Hall is a 2 1/2-story residence in the Craftsman style. Finished in wood, plaster, and brick, the building displays detailing culled from the emerging Craftsman movement and from the established Colonial Revival tradition. Highlights of the design are the brick front porch; wood-framed front door and sidelights embellished with leaded glass; extensive use of interior wood finishes; and the generous proportions of both the characteristically boxy exterior and the central hall-plan interior. Now used as a private school, the property contains the remnants of the original approximately 20-acre estate, including, besides the house itself, landscape features such as mature vegetation, stone retaining walls, paths, vestiges of an irrigation system, and outbuildings. A remarkable integrity has been retained despite the adaptive use and the introduction of school facilities such as temporary classroom buildings, play areas, and parking lots.

Detailed Description

Scripps Hall is a 2 1/2-story residence with a full basement and a partially finished attic. It is free-standing, set in the middle of a gently sloped, 5.28-acre parcel, and hidden from the street by perimeter vegetation. It is turned southeastwards on the lot at an approximately 45-degree angle to face the southerly curve of Mariposa Street, a position which also formed a symmetrical arrangement with the southwest-facing Kellogg House ("Highlawn"), now demolished, on the property that adjoined it to the east.

The house exhibits a rectangular plan and boxy massing with a pronounced horizontal emphasis. One of the hallmarks of the idiom, a hipped roof with overhanging eaves, displays the influence of the Craftsman style by exposing rafters with notched tails in the open eaves. Two hipped-roof dormers, similarly detailed, are centered over the front facade (south elevation), while a third rises above the rear (north) elevation. The top of an elevator tower, which is offset to the west, an addition sometime after 1913, echoes the dormer design. Originally, the roof was covered with galvanized iron tile; this has been replaced with composition roofing. Of wood-frame construction, the building is clad with plaster above a brick-faced basement and first floor. The brick is laid in running bond. Shingles sheathe the dormers. Windows are wood-framed, mostly double-hung sash or casements, arranged singly or in clusters. Brick chimneys are attached to the east and west elevations; two additional, interior chimneys are visible from the north.

Although the facade, the most formal of the elevations, is not strictly symmetrical in composition, an attached porch provides a central focal point. Elevated ten steps above ground level, the three-bay porch is defined by four brick piers with corbeled caps. The west two bays are covered by a flat roof while the east bay is an open pergola. Cross-beams with elaborately composed tails provide the support structure for the porch roof; some of these beams are missing from the pergola. The oak-framed entry is recessed within the central and largest bay and is set into a segmental arch. Grandly proportioned, it consists of a glazed door flanked by ornate sidelights of leaded and beveled glass placed above paneled spandrels. Above the central porch bay, a projecting balcony has been enclosed by casement windows. Two bays on each side of the central entry and balcony are defined by the fenestration: individual one-over-one double-hung sash windows on the lower story with nine-over-one sash centered above them on the second floor. An additional bay on the west accommodates a projecting secondary porch on the side elevation.

Typically, the side and rear elevations are less ambitious in their architectural design and make less of an attempt at symmetry. The most notable feature of the west elevation is the two-bay side porch, which is elevated over a lattice-screened basement and defined, like the front porch, by brick piers and vertical board balusters. A pergola caps the north bay of this porch while, above the south bay, a former sleeping porch has been enclosed by stuccoed walls pierced by banks of casement windows. To the north of the porch, a slant bay is located on the second story. Altering the appearance of both the west and rear elevations, a wood staircase was added in 1987 to the northwest corner of the house. The rear elevation features a projecting central bay incorporating a lower-story loggia with brick piers and terminating in an attic-level balcony. Extending east and west from the loggia, a wisteria-clad pergola spans most of the lower story. Beams detailed like those on the porches characterize the pergola and continue onto the east elevation between stories. Noteworthy elements of the east elevation include a two-story slant bay and a central balcony encircled by an "X"-patterned railing, similar to what still exists on the rear balcony.

A central hall plan organizes the interior of the house, with two principal rooms disposed on each side of the hall on both the first and second floors. An impressive space on its own, the lower-story hall features a boxed-beam ceiling, paneled wainscoting, pocket doors leading to the living and dining rooms, and three paneled doors opening to other rooms. Oak was specified for the extensive woodwork and flooring in this space and for flooring throughout the house. The stairway, framed by Tuscan columns at its base, is the centerpiece of the hall; it rises to a room-sized landing and then splits into two for the ascent to the second story. Elaborately turned balusters set beneath a continuous railing enclose the stairway, while engaged colonnettes embellish the paneling below the risers. The landing, which originally housed an organ loft, is illuminated by a large nine-light window that replaced an original opening of Palladian design, destroyed by a fire in the early 1950s. Behind the staircase and below the landing, a rear entrance, on axis with the front door, echoes the tripartite composition of the main entry. It consists of a paneled and glazed door flanked by double casement sidelights set over paneled spandrels.

The east side of the first floor is occupied by the living room and library/office. White cedar was chosen for the living room woodwork, including the wainscoting, boxed beams that accent the plaster ceiling, and the casing of the double-hung windows. Facing the hall doorway, a fireplace reveals its Classical Revival inspiration by incorporating a denticulated mantel, paneled frieze accented by a roundel, and pilasters with scrolled capitals. Like most other spaces in the house, the living room retains much of its historic hardware, including sconces dating from the electrification of the house in the 1920s, free-standing radiators, and window hardware. At the north end of the living room, another set of double pocket doors opens to the library. The most notable features of this space include its fireplace, set on an angle spanning the west and north walls, bay window on the east wall, and extensive redwood paneling and casework.

On the west side of the hall, the dining room mirrors the living room in its placement, fireplace position, and wall and ceiling finishes, although redwood was utilized in this space. To the north of the fireplace, a doorway leads to the side porch. North of the dining room, a butler's pantry which retains some original cabinetry forms a transition between the dining room and the kitchen in the northwest corner of the house. Most of the original finishes have been replaced in the kitchen. A service porch beyond it retains its tongue-and-groove siding. Also located on the west side of the house, a servants' staircase is sandwiched between the kitchen and the hall, and an elevator faces the west side of the staircase. (Although newspaper articles announced that an elevator was to be included in the original plans, it is commonly agreed that the elevator was actually added in 1913 or 1914 upon the declining health of William Scripps, replacing what used to be closet spaces.)

The second-floor plan has been modified over the years. Originally, the entire east side was said to have been a master suite, containing a bedroom with fireplace, sitting room, and bathroom; it was divided into two bedrooms at an unknown early date, sometime before 1923, on the west, two additional bedrooms, one with a fireplace, were separated by a bathroom (recently removed). Each bedroom and the large, upper hall opened onto its own balcony. Most of the balconies have been partially or completely enclosed; most notably, the front balcony was merged with most of the south side of the upper hall to make a fifth room. Historic features of this bedroom level include the four-bedroom plan, plaster walls with baseboards and picture rails, paneled doors, and some of the original lighting and plumbing fixtures.

Additional living spaces are located in the attic and basement. Tucked beneath the slopes of the hip roof, the attic contains a central sitting room that opens onto the north balcony, two bedrooms, a bathroom, and a finished storage area. Like the second floor, many original elements have been retained, including the floor plan, bathroom fixtures, and wall finishes and trim. A billiard room is located in the southwest corner of the basement. It retains its fireplace but has been altered by the extensive use of gunite on the walls as a seismic strengthening measure.

Enhancing the architectural quality of the house, the grounds evoke the ambiance of early twentieth-century Altadena. Sited midway between Mariposa Street on the south and Altadena Drive on the north, the house commands a view of a gracious front lawn studded with deodar trees. From the brick and iron gate at the Southeast corner of the property, a driveway curves past an arched cobblestone bulkhead and continues along the east elevation of the house to the rear of the property. A path branches off the driveway in front of the house, passing two triangular-shaped planting beds located on either side of the porch stairs. Oriental lanterns rest on each of the pedestals flanking the stairs, reminders of the Japanese garden installed on the east side of the property in 1906. On the west side of the house, a stone-lined gutter runs from the rear of the house southwards to the street--a remnant of the irrigation system that once serviced the estate. Other historic landscape features include a row of citrus trees behind the house, survivors of orange, lemon, and olive groves that once extended west to Fair Oaks Avenue, scattered oak trees, a cobblestone retaining wall next to the rear pergola, and a tennis court, built circa 1930, east of the driveway.

A few outbuildings, while not architecturally distinguished, have survived from the historic period. They include a one-story, gabled, board-and-batten storage shed with an attached lean-to at the south end of the lawn and a caretaker's house, located in the southwest corner of the property (177 East Mariposa Street). Displaying the influence of the Craftsman style, the caretaker's house is one-story, L-shaped, with a hipped and gabled roof.

This clapboard building was constructed around 1920. Characteristic features include exposed rafters in the eaves and slightly extended window headers. Nearby, a stone drain and a greenhouse now associated with an azalea nursery currently operated on this part of the property also appear to date from the historic period. A garage to the northeast of the main house was removed at an unknown date.

Although approaching its centennial, Scripps Hall is remarkably intact, presenting an appearance today that is notably similar to that documented in historic photographs. This may be due to the fact that the house remained in the possession of the Scripps and Kellogg families until 1977; in fact, the Kellogg's only relinquished the rights of residency in 1984. Some alterations were made by the family, including the previously referred to second-story plan modification, accomplished some time before 1923 when the house was offered for rent.

Historic images from 1905 and 1913 reveal alterations made to the front facade. Originally, the balcony above the central porch bay was open and surrounded by a wooden railing similar in style to that which remains on the east elevation. The entrance to this balcony was considerably recessed into the wall. The covered portion of the porch below was originally a single bay in width, with Tuscan columns supporting the balcony above it. By 1913, the porch had been extended on both ends, with the pergola and presumably the brick piers substituted for the columns. Another change to the facade, evidently occurring after 1913, was the addition of the open brick porch on the west end with what was probably a sleeping porch (now enclosed) above. An elevator, with an accompanying sympathetically designed tower, was installed in 1913 or 1914. Other changes presumably made during the family's custodianship include the replacement of the organ-loft window, the enclosure of the balconies, and the substitution of composition roofing for the original tile. In 1945, the western half of the 20-acre property, containing citrus and olive groves, was sold and subsequently subdivided. The organ was probably removed from the stair landing after the fire of 1950(it is said to have been donated to Occidental College). It is unknown when the Japanese garden was eliminated. Several additional changes have been made since the property was converted to a school in 1986. They include the construction of the exterior staircase at the northwest corner of the house in 1987, removal of a pond from beneath the north pergola, the addition of spark arresters and other changes made to the chimneys (which, according to historical photographs, were once as high as the top of the hipped roof and corbeled), and demolition of a second-floor bathroom. After the 1994 Northridge earthquake, repairs were made and seismic upgrading measures undertaken. Six temporary buildings have been moved onto the property, two parking lots have been paved, and the driveway was slightly widened.

The six temporary classroom buildings are of modular construction and measure approximately ten feet wide by twenty-five feet long. They have a veneer of wood siding. Window and door openings are also surrounded by wood. The three temporary classroom buildings in the front of the property are completely obscured by surrounding vegetation. The two at the rear of the property are visible only from the rear of the Scripps Hall house. The one on the west side of the Scripps Hall house is in shadow and partially hidden by a large tree and so is only slightly visible from the front of the property.