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El Encanto Estates Homeowners Association |
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Nomination
of
to the
listed January 1988
Nomination prepared by
Wendy Laird
Linda Laird & Associates
Located in the central portion of Tucson, Arizona, the El Encanto Estates Residential Historic District (1929-1941) is comprised of 145 exclusive single family residences displaying excellent examples of Period Revival and mid-twentieth century styles within a distinctly unique subdivision plan. The formal, geometric subdivision plat is one of the first in Arizona to incorporate a symmetrical, curvilinear layout. The subdivision plat includes a centrally located circular park with streets radiating to the well defined edges of the district.
Landscape forms are a major cohesive entity within the district, walling and edging has been used in a highly formal manner, unifying each street. The implementation of early comprehensive deed restrictions restricted construction to specific styles, creating architectural compatibility and cohesion within the district boundaries. The community plan, landscaping forms, and architecturally significant residential structures combine to create a distinct, cohesive historic district with a visible sense of time and place.
The historic subdivision plan is the major contributing, cohesive entity which provides unity to the El Encanto Estates Residential Historic District. Within the district are 145 residences, fifty-three of which are considered contributors. Twenty-one residences are recommended to be added to the nomination as they meet the age criteria. Of the buildings which meet the age criteria (fifty years or more), only eight residences have been modified so as to compromise their original integrity, and are thus considered noncontributors.
Development in the district has been generally steady since 1929, with lulls in construction during the Depression and during WWII. There are thirty-five residences which are fifty or more years old (built before 1937) and eighteen homes which were constructed from 1937 through 1941. These-homes constructed between 1937 and 1941 are considered historic due to their architectural integrity and their contribution to the neighborhood's cohesion.
The community plan, the landscape architecture, and the eligible residential properties are significantly intact and display a high degree of integrity. In addition, building condition is generally good, and careful maintenance over the years has helped maintain the appearance and unique sense of place within the district boundaries.
The subdivision plat of El Encanto Estates was approved by the City of Tucson and by Pima County in August, 1928. At that time, the planned subdivision was located in the desert east of the Tucson City limits, adjacent to the location where the El Conquistador Resort Hotel was being constructed (opened November 22, 1928). The City of Tucson has since grown around the neighborhood; arterials on three sides and a major shopping center (El Con Mall) give strong definition to the district boundaries. Despite the peripheral development, El Encanto retains a unique sense of privacy and place. This is due to the strength of the community plan, the integrity of the subdivision layout, the maintenance of original landscaping, and the retention of well defined deed restrictions for over fifty years. In addition, recent development of a comprehensive neighborhood plan will serve to help protect this unique subdivision in the future.
Access to the district is limited to four streets with six entrances; Camino Miramonte, Camino Espanol, Calle Corta, and Calle Portal. These six entries feed into major arterials to the south, west and north sides of the district. Calle Resplandor, Calle Mirasol, Calle Encanto, Calle Conquista, and Calle Primorosa end in cul-de-sacs against vegetation and a six foot stuccoed wall along the eastern border, which protects the district from foot and vehicular traffic from adjacent, El Con Mall.
The El Encanto Estates Residential Historic District is now roughly in the center of the City of Tucson (population 600,000), which lies in the Santa Cruz Valley, sixty miles north of the Mexican border. Four mountain ranges surround the City which is about 2400 feet above sea level. The historic district boundaries are formed by three major arterials; Broadway Boulevard to the south, Country Club Road to the west, Fifth Street to the north and the smaller Jones Street to the east. These boundaries are identical to the original subdivision plan of the neighborhood, platted in 1928. The district boundaries include approximately 123 acres of land, with single family residential development of low density.
There are currently eight vacant lots which are scattered throughout the district, with a slight cluster of vacant lots on Broadway Boulevard. Parcel size ranges from 1.05 acres to 0.429 of an acre. Only five built lots are less than 0.38 acres (16,000 square feet): 80 N. Camino Miramonte (0.365); 10 E. Calle Corta (0.375); 442 N. Country Club Road (0.377); 342 N. Country Club Road (0.377); and 14 N. Calle Conquista (0.366).
On the north side of Fifth Street, in the Virginia Heights subdivision, are seven homes which were once part of El Encanto Estates, Inc. The El Encanto Estates office and water well were also located here. The well and office no longer exist, though the seven historic homes do. Fifth Street is a major arterial, however, and therefore, the district boundaries do not extend beyond this street.
The district boundaries were chosen as they reflect the original unchanged -- subdivision plat filed in 1928, and because three major arterials bound the district, isolating it from nearby high density residential areas. Commercial intrusion, including El Con Mall, and businesses located on the south side of Broadway Blvd, have changed the context of the surrounding area while not intruding upon the district, which remains low density, single family, residential dwellings only. In addition, the El Encanto Estates Residential Historic District maintains a distinct visual sense of time and place as compared to neighborhoods to the south, west and the north. The planned, formal winding course of narrow streets, the harmony of landscaped lots which blend within the subdivision scheme, and the architectural compatibility within the district, similarly define the neighborhood as a distinct entity, unlike any other subdivision in the surrounding area. In addition, mature palm trees, originally planted to define the subdivision, create visual continuity as well as a significant, unique skyline effect in the mid-town section of Tucson. From the air the clearly visible vegetation looks like an oasis in the city desert.
The chosen period of significance (1929-1941) reflects the inception of the El Encanto Estates Residential Historic District as well as the major lull in construction which occurred during WWII. This era, described below, is seen as a distinct and defined entity, and is similar to development patterns throughout the United States.
In 1908, Henry Bloise homesteaded the area located at Broadway and Country Club. It was the first home constructed in the district, and later became the home of L.C. James. After the subdivision was platted and formally approved and filed in the Recorder's Office in 1929, construction began in earnest. Ten residences were built in 1929 and nine homes were built in 1930. The Depression had a negative impact on construction, and the years between 1931 and 1933 show a minor lull in construction, with a total of only eight homes constructed over that three year period. A gradual increase in development can be seen between 1934 and 1938, with four residences constructed in 1934 and eight homes constructed in 1938. Pre-WWII development is low with a total of only ten residences constructed between 1939 and 1941. In 1941, a dramatic decline in development occurred. Only one home was constructed in 1942 and no homes were constructed during 1943 and 1944. This lull in construction was long lasting and development within the district did not pick up until 1947 when six residences were constructed.
Spanish Colonial Revival was the preferential style choice upon the inception of the El Encanto Estates Residential Historic District. Six Spanish Colonial Revival style residences were constructed during 1929, and six were constructed during 1930. Pueblo Revival was the second preferential style choice with two homes constructed of this style during 1929 and two constructed in 1930. Only one Eclectic Revival home and one Sonoran style home were constructed during 1929. The Spanish Colonial Revival style continued to be the style of preference until 1941, when Ranch style residences took the lead with three residences constructed of that style and no Spanish Colonial Revival style residences constructed at all. Due to the major lull in construction during WWII, only five homes were constructed that year. After 1942, Spanish Colonial Revival homes were no longer constructed in the El Encanto Estates Residential Historic District. The movement toward Ranch style residences continued to be a factor until the 1950s, with four Ranch style homes constructed in 1947 and six constructed in 1950. The preference for Ranch style residences continued until 1962, when Ranch style residences were no longer constructed within the El Encanto Estates Residential Historic District.
The El Encanto Estates community plan is important to the history of landscape planning as one of the few early, intact subdivisions in Tucson to deviate from the traditional, rectangular gridiron layout. The design, surveyed by Paul E. Fernald, a mining and civil engineer and Tucson City engineer (1931-32), was prepared by the Engineering Service Corporation of Los Angeles, California. It is the only known historic subdivision plan in Arizona modeled after Baroque Revival land use patterns.
Baroque Revival schemes are characterized by interpenetration of oval spaces, curved surfaces and conspicuous use of decoration. The El Encanto Estates Residential Historic District is an excellent example of formal streetscape planning that incorporates the use of landscape materials to define distinct boundaries for residential subdivision use. This district differs from other residential subdivisions which were developed during the same period, by this formal, Baroque street layout which is defined by the formal use of palm trees to line each street. No other early subdivision with these characteristics remains intact in Tucson.
The original historic district plan incorporates a circular, geometric pattern with a centrally located park and six tributary streets, which radiate away from the center. The original plan clearly defined by the mature palm trees, provides a unique setting for the historic residences, and remains intact. The park, located at the center of the neighborhood, is circular, comprising 0.74 acres of land (200 foot diameter), with natural desert landscaping. Circling the park is the street Plaza del Encanto, which is cut by three streets, each at an angle; Calle Resplandor cuts northwest to southeast, Calle Primorosa cuts northeast to southwest and Calle Encanto cuts east to west.
Except for Calle Encanto, the street with east to west orientation, the streets are connected midway by two small side streets (Calle de Amistad and Calle de Felicidad). All streets then travel further to connect with a set of streets which creates an oval shaped pattern. These connecting streets consist of Camino Miramonte, Calle Belleza, Calle Claravista and Camino Espanol. Several small streets extend from these streets with Calle Mirasol, Calle Conquista, Calle Corta, and Calle Portal additional streets in the pattern. Five of these streets continue outward to the east ending as cul-de-sacs.
The original plan consisted of laying the streets and lining them with palm trees. A California firm, Engineering Service Corporation of Los Angeles, was hired to lay out the subdivision which set the initial precedent in the district for the overall approach to site development. The California influence in the landscape architecture is particularly evident in the use of Mexican fan palms (Washingtonia filifera) to line the interior streets and date palms (Phoenix dactylifera) to line the remaining streets in the district. The palms were planted in 301 intervals on each of the district's streets and visually enhance the continuity of the neighborhood, by providing a strong, defined sense of place.
One hundred and thirteen original Mexican-fan palms remain intact, lining Calle Encanto and 249 date palms continue to line the further circle in the district, These palms and the saguaros in the central circular park were recently inventoried and nominated for the Great Tree Search, which was sponsored by the University of Arizona.
The park, which is the focal point of the neighborhood, is ringed by tall, slender fan palms and contains a collection of saguaro cacti 157 in number, which range up to 25 feet in height. Other native desert vegetation included in the park are: Desert Broom, Creosote Bush, Mexican Palo Verde, Cholla and Opuntia Cactus, Acacia and Yucca varieties. It is possible that many of the -- then small -- saguaros, prickly pear, and creosote plantings were transferred to their current site during early construction of several homes within the El Encanto Estates boundaries.
These plantings now comprise a rich desert landscaped environment which is more formal than, and uncharacteristic of, natural desert areas. The circle is an "idealic" representation of native desert plantings, rather than a "natural" illustration of a desert environment. It typifies a formal approach to landscaping, a prevalent theme in the El Encanto Estates Residential Historic District.
Two general landscape design themes for individual lots are most commonly observed within the district. The most prominent design theme (about 75% of the residences) are of formal design with origins in the east, mid-west and California. Bermuda grass lawns, well-trimmed ornamental shrubs, bedding plants, and mature shade trees are the principle characteristics of these formal gardens. A second theme is evident on only a few lots, featuring preserved native plants which were retained during construction. These are not landscaped, but rather left natural.
Later practices incorporated these native plantings with imported desert vegetation, which when transplanted, create an idealistic representation of "natural" desert landscaping. These designs are more ornamental, and uncharacteristic of actual desert growth patterns. The formal theme and the natural desert theme co-existed in time, and are seen as differing from later practices, which utilize transported "natural" desert plantings in conjunction with pre-existing native desert plantings. It is the formal theme which prevails in El Encanto Estates, and which distinguishes the district from other early subdivisions in Tucson.
Walled yards and courtyards are common design elements used throughout the district; both are elements not found in surrounding neighborhoods. With few exceptions, residences include a portion, or all of the lot, in a walled enclosure. These walls consist of a variety of masonry types including exposed brick, stuccoed brick, tile, and even wrought iron. Design features inside these enclosures include brick and Spanish tile pavements, colorful tile wall features, fountains, and iron work with Mexican heritage as well as roots in the American Victorian design themes found in Tucson from about 1890 to 1920. In some cases, hedges and clipped hedges are used to define these enclosed yard areas. Fine examples of oleander, Japanese privet, and xylosma hedges are found throughout the district.
Roadside edging and curbing are also used extensively throughout the district. Almost all of the residences, particularly those with a formal design theme, have been developed with a brick or concrete curb at the property line. This design element enhances the visual continuity of the street plan as well as serving to formally define the winding streets.
The plantings in El Encanto Estates are characteristic of the 1920's era and later; and many of the plants were used in Tucson as early as 1880. The visual continuity of the district is enhanced by the repetitive use of a number of common plant themes. A survey, done by Walt Rogers, ASLA, in 1979, of the earliest thirty to forty homes built from 1929 to 1935 revealed the following commonly used plants:
Prunus armeniaca (Apricot)
Pinus halepensis (Aleppo Pine)
Citrus cvs. (Orange, grapefruit, lime)
Citrus aurantium (Sour Orange)
Ligustrum lucidum (Glossy Privet)
Phoenix dactylifera (Date Palm)
Phoenix canariensis (Canary Island Date Palm)
Rhus lancea (African sumac)
Cupressus sempervirens (Italian cypress)
Vitex agnus-castus (Chaste Tree) Eucalyptus camaldulensis (Red Gum)
Washingtonia filifera (California Fan Palm)
Ficus carica (Edible Fig)
Tamarix aphylla (Tamarisk)
Washingtonia robusta (Mexican Fan Palm)
Cupressus Arizonica (Rough Barked Arizona Cypress)
Olea europaea (Olive)
Schinus molle (California Pepper Tree)
Melia Azadarach (Chinaberry)
Parkinsonia aculeata (Mexican Palo Verde)
Prosopis glandulos (Common Arizona Mesquite)
Punica granatum (Pomegranate)
Ligustrum japonicum (Japanese Privet)
Nerium oleander (Oleander)
Xylosma. congestum (Xylosma)
Agave americana (Agave)
Buxux microphylla japonica (Japanese Boxwood)
Thuja orientalis (Arborevitae)
Gelsemium semperivirens (Carolina Jessamine)
Jasminum mesnyi (Primrose Jasmine)
Pyracantha crenulata (Pyracantha)
Pittosporum tobira (Pittosporum)
Juniperus c. pfitzeriaria (Pfitzer Juniper)
Juniperus c. horizontalis (Spreading Juniper)
Hedera canariensis (Algerian Ivy)
Yucca aloifolia (Spanish Bayonet)
Aloe vera (Aloe)
Ficus pumila (Creeping Fig)
Vinca-minor (Dwarf Periwinkle)
Nandina domestica (Heavenly Bamboo)
The El Encanto Estates deed restrictions, formally filed in the Pima County Recorder's office on January, 21, 1929, define required materials, the styles to be used for construction, the placement of homes, and construction cost requirements set per lot.
The original subdivision plan created lot sizes which were large, ranging from 0.373 of an acre to 1.056 acres. The deed restrictions allowed the purchase of several adjacent lots, that would then constitute a single residential site (a frequent practice in the district). The 123 acres of the El Encanto Estates district was originally divided into 189 lots, and is currently defined today by 154 lots. Thus, many residential sites are larger today than originally plotted.
Costs per lot were assessed, with values ranging from $1,000 to $4,500. The values reflected the location and size of the lot. The deed restrictions required that lots bought must reach specific cost improvement prices. $8,000, $10,000 and $12,000 were the set costs.
The price of the lot plus the additional cost of improvement was greater than cost requirements for other early subdivisions in Tucson, and amounted to an ample sum of money in the late 1920's. These high cost requirements served to restrict construction in the district to only the wealthiest of home owners. Residential property values have remained high throughout the century, and still control, to some degree, future development within the district.
Setbacks were to be at least thirty-five feet from "any" street line and at least twenty feet from any lot line. The deed restrictions also required that no detached garage could be erected within fifty feet of any street line, "or at any location that ha[d] not been first in writing authorized by El Encanto Estates." The building of walls was also controlled.
All plans, including those for alterations, had to be submitted to the overseeing architect, M.H. Starkweather, a prominent Southern Arizona architect during the historic period. This attempt at monitoring construction and future improvements was a new concept in the late 1920's, and was designed to enhance the exclusive, aesthetic cohesion of the neighborhood, a ramification of the "city beautiful" movement.
The deed restrictions required that any "proposed building or other structure as shown by said plans and specifications, [must be] of Moroccan, Spanish, Italian, Mexican, Indian or Early Californian Architecture." Construction was monitored by the hired, overseeing architect (M.H. Starkweather) who had "the right and privilege to disapprove any and all plans and specifications submitted to him." Lot owners were required to submit two sets of plans, which would be accepted or rejected by the hired architect. The plans were perused for conformity to the required styles, and as to whether they were deemed to be "in harmony with the general surrounding[s]." The decision of the architect was final.
This attempt at defining required architectural styles resulted in the development of architect designed residences which conformed to a narrow range of southwestern styles, and served to create an historic cohesion and distinct sense of time and place within the district, as well as providing excellent examples of these styles. The El Encanto Estates Residential Historic District is one of the early subdivisions in Tucson whose landscape planning and residential construction was controlled by stringent deed restrictions, that enforced architectural and landscape restrictions on each individual property owner.
To further restrict residential ownership the El Encanto Estates deed restrictions stated that "no lot shall be sold conveyed (sic), rented, or leased, in whole or in part, to any person not of the White or Caucasian race." This was standard practice in the late 1920's to early thirties, and would not be outlawed for over twenty years. Though the other El Encanto Estates, Inc., deed restrictions were to remain in effect until 1979, this racial provision was to be "perpetual" another standard stipulation which served to enforce exclusivity in late 1920's and early 1930's subdivisions.
Earlier homes in the district reflect the influence of local artisans who, for the most part, used local materials in constructing the homes. All homes in the district were constructed of masonry. A variety of tiled roofs are common, though some homes have asphalt shingle sheathing. A number of homes were built before air conditioning became widely available and their design emphasizes natural cooling. Fullyopening windows and picture windows are common, as are high ceilings, arcades, attics, "Arizona" rooms (a room, generally located at the rear of a home, which is screened or glassed in) and shady patios with fountains. All of the early homes have attached garages, indicating the increasing prominence of the automobile. Basements, an uncommon feature in Tucson due to a thick layer of caliche which is difficult to penetrate, are common in El Encanto, probably due to the ability of the residents to afford the additional construction costs.
Masonry walls are generally double with varying sized air gaps (1" to 3") between walls in order to insulate homes from heat conduction. A few homes have triple brick walls. These masonry walls are typically exposed, stuccoed, or painted brick. Several different types of brick can be found, including locally produced, hard fired brick, and imported brick. Standard red brick comprises the majority of masonry types; however, some blonde brick as well as flagstone is found. Only 4 homes are built of adobe. The Fainter Home, located at 3242 E. Fifth Street (#56), the most prominent of the four, was constructed in 1936, on site by William Shuster, an architect from New Mexico, and is the only adobe craftsman residence in the neighborhood. Painted brick homes are generally of buff or white colors. Stuccoed finishes are dictated by styles, with rough finishes used for Ranch styles and smoother finishes used for Pueblo Style homes.
Most of the homes in El Encanto are large one story, single family dwellings, with the exception of sixteen homes which are two story and seven which are one and a half stories. Most of the homes are large in proportion, ranging from 67 feet to 122 feet in length and 34 feet to 94 feet in width. The majority of the homes have lengths of 70 (plus) feet for length and 80 (plus) feet for width.
Porches, for the most part, are not prominent, with some exceptions (see #111, #63, #14). Sundecks, pergolas, enclosed "Arizona" rooms and rear patios are typical. Some patio areas have fountains, most are of inlaid brick, and typically are positioned at the rear of the home. Privacy is a distinct element in the neighborhood, and many of these rear patios have four to six foot walls surrounding large back yards and in some cases front yards which utilize vegetation for additional privacy. A few homes have second story balconies (see #147, #84), and some have balconets (see #160, #85, #70).
Ornamental features such as painted tiles (generally of a floral design), decorative wood shutters, and painted motifs around windows and entries can be found on many of the homes. Wrought iron, a southwest design element, is used to cover windows as well as entries and is the most extensively used ornamental feature in the neighborhood. Some homes have canvas awnings over windows, used for additional shade.
The El Encanto Estates Residential Historic District is architecturally significant as a major collection of southwestern style residences designed by prominent local architects. The deed restrictions assured that these homes would become some of the finest examples of residential Tucson architecture built during the historic period.
The California influence of the original planning of El Encanto can be seen in the architectural styles used in the neighborhood. The styles in El Encanto are generally of Period Revival types, Early and Later Ranch Styles and Modern Style homes. There are fifty Ranch Style homes (includes early and later designs), thirty -six Spanish Colonial Revival Style homes, sixteen Pueblo Revival Style homes, five Mission Revival Style, four Eclectic Revival Style homes, two early "Modern" Style homes and twenty-eight post WWII Modern Style homes, one Sonoran Style home, one Neo-Colonial Revival home, one Georgian Revival home, and one unknown style due to current construction. Revival Styles and Ranch Styles are the most widely found styles in El Encanto.
Though construction occurred from 1929 to the present, there are few homes which deviate from the specific style requirements as set forth by the deed restrictions. Contributing properties comprise 37% of the buildings in the El En canto Neighborhood. Of the contributing properties, twenty-nine are of the Spanish Colonial Revival Style, twelve are of the Pueblo Style, three are of the Eclectic Revival Style, four are of the Early Ranch Style, two are of the Mission Revival Style, one is of the Sonoran Revival Style, and two are early "Modern" Style residences.
The noncontributing structures include forty-six buildings which are defined as being of the Ranch Style, twenty-seven of the Modern Style, seven of the Spanish Colonial Revival Style, three of the Mission Revival Style, four of the Pueblo Revival Style, one is an early "Modern", one is a Georgian Revival Style, one is an Eclectic Revival Style, one is of the Neo-Colonial Style, and one is of an unknown style, due to current construction. There are a total of ninety-two noncontributing residences in the El Encanto Estates Residential Historic District.
The accompanying nomination forms describe general style terms, rather than the eclectic names for current styles. These terms, as described by Virginia & Lee McAlester in a Field Guide to American Houses, reflect a change in name, rather than a change in characteristic traits for each style, and are described below. Eclectic styles have been gathered under broader descriptive style terms. For example, Mexican Revival is a derivative of the Spanish Colonial Style, and will here be defined simply as "Spanish Colonial Revival"; the Monterey Style represents an off-shoot of the Ranch Style, and here is categorized under "Ranch Style."
Early Spanish Colonial Style homes in the United States were constructed with few decorative or stylistic details. They were built of adobe in remote outposts, where simplicity was a necessity. The opening of trade in the United States (ca. 1830), increased the popularity of the style, and along with the expanded wealth, brought a variety of elaborate decorative, and stylistic details to the Spanish Colonial design. Two story variants on the original theme became fashionable. Cantilevered second story porches were introduced.
The "Monterey" Style, was inspired by the Anglo-influenced Spanish Colonial designed homes located in northern California. The Monterey Style blends Spanish adobe construction with pitched-roof types and English massing-plan. The style is noted for its low-pitched roof, usually gabled, and by the second-story balcony, which is generally cantilevered and recessed under the main roof line. Several examples of this "Monterey" Style exist in El Encanto, with the O'Reilly Home at 25 E. Plaza del Encanto (#96) the best example of this style.
Another variant of the Spanish Colonial Revival Style, is the "Mexican Colonial" Style. These homes have flat roofs without the traditional .roof framing. The massing is horizontal. Cylindrical rainspouts of tile (canales) project through the parapet to provide drainage, or are used as ventilation for attics. This type of variant on Spanish Colonial theme was introduced into Spain from North Africa by the Moors. It was developed independently by Native Americans, and was well established in Mexico and southwestern portions of the United States when the Spaniards arrived. It is assumed that the flat earthen roofed variant on Spanish Colonial theme was suitable for very hot and dry regions (McAlester p. 129). This flat roofed version of Spanish Colonial Style increased in demand upon the opening of trade in the United States. Similar to the "Monterey" Style, the design became more elaborate. Decorative elements such as shingled shed roofs were added to the parapet, usually superimposed on the traditional adobe construction. Porches were normally recessed under the main roof line, generally facing internal patios, and thus rarely were visible at the facade.
A few homes in El Encanto share these Spanish Colonial Revival characteristic features. Porches, for the most part are not a visible element in the design of the homes. Back patios, "Arizona" rooms (a screened or glass rear porch) and enclosed back porches are found on most Spanish Colonial Revival Style homes. Many of these homes use heavy vegetation in addition to walling for additional privacy. The Smith Home at 25 E. Calle Belleza (#121) is U-shaped, with a large rear patio protected from sun and traffic noise by the house and with the use of additional walling. The first Siddal Home at 100 E. Calle Encanto (#24), and the Herndon Home at 25 N. Calle Mirasol (#23), are two excellent examples of Mexican Colonial Revival in the El Encanto Estates historic district.
In early construction of the variant Spanish Colonial themes in New Mexico, western Texas, and Arizona, an additional feature of protective brick or tile coping was added, used to crown the roof parapet. This variation was known as "Territorial" Style. Several examples of the "Territorial Revival" Style can be found in El Encanto The Robinson Home at 95 E. Calle Encanto (#31), the first Shoenhair Home at 80 N. Camino Miramonte (#27), and the Mansfield Home at 40 E. Plaza del Encanto (#103) are all fine examples of the "Territorial" Style.
Decorative design features for the Spanish Colonial Revival Style homes in El Encanto range from simplistic to elaborate. The homes at 50 N. Camino Espanol (#99), 45 Plaza del Encanto (#85), and 70 E. Calle Encanto (#111) are all excellent examples of elaborately designed Spanish Colonial Revival residences with much ornamental detailing. They are all of imposing proportions (841 length, 61' width #111, 100' length, 70' width #99, and more modest 71' length, 63' width for #85), have stuccoed exteriors of rough surface finish, and have heavy Mission tile roof sheathing, as well as prominent exposed rafters and thick masonry walls.
The home at 45 Plaza del Encanto (#85) has a balconet, an uncommon feature in El Encanto, with molded supports. There is a circular vent at the pediment above the entry and a walkway with arched cover at the northwest side. Another touch to this design is the triangularly capped chimney at the facade with tiled sheathing. The home at 70 E. Calle Encanto (#111) is another two story home with arched lintels, shed roofed porch with tiled sheathing, rough hewn posts and carved wood rail. There is a sundeck to the west of the roof, with similarly designed porch. This home is an early home in the neighborhood, constructed in 1932, and is prominent on a large corner lot.
The home at 50 N. Camino Espanol (#99) has been modified with side additions. The modifications, however, have not jeopardized its integrity. It retains the feeling and design of the original intent. The circular tower is its most prominent feature. This tower has prominent exposed rafters and molded pediment. Only one other home (#23) in El Encanto has a tower. Wrought iron work has been used extensively and adds to the design. Facade windows and entry ways have ornamental iron grills.
More simplistically designed Spanish Colonial Revival Style homes include the Solve Home at 3342 E. Fifth Street (#49), the Small Home at 95 N. Calle Miramonte (#83), and the Levy Home at 30 N. Calle Mirasol (#16). Decorative features for these homes include; canales, vents, and heavily tiled roofs, but little more.
California was the birthplace of the Mission Style. The earliest example of this style dates back to the 1890's. By the early 1900's, this style began to spread eastward, its popularity noted in "fashionable" architect and national builder magazines. California architects advocated the use of the style circa 1888. Its use was further spread when the Southern Pacific Railroad adopted the style for its stations and hotels located along the railroad tracks. The Mission Style never became popular in the East, however, remaining primarily a southwestern design.
Typical design elements such as tapered parapet, arches, tiled roof sheathing, etc. are characteristic of Hispanic elements of the design. These elements, including towers, elaborately molded arches and arcades, were adaptations taken from early Catholic missions located along the California coast and parts of Arizona and Mexico. Later Mission Revival Styles freely use these early Mission Style themes.
The Taylor Home, at 442 N. Country Club Road (#167) and the Bledsoe Home at 85 N. Camino Espanol (#160) are two examples of this style and are two of the most imposing homes in El Encanto. Both of these two story residences were designed by Tucson contractor W.B. Winchester. They have prominent red, barrel tiled roofs, Mission Style pediments, exterior chimneys with gables topped by red tiled scroll curves, belt course and arched openings at the pediment. The home at 85 N. Camino Espanol has a balconet with wrought iron rail, a bay window and a window with heavily molded sill. Other ornamental features include a large sundeck on the north side, a Greek Revival porch on the south side with vernacular doric square piers and molded open rail, large tiled fountain at central position of front walkway, four facade entries with double leaf wood panel doors with engaged columns at either side and central arched and molded entryway as well as two upper story oriels. A unique circular tower serves as a corner chimney and is the only one of its kind in the district. There are five Mission Revival Style homes in the district.
The Pueblo Revival Style receives its influence from Spanish Colonial as well as Native American pueblo designs. Early examples are found in California by the turn of the century. This style became popular in Arizona and New Mexico around 1910, and remains a prevalent style type to the present. Santa Fe and Albuquerque, New Mexico today prominently exhibit this style due to strict historic district design controls. The Santa Fe influence is found in El Encanto.
The construction of 2 homes was directly influenced by Santa Fe Pueblo design, the Muriel Thayer Painter Home at 3242 E. Fifth Street (056) and a newer home at 55 E. Calle Belleza (#124). Of the two, the Painter Home is the most outstanding example of this Pueblo Revival Style. Designed by William Shuster, an architect from New Mexico, it is of mud adobe baked on the premises. Decorative carvings are of iron forgings and adobe. The residence effectively demonstrates the beauty and effectiveness of traditional construction by local artisans, utilizing plaster work as well as wood carving to enhance the Pueblo Revival design. The construction of this home is documented in Muriel Thayer Painter's notes and photographs located in Special Collections at the University of Arizona Main Library. The front gate and interior elements were modeled after El Sanctuario de Chimayo, a church in Chimayo, New Mexico and include the large, sixteen foot high ceilinged living room supported by Douglas fir telephone pole beams with fir shakes between and two large tin candelabras, designed by Shuster, which are suspended by ropes from the ceiling and can be lowered. In addition, archways with carved studded iron bands and bolt doors were also designed by Shuster and modeled after entries in El Sanctuario. These decorative wood carvings remain intact in the home.
Another excellent example of Pueblo Revival design is the Henry Boice Home at 75 E. Calle Primorosa (#70), constructed in 1937 by Bailey & McCoy. It is of impressive height, untraditionally of two stories. The rounded parapet, large irregularly rounded exterior chimney and weathered tone stucco finish are typical characteristics of the Pueblo Revival Style. Interesting design elements include the use of a rowlock belt course of brick to accentuate the second story and a corbeled timber balconet at the facade as well as exposed wood linteled windows. These design elements add a primitive dimension to the design.
More simply designed Pueblo Revival Style homes include the Young Home at 90 E. Calle Encanto (#26), and the home at 90 E. Calle Primorosa (#41). The home at 90 Calle Primorosa is atypically two stories with Greek Revival Style recessed porch with engaged piers. The Young Home displays recessed arched entry which is more typical of the Spanish Colonial Revival Style.
The Eclectic Revival Style is characterized by features found in all Period Revival Style designs. Homes that do not easily fit into the above Revival style types are here described as Eclectic Revival. Four residences have been defined as Eclectic Revival Style. The Sundt Home at 55 E. Calle Encanto (#84), the second Shoenhair Home at 110 Calle Resplandor (#14), the home at 139 N. Camino Espanol (#181), and the home at 35 E. Calle Claravista (#65). The Shoenhair Home, designed in 1940 by G.R. Colcord, displays characteristics of the French Colonial Revival Style with hipped roof of low pitch and full width broad porch under the main roof line with slender wooden posts. Shutters accentuate multi-light double hung windows, and a double leaf entry is found at first and second stories. The formal entry has side lights and lighted transom. The home is of gray slump block, its size accented by a expansive front lawn and inlaid central walkway.
The Sundt Home, designed in 1937 by Thoralf Sundt, brother of the owner, John, and partner in the MM Sundt Corporation, has a recessed balcony of Monterey design with curved fascia and open, diamond patterned railing. There is a three sided bay and moulding at the main entry; windows have fixed lighted transoms. The cornice is prominently boxed with wide band. Awnings have been added and tastefully shade the upper story windows. According to Mrs. Sundt, the asbestos shingle siding at the upper story is original, verified by notation on the existent, original blueprints of the building, and though siding is not typical of Colonial Style homes, second-story overhang types do display different wall sheathing types for upper and lower stories, shingle or clapboard being more typically used.
Construction in the United States ceased during World War II, to resume after its conclusion. Variations of Modern Style residences were favored after the war. Four styles, according to McAlester, describe the period from 1946 up to 1970. Minimal Traditional, Ranch, Split Level, and Contemporary are all categorized under the general heading "Modern." Construction in El Encanto depicts this national trend. Only four homes were constructed between the years 1942 and 1946. After 1946, seventy-seven homes were built in the district. These Modern Style homes are currently, because of insufficient age, considered noncontributors.
There are twenty-one homes which should be considered for future addendum to the district nomination as they reach the minimum age criteria. These homes display a variety of influences. Several Early Ranch Styles constructed by 1941 are considered historic, as they contribute to the understanding of the architectural development in the district, and are perceived as transitional between Period Revival styles and later Ranch styles.
Early Ranch Style homes (built before WWII) in the El Encanto Estates historic district were controlled by the same deed restrictions which earlier homes were measured by. They represent a prevalence for Ranch Styles upon entering World War II, yet conform to the earlier set style requirements laid out in the El Encanto Estates deed restrictions in 1928. These early Ranch Styles can easily be described as "Early Californian" Styles, and therefore are not considered intrusions. In addition, most of these early Ranch Style homes were constructed by the same local architects who were responsible for the design of earlier homes, and are thus of high quality. Improvement costs were still in effect and these early Ranch Style homes followed those set improvement costs.
Early Ranch Style residences are considered contributors in the district, and have been identified on State Historic Property Long Forms, significant for individual architectural merit. Since these Ranch Style homes in the El Encanto Estates Residential Historic District have been included as contributing structures within the district a discussion of this style is appropriate.
The Ranch Style originated in the mid-1930's in California. Its popularity gained during the 1940's and become dominant in the United States in the 1950's and 1960's. This rambling form coincided with the greater use of automobiles. Homes no longer hid to be compact. As automobile travel became more widely used, larger homes on larger lots became more popular. Maximum facade width, and attached one and two bay garages were an integral part of the Ranch Style.
Early Ranch Styles were transitional, with origins traced to the Spanish Colonial theme. This stylistic continuum is important to the historic development of architecture in Tucson. The early Ranch Style residences are a cohesive element within the district and are thus considered as contributing to the understanding of the architectural-development within the El Encanto Estates Residential Historic District. In addition, later Ranch Style homes, which maintain comparable integral elements, should be considered as addenda to the nomination as they meet the age criteria.
Ranch Style homes are generally asymmetrical with low-pitched roofs of one story. Roof types vary from low hipped to side and extended gable forms (the more popular) to L-shaped gable designs. All of these roof types can be found in Ranch Style homes in El Encanto. (#138, *125, #113) are all examples of L-shaped gable roofed Ranch Style homes; (464, #161, #156) are examples of low hipped roof Ranch Style homes; (#134, #137, #119 ) are examples of extended gable forms.
Decorative detailing for Ranch Styles vary, with the most popular detail being decorative shutters. Porch types also vary, with recessed (under the main roof line) being the most common. Porches are generally supported by an even number of thin wood posts. Expansive front lawns are used to accentuate the length of the Ranch Style. These large formal lawns are popular in the El Encanto Estates district. The Oliver Drachman Home at 25 E. Calle Claravista (#63) is the best example of the use of landscaping to enhance the architectural length and design of the home. The landscaping for this home has been featured in Sunset Magazine as well as Home and Carden and is well-known for the elaborate flower beds planted each year.
Of architectural interest are two residences which do not neatly fit into any of the above categories. Two homes are defined as "Modern". One has pronounced Pueblo Revival features, and the other has Moorish details. These two homes, though of different style types than is found in the neighborhood, do not create discord in the harmony of their surroundings. Both were designed with sensitivity to the environment, and thus maintain integrity and add to the cohesion of the neighborhood. M.H. Starkweather was the designing architect for both homes, one his personal residence (#128, 30 E. Calle Belleza) and the other El Encanto Estates President, W.E. Guerin's Home (#86, 30 E. Calle de Felicidad).
It can be assumed that both homes were designed as exceptional homes. Both are featured in a promotional pamphlet for El Encanto and various "exclusive" neighborhoods.
The promotional ad describing the Guerin Home, promotes the exotic nature of the residence. It is described as Moorish, "with true Moorish arches ... [and] large masses so typical of Moorish houses in Algiers and Morocco." The Starkweather Home is described as being of the latest modern architecture. The ad claims it is an "Indian Pueblo dwelling ... modernized by eliminating vegas [sic) and all lines have been run in a vertical plan which would bring it into what is known today as modern architecture." These early homes (#86, 1929; #128, 1932) display the "latest" in architectural design and anticipated intrigue for exotic, far away places.
Of the residences that currently meet the age criteria (fifty years or more), only eight have been altered to the extent that their integrity has been compromised. Minor alterations to other homes are reversible, or do not jeopardize the original integrity of the design. Alterations, for the most part, have been done by registered architects, many of whom were the original designing architects. Thus, alterations are of high quality and uniquely sensitive to the original design of the residence. This high quality is also due in part to the required review of any alterations by the overseeing architect.
Alterations to the subdivision plan are minimal. Only two residences have been razed, one of these was constructed in 1931 and one was constructed in 1948. The residence which was constructed in 1931, was located at 100 Camino Espanol. It was originally designed for Sallie Houston Henry. The residence incorporated three lots and was an expansive mansion with elaborate formal gardens. This later became the home of author Erskine Caldwell in 1946. In 1978, William A. Small, Jr., son of William A. Small, Sr., both publishers for the Tucson Citizen Newspaper (1936 & 1966), bought the large mansion located on lots 91, 92, and 94, and razed the home. He divided the large single lot back into three lots and constructed three Modern style residences.
The home at 135 Camino Espanol (#180) was razed in 1986. The home had been constructed in 1948, and the lot is currently undergoing construction.
Though some high maintenance plantings have been replaced, a majority of the large lawns and formal gardens remain a strong feature in the neighborhood. El Encanto is unique in this regard, for large lawns, once prominent in Tucson, are slowly being replaced with desert landscaping and low water maintenance vegetation. Higher water prices and a continuing lack of water in Tucson have created a need for this change which is typical throughout Tucson. As noted by Walt Rogers in "Looking Backward to Cope with Water Shortages.. " a sudden shift in landscaping development is now being perceived. "The industry has begun an about-face to cope with water shortages...rapidly abandoning the ornamental plants used for the past century." Though residents and landscape architects throughout Arizona are reverting to "native" plant materials, El Encanto Estates residents retain many of their expansive lawns.
All of the buildings in El Encanto are in good to excellent condition. There are no exceptions. Conditions remain high due to the on-going maintenance by new owners as they buy the older buildings in the neighborhood.
Landscaped rear and front yards have had similar treatment over the years. For many years, El Encanto Estates, Inc. offered a gardening service which consisted of a corps of "experienced" gardeners who would water lawns, care for flowers, and trim hedges and trees. El Encanto Estates, Inc. was the only subdivision in Tucson to offer this service. The El Encanto Estates Improvements Association (Homeowners Association), in its 1951 brochure, even touted their own gardeners.
"Under the supervision of the Superintendent, the Association has experienced gardeners who may be hired for a minimum of four hours. These men mow grass, trim, plant and trim trees, fertilize, plant bedding plants, spray roses, shrubs, plants and trees, keep pea gravel driveways raked, do odd jobs such as sweeping porches, cleaning garages, roofs and basements.
Winter lawns are also put in by the Association.
Carden and lawn soil, tested and approved by the University of Arizona may be bought through the Association, as well as fertilizer for lawns, plants and shrubs. Other materials may also be purchased.
This service eliminates the chore of hiring and instructing gardeners by the individual residents."
This service helped achieve a continuity in garden maintenance not seen in an early subdivision in Tucson or Arizona. The fifty plus years of policing and monitoring of the area has benefited the neighborhood by maintaining its historically significant appearance as well as heightening the sense of neighborhood pride.
No archaeological survey has been conducted within the historic district. No known sites exist and no evidence is available that would indicate the presence of archaeological findings.
Linda Laird & Associates was hired by the El Encanto Estates Homeowners Association to complete a nomination to the National Register of Historic Places in 1987. Arizona State Historic Property Inventory forms for all properties in El Encanto, completed in the summer of 1985 by architecture students from the University of Arizona, in addition to forms of significant structures in El Encanto, completed by Arthur B. Darton, RA in 1980 were updated. Additional historical documentation was compiled utilizing the El Encanto Estates title records.
Research was completed in the Arizona Historical Society in Tucson, Special Collections at the University of Arizona, and University of Arizona Science, Main and Architecture libraries. Oral interviews were completed with Clare Ellinwood and Oliver Drachman. In addition, conversations with Bill Barrow aided in compiling information on early subdivision and local community planning.
The study on significant architectural structures completed by Roy Noggle, RA of Noggle & McCarthy and a study of landscape significance completed by Walter Rogers, ASIA were both used in this report. See item #9, Bibliography.
Additional photographs were taken. Several residences in the El Encanto Estates Residential Historic District have heavy vegetation and/or walling which makes photographing difficult. Attached to each form is the best possible photograph. The El Encanto Estates Homeowners Association, in conjunction with Linda Laird & Associates has tried to depict these hard to photographic residences through accurate verbal description.
Historic occupants were determined utilizing the El Encanto Estates title records. In many cases, both husband and wife were equally historically significant. Space on the Property Inventory forms does not allow for the addition of first and last names for both members of these early households. Rather than choose which member of the family was more significant, last names only have been included on the State Historic Property Inventory forms.
Visual inspection, aided by Roy Noggle's list of architecturally significant structures, in addition to historic documentation, were utilized to determine contributing and noncontributing status for each residence.
Contributing structures were defined as being 1) constructed within the period of significance (built by 1941); 2) sufficiently intact with minor alterations which do not compromise the architectural integrity of the structure; 3) of significant architectural merit, including style, displaying craftsman qualities and/or unusual or unique design; and/or 4) associated with an historically prominent resident, or a designing architect.
Alterations were considered intrusive, if they compromised the architectural integrity of the residence. Alterations were considered to have a negative impact on integrity if they included window replacement, which was not in keeping with the original feeling or intent of the design, or had large incompatible additions, which altered the original appearance of the structures. These alterations were determined as compromising the integrity of the original design of the structure, and thus these residences have been considered noncontributing structures within the El Encanto Estates Residential Historic District.
Residences which meet the age criteria, but have been altered and considered noncontributors have been documented on State Historic Inventory Property Short Forms. In addition, a compilation of minor alterations which obscured the original appearance of the building were also considered to have a negative impact on integrity, and thus were considered noncontributing structures within the district.
Noncontributing structures are thus specified as residences which were 1) altered to such an extent that the original intent of design has been compromised; 2) were built after the period of significance (constructed after 1941); 3) having no outstanding architectural merit, or are of a common design; and/or 4) having no historic association with either an historically significant resident or architect.
Noncontributing structures in El Encanto comprise the majority of the residences (approximately 63%). Twenty-one of these noncontributing residences are architecturally significant for their contribution to the understanding of the architectural development within the historic district, and when they reach the minimum age criteria, and if maintained in their present state, should be considered for future inclusion to the district nomination. These structures should be considered for future inclusion to the district nomination due to their adherence to specific style requirements as set forth in the deed restrictions, and because they are examples of architecturally significant or historically significant structures within the El Encanto Estates Historic District.
The El Encanto Estates Residential Historic District (1929-1941) is nominated to the National Register of Historic Places at the local level of significance under criteria B and C. It is nominated for its historic association with community planning, landscape planning, and the architectural significance of the residences which are associated with the lives of persons significant to Tucson's past. The district embodies distinctive characteristics that represent the period from 1929-1941; it contains excellent examples of southwestern, architect designed residences. A high degree of artistic value is seen in the district plan and the design of the El Encanto Estates-subdivision as well as in the landscape architecture. The El Encanto Estates Residential Historic District represents a significant and distinguishable entity that is important to the history of Tucson.
El Encanto Estates Residential Historic District is nominated to the National Register of Historic Places as one of the early subdivisions in Arizona, and only subdivision in Tucson, to use a formal radiating, geometric layout plan. The district is nominated for its formal landscaping of public as well as individual lots and for the cohesion and harmony in which architecture and landscaping blend. In addition, El Encanto Estates Residential Historic District is nominated to the National Register of Historic Places for the historic association of prominent occupants who contributed to the history and development of Tucson and Arizona, as well as for the association of numerous local architects who designed residences in the El Encanto Estates district.
El Encanto Estates was subdivided in a radiating scheme reminiscent of Baroque land use patterns. This departure from the usual high density gridiron land use pattern reflects the Baroque Revival trend of an era and reflects the original intent of the El Encanto Estates founder, W.E. Guerin; that of providing a private and exclusive, high quality, low density, planned community. Baroque schemes are characterized by interpenetration of oval spaces, curved surfaces and conspicuous use of decoration.
The subdivision layout plan is based upon a formal geometric pattern, representing a significant departure from the grid pattern used in Tucson's earliest subdivisions developed to the west and north of El Encanto Estates. At the time when El Encanto Estates was initially developed, it was at the outer fringes of the growing city and its circular, geometric plan represented a definitive contrast to the standard city blocks. The formal, geometric pattern of the subdivision has roots in the prevailing subdivision planning standards developed out of the "city beautiful movement" in the United States during the first quarter of the twentieth century.
Landscape architecture adds to the continuity and harmony of visual imagery realized by the repetitive use of a number of common plant themes. These plants are significant for they reflect characteristics of the pre 1920's era and later. Many of the original plantings were used in Tucson as early as 1880. These plants have matured, reflecting in their growth many years of extended care and nurturing. These mature trees create a significant skyline effect in a central portion of Tucson; a unique characteristic that defines a sense of place when compared to nearby areas.
The central city-owned park is additionally significant as a terminus of the original palm trees which line each street. The park with 157 giant Saguaro cacti, is a collection which rivals any other private collection of Saguaros in urbanized Tucson. It is speculated that many of the circle's plantings were preserved from the original environment and with additional transplantation of native desert vegetation, landscaped into a formal native desert theme. El Encanto Estates is the only known early subdivision in Arizona to have a formal, desert landscaped park.
Architecture, controlled for over fifty years to defined styles, reflects the late 1920's architectural preference of Period Revival Styles, and reflects the influence of California design themes on Southwestern architecture. A change in style preference over time is also reflected in the movement from Revival Styles to Early Ranch Styles. The southwestern architecture, superimposed on the classical subdivision layout fuses classical and contemporary design into a vision of harmony and cohesion, a characteristic unique to El Encanto.
In addition, El Encanto Estates is unique for its high maintenance and continued integrity, throughout the century, of the subdivision plan, landscape architecture, and historically significant residences. Only minor intrusions have altered the neighborhood which remains true to the original community plan developed by its founder, W.E. Guerin.
The Period of Significance (1929-1941) was chosen as it reflects the original inception of the subdivision, and the distinctly negative impact on construction within the district during WWII (1941). The major construction lull which occurred after 1941 (only four residences built between 1942 and 1946) is seen as a visible dividing point in the district's development. In addition, architectural preference took a decided turn after WWII. Ranch Style residences were chosen over earlier Revival Styles, and later, Modern Style homes took precedence over Ranch Styles. The movement from Revival Styles to Ranch styles after WWII is indicative of a national trend, and shows a development pattern apparent in subdivisions throughout Arizona and in Tucson.
The land on which El Encanto exists was initially a large portion of land which included a section on which the El Conquistador Resort Hotel was built and opened on November 22, 1928. This section of land was homesteaded by Henry Bloise in 1908. Bloise was foreclosed on and all of the SW 1/4 of Section 9, Township 14, Range 14, after passing through the sheriff's office, eventually was sold to Hugo J. Donau in March, 1913 by the Citizens Bank. Donau sold the entire portion of land to Urban Realty in June, 1913. In 1914, Urban Realty split a ten acre portion, located at the intersection of Broadway and Country Club, and sold it to P.E. Fogle. The remaining portion of the SW 1/4 of Section 9, Township 14, Range 15 which encompasses the historic district, was not sold until 1925, when Urban Realty sold it to William B. Powhatan.
A 10 acre portion at Broadway and Country Club became the property of L.C. James in 1926. At a sale price of $3,700, these 10 acres included a three-room cottage. L.C. James is listed as residing at "Country Club and Broadway" in the City Directories as early as 1921. This cottage, assumed to have been built prior to 1921, is the earliest constructed residence in the El Encanto Estates Historic District. Though the home, located at 128 N. Country Club Road (#151), is a noncontributor--due to alterations--it still stands on the corner lot at Broadway and Country Club.
In 1925, Urban Realty sold the E 1/2, of the E 1/2 of the SW 1/4 of Section 9 Township 14, Range 14 to William M. Pryce, a prominent realtor, one time partner in the firm of Mose Drachman and Frank H. Lee, and an investor in the El Conquistador Resort Hotel. This property, is now part of the El Con Mall parking lot, and was once part of several parcels assembled by Ben Mathews, on which the El Conquistador Resort Hotel was constructed.
After a series of realty maneuvers, the remaining SW 1/4, excluding the E 1/2, of the E 1/2 and the ten acres sold to L.C. James, was sold to William B. Powhatan. On May 29, 1928, Powhatan sold this land to El Encanto Estates. William B. Powhatan, Leroy Charles "Jessie" James. William E. Guerin and their wives incorporated to become El Encanto Estates, Inc., with W.E. Guerin, El Encanto Estates president and Walter E. Lovejoy, Sr., who along with Harry Talmadge, founded the Arizona Trust Company in 1933, as assistant secretary.
In June, 1928, the El Encanto Estates Company hired Paul E. Fernald, a registered local civil and mining engineer, to complete the original survey of the subdivision plan. Accepted by W.E. Guerin in July, 1928, this plan was laid out by a Los Angeles firm, Engineering Service Corporation, and filed in the recorder's office in two sheets on August 8, 1928. On January 21, 1929, the El Encanto deed restrictions were filed in the Recorder's Office. M.H. Starkweather was hired as overseeing architect and construction in El Encanto Estates began.
Street names were obtained through a contest, which paid a "cash prize" to the person furnishing the company with a Spanish name. Six hundred names were submitted, and street names were chosen. Residences were addressed, and though they no longer coincide with current city of Tucson addresses, they remain today.
The first home built was the R.M. Nail Home at 30 N. Camino Miramonte (#10). Built in 1929, this home is an excellent example of the Spanish Colonial Revival Style. It reflects the style requirements set by the 1929 deed restrictions, and displays typical Spanish Colonial Revival features such as heavy roof sheathing of barrel tile with honeycomb vents of stacked mission tile and deep front portal. Enclosed areas were used to advantage, with a large, enclosed rear patio and a walled front patio. Awnings and ornamental ironwork have been added to the facade and sides.
Construction began in earnest throughout the district with ten homes built in 1929, and nine homes built the following year. The influence of the Depression took its toll from 1931 through 1934, with only twelve homes constructed during that five year period.
Only single family dwellings were constructed, as required by the deed restrictions. Residents could maintain businesses in their homes only if the office was in one or more rooms of a "private residence building." Advertisement for the business was restricted to a one square foot sign whose placement was authorized by the El Encanto Estates, Inc. Three residents took advantage of this: Dr. Roy 0. Williams who maintained a dental office out of his first home at 3327 E. Broadway (#3) around 1950; Dr. Bledsoe who saw patients in an upper story addition of his home at 85 N. Camino Espanol (#160), which was originally built for the purpose; and Dr. Wittels who worked out of his home on Broadway.
Later commercial intrusion has not occurred in the neighborhood, due primarily to continued monitoring as well as a zoning ordinance granted by the Tucson City Council in July, 1978 from R-1 (single family residence, 7000 square foot lots) to RX-2 (single family, 16,000 square foot lot size). The southeast, southwest and northwest corners were the only areas zoned as R-3 (multi-family residential). No commercial zoning exists in the neighborhood. Swimming pools and tennis courts have been added to residential properties over the years, but the original subdivision plan has not changed.
El Encanto Estates residents have become increasingly concerned with protecting the integrity of the original plan since the deed restrictions lapsed in 1979. The El Encanto Estates Homeowners Association developed a City adopted neighborhood plan (1979). The historic properties facing Broadway and the integrity of the subdivision layout plan are currently threatened by the widening of this major arterial.
W.E. Guerin's goal when developing El Encanto Estates was to create a unique environment of privacy and peace. He intended to preserve residential property values. The design of the subdivision insured privacy, protected from traffic, and intrusion by few access routes. Styles were monitored to create orderly development, aesthetic cohesion and harmony in design. Guerin perceived the need for urban beauty and utilized the existing desert landscaping to enhance the "exotic" environment and spatial continuity. Guerin strove to create a place set apart from the surrounding Tucson community, an enchanted place, as the name implies.
The "city beautiful" movement, a movement begun in retaliation to deplorable housing conditions in New York, Boston and London, focused on the beautification of the built environment. The movement strove to unify existing landscaping, to enhance residential as well as commercial development. This movement is clearly seen in the development of El Encanto. Landscaping blends in a pleasing harmonic quality. Homes were built to take full aesthetic advantage of their surroundings. Lot size, and cul-de-sacs, combined with lush vegetation enforce a sense of privacy.
L'Enfant's design of Washington revolutionized community planning schemes in the United States. This late Renaissance tradition was based on the effective placement of public buildings on a radial design which connected focal points. El Encanto Estates reflects this theme as well. The circular park is the focal point for the district which radiates out from a central core. Each home then becomes a show piece for the eye, with vegetation and additional edging and walling acting as the cohesive connecting entity.
The El Encanto Estates plat was sketched by the Engineering Service Corporation of Los Angeles. Founded by Thomas A. Jordan in 1919, the corporation was responsible for civil, structural, mechanical, mining and subdivision engineering in southern California. The company was also noted as being responsible for aerial survey as well as hydraulic and municipal engineering, and remained in operation until the early 1930's.
El Encanto Estates, Inc. hired Paul E. Fernald to make the required calculations for the subdivision. Fernald was a mining and civil engineer, born in Waterloo, Indiana. He came to Arizona in 1908, and was Tucson city engineer from 1931 to 1936. He served several terms on the state board of technical registration, both as member and chairman before his death on January 9, 1941. Fernald was not hired to landscape or design the subdivision, rather, he was hired to make the required mathematical calculations and to determine whether the sketch submitted by the Los Angeles corporation would suffice in terms of land use and layout. This was typical practice in the late 1920's.
The layout of the subdivision is designed so that each of the main intersecting streets off the circle has a view of either the Rincon, Catalina or Tucson mountain ranges, with one street directed toward the El Conquistador Hotel water tower, located in Colonia Solana to the south, which is currently listed on the National Register. The Engineering Service Corporation and Paul Fernald utilized not only the internal environment of the subdivision, its landscaping and desert vegetation, but were sensitive to views and impressions in the surrounding area. Few intact, early subdivisions were as carefully planned as El Encanto Estates.
Comprehensive deed restrictions (covenants conditions) were used in Tucson as early as 1920, with the implementation of deed restrictions which applied to all lots in the University Manor subdivision. Deed restrictions had been used earlier, but they applied to specific lot uses, for example water rights, rather than as overall requirements for an entire subdivision. University Manor was plotted in the traditional gridiron land use pattern with north/south, east/west orientation. The subdivision was located toward the center of the city, and was in keeping with earlier subdivisions in the area, except for the addition of these comprehensive deed restrictions which monitored setback, minimum home costs, residential uses and "white" occupancy.
Zoning was not to be placed upon developed or developing areas until the 1940. The implementation of comprehensive deed restrictions was an early attempt by private sector developers to monitor construction within an entire subdivision. Deed restrictions (covenants & conditions) were established in an attempt to assure continued property values.
The Speedway - Broadway loop, an early scenic route, encouraged development east of the Tucson city limits. In addition, Harold Bell Wright's "palacial" residence located on Wilmot Road near Speedway and the homes of Charles A. Belin and a Mr. Hoyt spurred further interest in developing land to the east of the city's center. In an article which ran in the Tucson Citizen on April 28, 1929, Harold Bell Wright is given the-credit for the interest in developing east Broadway. "The movement originated with the magnificent estate of Harold Bell Wright ... a pioneer in this district ... [who) procured 20 acres on a desirable knoll and erected a palatial residence ... people would drive out to see his home and realize the beauties of the section."
Interest in high end development sparked the plotting of the Williams Addition, which was approved on August 19, 1927. No longer in existence, the Williams Addition was once located at Broadway and Kenyon (now known as Craycroft). Lots were large in size, with homes designed to be modest single family residences. The subdivision had a traditional gridiron pattern which was superimposed with four radiating streets and central circular park. The subdivision also had comprehensive deed restrictions.
A need to compete in a saturated market may be responsible for the movement toward the implementation of comprehensive deed restrictions and the use of a non-gridiron pattern in subdivision layout. Creating a unique subdivision was probably a marketing ploy utilized to tempt affluent citizens seeking privacy, individuality, and protection of property values.
This influence upon the developing market can be seen in the original design of the San Clemente subdivision. Earlier platted (1923) as Country Club Heights, located on Broadway between Maple Blvd. (now Alvernon) and Thoreau (now Columbus), it was plotted utilizing the traditional gridiron pattern. In 1930, under new ownership, portions of the subdivision were replatted as San Clemente with winding street patterns similar in design to Colonia Solana street patterns. It can be assumed that the interest and marketability apparent in the immediate sale of large expensive lots in the El Encanto Estates (1928) and Colonia Solana (1928) subdivisions influenced the developers (Tucson Realty & Trust) to try new and innovative street patterns, to test renewable deed restrictions and to create sections in the city of Tucson which would stand out, be unique and, hopefully, protect property values. Other non-gridiron plotted subdivisions include the Country Club Homesite (1928), Catalina Foothills Estates (1930), the Terra Deconcini subdivision (1937), the Catalina Vista subdivision (1940), and the Winter Haven subdivision (1948). See enclosed dated subdivision map.
Developers responding to an upper class clientele, found non-gridiron street patterns, southwestern architecture, comprehensive deed restrictions and formal or desert landscaped lots were excellent marketing commodities. These early subdivisions accommodated an upper class clientele, by creating unique alternatives to the norm. Both the El Encanto Estates and Colonia Solana subdivisions stand out as prominent examples in this movement toward implementing comprehensive community planning in the City of Tucson. Both subdivisions were developed with restrictive deed restrictions, and non-gridiron patterns. The developers for these two subdivisions responded to subdivision planning differently, however, and the planned, conspicuous formality found in El Encanto sets it apart from Colonia Solana and other early subdivisions in Tucson.
Colonia Solana, El Encanto's neighbor to the south, was subdivided a few months before El Encanto. Influenced, as El Encanto was, by market values, a competitive market and the need to create a unique sense of place, Country Club Realty (the developer for Colonia Solana) strove to create a unique desert environment east of the city limits. Plotted so that the layout, done by Stephen Child, utilized the existing contours of the land, it differed from the method used in planning El Encanto, that of molding the land to accommodate the subdivision plan. The two arroyos (washes) in Colonia Solana were enhanced and incorporated into the subdivision plan, used as a visual cohesive entity to the winding street-layout plan. Vegetation was left in its natural setting, and landscaping was used sparingly. Unlike El Encanto, where large lawns, formal landscaped lots and non-native desert plants are found, Colonia Solana preserved and enhanced the natural desert plantings, maintaining a desert vista of creosote, agave, sage, and palo verde trees.
In addition, many of the formal landscaping features seen in El Encanto, are not found in Colonia Solana. Edging, walling, and the palm trees which line each street in El Encanto, serve to create an internal continuity within the district boundaries, enhancing the formal sense of place. These internal cohesive landscaping features are not found in Colonia Solana. It is the informal use of native desert plantings found on each of the large, individual lots which serve to unify the Colonia Solana neighborhood. Formality is what separates the two subdivisions. Though Guerin and Country Club Realty were responding to similar marketing pressures, they both chose different avenues to achieve the same goal, and so while these two subdivision, are similar in their movement away from the norm, they are both two distinctly, and uniquely different subdivisions.
The significance of the landscape architecture in El Encanto Estates Residential Historic District is embodied in its unique subdivision layout plan and its mature street tree plantings which utilize desert flora in a classical, formal landscape architecture scheme., as well as the individual residential landscaping which has been maintained with a high degree of integrity since the initial development of the neighborhood.
In addition to the California influence on the subdivision layout and street tree plantings, many of the plant materials used in the individual yards and gardens typify the plants commonly used in Southern California and extensively introduced to Tucson from 1890 to 1930. These include the California pepper tree, citrus trees, sour orange, eucalyptus, glossy privet, California fan palm, Mexican fan palm, olive and Bermuda grass. The informal mixing of these plants, typical of the early "California School of Landscape Architecture," is very evident in the El Encanto Estates District and combines with the eastern and midwestern school of landscape design which used plants in a more formal and architectural way. Both California and Eastern design themes are illustrated throughout El Encanto Estates today. The roots of the more formal Eastern and Midwestern design theme in general can be traced to the so-called "country place era" of landscape architecture which dominated the profession from about 1890-1930.
Impeccable garden maintenance through the years is another prominent historical influence on the visual character of the district and should not be underestimated. The maintenance, often carried out by Mexican laborers, is referred to in local vernacular as the "Mexican gardener" approach. In addition to their intensive maintenance, these Mexican gardeners frequently added familiar design details such as fountains or masses of bedding plants which over the years has resulted in an accumulation of their influence on the gardens of El Encanto Estates.
Bermuda grass lawns overseeded with winter rye are another dominant landscape design feature of important historic significance. The Bermuda grass lawn began appearing with regularity in Tucson by 1910. Recently, there has been a trend in Tucson, mostly in older subdivisions to the west and north of El Encanto Estates, to replace the grass lawns with drought resistant plants, rocks and gravel, or to just let the lawns die for lack of water. The Bermuda grass lawn is rapidly diminishing in Arizona and nomination of the El Encanto Estates as an historic district provides the future opportunity to preserve some of the best remaining examples of this design genre in Tucson.
Walled yards and courtyards are another significant feature of historic merit in the landscape architecture of El Encanto Estates. With few exceptions, residences include a portion or all of the site in a walled enclosure -- a common design theme since the early 19th century building development in Tucson. Today, the walled gardens evoke a sense of mystery and privacy. The high incidence of these garden walls adds immeasurably to the continuity and sense of place in the district.
The most significant aspect of the landscape architecture in El Encanto Estates is the continuity and harmony of visual imagery realized by the repetitive use of a number of common plant themes. These plants are definitely characteristic of the 1920's era and later; and many of the plants were used in Tucson as early as 1880. Most of these plants have matured into fine specimens today. (see Landscape section #7 for list of common plantings)
The maturity of the trees in the El Encanto Estates Residential Historic District are also of historic merit, for they create a significant skyline effect in the midtown section of Tucson, resulting in a distinct character from other nearby areas, and concisely define the district's visual boundaries. Of particular interest to landscape architectural historians are several hedgerows of arborvitae that have matured to twenty-foot trees. Mature Italian Cypress, Eucalyptus, Mexican fan palms, and Aleppo Pines are also extremely valuable to the landscape architectural historic merit. Many of the trees and shrubs also have a scientific value because of their adaptation to the hot arid climate and their continued value as ornamental and shade plants.
The central circle is also of landscape architectural merit, because it is the terminus of the palm trees which line the streets. It represents an attempt at creating "idealic" desert landscaping with the preservation of existing vegetation and the addition of transplanted native flora. El Encanto Estates is the only subdivision or neighborhood in Arizona which utilizes a circular central park as a terminus with formal desert landscaping. In addition, there is no other private collection of Saguaros in urbanized Tucson which has a greater significance. Development has, in the past, threatened this park, which is owned by the City of Tucson.
The architecture in the El Encanto Estates Residential Historic District is significant as it reflects local interpretation of prevalent national style preferences. It is the only intact neighborhood in Tucson where the collective work of the foremost in local architectural talent can be examined and carefully scrutinized for form, detail and adherence to styles restricted by deed restrictions which were in effect for over fifty years.
Many of the early residences are significant as they reflect simplified versions of more ornate styles. This simplification is due to material constraints and the unavailability of skilled labor. The resulting simplified styles are unique to El Encanto Estates and the immediate surrounding area.
The El Encanto Estates Residential Historic District reflects an early era consisting of high quality architecture that has been well maintained over the years. The structures in the district demonstrate an important achievement in the evolution of high quality architecture from the late 1920's to early 1940's in the City of Tucson. These residences, built for prominent and affluent citizens, are excellent examples of large southwestern styled homes. This high degree of architectural compatibility found in El Encanto, is not found in other early subdivisions in midtown Tucson.
Trends from Colonial Revival Styles to Ranch Styles are found in El Encanto. These trends reflect the influence of eclectic, rather than traditional design themes. Characteristics of the Craftsman Style as well as French Colonial and Creek Revival design elements were used to add decorative detailing and enhance the general overall style of the homes. Local designing architects utilized their own techniques, while following specific deed restrictions, thus creating cohesion for the overall character of the neighborhood, while maintaining an individual and innovative mixture. The designing architects hired to construct the homes in El Encanto, thus, played a major roll in the district's creation.
Prominent designing architects in the El Encanto Estates Residential Historic District include: Josias Thomas Joesler, Henry 0. Jaastad (while in partnership with Knipe), Cecil H. Moore, William Shuster (of New Mexico), Arthur T. Brown, H.E.A. Figge, M.H. Starkweather, Burr D. DuBois and Bernard Friedman, while in partnership with Fred H. Jobusch. Bailey & McCoy was the major designing company, responsible for the design and construction of twenty residences. M.H. Starkweather, El Encanto's overseeing architect, designed sixteen homes, and Arthur T. Brown later designed five homes. one female architect is associated with the later design of eight homes in El Encanto; Anne J. Rysdale.
Due to deed restrictions which required the submission of two sets of plans per home, one to be submitted to the overseeing architect and one to be filed with the El Encanto Estates, original blueprints have been preserved. These blueprints, for the most part, indicate the designing architect, by either a company stamp or a signature. The original architectural design of the majority of the homes is historically documented and preserved.
The majority of the designing architects for the homes in El Encanto are local architects or civil engineers. The architects, with the exception of two known to be out-of-state, are from Tucson, or Phoenix and from the surrounding area. The value to architectural history of being able to compare the principal works of a majority of prominent local architects in a single neighborhood -- restricted to specific styles and forms -- is unique to the El Encanto Estates Residential Historic District.
Merritt Howard "Starky" Starkweather was hired as overseeing architect by El Encanto Estates, Inc. in the late 1920's. He was born November 10, 1891 in Chicago, grew up in Oshkosh, Wisconsin, and learned wood working from his father R.R. Starkweather. M.H. Starkweather never received formal schooling. He learned his trade by working for several engineering and construction companies in British Columbia; Spokane, Washington; Oregon and Los Angeles. Starkweather came to Tucson in 1915, and went to work for William Bray, a local pioneer architect and one of the first national AIA organizers. Starkweather eventually went into business for himself, opening the Tucson Blueprint Company (located on N. 6th Avenue) in 1917. He sold the business to enter World War 1, but returned after the war, in 1919, and bought the business back. He operated the business until 1947, when he sold the business so he could devote himself solely to architecture. In 1945, Starkweather was associated with Richard A. Morse under the firm name Starkweather & Morse.
M.H. Starkweather was one of the original founders of the Arizona chapter of the American Institute of Architects, and named a fellow in 1968 for public service. He designed the first rodeo arena in Tucson and later became Rodeo chairman. Starkweather was chairman of the City Zoning Commission for eleven years, president of the Board of Health in 1926, and was elected to the City Council in 1924. Starkweather married Lilly E. Jettinghoff.
Lilly Starkweather was a local conservationist and championed the use of desert plantings for landscaping. She was not a landscape architect, and had no formal training. She may, however, have indirectly influenced the use of desert vegetation for landscaping themes found on individual lots in El Encanto Estates.
Starkweather is responsible for designing several public schools, including Carrillo, Drachman, Bonillas, Doolen Junior High School and the Tucson High School Stadium. In addition, Starkweather designed the Arizona Inn (listed 1987), the American Legion Club, additions to St. Mary's Hospital, and several homes in Tucson including sixteen homes in the El Encanto Estates neighborhood. The Women's Club in Safford, Arizona; the Elk's Lodge in Nogales, Arizona and the Casa Grande Hospital were also designed by M.H. Starkweather.
The position as overseeing architect for El Encanto Estates came mid-way in Starkweather's career. He was well established and locally renowned by then. The creation of such a position reflects the beginnings of the trend toward community planning and the importance of architectural control over subdivision development, a level of control heretofore unknown in Tucson. Starkweather continued to approve residential plans in the subdivision until into the 1970's, thus influencing construction and design in El Encanto Estates for over fifty years. On September 16, 1972, M.H. Starkweather died.
As an architect, Starkweather is responsible for the design of several distinctive homes in the El Encanto Estates District. The most outstanding of these are the Mills Home at 50 E. Calle Claravista, 1930 (#71); the home at 50 N. Camino Espanol, 1933 (#99); and the Manley Home at 35 E. Calle Primorosa, 1929 (#102). He is also responsible for the outstanding design of his own home located at 30 E. Calle Belleza, 1932 (#128), and the home of W.E. Guerin, president of El Encanto Estates, Inc, which is located at 30 E. Calle de Felicidad, 1932 (#86), both of which were discussed above.
"Henry" 0. Jaastad was born in Ullenvang's Parish, Hardanger, Norway on July 24, 1872, one of seven children born to Mr. and Mrs. Ole Hendrikson Jaastad. The family immigrated to the United States in 1886, and settled in Marshfield, Michigan where Henry received training in cabinet making. In 1910, Henry 0. Jaastad moved to Tucson and began work as a journeyman-carpenter. By 1908, he completed a correspondence course in architecture, soon enrolled at the University of Arizona and began private practice in architecture, which consisted primarily of residential construction. By 1912, Jaastad was responsible for the construction of public (Pima County Court House), as well as commercial structures all over the Southwest.
In 1924, Jaastad was elected to the City Council. In 1933, he was elected mayor and served for fourteen years (seven consecutive terms). Tucson was expanding in leaps and bounds, and Jaastad was responsible for a large portion of its construction. Jaastad died on December 20, 1965 at the age of 93.
As well as one later constructed home, the Ivancovich Home located at 50 E. Calle Belleza, 1951 (#126) in El Encanto, Jaastad was responsible for the design of thirty-five churches and fifty schools in Arizona as well as over one hundred homes in Tucson and the surrounding areas, including; the El Conquistador Resort Hotel (razed 1967) the Methodist Episcopalian Church (razed 1987), located at Euclid and University, the Grace Lutheran Church at 830 N. First, Elizabeth Borton Elementary School, Safford High School, in Safford, Arizona, the Nogales City Hall, as well as the facade remodeling of Saint Augustine Cathedral on South Stone Avenue.
Joesler born in Zurich Switzerland, on November 3, 1895, was the son of an architect. He graduated, with honors, from the Technikum Bergdorf Center, in Bern Switzerland in 1916. After receiving his degree and working briefly for his father, Joesler went to Heidelberg to study engineering. He studied in Paris at the Sorbonne, and later traveled in Italy, France and South Africa, before arriving, and settling in Barcelona, Spain. After a few years, Joesler moved to Mexico City, where he spent two years designing buildings for the city. From Mexico, Joesler came to the United States, working first in Los Angeles, before arriving in Tucson -- on the recommendation of George Washington Smith (a prominent Los Angeles architect) -- to work for John W. and Helen Murphey on their "dream house."
Joesler helped the Murphey's complete the Old World Addition, one of Tucson's early subdivisions, built between 1925 and 1929, (razed due to University of Arizona expansion), and then in joint partnership designed more than seventy homes, many located in the Catalina foothills and Tucson Country Club Estates. In addition, the Joesler/Murphey team designed St. Phillip's in the Hills, a church; the Murphey/Keith offices; and Joesler's own office (the original Catalina Foothills Estates sales office). Joesler was also responsible for the design of such buildings as St. Michael and All Angels, the Broadway Village Shopping Center, the Broadway branch of the Valley National Bank (now razed), the El Conquistador Water Tower (currently on the National Register), and the Arizona Historical Society in Tucson.
Recent development in Tucson has threatened many Joesler homes. Six homes in the El Encanto Estates Residential Historic District were designed by Josias Thomas Joesler. These homes at 3327 E. Broadway Blvd., 1950 (#3); 10 Calle Resplandor, 1947 (#75); 35 E. Calle Belleza, 1931 (#122); 45 E. Calle Belleza, 1930 (#123); 542 N. Country Club Rd., 1937 (#186); and 25 E. Plaza del Encanto, 1939 (#96) are architecturally significant to the district and need to be protected.
Arthur Thomas Brown was born in Missouri in 1900. He was schooled at Tarkio College and received a Bachelor of Architecture as well as the AIA school medal at Ohio State in 1927. Upon graduation he received a scholarship to the Lake Forest Foundation for Architecture and Landscape Architecture. He began his career amidst the Depression, serving seven years as apprentice in five architectural offices, one of which was the architectural department of the 1933 Chicago World's Fair.
In 1935, he moved to Arizona, became president of the Arizona Chapter, AIA and served on the AIA National School Committee. In 1961, he was named fellow to the AIA from Arizona.
Inventor as well as architect Arthur Brown has several patents on various architecture-related inventions, including a prototype modular house. Arthur Brown in partnership with his son, Gordon, still lives in Tucson and was overseeing architect for Colonia Solana in the 1940's. He is responsible for the design of five homes in El Encanto: 15 N. Calle Mirasol, 1947 (#21); 130 N. Camino Miramonte, 1942 (#44); 140 N. Camino Miramonte, 1952 (#51); 75 E. Calle Claravista, 1946 (#69a); and 15 E. Calle Corta, 1941 (#179). He also supervised interior renovation for several residences, including; 95 E. Calle Encanto (#31), 95 E. Calle Primorosa (#47), and 40 E. Calle Claravista (#72).
A later architect associated with the design of eight homes, Anne J. Rysdale, is the only woman architect responsible for designing homes in El Encanto Estates. She was born in Tucson, attended Tucson High School and graduated from the University of Arizona in 1949. Her degree was in engineering and fine arts since the University did not offer an architecture degree at the time. She went to the University of Washington for further schooling, before returning to Tucson and starting a practice in architecture.
Rysdale's early work was primarily in designing residences. She designed homes in Highland Manor, Palo Alto Village, Colonia Solana, and the Country Club Estates. Later commercial structures she designed include the Rosemont and Broadway shopping center. She was responsible for the remodeling of Rhodes Jewelry Company as well. Anne J. Rysdale designed eight homes in El Encanto. The homes at 115 Calla Resplandor, 1955 (#5), 105 Calla Resplandor, 1951 (#6), 95 Calla Resplandor, 1951 (#8), 65 Calla Resplandor, 1950 (#107), 55 N. Camino Miramonte, 1951 (#113), 40 E. Calla de Amistad, 1954 (#114), 3227 E. Broadway, 1950 (#137), and the home at 109 Camino Espanol, 1961 (#162) were all designed by Anne J. Rysdale.
Frederick A. Eastman, the Tucson Mountain Park architect who designed the first structures for what is now the Arizona-Sonora Desert Museum, and the architect responsible for the design of homes in the Catalina foothills, the Blenman-Elm neighborhood (located near the Arizona Inn), as well as the Ralph Bilby Home in Colonia Solana.
Gordon Luepke, the architect responsible for the design of the Pima County Superior Courts Building in Tucson, several buildings on the University of Arizona campus, as well as Vail Junior High School, Palo Verde High School and the Casas Adobes Shopping Center, all in Tucson.
James Macmillan, the architect responsible for designing the first Tucson Newspapers Inc. building (located downtown), and the later TNI building on South Park Avenue (built 1940), as well as designing several University of Arizona buildings.
Emerson Scholar, the architect who designed St. Joseph's Hospital, the Wilmot Medical Center, Catalina High School and the Woods Memorial Branch Library in Tucson.
In addition, such architects and contractors as: Tony Blanton, Frederick P. Cole (Blanton & Cole), Morris Elsing, Frederick 0. Knipe, Sr., Russell Hastings, Andres "Ed" M. Herreras (contractor for the Santa Rita Hotel, as well as other churches in Tucson, as well as City engineer) all designed or constructed one or more homes in the El Encanto Estates.
These architects represent the more celebrated local talent. Their significance lies in their contribution to the architectural development of Tucson. They are responsible for the design of many locally noted public, residential and commercial buildings; these architects are responsible for a distinct portion of the architectural vista we call Tucson. The combined talents of these renowned architects has formed the El Encanto Estates Residential Historic District. Each has left his distinct signature on the homes in the district, yet each of these architects strove to meld the structures into a common concert of visual continuity and harmony unparalleled in Tucson.
Early residents within the El Encanto Estates Residential Historic District include persons significant to our past. Many of these early residents were instrumental in development, early settlement and commerce in Tucson and the State of Arizona. Several early residents are historically significant for their contribution to science. Listed below are some of the more outstanding early residents, their achievements and the homes they are associated with.
Henry G. Boice is responsible for early ranching development of areas in southern Arizona. He was born in 1893, in Independence, Missouri at the home of his grandfather, Henry Gudgell, one of the owners of the ranch which became known as the first home of the Hereford breed in the United States. Henry G., II was the son of Henry Stephen Boice, noted range cattleman and one of the early trail drivers to drive cattle from Texas to the Dakotas. Henry S. established the H.S. Boice Cattle Co. at the Point of Rocks ranch on the Cimarron River. This expansive ranch extended through three states: Kansas, Colorado and Oklahoma.
Henry G., II began ranching himself at the age of nine for the XIT ranch in the Texas Panhandle. He later went to Occidental College in California, and graduated in 1916. In 1917, he came to Arizona and began managing the famous Southern Arizona ranches, owned by his family and their associates, under the name of the Chiricahua Cattle Company. These ranches eventually included the Empire, Rail X, Sulphur Springs Valley and Arivaca ranches. Henry's brother, Frank, came to Arizona in 1920 to help his brother, taking over the management of the Sulphur Springs Valley ranches. The brothers bought the Arivaca ranch in 1930 and their younger brother Charles operated it. The corporation was dissolved in 1944, becoming a partnership. The ranches were divided between Henry and Frank in 1951, so their sons could participate more directly in the business. Henry took the Arivaca operation and Frank took the Empire Ranch. Frank, Jr.,(see #51), operated the Empire ranch, while Robert, Henry's son, operated the Slash S ranch, located south of Globe, Arizona.
Henry G. Boice was president of the Arizona Cattle Grower's Association (1921-1927), president of the American National Livestock Association (1930-1933) and president of the Arizona Tax Research Association (1941-1960). He lived at 75 E. Calle Primorosa (070), which was constructed in 1937, until 1957, and then moved to 75 E. Calle Claravista (#69a). Henry Gudgell Boice died May 11, 1978.
Benjamin J. McKinney is significant as a pioneer Arizona cattleman, former U.S. marshal and Pima County sheriff. As a political-delegate before statehood, McKinney took part in the selection of Arizona delegates to the Arizona Constitutional Convention. He was precinct committeeman for Willcox, and then later for Tucson just after statehood. He came to Bowie, Arizona from Texas by wagon with his family in 1892. They homesteaded and developed the LITE brand. McKinney later bought the Dimmitt Ranch twenty-five miles west of Willcox, which he operated until 1916, when he purchased the ZV Ranch on Mt. Lemmon, and consequently moved to Tucson.
McKinney was the first Arizona cattleman to import purebred Brahma bulls into Arizona and helped organize the Cochise County Cattle Growers Association. In 1924, he was chairman of the State Livestock Sanitary board. In 1932, he became delegate to the Democratic National Convention. On July 1, 1935, McKinney was appointed as United States Marshal for Arizona, the third largest court district in the country, filling the position of his successor, George Mauk. He served longer than- any marshal to date, and was honored at his retirement for eighteen and a half years of service. He was later appointed Pima County sheriff at the age of 71, when Frank Eyman resigned to become warden of the state prison. He lost his position to Republican James W. Clark in an election held in 1959.
Benjamin J. McKinney lived at the El Encanto Estates home constructed in 1932, designed and built for him by Bailey McCoy, located at 45 N. Camino Espanol (#147) until 1943.
Gerald Jones is significant as a territorial lawyer. Admitted to the Arizona Bar in 1909, he served fifteen years as Chairman of the State Board of Law Examiners, was county bar head in 1935, and was later a director of the Southern Arizona Bank and Trust Co. from 1951 until his death in 1971. In 1924, Governor W.H. Hunt appointed Jones as judge of the Superior Court. He was elected to the position in 1926, and two years later resigned, to form a partnership with Archie R. Conner. His resignation, according to newspaper accounts, occurred because he felt the judgeship did not pay enough. While Jones was Superior Court Judge, he taught constitutional law at the University of Arizona.
Gerald Jones was born in Alexandria, Virginia on December 3, 1887, and received his bachelor's degree from William and Mary College in 1907. He received his law degree from Georgetown University in Washington, D.C., and came to Tucson in 1909. Gerald Jones resided at 70 E. Calle Encanto (#111). This home, one of the early homes built in the El Encanto Estates Residential Historic District, was constructed for Jones in 1932. The home was not sold until 1971.
Claude Webster Miller is significant for his association with the early construction of road ways in Phoenix and southern Arizona. Miller came to Arizona in 1889 from Muncie, Indiana. He worked as transit and telegraph operator for the Santa Fe Railroad Company before becoming a civil engineer. As civil engineer for the railroad company, Miller worked on branch lines from Sulphur Springs, Arizona to the Mexican border. In 1920, Miller joined L.M. White to form the firm White & Miller Paving and Construction Company. This company was a major construction company in southern Arizona in the 1930's, and was responsible for laying the first asphalt streets in Phoenix, as well as for paving a ten mile stretch of experimental highway between Tombstone and Bisbee. In 1941, Miller sold his interests to White and retired. He settled in Tucson in 1928, and on May 11, 1961, Miller died.
Claude Miller lived in the home designed for him 1930 by Josias Thomas Joesler until 1935. This home, located at 45 E. Calle Belleza (#123), is one of the earliest constructed home in the El Encanto Estates Residential Historic District.
William J. Young was a leading pioneer figure in southwestern mining around the turn of the century. He held interests in the Courtland mine, located near Tombstone, which produced over $1,000,000 worth of copper ore. He was founder of the W.J. Young Company. His residence was at 90 E. Calle Encanto (#26). This home was designed and built for him by Bailey & McCoy in 1931, and remained his residence until 1944. It is another early residence constructed in the El Encanto Estates District.
Eldred D. Wilson is significant for his contribution to early mining development and geology in the state of Arizona. Born in Beatrice, Nebraska, Wilson received his bachelor degree from the Missouri School of Mines and Metallurgy. He worked briefly for Ray Consolidated Copper Company and then served in the Army before joining the Arizona Bureau of Mines at the University of Arizona in 1918. He received his master's degree from the University of Arizona and later received his doctorate from Harvard while on a fellowship in 1931. At the time of his death, Wilson was noted as the "foremost authority on Arizona geology." Early mining development was heavily dependent upon his "pioneering work." A map of Arizona counties, devised under Wilson's supervision, is currently the geological map for the state.
Dr. Wilson died on July 29, 1965. His home at 5 E. Calle Encanto (#93) was designed and constructed for him by Bailey & McCoy in 1938 and remained his home until 1946.
W.E. Guerin is significant locally for his association with early subdivision development and for furthering the progression toward comprehensive community planning. A native of Columbus, Ohio, Guerin graduated from Cornell University. He practiced law in Sandusky and served in the Ohio State Legislature. He was vice president of the Guardian Bank of Cleveland, before coming to Tucson in 1928.
It can be assumed he came to Tucson with a goodly sum of money, for the year he arrived, he bought all the land, save a ten acre portion, that now comprises the El Encanto Estates Residential District. He entered into agreements with L.C. James and William B. Powhatan. The mood in Tucson at the time was that of improving and speculating. The plot of land where El Encanto Estates was developed was ideal, for the newly built El Conquistador Resort Hotel was just about to open, and though far from Tucson's center, this hotel promised to become "the" Tucson resort hotel. The location and speculated grandeur of the hotel, directly enhanced the development of the neighborhood, whose clientele were wealthy, local and out-of-state businessmen. It was in this environment Guerin invested. His intent was to provide an exclusive neighborhood, one of privacy and prestige. He anticipated the impact of the hotel, hoping to attract winter visitors, many of whom would buy and construct homes in the neighborhood. He strove to create one of the "show places of the West."
Guerin's home, designed by overseeing architect, M.H. Starkweather, is located at 30 E. Calle de Felicidad (#86). It was constructed in June, 1929, as one of the early homes in the El Encanto Estates Residential Historic District.
Aaron Levy is significant for his association with early commerce in Tucson, and for his association with Jacob Levy, his father, a prominent businessman in Tucson and Southern Arizona. Born in Peoria, Illinois, Jacob Levy, Aaron Levy's father, opened the Red Star Store in 1903 in Douglas, Arizona. Two years later he was joined by his brother, Ben, and the two men formed Levy Brothers Dry Good Company. Aaron was born in 1904, in the back room of the tiny Red Star Store. He grew up in Douglas, later attended Montclair Academy in New Jersey, and graduated with a degree in business and public administration from the University of Arizona in 1925. In 1931, Jacob and Ben Levy purchased the Myers and Bloom Company (a men's clothing store) and founded Levy's of Tucson. By 1935, the Levy's had stores in Douglas and Warren, Arizona as well as Tucson, and the firm's name was changed to Levy's of Southern Arizona.
Aaron Levy operated the Tucson store until his father's death in 1946, when he became president. The store moved to Pennington and Scott after World War II, and then later moved to El Con Mall (adjacent to the El Encanto Historic District). Aaron Levy died of a heart attack on April 21, 1958 at the age of fifty-three. Aaron Levy lived at 30 N. Calle Mirasol (#16) from 1937 to 1958. The home, built in 1937, was designed and constructed for him by Bailey & McCoy.
George A. Stonecypher is significant for his pioneering efforts in the bakery business and as a prominent businessman in Tucson. Vicepresident and later president of Consolidated National Bank (now Valley National Bank), Stonecypher began his business endeavors as the president and founder of Stonecypher Bakery, Inc., which later sold to Rainbow Bakery (1940). Stonecypher is also significant as one of the founders, along with Hiram Corbett, of the El Rio Country Club the first Tucson grass golf course constructed in 1929. He later became president of the board of directors for the country club.
Stonecypher's Home was located at 145 N. Camino Espanol (#183). It was constructed in 1938 and designed by Bailey & McCoy, and remained his residence until 1949.
Harry Powers is significant for his local association with lumber and the construction business. Born in Urbana, Ohio on July 10, 1892, Powers graduated from Urbana University in 1911. He was assistant paymaster for the Pennsylvania Railroad Company until he arrived in Tucson in 1916. After his marriage to Hellen O'Malley, Harry Powers became director/manager for O'Malley Lumber Company, the largest early lumber distributor in Tucson. Powers later became president, a position he maintained until his retirement in 1953.
The Powers/O'Malley Home is located at 35 E. Calle Belleza (#122), and was designed for the couple by Josias Thomas Joesler in 1930. Harry Powers died on October 11, 1977.
Ralph Ellinwood is historically significant for his association with E.E. Ellinwood, a pioneer Arizonan, United States Attorney under President Cleveland and member of the State Constitutional Convention, and for his association with the Arizona Daily Star, acting as owner from 1924 until his death. Born in Flagstaff, Arizona on August 9, 1893, Ellinwood attended several private schools back east before attending Montclair Military academy. He then went on to graduate from Amherst College in 1918. He fought in World War I, was captured by Germans and held prisoner until 1919.
After the war, Ellinwood returned to Arizona and re-entered college for two years to obtain a degree in literature, which he completed at Columbia School of Journalism. Ellinwood worked as a reporter for the Arizona Daily Star, and then acted as night editor for the Sacramento Union, before returning once again to Tucson. In 1924, Ellinwood, in partnership with William R. Mathew, purchased the Arizona Daily Star. According to Mrs. Ellinwood, Mr. Ellinwood submitted an assay on the Spanish Conquistadores, which won him $50.00, and which served to name the new hotel, constructed to the east of El Encanto Estates, called the El Conquistador Resort Hotel.
Ralph Ellinwood died on August 31, 1930. His wife, Clare, continues to reside in their home, located at 40 E. Calle Claravista (#72), which she designed. The specifications and blueprints were drawn by W.B. Winchester and the home was built by Frank Putter in January, 1929. The Ellinwood home is one of the oldest homes in the El Encanto Estates Residential Historic District. Clare Ellinwood served for one year in France during WWI as secretary for the University of Pennsylvania Hospital #20, and is noted as being one of three woman elected to membership in the Rocky Mountain Oyster Club, a prestigious businessmen's club.
John S. Sundt is historically significant for the construction of many commercial, public and residential structures in Arizona, New Mexico and Nevada. The son of Mauritz Martins Sundt, a Norwegian born immigrant who came to the United States in 1886, John Sundt learned the carpentry trade from his father before moving to Tucson and opening his own company. He and his brother, Thoralf M., organized a company named the M.M. Sundt Construction Company, in 1930, in honor of their father.
During WWII, John and his brother, Thoralf, directed the building of approximately $40 million worth of military installations in California, Arizona and New Mexico. They received an award for their atomic bomb facilities at Los Alamos, at that time. Much of the work done during the war included work at Davis-Monthan Airbase, the Consolidated Vultee Aircraft Plant (now the Tucson International Airport), the Marana Airbase, the Japanese prisoner of war and relocation camps at Lordsburg and Sacaton and the reconstruction of the United States Navy training school at the University of Arizona. The M.M Sundt Construction Company also oversaw construction in Alamogordo, Clovis and Fort Summner, New Mexico.
After the war the M.M. Sundt Co. worked on such projects as; Tucson Medical Center, St. Mary's and St. Joseph's hospitals; a number of Tucson schools, including; Blenman, Rose, Rincon and the remodeling of Drachman school. The M.M. Sundt Construction Co. was also responsible for extensive construction at the University of Arizona, as well as the Tucson Federal Savings Building. The M.M. Sundt Construction Company still exists as an internationally important construction firm, though both John and Thoralf have died.
John Sundt was a director of the Tucson Electric Power Co., of Pima Savings & Loans, the YMCA and the Tucson Medical Center. He died on March 18, 1965. His wife, Marion, remains in the home at 55 E. Calle Encanto (#84), which was designed by Thoralf, constructed in 1937. Marion was actively involved in the El Encanto Improvement Association, when it formed in the early 1950's.
Bert E. Underwood is significant as the inventor of the half-tone photograph, and founder of the international photographic firm of Underwood & Underwood. He sold his first stereoscopic photographs in Kansas in 1882, and formed a partnership with his brother, which later was incorporated. The business prospered, expanding from coast to coast, into Canada and then with branches throughout Europe and Asia. In 1902, Underwood secured the only picture of King Edward VII and Queen Alexandria wearing coronation crowns and robes. Twice, Underwood traveled around the world, photographing presidents, kings, and emperors. He is noted for his photographs of Mark Twain, President Theodore Roosevelt, President Wilson, President McKinley, and numerous celebrities. During World War I, Underwood was commissioned to serve as commanding officer of the U.S. Photographic Division.
It Was during the Greco-Turkish War that Underwood marketed his first news picture and became the first photographer to have a news photograph in a paper. The photographs, of Greek troops in camp and in training, appeared as half-tone zinc etchings in the London Illustrated News in 1896.
Bert Elias Underwood was born on April 29, 1862, in Oxford, Illinois. He received his degree at Ottawa, Kansas University. He came to Tucson in 1926, and later bought a lot of land in El Encanto (1931), where he eventually constructed a home (140 N. Camino Espanol (#60), a home designed and constructed for him by Bailey & McCoy in 1935. Underwood resided here until his death on December 19, 1943. The home remained in the family until 1946.
Muriel Thayer Painter is historically significant for her contribution to the understanding of Yaqui tribal ceremonies. As an author and authority on Yaqui Indian tribal ceremonies, Thayer is internationally renowned for her research and writings on Yaqui Easter ceremonies. She devoted her time to the Pascua Village Yaqui settlement in Tucson where she discovered a mix of 17th century Spanish Catholicism and the ancient Yaqui tradition which the refugee Mexican-Indian families brought with them to Tucson. She was the author of two major definitive studies on Yaqui ceremonial life, a ceremonial life which up to that point had been seen as wild and half-pagan. She was research associate for the Arizona State Museum until her death on March 19, 1975. Thayer Painter was a founder of the San Xavier Easter Pageant, appointed member of the Chamber of Commerce Yaqui Committee, as well as member of a variety of social service organizations. It is said that whatever understanding we have today of the Yaqui Indian population is owed "in no small measure" to the research and social service efforts of Muriel Thayer Painter.
Muriel "Budge" Thayer was born in 1892, in Minnesota. She graduated from Wellesley College in 1916. She lived in the home designed for her by William Shuster, a New Mexico architect. Constructed in 1936, of adobe dried on site, the home is located at 3242 E. Fifth Street (056). Its construction attests to Muriel Thayer's love for Indian culture. Painter died on March 19, 1975.
Dr. Charles Mills is significant for his contribution to our understanding of tuberculosis, and as a founder of the Desert Sanitorium (known today as Tucson Medical Center). Nationally renowned for his efforts in tuberculosis, Mills was a fellow of the American College of Physicians and director of the National Tuberculosis Association. The son of Charles A. and Clara Mills, Mills was born in South Williamstown, Massachusetts, where he attended school. He received a Bachelor of Arts degree from Williams College and later matriculated in the medical school of Johns Hopkins University, from which he received the degree of Doctor of Medicine in 1908. He entered into practice in New York remaining there until 1917, when he moved to Colorado to hold a position as acting medical director of the Cragmor Sanatorium. Mills came to Tucson after World War I, and was a member of the advisory board of the Desert Sanitorium, which changed names in the 1940's to the Tucson Medical Center. He later became director of the Tuberculosis Sanitorium Committee. His studies on tuberculosis have been published in many national journals.
Charles W. Mills resided in the home designed for him by M.H. Starkweather in 1930, located at 50 E. Calle Claravista (#71) until his death in 1945. The home remained in the Mills family until 1958.
Margaret Cammack Smith and her husband Howard are significant for their contribution to the scientific community, receiving international recognition in 1930, when she and her husband, Howard V., an associate professor of agriculture chemistry at the University of Arizona, discovered that mottled human tooth enamel was caused by the presence of fluorine in drinking water. Smith discovered that baby teeth, thought to never be affected by fluorine in water, actually were affected either prior to their birth or afterwards. Smith discovered that the presence of fluoride in the mother's system affected prenatally formed temporary teeth of the child.
Smith's research, done primarily in St. David, Arizona, where numbers of children were effected by mottled teeth, served to show the impact of insecticides, which had high fluorine counts. These insecticides, when used on vegetables and fruits, caused mottled teeth.
When the vegetables were shipped, the effect spread and had the potential of creating a national threat. Smith's discovery served to help create legislation and protection against fluorine. The Smith's devised a method which removed fluorine from drinking water by use of a bone filter.
In 1933, Margaret C. Smith was elected to membership in the American Institute of Nutrition, a national society for advancing scientific knowledge in nutrition. Smith was a research chemist at the University of Arizona for twenty years. She began her work for the-University as an associate professor in nutrition in 1925. That same year she became a research chemist. She was responsible for various studies in sorghum and Arizona-grown wheat and dates as well as the loss of vitamin content in hays stored for long periods of time, and properties of vitamin D obtained by exposure to the sun.
She was born in St. Paul, Minn., graduated from the University of Minnesota in 1917, and received her master's degree and doctorate in nutrition from Columbia University. She came to Arizona in 1925. Her husband, Howard V. Smith, was an associate professor in agricultural chemistry. He died in 1973. Margaret Smith died on September 2, 1978. The couple resided in the home built for them in 1930, by Joe Carlucci, located at 25 E. Calle Belleza (#121).
Nelson C. Bledsoe is historically significant for his pioneering efforts in medicine. As a physician, Bledsoe began his medical practice in Bisbee in 1904. He worked for thirty years as chief surgeon for the Calumet and Arizona Mining Company (now known as the Phelps Dodge Corporation), after receiving his degree from the University of Southern California in 1903. The Bledsoe's owned a summer home in Ramsey Canyon for many years before they moved to Tucson in 1930. Bledsoe began a lucrative medical practice while in Tucson, working out of his home, in an addition designed for the purpose. His home, located at 85 N. Camino Espanol (#160) was designed for him by W.B. Winchester and built in 1931. He resided at this home until his death on February 23, 1974.
Monte Mansfield is said to have been the man who played the "greatest single role in Tucson's growth." He is credited for the establishment of Davis-Monthan Air Force Base and Hughes Aircraft Corporation in Tucson. He was president of the Tucson Airport Authority, at the time.
Monte Mansfield's business ventures began in 1904, when he was the director for Arizona's horticultural exhibit at the St. Louis World's Fair. From 1905-1908 he worked for the Consolidated National Bank (now Valley National Bank), after which he spent four years in the hotel business in the East. After various other positions held in Arkansas, Chicago, and Los Angeles (where he attended Brownsberger Business College), he returned to Tucson. In 1914, Mansfield opened his own Ford dealership. He remained as the firm's head for forty years, retiring when the dealership was sold to the Holmes Tuttle Company (still in operation).
During his active business career, Mansfield formed the Broadway Improvement Association (dedicated to developing the thoroughfare into a cosmopolitan boulevard), and was instrumental in the construction of the Stone Avenue underpass as well as president of the Southwest Improvement Company (1922) which helped promote its University Manor subdivision in the Sam Hughes neighborhood. Mansfield held numerous political offices including offices in the Tucson Chamber of Commerce, on the Arizona Aviation Committee as well as serving on the Tucson City Council from 1917 until 1918.
Mansfield's Home, at 40 E. Plaza del Encanto (#103), was constructed in 1934. He and his wife, Eleanor, lived in the home from 1946 until 1961. Monte Mansfield died on December 19, 1959. Eleanor remained in the home until 1961.(1946-61)
James Byron McCormack is significant as the thirteenth president of the University of Arizona. Born in Emden, Illinois on February, 28, 1895, McCormack graduated from Western Military Academy in Alton, Ohio and obtained a law degree at Illinois, Wesleyan in 1915. He received his master's degree in law from the University of Southern California in 1930, and his doctorate from Duke University in 1933.
In 1930, McCormick was appointed as assistant professor of law at the University of Arizona. He became full professor in 1933 and dean of the law school in 1938. In 1948, McCormick became thirteenth president of the University of Arizona.
James Byron McCormick remained University president until November 11, 1950, when he resigned and Richard A. Harvill became the University's fourteenth president (see #28). The McCormick's lived at 10 E. Calle Portal (#148) from 1946 to 1976. James Byron McCormick died on August 18, 1970.
Albert R. Buehman is significant for his contribution to the photographic history of early Tucson and the surrounding area. Buehman was the son of Henry H. Buehman, a German immigrant born in 1851, who at the age of twenty, came to the United States and six years later arrived in Tucson (1874). In Tucson, Henry pursued a career in photography, a career his son, Albert, continued after Henry's death in 1912. In 1926, Albert Buehman received the highest salon honors for five of his pictures entered in the Photographic Association of America's exhibit. In 1932, he was awarded the second-place medal and became president of the association in 1939. Albert was also president of the Arizona Association of Photographers and an organizer of the American Society of Photographers. His son, Remick, took over the prospering Buehman Studios photography business in 1949, a business which soon sold (1953).
Albert Buehman's extensive photographic collection of early prominent Tucson residents and businessmen, as well as various photographs of homes and schools are now housed at the Arizona Historical Society in Tucson. Albert lived in the home designed for him by M.H. Starkweather in 1948 until 1968. The home was located at 50 E. Calle Encanto (#109),
In addition to these early and later residents listed above, other prominent occupants include: Alexander G. Jacome (#81), son of Carlos, president (1931) of the family's Jacome Department Store located on Congress Street, and diplomat to Mexico for the State of Arizona; William D. Breck (#113), president and founder (1959) of Bill Breck Dodge, operated today by his son, Dan Breck; Benjamin H. Solot (#98), a Tucson real estate broker and civic leader, founder of Solot Realty Company; Frank O'Reilly (#96), founder and president of O'Reilly Motor Company, once noted as the "second largest" auto dealership in Tucson; Terrance C. Atkinson (#68), an architect who designed his own home as well as various commercial, religious and public buildings; Arthur Darton (#100:), an architect who designed his own home as well as other homes in El Encanto, Harry A. Rollings (#53), founder and president of Rollings Chrysler-Plymouth dealership (1944). a business that still thrives on E. Broadway; Fletcher 0. Haskell (#37), founder of Haskell Linen & Supply, one of the largest linen services in the Southwest, with offices in New Mexico and southern Arizona; Dr. Charles H. Tweed (#4), a renowned orthodontist, recipient of fourteen awards, founder of the Charles H. Tweed Foundation, and inventor of the "Tweed Method," a technique used for rearranging teeth using wire traction (ie. braces); Dr. Richard A. Harvill (#28), fourteenth president of the University of Arizona; and Oliver Drachman (#63), son of Mose Drachman, member of the pioneer Drachman family, school board member of eight years, city councilman in 1928, and owner of Tucson Steam & Laundry, later known as Oliver's Cleaners.
For more information about El Encanto this bibliography should help you find anything you'd like to know and more. Happy researching.
Adams, Thomas. The Design of Residential Areas: Basic Considerations, Principles, and Methods. Harvard City Planning Studies VI. Harvard University Press: Cambridge, 1934.
Argan, Giulio C. Translated by Susan Edna Bassnett. The Renaissance City. George Braziller, Inc: New York, NY, 1969.
Child, Stephen. Landscape Architecture. Unknown printer: unknown place, 1928.
Hugo-Brunt, Michael. The History of City Planning: A Survey. Harvest House: Montreal, 1972.
Kirker, Harold. California's Architectural Frontier: Style and Tradition in the Nineteenth Century. Gibbs M. Smith, Inc, Peregrine Smith Books: Salt Lake City, UT., 1986.
McAlester, Virginia and Lee. A Field Guide to American Houses. Alfred A. Knopf, Inc: New York, 1984.
Sitte, Camillo. City Planning According to Artistic Principles. Translated from German by George R. Collins and Christiane Crasemann Collins. Columbia University Studies in Art History and Archaeology, #2. Phaidon Press: London, 1965.
The Committee of the City Planning Division on Land Subdivision Manual. Land Subdivision. American Society of Civil Engineers, Headquarters: New York, NY, 1939, revised 1959.
Obituaries were used from the:
Pertinent newspaper articles found in the clippings file at the State Historical Society in Tucson were also utilized.
Articles of Incorporation of El Encanto Estates Improvement Company. January 13, 1947.
Declaration of Establishment of Conditions and Restrictions of El Encanto Estates, Inc., et al. Filed January 21, 1928, and compiled by the El Encanto Estates, Inc., to be given to new owners.
El Encanto Estates Subdivision Plan. Filed in the Pima County Recorder's Office on August 7, 1928, in two sheets (5/35, 1 and 2).
El Encanto Estates Deed Restrictions. Filed in the Pima County Recorder's Office on January 21, 1929.
"Quick Reference." El Encanto Estates Deed Restrictions given to new owners. Compiled by the El Encanto Estates, Inc. 1951.
Barrow, William C. "El Encanto: An Enchanting Place to Get Lost." The Saguaro. August, 1986, p.6.
Barrow, William C. "Historical Tucson." The Saguaro. June, 1986, p.12.
Child, Stephen "Colonia Solona: A Subdivision on the Arizona Desert." Landscape Architecture. Unknown publisher. Unknown date. p.1-8.
Child, Stephen "Somewhere: How it Became More Beautiful and Livable - A City Planning Story." The American City. December, 1928.
Duell, Prentice "A Review of the Modern Architecture in Arizona." The Western Architect. June. 1922. p.71-77.
Rogers, Walter "Looking Backward to Cope with Water Shortages ... A History of Native Plants in Southern Arizona." Landscape Architecture. May, 1979. p.304-314.
A Neighborhood Plan for Colonia Solana - El Encanto, Tucson, Arizona. February 12, 1979.
"El Encanto: 'The Enchanted Place.'" Paper by Lloyd W. Gay. February 21, 1979.
Landscape Architectural Historical Merit Study. Walter Rogers, ASLA. July 26, 1979.
1980 Survey of several residences in the El Encanto Estates Neighborhood. Completed by Arthur B. Darton, RA. February. 1980.
1983 Nomination to the National Register of Historic Places for the Encanto-Palmcroft Historic District. Survey and nomination completed by Woodruff Minor (Architectural Historian). Page, Anderson & Turnbull, Inc.
1986 Survey of all structures in the El Encanto Estates Neighborhood. Completed by John Everin, Karen Halle, C. Anderson, Peter Dube, and Colin Baden. December, 1985 - April, 1986.
"Report on the Architectural Significance of El Encanto Neighborhood, Tucson, Arizona." Noggle McCarthy Architects, AIA. April 10, 1980.
Arizona State Board of Technical Registration; 1923 - 1933.
Tucson City Directories: 1921-1928.
Clippings from the Arizona Historical Society in Tucson, Arizona. Clippings of Arizona residents. Various dates and newspapers.
Promotional Pamphlet for the El Encanto Estates. Publ. by El Encanto Improvement Co., 1951.
Promotional Pamphlet for El Encanto Estates, El Nontevideo Estates, Colonia Solana, Catalina Foothills Estate, San Clemente, and Village of Palomar.
Birdseye View of Tucson, Arizona Historical Society. Tucson, Arizona. Photo Collection.
Buehman Photograph Collection, Arizona Historical Society. Tucson, Arizona. Photo Collection.
| No. | Address | Historic Name | Date |
| ----- | ------------------- | ----------------- | ---- |
| #3 | 3327 E. Broadway | Williams Home #2 | 1950 |
| #12 | 50 Camino Miramonte | none | 1955 |
| #20 | 70 Camino Miramonte | none | 1958 |
| #28 | 85 Calle Encanto | UofA Pres. Home | 1953 |
| #35 | 100 Camino Miramonte | none | 1950 |
| #44 | 130 Camino Miramonte | Bellinger Home | 1942 |
| #51 | 140 Camino Miramonte | Boice (Frank) Home | 1952 |
| #54 | 3270 E. Fifth St. | none | 1950 |
| #68 | 65 Calle Claravista | Atkinson | 1958 |
| #69a | 75 Calle Claravista | Bredin Home | 1946 |
| #75 | 10 Calle Resplandor | Williams Home #1 | 1947 |
| #81 | 60 Calle Primorosa | Jacome | 1947 |
| #87 | 20 Calle de Felicidad | none | 1966 |
| #98 | 60 Calle Espanol | Solot Home | 1955 |
| #100 | 25 Calle Primorosa | Darton | 1970 |
| #106 | 25 Calle de Amistad | Glennie | 1955 |
| #109 | 50 Calle Encanto | Buehman | 1948 |
| #113 | 55 Camino Miramonte | Breck | 1951 |
| #126 | 50 Calle Belleza | Ivancovich | 1951 |
| #175 | 228 N. Country Club | none | 1946 |
| #181 | 139 Camino Espanol | none | 1963 |
| No. | Address | Historic Name |
| ----- | ---------------------- | ----------------- |
| C-1 | Centrally located | El Encanto Circle |
| 10 | 30 N. Camino Miramonte | Nail Home |
| 13 | 90 Calle Resplandor | None |
| 14 | 110 Calle Resplandor | Shoenhair Home #2 |
| 16 | 30 N. Calle Mirasol | Levy Home |
| 23 | 25 N. Calle Mirasol | Herndon Home |
| 24 | 100 E. Calle Encanto | Siddal Home #1 |
| 26 | 90 E. Calle Encanto | Young Home |
| 27 | 80 N. Camino Miramonte | Shoenhair Home #1 |
| 31 | 95 E. Calle Encanto | Robinson Home |
| 33 | 20 N. Calle Conquista | Heineman Home |
| 39 | 15 N. Calle Conquista | None |
| 41 | 90 E. Calle Primorosa | None |
| 48 | 3356 E. Fifth Street | Starns Home |
| 49 | 3342 E. Fifth Street | Solve Home |
| 55 | 3256 E. Fifth Street | None |
| 56 | 3242 E. Fifth Street | Painter Home |
| 58 | 3228 E. Fifth Street | Storts Home |
| 60 | 140 N. Camino Espanol | Underwood Home |
| 63 | 25 E. Calle Claravista | Drachman Home |
| 65 | 35 E. Calle Claravista | None |
| 67 | 55 E. Calle Claravista | None |
| 70 | 75 E. Calle Primorosa | Boice Home |
| 71 | 50 E. Calle Claravista | Mills Home |
| 72 | 40 E. Calle Claravista | Ellinwood Home |
| 74 | 20 E. Calle Claravista | Bale Home |
| 83 | 95 N. Camino Miramonte | Small Home |
| 84 | 55 E. Calle Encanto | Sundt Home |
| 85 | 45 E. Plaza del Encanto | None |
| 88 | 10 E. Calle de Felicidad | None |
| 97 | 10 E. Calle Encanto | None |
| 102 | 35 E. Calle Primorosa | Manley Home |
| 103 | 40 E. Plaza del Encanto | Mansfield (Mansfeld) Home |
| ill | 70 E. Calle Encanto | Jones Home |
| 121 | 25 E. Calle Belleza | Smith Home |
| 122 | 35 E. Calle Belleza | Powers / O'Malley Home |
| 123 | 45 E. Calle Belleza | Miller Home |
| 128 | 30 E. Calle Belleza | Starkweather Home |
| 130 | 20 E. Calle Belleza | None |
| 138 | 3251 E. Broadway Blvd. | None |
| 140 | 3263 E. Broadway Blvd. | None |
| 141 | 15 N. Camino Miramonte | Baker Home |
| 145 | 35 N. Camino Espanol | None |
| 148 | 10 E. Calle Portal | None |
| 149 | 142 N. Country Club Road | None |
| 160 | 85 N. Camino Espanol | Bledsoe Home |
| 166 | 10 E. Calle Corta | Littlefield Home |
| 167 | 442 N. Country Club Road | Taylor Home |
| 169 | 414 N. Country Club Road | Siddall Home #2 |
| 171 | 342 N. Country Club Road | Spaid Home, |
| 173 | 314 N. Country Club Road | Cox Home |
| 183 | 145 N. Camino Espanol | Stonecypher Home |
| 186 | 542 N. Country Club Road | Rudolph Home |
| 188 | 528 N. Country Club Road | None |
| No. | Address | Date |
| ----- | ------------------------ | ---- |
| 97 | 10 E. Calle Encanto | 1929 |
| 13 | 90 Calle Resplandor | 1929 |
| 72 | 40 E. Calle Claravista | 1929 |
| 83 | 95 N. Camino Miramonte | 1929 |
| 10 | 30 N. Camino Miramonte | 1929 |
| 85 | 45 E. Plaza del Encanto | 1929 |
| 102 | 35 E. Calle Primorosa | 1929 |
| 171 | 342 N. Country Club Road | 1929 |
| 55 | 3256 E. Fifth Street | 1929 |
| 41 | 90 E. Calle Primorosa | 1930 |
| 71 | 50 E. Calle Claravista | 1930 |
| 121 | 25 E. Calle Belleza | 1930 |
| 122 | 35 E. Calle Belleza | 1930 |
| 123 | 45 E. Calle Belleza | 1930 |
| 49 | 3342 E. Fifth Street | 1930 |
| 27 | 80 N. Camino Miramonte | 1930 |
| 160 | 85 N. Camino Espanol | 1931 |
| 26 | 90 E. Calle Encanto | 1931 |
| 74 | 20 E. Calle Claravista | 1931 |
| 167 | 442 N. Country Club Road | 1932 |
| 128 | 30 E. Calle Belleza | 1932 |
| 111 | 70 E. Calle Encanto | 1932 |
| 145 | 35 N. Camino Espanol | 1934 |
| 24 | 100 E. Calle Encanto | 1934 |
| 88 | 10 E. Calle de Felicidad | 1934 |
| 103 | 40 E. Plaza del Encanto | 1934 |
| 60 | 140 N. Camino Espanol | 1935 |
| 138 | 3251 E. Broadway Blvd. | 1935 |
| 140 | 3263 E. Broadway Blvd. | 1935 |
| 23 | 25 N. Calle Mirasol | 1935 |
| 56 | 3242 E. Fifth Street | 1936 |
| 48 | 3356 E. Fifth Street | 1936 |
| 141 | 15 N. Camino Miramonte | 1936 |
| 166 | 10 E. Calle Corta | 1936 |
| 148 | 10 E. Calle Portal | 1936 |
| 33 | 20 N. Calle Conquista | 1937 |
| 84 | 55 E. Calle Encanto | 1937 |
| 70 | 75 E. Calle Primorosa | 1937 |
| 186 | 542 N. Country Club Road | 1937 |
| 39 | 15 N. Calle Conquista | 1937 |
| 16 | 30 N. Calle Mirasol | 1937 |
| 31 | 95 E. Calle Encanto | 1937 |
| 130 | 20 E. Calle Belleza | 1938 |
| 173 | 314 N. Country Club Road | 1938 |
| 169 | 414 N. Country Club Road | 1938 |
| 183 | 145 N. Camino Espanol | 1938 |
| 149 | 142 N. Country Club Road | 1938 |
| 58 | 3228 E. Fifth Street | 1939 |
| 188 | 528 N. Country Club Road | 1939 |
| 14 | 110 Calle Resplandor | 1940 |
| 67 | 55 E. Calle Claravista | 1940 |
| 65 | 35 E. Calle Claravista | 1941 |
| 63 | 25 E. Calle Claravista | 1941 |
| No. | Address | Architect/Builder |
| ----- | ------------------------ | ------------------ |
| 16 | 30 N. Calle Mirasol | Bailey & McCoy |
| 24 | 100 E. Calle Encanto | Bailey & McCoy |
| 26 | 90 E. Calle Encanto | Bailey & McCoy |
| 31 | 95 E. Calle Encanto | Bailey & McCoy |
| 48 | 3356 E. Fifth Street | Bailey & McCoy |
| 60 | 140 N. Camino Espanol | Bailey & McCoy |
| 67 | 55 E. Calle Claravista | Bailey & McCoy |
| 70 | 75 E. Calle Primorosa | Bailey & McCoy |
| 138 | 3251 E. Broadway Blvd. | Bailey & McCoy |
| 140 | 3263 E. Broadway Blvd. | Bailey & McCoy |
| 141 | 15 N. Camino Miramonte | Bailey & McCoy |
| 145 | 35 N. Camino Espanol | Bailey & McCoy |
| 169 | 414 N. Country Club Road | Bailey & McCoy |
| 173 | 314 N. Country Club Road | Bailey & McCoy |
| 183 | 145 N. Camino Espanol | Bailey & McCoy |
| 188 | 528 N. Country Club Road | Bailey & McCoy |
| 121 | 25 E. Calle Belleza | Carlucci, Joe (builder) |
| 14 | 110 Calle Resplandor | Colcord, G.R. |
| 97 | 10 E. Calle Encanto | Echols, G.B. (builder) |
| 41 | 90 E. Calle Primorosa | Figge, H.E.A. |
| 122 | 35 E. Calle Belleza | Joesler, Josias Thomas |
| 123 | 45 E. Calle Belleza | Joesler, Josias Thomas |
| 186 | 542 N. Country Club Road | Joesler, Josias Thomas |
| 88 | 10 E. Calle de Felicidad | Kester, C.H. |
| 83 | 95 N. Camino Miramonte | Macmillan, James |
| 49 | 3342 E. Fifth Street | Moore, Cecil H. |
| 58 | 3228 E. Fifth Street | Moore, Cecil H. |
| 65 | 35 E. Calle Claravista, | Moore, Cecil H. |
| 166 | 10 E. Calle Corta | Moore, Cecil H. |
| 10 | 30 N. Camino Miramonte | Sellers, William Albert |
| 56 | 3242 E. Fifth Street | Shuster, William |
| 63 | 25 E. Calle Claravista | Smith, John W. |
| 130 | 20 E. Calle Belleza | Smith, John W. |
| 13 | 90 Calle Resplandor | Starkweather, M.H. |
| 23 | 25 N. Calle Mirasol | Starkweather, M.H. |
| 33 | 20 N. Calle Conquista | Starkweather, M.H. |
| 71 | 50 E. Calle Claravista | Starkweather, M.H. |
| 85 | 45 E. Plaza del Encanto | Starkweather, M.H. |
| 102 | 35 E. Calle Primorosa | Starkweather, M.H. |
| 128 | 30 E. Calle Belleza | Starkweather, M,H. |
| 171 | 342 N. Country Club Road | Starkweather, M.H. |
| 84 | 55 E. Calle Encanto | Sundt-Weiner-Fink |
| 27 | 80 N. Camino Miramonte | Trent, Thomas/Putter (bld) |
| 55 | 3256 E. Fifth Street | Unknown |
| 148 | 10 E. Calle Portal | Unknown |
| 74 | 20 E. Calle Claravista | Unknown |
| 103 | 40 E. Plaza del Encanto | Unknown |
| 111 | 70 E. Calle Encanto | Unknown |
| 160 | 85 N. Camino Espanol | Winchester, W.B. |
| 167 | 442 N. Country Club Road | Winchester, W.B. |
| 72 | 40 E. Calle Claravista | Winchester, W.B./ Putter, |
| 39 | 15 N. Calle Conquista | Wolf, George J. |
| 149 | 142 N. Country Club Road | Wolf, George J. |
| No. | Address | Style |
| ----- | ------------------------ | --------------------------- |
| 84 | 55 E. Calle Encanto | Eclectic Revival |
| 14 | 110 Calle Resplandor | Eclectic Revival |
| 65 | 35 E. Calle Claravista | Eclectic Revival |
| 160 | 85 N. Camino Espanol | Mission Revival |
| 167 | 442 N. Country Club Road | Mission Revival |
| 130 | 20 E. Calle Belleza | Modern with Spanish Colonial influence |
| 128 | 30 E. Calle Belleza | Modern/Pueblo Revival |
| 97 | 10 E. Calle Encanto | Pueblo Revival |
| 13 | 90 Calle Resplandor | Pueblo Revival |
| 41 | 90 E. Calle Primorosa | Pueblo Revival |
| 71 | 50 E. Calle Claravista | Pueblo Revival |
| 26 | 90 E. Calle Encanto | Pueblo Revival |
| 74 | 20 E. Calle Claravista | Pueblo Revival |
| 145 | 35 N. Camino Espanol | Pueblo Revival |
| 60 | 140 N. Camino Espanol | Pueblo Revival |
| 70 | 75 E. Calle Primorosa | Pueblo Revival |
| 186 | 542 N. Country Club Road | Pueblo Revival |
| 39 | 15 N. Calle Conquista | Pueblo Revival |
| 56 | 3242 E. Fifth Street | Pueblo Revival (Santa Fe adobe) |
| 33 | 20 N. Calle Conquista | Early Ranch |
| 58 | 3228 E. Fifth Street | Early Ranch |
| 63 | 25 E. Calle Claravista | Ranch |
| 173 | 314 N. Country Club Road | Ranch with Bungalow influence |
| 72 | 40 E. Calle Claravista | Sonoran |
| 83 | 95 N. Camino Miramonte | Spanish Colonial Revival |
| 10 | 30 N. Camino Miramonte | Spanish Colonial Revival |
| 85 | 45 E. Plaza del Encanto | Spanish Colonial Revival |
| 102 | 35 E. Calle Primorosa | Spanish Colonial Revival |
| 171 | 342 N. Country Club Road | Spanish Colonial Revival |
| 55 | 3256 E. Fifth Street | Spanish Colonial Revival |
| 121 | 25 E. Calle Belleza | Spanish Colonial Revival |
| 122 | 35 E. Calle Belleza | Spanish Colonial Revival |
| 123 | 45 E. Calle Belleza | Spanish Colonial Revival |
| 49 | 3342 E. Fifth Street | Spanish Colonial Revival |
| 27 | 80 N. Camino Miramonte | Spanish Colonial Revival |
| ill | 70 E. Calle Encanto | Spanish Colonial Revival |
| 24 | 100 E. Calle Encanto | Spanish Colonial Revival |
| 88 | 10 E. Calle de Felicidad | Spanish Colonial Revival |
| 103 | 40 E. Plaza del Encanto | Spanish Colonial Revival |
| 138 | 3251 E. Broadway Blvd. | Spanish Colonial Revival |
| 140 | 3263 E. Broadway Blvd. | Spanish Colonial Revival |
| 23 | 25 N. Calle Mirasol | Spanish Colonial Revival |
| 48 | 3356 E. Fifth Street | Spanish Colonial Revival |
| 141 | 15 N. Camino Miramonte | Spanish Colonial Revival |
| 166 | 10 E. Calle Corta | Spanish Colonial Revival |
| 148 | 10 E. Calle Portal | Spanish Colonial Revival |
| 16 | 30 N. Calle Mirasol | Spanish Colonial Revival |
| 31 | 95 E. Calle Encanto | Spanish Colonial Revival |
| 169 | 414 N. Country Club Road | Spanish Colonial Revival |
| 183 | 145 N. Camino Espanol | Spanish Colonial Revival |
| 149 | 142 N. Country Club Road | Spanish Colonial Revival |
| 188 | 528 N. Country Club Road | Spanish Colonial Revival |
| 67 | 55 E. Calle Claravista | Spanish Colonial Revival |
| No. | Address | Historic Name |
| ----- | ---------------------- | -------------- |
| 1 | 16 N. Camino Miramonte | None |
| 3 | 3327 E. Broadway Blvd. | Williams Home #2 |
| 4 | 3339 E. Broadway Blvd. | Tweed Home |
| 5 | 115 Calle Resplandor | None |
| 6 | 105 Calle Resplandor | None |
| 8 | 95 Calle Resplandor | None |
| 11 | 40 N. Camino Miramonte | None |
| 12 | 50 N. Camino Miramonte | None |
| 17 | 20 N. Calle Mirasol | None |
| 19 | 60 N. Camino Miramonte | Simons Home |
| 20 | 70 N. Camino Miramonte | None |
| 21 | 15 N. Calle Mirasol | None |
| 28 | 85 E. Calle Encanto | UofA President's Home |
| 34 | 14 N. Calle Conquista | None |
| 35 | 100 N. Camino Miramonte | None |
| 37 | 110 N. Camino Miramonte | Haskell Home |
| 40 | 100 E. Calle Primorosa | Bailey Home |
| 42 | 80 E. Calle Primorosa | None |
| 44 | 130 N. Camino Miramonte | Bellinger Home |
| 45 | 85 E. Calle Primorosa | None |
| 47 | 95 E. Calle Primorosa | None |
| 51 | 140 N. Camino Miramonte | Boice Home |
| 52 | 145 N. Camino Miramonte | None |
| 53 | 3284 E. Fifth Street | Rollings Home |
| 54 | 3270 E. Fifth Street | None |
| 59 | 5 E. Calle Claravista | None |
| 61 | 132 N. Camino Espanol | Drachman Home |
| 66 | 45 E. Calle Claravista | None |
| 68 | 65 E. Calle Claravista | Atkinson Home |
| 69a | 75 E. Calle Claravista | Bredin Home |
| 69b | 135 N. Camino Miramonte | None |
| 73 | 30 Calle Claravista | Smith Home |
| 75 | 10 Calle Resplandor | Williams Home #1 |
| 76 | 5 E. Calle de Felicidad | None |
| 77 | 35 E. Calle de Felicidad | None |
| 79 | 65 E. Calle Primorosa | None |
| 80 | 115 N. Camino Miramonte | None |
| 81 | 60 E. Calle Primorosa | Jacome Home |
| 82 | 105 N. Camino Miramonte | None |
| 86 | 30 E. Calle de Felicidad | Guerin Home |
| 87 | 20 E. Calle de Felicidad | None |
| 89 | 35 E. Plaza del Encanto | None |
| 91 | 100 N. Camino Espanol | None |
| 92 | 98 N. Camino Espanol | None |
| 93 | 5 E. Calle Encanto | Wilson Home |
| 94 | 83 N. Calle Resplandor | None |
| 95 | 15 E. Calle Encanto | None |
| 96 | 25 E. Plaza del Encanto | O'Reilly Home |
| 98 | 60 N. Camino Espanol | Solot Home |
| 99 | 50 N. Camino Espanol | Brown Home |
| 100 | 25 E. Calle Primorosa | Darton Home |
| 101 | 20 E. Calle Encanto | None |
| 105 | 15 E. Calle de Amistad | Silverman Home |
| 106 | 25 E. Calle de Amistad | Glennie Home |
| 107 | 65 Calle Resplandor | None |
| 108 | 60 Calle Resplandor | None |
| 109 | 50 E. Calle Encanto, | Buehman Home |
| 110 | 60 E. Calle Encanto | None |
| 112 | 75 N. Camino Miramonte | Palermo Home |
| 113 | 55 N. Camino Miramonte | Brack Home |
| 114 | 40 E. Calle de Amistad | None |
| 115 | 20 E. Calle de Amistad | None |
| 117 | 14 E. Calle de Amistad | None |
| 118 | 10 E. Calle de Amistad | None |
| 119 | 10 E. Calle Primorosa | None |
| 120 | 15 E. Calle Belleza | None |
| 124 | 55 E. Calle Belleza | None |
| 125 | 75 Calle Resplandor | None |
| 126 | 50 E. Calle Belleza | Ivancovich Home |
| 132 | 30 N. Camino Espanol | None |
| 134 | 12 N. Camino Espanol | None |
| 136 | 3227 E. Broadway Blvd. | None |
| 137 | 3239 E. Broadway Blvd. | None |
| 144 | 25 N. Camino Espanol | None |
| 147 | 45 N. Camino Espanol | McKinney Home #1 |
| 151 | 128 N. Country Club Road | James Home |
| 154 | 55 N. Camino Espanol | None |
| 156 | 65 N. Camino Espanol | None |
| 158 | 75 N. Camino Espanol | None |
| 161 | 95 N. Camino Espanol | Elsing Home |
| 162 | 109 N. Camino Espanol | None |
| 164 | 123 N. Camino Espanol | None |
| 165 | 20 E. Calle Corta | None |
| 172 | 328 N. Country Club Road | None |
| 174 | 300 N. Country Club Road | None |
| 175 | 228 N. Country Club Road | None |
| 176 | 15 E. Calle Portal | None |
| 179 | 15 E. Calle Corta | Hewitt Home #1 |
| 180 | 135 N. Camino Espanol | None |
| 181 | 139 N. Camino Espanol | None |
| 185 | 582-586 N. Country Club | None |
| 189 | 5 E. Calle Corta | None |
| No. | Address | Architect |
| ----- | ---------------------- | --------------------- |
| 68 | 65 E. Calle Claravista | Atkinson, Terrance C. |
| 40 | 100 E. Calle Primorosa | Bailey & McCoy |
| 93 | 5 E. Calle Encanto | Bailey & McCoy |
| 95 | 15 E. Calle Encanto | Bailey & McCoy |
| 147 | 45 N. Camino Espanol | Bailey & McCoy |
| 34 | 14 N. Calle Conquista | Blanton & Cole |
| 21 | 15 N. Calle Mirasol | Brown, Arthur T. |
| 51 | 140 N. Camino Miramonte | Brown, Arthur T. |
| 69a | 75 E. Calle Claravista | Brown, Arthur T. |
| 179 | 15 E. Calle Corta | Brown, Arthur T. |
| 44 | 130 N. Camino Miramonte | Brown, Arthur T./ R. Morse |
| 19 | 60 N. Camino Miramonte | Brown, Saul H. |
| 35 | 100 N. Camino Miramonte | Carr, William Hanns |
| 42 | 80 E. Calle Primorosa | Carr, William Hanns |
| 106 | 25 E. Calle de Amistad | Carr, William Hanns |
| 119 | 10 E. Calle Primorosa | Carr, William Hanns |
| 132 | 30 N. Camino Espanol | Carr, William Hanns |
| 117 | 14 E. Calle de Amistad | Catalina Development |
| 118 | 10 E. Calle de Amistad | Catalina Development |
| 1 | 16 N. Camino Miramonte | Cole, Frederick P. |
| 100 | 25 E. Calle Primorosa | Darton, Arthur |
| 158 | 75 N. Camino Espanol | Darton, Arthur |
| 12 | 50 N. Camino Miramonte | Du Bois, Burr D. |
| 45 | 85 E. Calle Primorosa | Eastman, Frederick A. |
| 76 | 5 E. Calle de Felicidad | Ellison, W.L. |
| 161 | 95 N. Camino Espanol | Elsing, M.J. |
| 20 | 70 N. Camino Miramonte | Embassy Homes |
| 80 | 115 N. Camino Miramonte | Figge, H.E.A. |
| 105 | 15 E. Calle de Amistad | Friedman & Jobusch |
| 98 | 60 N. Camino Espanol | Friedman & Jobusch, RA |
| 115 | 20 E. Calle de Amistad | Friedman, Bernard J. |
| 154 | 55 N. Camino Espanol | Friedman, Bernard J. |
| 110 | 60 E. Calle Encanto | Friedman, Bernie |
| 92 | 98 N. Camino Espanol | Gresham & Larsen |
| 94 | 83 N. Calle Resplandor | Gresham & Larsen |
| 91 | 100 N. Camino Espanol | Gresham & Larson |
| 134 | 12 N. Camino Espanol | Hastings, Russell |
| 181 | 139 N. Camino Espanol | Herder Construction Co. |
| 112 | 75 N. Camino Miramonte | Herreras, E.D. |
| 126 | 50 E. Calle Belleza | Jaastad & Knipe |
| 3 | 3327 E. Broadway Blvd. | Joesler, Josias Thomas |
| 75 | 10 Calle Resplandor | Joesler, Josias Thomas |
| 96 | 25 E. Plaza del Encanto | Joesler/ Bailey & McCoy (bld) |
| 137 | 3239 E. Broadway Blvd. | Knapp, A.J. |
| 79 | 65 E. Calle Primorosa | Luepke, Gordon M. |
| 53 | 3284 E. Fifth Street | Nelson, Frank J. |
| 5 | 115 Calle Resplandor | Rysdale, Anne J. |
| 6 | 105 Calle Resplandor | Rysdale, Anne J. |
| 8 | 95 Calle Resplandor | Rysdale, Anne J. |
| 107 | 65 Calle Resplandor | Rysdale, Anne J. |
| 113 | 55 N. Camino Miramonte | Rysdale, Anne J. |
| 114 | 40 E. Calle de Amistad | Rysdale, Anne J. |
| 136 | 3227 E. Broadway Blvd. | Rysdale, Anne J. |
| 162 | 109 N. Camino Espanol | Rysdale, Anne J. |
| 77 | 35 E. Calle de Felicidad | Scholer, Emerson C. |
| 125 | 75 Calle Resplandor | Scholer, Emerson C. |
| 175 | 228 N. Country Club Road | Smith, George Edson Philip |
| 73 | 30 Calle Claravista | Smith, John W. |
| 101 | 20 E. Calle Encanto | Smith, John W. |
| 176 | 15 E. Calle Portal | Starkweather & Cain |
| 28 | 85 E. Calle Encanto | Starkweather & Morse |
| 37 | 110 N. Camino Miramonte | Starkweather & Morse |
| 52 | 145 N. Camino Miramonte | Starkweather & Morse |
| 109 | 50 E. Calle Encanto | Starkweather & Morse |
| 47 | 95 E. Calle Primorosa | Starkweather, M.H. |
| 86 | 30 E. Calle de Felicidad | Starkweather, M.H. |
| 99 | 50 N. Camino Espanol | Starkweather, M.H. |
| 4 | 3339 E. Broadway Blvd. | SW Construction (builder) |
| 180 | 135 N. Camino Espanol | Swaim Associates, Ltd |
| 11 | 40 N. Camino Miramonte | Unknown |
| 17 | 20 N. Calle Mirasol | Unknown |
| 54 | 3270 E. Fifth Street | Unknown |
| 59 | 5 E. Calle Claravista | Unknown |
| 61 | 132 N. Camino Espanol | Unknown |
| 66 | 45 E. Calle Claravista | Unknown |
| 69b | 135 N. Camino Miramonte | Unknown |
| 81 | 60 E. Calle Primorosa | Unknown |
| 82 | 105 N. Camino Miramonte | Unknown |
| 87 | 20 E. Calle de Felicidad | Unknown |
| 89 | 35 E. Plaza del Encanto | Unknown |
| 108 | 60 Calle Resplandor | Unknown |
| 120 | 15 E. Calle Belleza | Unknown |
| 124 | 55 E. Calle Belleza | Unknown |
| 151 | 128 N. Country Club Road | Unknown |
| 156 | 65 N. Camino Espanol | Unknown |
| 164 | 123 N. Camino Espanol | Unknown |
| 165 | 20 E. Calle Corta | Unknown |
| 172 | 328 N. Country Club Road | Unknown |
| 174 | 300 N. Country Club Road | Unknown |
| 185 | 582-586 N. Country Club | Unknown |
| 189 | 5 E. Calle Corta | Unknown |
| 144 | 25 N. Camino Espanol | Young, William G. |
| No. | Address | Date |
| ----- | ---------------------- | ----- |
| 151 | 128 N. Country Club Road | c. 1921 |
| 86 | 30 E. Calle de Felicidad | 1929 |
| 80 | 115 N. Camino Miramonte | 1930 |
| 73 | 30 Calle Claravista | 1930 |
| 147 | 45 N. Camino Espanol | 1932 |
| 99 | 50 N. Camino Espanol | 1933 |
| 4 | 3339 E. Broadway Blvd. | 1935 |
| 47 | 95 E. Calle Primorosa | c. 1936 |
| 93 | 5 E. Calle Encanto | 1938 |
| 95 | 15 E. Calle Encanto | 1938 |
| 54 | 3270 E. Fifth Street | 1938 |
| 96 | 25 E. Plaza del Encanto | 1939 |
| 179 | 15 E. Calle Corta | 1941 |
| 19 | 60 N. Camino Miramonte | 1941 |
| 172 | 328 N. Country Club Road | 1941 |
| 44 | 130 N. Camino Miramonte | 1942 |
| 17 | 20 N. Calle Mirasol | 1945 |
| 69a | 75 E. Calle Claravista | 1946 |
| 175 | 228 N. Country Club Road | 1946 |
| 21 | 15 N. Calle Mirasol | 1947 |
| 1 | 16 N. Camino Miramonte | 1947 |
| 75 | 10 Calle Resplandor | 1947 |
| 79 | 65 E. Calle Primorosa | 1947 |
| 37 | 110 N. Camino Miramonte | 1947 |
| 81 | 60 E. Calle Primorosa | 1947 |
| 112 | 75 N. Camino Miramonte | 1948 |
| 53 | 3284 E. Fifth Street | 1948 |
| 109 | 50 E. Calle Encanto | 1948 |
| 59 | 5 E. Galle Claravista | 1948 |
| 137 | 3239 E. Broadway Blvd. | 1949 |
| 101 | 20 E. Calle Encanto | 1949 |
| 156 | 65 N. Camino Espanol | 1949 |
| 40 | 100 E. Calle Primorosa | 1950 |
| 35 | 100 N. Camino Miramonte | 1950 |
| 42 | 80 E. Calle Primorosa | 1950 |
| 3 | 3327 E. Broadway Blvd. | 1950 |
| 107 | 65 Calle Resplandor | 1950 |
| 136 | 3227 E. Broadway Blvd. | 1950 |
| 52 | 145 N. Camino Miramonte | 1950 |
| 174 | 300 N. Country Club Road | 1950 |
| 154 | 55 N. Camino Espanol | 1951 |
| 126 | 50 E. Calle Belleza | 1951 |
| 6 | 105 Calle Resplandor | 1951 |
| 8 | 95 Calle Resplandor | 1951 |
| 113 | 55 N. Camino Miramonte | 1951 |
| 66 | 45 E. Calle Claravista | 1951 |
| 51 | 140 N. Camino Miramonte | 1952 |
| 119 | 10 E. Calle Primorosa | 1952 |
| 161 | 95 N. Camino Espanol | 1952 |
| 89 | 35 E. Plaza del Encanto | 1952 |
| 108 | 60 Calle Resplandor | 1952 |
| 76 | 5 E. Calle de Felicidad | 1953 |
| 77 | 35 E. Calle de Felicidad | 1953 |
| 125 | 75 Calle Resplandor | 1953 |
| 28 | 85 E. Calle Encanto | 1953 |
| 165 | 20 E. Calle Corta | 1953 |
| 132 | 30 N. Camino Espanol | 1954 |
| 45 | 85 E. Calle Primorosa | 1954 |
| 114 | 40 E. Calle de Amistad | 1954 |
| 144 | 25 N. Camino Espanol | 1954 |
| 106 | 25 E. Calle de Amistad | 1955 |
| 12 | 50 N. Camino Miramonte | 1955 |
| 98 | 60 N. Camino Espanol | 1955 |
| 110 | 60 E. Calle Encanto | 1955 |
| 134 | 12 N. Camino Espanol | 1955 |
| 5 | 115 Calle Resplandor | 1955 |
| 120 | 15 E. Calle Belleza | 1955 |
| 61 | 132 N. Camino Espanol | 1956 |
| 118 | 10 E. Calle de Amistad | 1956 |
| 115 | 20 E. Calle de Amistad | 1956 |
| 176 | 15 E. Calle Portal | 1956 |
| 82 | 105 N. Camino Miramonte | 1957 |
| 105 | 15 E. Calle de Amistad | 1957 |
| 68 | 65 E. Calle Claravista | 1958 |
| 20 | 70 N. Camino Miramonte | 1958 |
| 164 | 123 N. Camino Espanol | 1959 |
| 162 | 109 N. Camino Espanol | 1961 |
| 34 | 14 N. Calle Conquista | 1962 |
| 181 | 139 N. Camino Espanol | 1963 |
| 11 | 40 N. Camino Miramonte | 1963 |
| 117 | 14 E. Calle de Amistad | 1964 |
| 189 | 5 E. Calle Corta | 1964 |
| 158 | 75 N. Camino Espanol | 1966 |
| 87 | 20 E. Calle de Felicidad | 1966 |
| 100 | 25 E. Calle Primorosa | 1970 |
| 124 | 55 E. Calle Belleza | 1977 |
| 92 | 98 N. Camino Espanol | 1981 |
| 94 | 83 N. Calle Resplandor | 1981 |
| 91 | 100 N. Camino Espanol | 1981 |
| 69b | 135 N. Camino Miramonte | 1982 |
| 185 | 582-586 N. Country Club | 1982 |
| 180 | 135 N. Camino Espanol | 1987 |
| No. | Address | Style |
| ----- | ---------------------- | ---------------------------- |
| 100 | 25 E. Calle Primorosa | Contemporary |
| 181 | 139 N. Camino Espanol | Eclectic Revival |
| 12 | 50 N. Camino Miramonte | Georgian Revival |
| 66 | 45 E. Calle Claravista | Mission Revival |
| 117 | 14 E. Calle de Amistad | Mission Revival |
| 87 | 20 E. Calle de Felicidad | Mission Revival |
| 54 | 3270 E. Fifth Street | Modern |
| 69a | 75 E. Calle Claravista | Modern |
| 75 | 10 Calle Resplandor | Modern |
| 81 | 60 E. Calle Primorosa | Modern |
| 53 | 3284 E. Fifth Street | Modern |
| 109 | 50 E. Calle Encanto | Modern |
| 52 | 145 N. Camino Miramonte | Modern |
| 76 | 5 E. Calle de Felicidad | Modern |
| 45 | 85 E. Calle Primorosa | Modern |
| 114 | 40 E. Calle de Amistad | Modern |
| 98 | 60 N. Camino Espanol | Modern |
| 110 | 60 E. Calle Encanto | Modern |
| 120 | 15 E. Calle Belleza | Modern |
| 61 | 132 N. Camino Espanol | Modern |
| 176 | 15 E. Calle Portal | Modern |
| 68 | 65 E. Calle Claravista | Modern |
| 34 | 14 N. Calle Conquista | Modern |
| 11 | 40 N. Camino Miramonte | Modern |
| 158 | 75 N. Camino Espanol | Modern |
| 92 | 98 N. Camino Espanol | Modern |
| 94 | 83 N. Calle Resplandor | Modern |
| 91 | 100 N. Camino Espanol | Modern |
| 69b | 135 N. Camino Miramonte | Modern |
| 185 | 582-586 N. Country Club | Modern |
| 124 | 55 E. Calle Belleza | Modern influenced by Santa Fe Adobe |
| 86 | 30 E. Calle de Felicidad | Modern with Moorish detail |
| 28 | 85 E. Calle Encanto | Modern with Spanish Colonial influence |
| 35 | 100 N. Camino Miramonte | Neo-Colonial Revival |
| 4 | 3339 E. Broadway Blvd. | Pueblo Revival |
| 93 | 5 E. Calle Encanto | Pueblo Revival |
| 179 | 15 E. Calle Corta | Pueblo Revival |
| 44 | 130 N. Camino Miramonte | Pueblo Revival |
| 95 | 15 E. Calle Encanto | Early Ranch |
| 96 | 25 E. Plaza del Encanto | Early Ranch |
| 37 | 110 N. Camino Miramonte | Modern Ranch |
| 73 | 30 Calle Claravista | Ranch |
| 19 | 60 N. Camino Miramonte | Ranch |
| 172 | 328 N. Country Club Road | Ranch |
| 17 | 20 N. Calle Mirasol | Ranch |
| 175 | 228 N. Country Club Road | Ranch |
| 21 | 15 N. Calle Mirasol | Ranch |
| 1 | 16 N. Camino Miramonte | Ranch |
| 79 | 65 E. Calle Primorosa | Ranch |
| 112 | 75 N. Camino Miramonte | Ranch |
| 59 | 5 E. Calle Claravista | Ranch |
| 137 | 3239 E. Broadway Blvd. | Ranch |
| 101 | 20 E. Calle Encanto | Ranch |
| 156 | 65 N. Camino Espanol | Ranch |
| 40 | 100 E. Calle Primorosa | Ranch |
| 42 | 80 E. Calle Primorosa | Ranch |
| 3 | 3327 Broadway Blvd. | Ranch |
| 107 | 65 Calle Resplandor | Ranch |
| 136 | 3227 E. Broadway Blvd. | Ranch |
| 174 | 300 N. Country ClubRoad | Ranch |
| 154 | 55 N. Camino Espanol | Ranch |
| 6 | 105 Calle Resplandor | Ranch |
| 8 | 95 Calle Resplandor | Ranch |
| 113 | 55 N. Camino Miramonte | Ranch |
| 51 | 140 N. Camino Miramonte | Ranch |
| 119 | 10 E. Calle Primorosa | Ranch |
| 161 | 95 N. Camino Espanol | Ranch |
| 108 | 60 Calle Resplandor | Ranch |
| 77 | 35 E. Calle de Felicidad | Ranch |
| 125 | 75 Calle Resplandor | Ranch |
| 165 | 20 E. Calle Corta | Ranch |
| 132 | 30 N. Camino Espanol | Ranch |
| 144 | 25 N. Camino Espanol | Ranch |
| 106 | 25 E. Calle de Amistad | Ranch |
| 134 | 12 N. Camino Espanol | Ranch |
| 5 | 115 Calle Resplandor | Ranch |
| 118 | 10 E. Calle de Amistad | Ranch |
| 115 | 20 E. Calle de Amistad | Ranch |
| 82 | 105 N. Camino Miramonte | Ranch |
| 105 | 15 E. Calle de Amistad | Ranch |
| 20 | 70 N. Camino Miramonte | Ranch |
| 164 | 123 N. Camino Espanol | Ranch |
| 189 | 5 E. Galle Corta | Ranch |
| 162 | 109 N. Camino Espanol | Ranch with Bungalow influence |
| 80 | 115 N. Camino Miramonte | Spanish Colonial Revival |
| 147 | 45 N. Camino Espanol | Spanish Colonial Revival |
| 99 | 50 N. Camino Espanol | Spanish Colonial Revival |
| 126 | 50 E. Calle Belleza | Spanish Colonial Revival |
| 89 | 35 E. Plaza del Encanto | Spanish Colonial Revival |
| 151 | 128 N. Country Club Road | Spanish Colonial Revival |
| 47 | 95 E. Calle Primorosa | Spanish Colonial Revival |
| 180 | 135 N. Camino Espanol | Unknown |
Home | Welcome | Top | Contact us | Site-Map
URL: http://elencanto-tucson.com/El-Encanto/History/history-1.html
Last revised: February 6, 2002
John Rupley: rupley@u.arizona.edu