The south bed had a specific planting plan, reflecting the seasonal shift between the hot/dry and cold/rainy seasons. In addition to being loosely divided into four quadrants, the bed was rimmed by narrow planting strips along three sides (the retaining wall being the fourth). The meadow-side quadrants might hold Icelandic poppies, while the back-side held delphiniums or foxgloves. Star jasmine edged the side facing the living room; the meadow-side edge held miniature geraniums, Santa Barbara daisies and lobelia (earlier, it held different colored verbenas and lobelia); the path-side edge currently holds lavender (but originally held ivy). On all sides, the plants spill lightly over the edges.
The architect, Richard Neutra , was a celebrity in his own lifetime, and among the most esteemed of the high modernists. Neutra was born in Vienna and already over 30 when he arrived in America in 1923. He worked for Erich Mendelsohn , for Frank Lloyd Wright , and briefly with Rudolph Schindler . Many of his commissions were domestic houses, structures that he managed to make wonderfully photogenic. Neutra carried himself with some of the aristocratic manner of a Mies van der Rohe , but tempered by the lively west coast egalitarianism of Charles and Ray Eames (link to previous project). He made the cover of Time Magazine in the forties, and might be one of the only prominent architects ever to build a drive-in church. Perhaps most remarkably, Ayn Rand wrote the screenplay to The Fountainhead whilst living in a house designed by Neutra.