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Cliff May
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Cliff May
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Cliff May (1903–1989)[1] was a building designer (he was not licensed as an architect until the last year of his life) practicing in California best known and remembered for developing the suburban Post-war "dream home" (California Ranch House), and the Mid-century Modern

Key Information

The Ranch-style house

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Interior of a mid-century ranch-style house designed by Cliff May, c. 1960s

May built Monterey-style furniture as a young man. As a residential/building designer, May designed projects throughout Southern California, including the regions around Los Angeles, San Diego, and Santa Barbara, California. He is credited with creating the pitched-roof, low-slung California Ranch-style house in 1932.[1] He had very little training as an architect. May never formally registered for an architectural license, but obtained one in 1988, one year before his death, when California's governor granted licenses to all registered designers in the state.[2]

During his career, May designed over a thousand custom residences; numerous commercial structures; and from model house prototypes, more than eighteen thousand tract houses had his imprint.[1] May synthesized Spanish Colonial Revival architecture with abstracted California adobe ranchos and Modern architecture.[3] Robert Mondavi chose May to design his winery in which he incorporated features found in construction of California Missions.[4]

In 1932, May's first house sold for $9,500. His work drew attention and the second home he built was featured in Architectural Digest in 1934. He continued to build 50 additional houses in San Diego before moving to Los Angeles in 1935. Many of his 1,000+ houses were built in Southern California, however some were built as far away as Switzerland, Australia and Ireland.[5] During the 1940s and 50s, his work was featured in many publications including Architectural Forum, American Home, California arts and Architecture, Architectural Digest, House Beautiful, Sunset Magazine, Modernism Magazine, Southern California Quarterly, among others.[2]

During the 1950s, May, along with colleague Chris Choate, designed prefabricated tract ranch homes which they sold to builders across the US. Many of these prefab tracts like Rancho Estates in Long Beach were popular and resulted in many homes in the tracts being built and sold. Some, particularity those outside of California, were unprofitable and only resulted in the model homes being built. The partnership between May and Choate ended in 1956 with May's departure.

May said of his architecture, "The ranch house was everything a California house should be -it had cross-ventilation, the floor was level with the ground, and with its courtyard and the exterior corridor, it was about sunshine and informal outdoor living."[5]

The HGTV television show Flip or Flop featured remodels of two Cliff May homes.

Projects

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Selected works include:[6][7][8]

https://pin.it/3Q3jsrA4q

Personal life

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May grew up in San Diego, California. On his mother's side he is related to Jose Antonio Estudillo, one of the founders of San Diego. His father's side of the family held a lifetime lease on the old Los Flores Rancho in San Diego County.[1] May lived in his 10,000 square foot "ultimate ranch house" located on a 15-acre site in one of the canyons in the Santa Monica Mountains near Brentwood. May was a record collector and amateur saxophone player and piano player; his home had a sound system that piped-in music to every indoor and outdoor space.[5]

May was also a pilot; he made many trips in his plane to Mexico during his lifetime.[5]

Death

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May died in 1989 at the age of 83, at his estate "Mandalay" in Sullivan Canyon in the Brentwood neighborhood of Los Angeles, California.[citation needed]

Legacy

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In 2012, the UC Santa Barbara Art, Design & Architecture Museum and the organization Pacific Standard Time mounted a retrospective exhibition, Carefree California: Cliff May and the Romance of the Ranch, 1920-1960.[1] Several books have been published about his work, including the 2008 Rizzoli publication, Cliff May and the Modern Ranch House.[2]

An archive of Cliff May's papers, c. 1931–1989, consisting of 350 linear feet of papers, correspondence, clippings, photographs and ephermera is held in the Architecture and Design Collection of the Art, Design & Architecture Museum at the University Santa Barbara.[8]

See also

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References

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Further reading

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[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Cliff May

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Cliff May (1908–1989) was an influential American architect and designer, widely recognized as the pioneer of the modern ranch house style that defined post-World War II suburban living in . Born in to a sixth-generation family, May had no formal architectural training but developed his skills through self-directed study and practical experience in construction. He briefly attended State College to study business from 1929 to 1931 without earning a degree, then transitioned from building Monterey-style furniture to designing homes, constructing around 35 houses in between 1931 and 1936 in collaboration with developer Roy Lichty, his father-in-law. In 1936, May relocated to , where he gained national prominence by the early 1940s for his custom California Ranch Houses, which blended Spanish colonial influences from missions with modern indoor-outdoor living principles, featuring elements like large windows, patios, courtyards, and low-slung roofs. His designs emphasized seamless integration with nature, using rustic accents such as board-and-batten siding alongside sleek modern lines, and he marketed affordable plans through Cliff May Homes Incorporated. By the 1950s, May pioneered mass-produced , including the 700-home Lakewood Rancho Estates in Long Beach (1953–1954), which popularized ranch-style architecture for the and influenced American domestic for decades. Throughout his career, May designed over 1,000 buildings, including high-profile commissions like homes for conductor Zubin Mehta and industrialist Gianni Agnelli, the Robert Mondavi Winery in Rutherford, California, and the Lane Publishing Company headquarters in Menlo Park. He received widespread acclaim through features in publications like Sunset magazine and House Beautiful, notably for the first Pace Setter House in 1948, though he did not obtain his architectural license until 1988 near the end of his life. May's legacy endures in numerous preserved structures, such as several on the San Diego Historic Register and in Coronado, underscoring his role in redefining casual, nature-connected living in mid-20th-century America.

Early Life and Education

Family Background and Childhood

Cliff May was born on August 29, 1908, in , , to Beatrice Magee and Charles Clifford May. As a sixth-generation Californian through his mother's lineage, he descended from prominent early settlers, including the Estudillo family such as José Antonio Estudillo, a key figure in San Diego's founding during the Spanish and Mexican eras. May's family maintained deep ties to California's ranching heritage, with his mother's relatives, including the Estudillo and de Pedroreña families, connected to significant properties like the Casa de Estudillo in that embodied Spanish Colonial traditions; his family also held a lifetime lease on the historic Los Flores Rancho, part of the larger Rancho Santa Margarita y Las Flores grant in northern County (now Camp Pendleton). These connections immersed May in the region's ranch life from an early age, where sprawling structures and open landscapes defined daily existence. During his childhood, May spent summers at his aunt Jane Pedrorena Magee's home on the Los Flores Rancho, roaming the grounds and exploring nearby haciendas like the Santa Margarita ranch house. These experiences, amid frequent family relocations among relatives' homes in County—"with ten relatives’ homes and Aunt Jane’s … we were just on the move all the time"—fostered a profound appreciation for outdoor living and the practical comforts of low-slung buildings, including their thick walls for insulation and cross-ventilation for cooling. Early encounters with hacienda-style , such as the restored Casa de Estudillo, highlighted the seamless integration of indoor and outdoor spaces in these traditional forms. These formative years on the ranches laid the groundwork for May's later interests, leading him to pursue formal in related fields during his teenage years.

Education and Early Interests

Cliff May received his early in the public schools during the 1920s, where he developed a strong interest in music and alongside his studies. As a youth, May aspired to become a jazz , purchasing his first instrument—a —with money from a relative and later mastering the to lead a dance orchestra that performed at venues like the . He also pursued enthusiastically, learning to pilot and becoming a daredevil flyer as well as a member of the Aviation Country Club of , where he owned his own plane. In the late 1920s, May's family ranch background subtly influenced his growing appreciation for outdoor lifestyles, as he spent summers at an aunt's original Mexican ranch, fostering a connection to California's pastoral heritage. Following high school, he briefly attended State College as a business major from 1929 to 1931 but dropped out amid the , initially returning to music before shifting focus. A pivotal anecdote from this period involved May abandoning his musical ambitions after observing construction sites in during the ; these experiences sparked his fascination with building processes, leading him to experiment with sketching local ranchos and adobes, such as the Casa de Estudillo, without any formal training. Lacking a formal architectural degree, May remained self-taught throughout his early career, honing skills through informal apprenticeships—like learning from a neighbor—and direct observation rather than university study. He did not obtain professional licensing until 1988, when granted him an architectural license late in life. These non-architectural passions and informal learning shaped his unconventional entry into design, emphasizing practical intuition over academic rigor.

Career Development

Beginnings in Architecture

Cliff May entered the field of architecture in the early as a self-taught designer in , , where he began creating custom homes without a formal architectural license, which he would not obtain until 1988. Initially transitioning from aspirations in music and furniture-making, May pivoted to residential design amid the , focusing on affordable, site-responsive structures that catered to the region's casual lifestyle. His early work emphasized hands-on involvement in construction, often collaborating with local builders to execute his visions using salvaged materials and practical innovations. May's first house was the O'Leary House, a 1932 ranch-inspired speculative home in San Diego's Talmadge neighborhood, built using and featuring custom furnishings he crafted, which sold for $9,500 and marked his shift toward architectural pursuits. This design drew brief influences from Spanish Colonial Revival elements, evident in its initial sketches featuring courtyards and stucco finishes adapted to modern needs. Between 1931 and 1936, in collaboration with developer Roy Lichty, his father-in-law, May completed around 35 custom residences in the area, prioritizing economical layouts that integrated regional traditions with functional simplicity. These early commissions, often in neighborhoods like and Point Loma, highlighted his commitment to site-specific adaptations, such as orienting homes to capture ocean views and breezes. In 1936, May expanded his practice to , continuing to design homes through partnerships with regional contractors who appreciated his builder-friendly approach. This period solidified his reputation for creating accessible yet distinctive residences, with projects like haciendas that balanced aesthetic appeal and cost efficiency, laying the groundwork for his broader influence in architecture.

Evolution of Design Philosophy

Following his early projects in San Diego during the 1930s, Cliff May's design philosophy began to mature amid the post-World War II housing boom, which emphasized affordable suburban development for returning veterans and growing families. This era influenced a shift toward ranch-style homes that prioritized family privacy through low-profile, sprawling layouts while fostering seamless integration with outdoor spaces, reflecting the era's optimism and desire for casual domesticity. May articulated these ideas in writings for magazines such as , where a 1946 feature highlighted his vision of homes that encouraged relaxed, family-centered living attuned to California's climate. May's approach evolved by blending Modernist principles, such as open floor plans and cross-ventilation systems, with traditional ranch forms inspired by haciendas and farmhouses, creating structures that promoted airflow and natural light without sacrificing coziness. He incorporated natural materials like wood shakes, stucco, and board-and-batten siding to ground the homes in their landscapes, enhancing a sense of harmony with the environment. These innovations were detailed in collaborative publications, including Sunset Western Ranch Houses (1946), co-authored with Sunset magazine, which established May's ethos of informality and gaiety borrowed from Western ranching traditions: "because of its name alone, [the ranch house] borrows friendliness, simplicity, informality, and gaiety from the men and women who, in the west, made it famous." By the late 1940s and into the 1950s, May's philosophy further developed through designs published in and Sunset, promoting the ranch house as a scalable prototype for middle-class buyers rather than solely custom luxury estates. This transition was evident in modular plans like the 950-square-foot Cliff May Homes, adapted for mass production in subdivisions such as those in Long Beach, allowing broader access to his ideals of indoor-outdoor connectivity via courtyards, patios, and large windows. Over 18,000 such ranch homes were built using his patterns, democratizing his emphasis on livable, nature-integrated spaces during the suburban expansion.

The Ranch-Style House

Origins and Influences

Cliff May created the California Ranch house in 1932, synthesizing elements from 19th-century adobe ranchos and Spanish haciendas that he had observed during his childhood in . His family's Californio heritage, including summers spent at the historic Los Flores adobe on Rancho Santa Margarita y Las Flores, provided an indirect inspiration through exposure to these traditional structures. Key influences on May's early designs included the Spanish Colonial Revival style, evident in features such as low profiles and courtyards that evoked layouts, alongside emerging , where flat roofs were adapted to pitched forms to suit California's climate. These elements were drawn from local precedents like the Casa de Estudillo , blending rustic authenticity with contemporary spatial ideas to form a distinctly regional . In the cultural context of the era, May's houses responded to a demand for affordable, romanticized interpretations of Western living, adapting aesthetics for burgeoning urban suburbs and reviving an idealized Mexican-era lifestyle. This revival captured a nostalgic appeal amid economic hardship, positioning the style as an accessible embodiment of informal, sunlit domesticity. May's first ranch-house prototype, completed in 1932 in , featured a single-story layout arranged in a U-shape around a , emphasizing horizontal lines and harmony with the site's natural contours. Built for Arthur J. and Frances O'Leary at 4725 Norma Drive, this seven-room hacienda-style home integrated low walls and wide eaves to blend seamlessly with the landscape, setting the template for the style's expansive, grounded form.

Key Features and Innovations

Cliff May's ranch-style houses featured low-pitched gabled roofs with wide overhanging , which created a horizontal profile that blended seamlessly with the surrounding while providing essential shade in California's warm . These roofs often incorporated exposed tails and clay tiles, evoking basic Spanish hacienda forms for aesthetic continuity. Sliding glass doors and large picture windows promoted an effortless indoor-outdoor flow, allowing natural light to flood living spaces, while single-story, ground-level floors enhanced and suited the informal lifestyle. Among May's key innovations were advanced cross-ventilation systems achieved through windows along roof ridges and strategic placements of porches, patios, and open-air atriums, which facilitated without mechanical reliance and mitigated heat buildup. Construction emphasized exposed wood beams for structural warmth and exteriors paired with board-and-batten siding, materials that offered durability and seismic resilience in earthquake-vulnerable regions. Skylights integrated into peaked roofs further enhanced natural illumination and ventilation, contributing to energy-efficient designs well-suited to mid-20th-century living. These houses adapted to evolving family dynamics with expansive kitchens designed as central social hubs, equipped for modern meal preparation and gatherings. Private bedrooms were oriented toward gardens and courtyards for serene views, fostering relaxation, while L- or U-shaped modular layouts around patios allowed for flexible expansions and privacy. Such configurations supported casual, outdoor-oriented living, with features like radiant heating under terraces extending usability year-round. By 1950, May's innovative designs had appeared in numerous magazine articles, particularly in Sunset publications that popularized the style nationwide, ultimately shaping standards for postwar across the .

Major Projects

Residential Designs

Cliff May's residential designs began with custom homes in the 1930s, primarily in , where he crafted rustic hacienda-inspired residences featuring walled courtyards, beehive fireplaces, and adobe-like exteriors that blended romantic Mexican influences with modern amenities. His debut project, a self-built house in Talmadge Park completed in 1932, served as a for this style, incorporating low-slung roofs and inward-facing layouts to foster private outdoor living. Between 1932 and 1937, May designed approximately 50 such courtyard haciendas across neighborhoods including Talmadge, La Mesa, Coronado, and , emphasizing compact forms and site-sensitive integration with the landscape. In the , after relocating to , May expanded his custom work to upscale estates, notably the 1940 Bel Air residence for industrialist Henry Salvatori, which retained hacienda courtyards while adapting ranch-style elements like broad eaves and seamless indoor-outdoor transitions to luxurious hillside sites. Notable commissions included homes for conductor and industrialist . These early-to-mid-century custom homes exemplified May's signature ranch style, characterized by horizontal massing, expansive glass, and garden integration that unified his oeuvre across scales. Over his career, May designed over 1,000 bespoke residences throughout , prioritizing client-specific adaptations over standardization. Postwar demand shifted May toward tract developments, including Rancho Estates in Long Beach, a collaboration with builder Chris Choate that produced over 700 ranch homes between 1953 and 1954 using prefabricated components for efficient assembly. These L-shaped, single-story units featured board-and-batten siding, windows, and fenced front courtyards to promote and outdoor connectivity on modular five-foot grids, enabling by small crews in days. In the , May's firm, Cliff May Homes, further innovated with prefab models—pre-cut panels and standardized plans—that influenced sprawling developments akin to those by , enabling mass production of ranch-style homes with open floor plans and aggregate patios across suburbs. Overall, May provided designs for approximately 18,000 tract units, transforming through scalable, site-responsive ranch architecture concentrated in regions like and Orange Counties. May's personal experimentation culminated in his 1955 residence, , on a 15-acre site in the near Brentwood, an evolving "ultimate ranch house" that expanded through additions to about 10,000 square feet by the 1970s, with terraced gardens, reflective pools, and blurred boundaries between interiors and the rugged canyon terrain. This self-designed home tested advanced ranch principles, including passive solar orientation and modular expansions, serving as a private laboratory for ideas later refined in his broader portfolio.

Commercial and Institutional Works

While Cliff May's residential designs defined the California ranch house, he adapted its principles—such as low-slung profiles, open layouts, and seamless indoor-outdoor connections—to a smaller body of commercial and institutional projects, applying a casual, site-responsive aesthetic to non-domestic spaces. One of May's pioneering commercial works was the Sunset Magazine headquarters in Menlo Park, California, completed in 1951 and marking his first major non-residential commission. Designed to evoke a sprawling ranch estate on seven acres, the low-profile building featured expansive courtyards, natural materials like wood and stucco, and abundant natural light to foster a relaxed work environment, influencing subsequent office designs in the region during the 1950s. In Los Angeles, May incorporated similar open-plan layouts and clerestory windows into several 1950s office buildings, blending functional workspaces with landscaped patios to promote collaboration and views of the surrounding terrain. May's institutional projects extended these adaptations to public and communal uses, notably the Robert Mondavi Winery in Oakville, Napa Valley, designed in 1966. Drawing on mission-style elements with barrel-vaulted roofs, adobe-like walls, and integrated courtyards, the low-slung structure harmonized with , creating a welcoming environment that blurred production areas with outdoor vineyards. This design not only served functional winery operations but also set a precedent for blending industrial processes with natural landscapes in California's . In institutional contexts, May emphasized communal outdoor areas, as seen in tract developments where he incorporated recreational facilities. For instance, the Bell Canyon Equestrian Center in Ventura County, completed in 1968, functioned as a hub with stables, arenas, and gathering spaces designed as an architectural , featuring ranch-inspired roofs and expansive paddocks to encourage social interaction amid natural settings. Though May undertook fewer than 50 such non-residential projects overall—prioritizing residential work—these examples demonstrated the ranch style's versatility in creating informal, people-oriented public spaces.

Later Career and Collaborations

Post-1960s Works

In the post-1960s era, Cliff May maintained continuity with his foundational ranch-style , emphasizing low-slung forms, indoor-outdoor integration, and site-sensitive adaptations while shifting toward larger custom residences for affluent clients. His late-career output included numerous estates, particularly in coastal and inland locales, where designs responded to evolving environmental concerns and client preferences for expansive living spaces. During the 1970s and 1980s, May focused on custom estates in areas such as Malibu, Brentwood, and the Inland Empire region, including high-profile commissions like the 1976 addition and remodel for actress Bea Arthur at 2000 Old Ranch Road in Brentwood, which expanded an existing ranch structure to enhance privacy and views. Other notable projects included the 1973 El Vuelo House in Rancho Santa Fe, a sprawling estate blending hacienda influences with modern ranch elements, and the 1978 Gerald Katell House in Rolling Hills, featuring wide eaves and courtyards for shaded outdoor areas. These designs incorporated practical updates for California's Mediterranean climate, such as extended roof overhangs to provide natural solar shading and reduce heat gain, aligning with growing awareness of energy efficiency in residential architecture. May also pursued experimental projects in the 1970s, including the 1973 Charles House in Fresno, which explored innovative assembly techniques for forms in hotter, drier interiors while preserving the style's hallmark simplicity and horizontal massing. May's work expanded regionally into arid environments of , adapting principles to local terrains with features like rammed-earth accents and shaded patios to combat intense sun exposure. In , he completed commissions including the 1969 private residence in Phoenix and the 1963 Alvin J. Gordon House in Tucson, both emphasizing through deep recesses and cross-breezes suited to desert living. These projects demonstrated May's ability to evolve the style beyond , influencing suburban developments in the Southwest. A key milestone came in 1988, when May finally obtained his formal architectural license from the State of after decades of unlicensed practice, enabling him to bid on and secure larger institutional projects in his final year. This certification, granted under Governor amid regulatory changes, affirmed his longstanding contributions and opened new opportunities before his death in 1989.

Partnerships and Prefabs

In the early 1950s, Cliff May partnered with architect Chris Choate to develop a modular prefabricated system for -style tract homes, forming the business known as Cliff May Homes. This collaboration focused on creating standardized panels and components that allowed builders to assemble homes quickly and affordably, drawing on May's ranch design principles to produce livable, informal residences suitable for . The partnership, which emphasized post-and-beam construction and prefabricated wall sections, enabled the sale of plans and kits to builders nationwide, marking a shift from May's earlier custom work to scalable housing solutions. The Cliff May-Chris Choate system, patented in the mid-1950s, facilitated the of quick-assembly kits that could be erected in days after site preparation, significantly reducing labor and material costs compared to traditional building methods. These innovations resulted in approximately 2,750 homes built across the . For instance, in Denver's Harvey Park neighborhood, licensed builder Burns erected 170 of these panelized prefabs between 1954 and 1956, demonstrating the system's efficiency in producing low-cost homes priced at least $1,000 below market averages at the time. Following the end of the Choate partnership in 1956, May continued exploring through licensing agreements with regional manufacturers and builders, though post-1960s efforts were limited. These early initiatives supported the style's national proliferation by making it accessible to middle-class families. May's later personal works served as testing grounds for refining ranch techniques.

Personal Life

Family and Residences

Cliff May married Jean Lichty on October 19, 1932, at the Old Mission; she was the daughter of prominent Roy C. Lichty, who provided early support for May's design ventures by offering land and financial backing. The couple had four children: daughters Marilyn, Melany, and Hillary, and son Mike. May's personal residences evolved alongside his career, beginning with modest homes in that embodied his emerging ranch-style ethos. His debut project, the O'Leary House completed in 1932 at 4725 Norma Drive, was a U-shaped Spanish Colonial Revival structure surrounding a , reflecting influences from California's historic adobes; it was sold to Arthur J. and Frances O'Leary shortly after completion. The family's first home, completed in 1935 at 4338 Adams Avenue, was a "rancheria"-style house featuring a wood-shingle , expansive , and integrated indoor-outdoor spaces that prioritized family living. After relocating to in the late , May designed subsequent family homes, including a 1939 hacienda in the Riviera Ranch development and an experimental house in 1952 that tested advanced indoor-outdoor integration. In 1956, May built at 2200 Old Road in Sullivan Canyon as the 's primary residence, a sprawling 6,300-square-foot single-story with low-pitched roofs, glass walls for seamless indoor-outdoor flow, and radiant heating throughout; this home served as both a personal retreat and a showcase for his mature architectural principles. The later moved in 1968 to Marglen, a compound in Topanga Canyon, where May and Jean resided until his death in 1989; this property continued to emphasize casual, nature-connected living suited to their . May's homes consistently reflected his belief in that fostered togetherness, with open plans and site-sensitive designs drawn from California's ranching heritage.

Hobbies and Interests

Cliff May was an avid enthusiast and a licensed pilot who obtained his certification in the 1930s, reflecting his adventurous spirit during that era. He owned private planes and frequently flew them himself, including trips shared with family members to various destinations. Known as a daredevil pilot, May was also a member of the Country Club of , where he embraced the thrill of flight as a personal passion. Music held a central place in May's life from his youth, as he was a lifelong jazz enthusiast who briefly pursued the saxophone as a young musician. In high school, he led his own dance orchestra, performing at venues such as the Hotel del Coronado and El Cortez Hotel, and even broadcast on KFSD radio at the U.S. Grant Hotel. From 1924 to 1932, May played saxophone in the Cliff May Orchestra, entertaining audiences and exploring professional opportunities in music before transitioning to other pursuits. He maintained this interest throughout his life, amassing a large collection of jazz records and tapes that underscored his enduring appreciation for the genre. Beyond these pursuits, May enjoyed equestrian activities, particularly on his ranches, where he engaged in horseback riding as a leisurely . As a dedicated horseman, he was a member of the Ranchos Visitadores, a private riding club in the , which allowed him to immerse himself in the rural equestrian lifestyle he cherished. also featured in his ranch-based interests, providing a hands-on way to cultivate personal spaces amid his expansive properties.

Death and Legacy

Final Years and Death

In the 1980s, Cliff May remained professionally active despite his advancing age, obtaining his long-overdue architectural license in 1988 after decades operating as a registered building designer. He continued designing and overseeing projects from his Brentwood studio, focusing on custom homes that reflected his enduring ranch-style ethos. May's health began to decline in his final year when he was diagnosed with a , yet he opted to forgo hospitalization and persisted in his work until the end. He died on October 18, 1989, at the age of 81, in his office studio at his Brentwood estate, . Following his death, May's family, including son Mike, managed the transition of his personal and professional archives, which were later donated to the , facilitating posthumous exhibitions of his designs.

Recognition and Influence

Cliff May received significant recognition for his contributions to residential architecture, particularly through magazine accolades in the mid-20th century. He designed the "Pacesetter House" for in 1948, an innovative model home that showcased forward-thinking features like open floor plans and indoor-outdoor connections, earning widespread praise for advancing postwar domestic design. This project, located in , highlighted his ability to blend functionality with aesthetic appeal, influencing national trends in homebuilding. Although unlicensed for much of his career, May obtained his architectural license in 1988, which allowed for formal acknowledgment of his lifetime achievements. Posthumously, May's work gained further acclaim through major exhibitions that underscored his enduring legacy. The 2012 retrospective "Carefree California: Cliff May and the Romance of the Ranch House" at the , Santa Barbara's Art, Design & Architecture Museum featured over 100 drawings, photographs, and models from his career, drawing attention to his evolution from early hacienda-inspired designs to modern ranch homes. This exhibition, part of the Getty's Pacific Standard Time initiative, highlighted his impact on California's architectural identity and attracted scholars and enthusiasts alike. Following his death in 1989, his extensive archive—comprising approximately 350 linear feet of papers, plans, and records from 1931 to 1989—was established at the same museum, serving as a key resource for ongoing research into midcentury modernism. May's influence extended far beyond , shaping suburban development and inspiring subsequent generations of architects. His -style homes, characterized by low profiles, expansive sites, and natural material integration, played a pivotal role in the postwar suburban sprawl, enabling the mass production of affordable, family-oriented housing that prioritized casual living and landscape harmony. This style inspired developers like , whose modernist tract homes echoed May's emphasis on open plans and site-responsive design, adapting elements to broader West Coast suburbs. Nationally, May's prefabricated house plans facilitated the spread of architecture, with his models used in around 18,000 tract homes across the , democratizing modern living during the housing boom. In the post-1960s era, May's designs experienced a revival in eco-design discourse, cited in sustainability studies for their passive environmental strategies. Scholars have noted how his homes' orientation for natural ventilation, use of local materials, and seamless indoor-outdoor flow anticipated contemporary principles, reducing energy needs through climate-responsive features. This renewed appreciation positions May's work as a precursor to sustainable suburbanism, with modern analyses emphasizing its role in fostering low-impact, nature-attuned residences amid growing environmental concerns. As of 2025, May's designs continue to be celebrated through preservation , including the Preservation Design for the M.H. House in , and annual home tours.

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  35. https://www.midmodcolorado.com/mid-century-modern-neighborhoods/denver-colorado/cliff-may-mid-mod-homes-harvey-park
  36. https://www.latimes.com/archives/la-xpm-2004-oct-21-me-surroundings21-story.html
  37. https://www.dwell.com/article/midcentury-prefab-ranch-cliff-may-california-real-estate-49a4b6cf
  38. https://www.legacy106.com/HughBandZulaBStylesH.htm
  39. https://calisphere.org/item/3e5607b2bc14f7d31e441afd12febc3a/
  40. https://www.sandiegouniontribune.com/2011/03/27/cliff-may-an-architect-for-everyman-and-woman/
  41. https://xamary.wordpress.com/2009/03/02/cliff-mays-last-house-mandalay/
  42. https://www.findagrave.com/memorial/105675806/jean_may
  43. https://www.modernatom.homes/blog/cliff-may-s-daughter-visits-harvey-park-for-the-first-time
  44. https://www.eichlernetwork.com/article/cliff-mays-hacienda-modern
  45. https://www.latimes.com/archives/blogs/la-at-home/story/2012-02-26/carefree-california-cliff-may-and-the-romance-of-the-ranch
  46. https://www.latimes.com/archives/la-xpm-1989-10-20-mn-80-story.html
  47. https://www.findagrave.com/memorial/105674070/clifford-magee-may
  48. https://news.ucsb.edu/2012/013181/art-design-architecture-museum-ucsb-features-carefree-california-cliff-may-and-romance
  49. https://www.latimes.com/archives/la-xpm-2012-mar-29-la-ca-architecture-cliff-may-20120401-story.html
  50. https://museumucsb.as.atlas-sys.com/repositories/2/archival_objects/21018
  51. https://www.eichlernetwork.com/article/cliff-may-ranchos-rancho-estates-long-beach
  52. https://www.archpaper.com/2012/04/ranch-dressing/
  53. https://www.sfgate.com/homeandgarden/article/Gregory-s-house-plans-evoke-hero-Cliff-May-3289555.php
  54. https://www.eichlerhomesforsale.com/blog/10-forgotten-heroes-of-mid-century-modern-design-you-need-to-know-1
  55. https://gbdmagazine.com/los-angeles-design-group/
  56. https://retrofithomemagazine.com/2023/12/long-time-owners-of-a-ranch-style-house-update-it-for-contemporary-living-and-aging-in-place-with-a-dose-of-hygge/
  57. https://claremontheritage.org/preservation.html
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