Santa Monica City Hall, located at 1685 Main Street, is a monumental example of the Public Works Administration (PWA) Moderne style and serves as a testament to the city’s growth and civic pride during the Great Depression. Completed in 1939, the building was designed by prominent architectural duo Donald Parkinson and Joseph M. Estep. Parkinson was well-known for his work on Los Angeles landmarks like Union Station and Los Angeles City Hall, in partnership with his acclaimed father, architect John Parkinson. The project was funded by the PWA, a New Deal program created to provide employment and modern infrastructure during the Great Depression.
The building’s architecture is characterized by its symmetrical, stepped-back design, smooth white concrete exterior, window groupings and intricate tile work. The tower, rising above the central entrance, features a colorful tile mosaic dome that has become a defining silhouette in the city. While the exterior reflects the strength and permanence of local government, the interior was designed to tell a story of the region’s cultural and natural history. City Hall’s integration of many decorative arts with Moderne architecture produced a masterpiece of the WPA era.
The centerpiece of the lobby is a pair of massive murals entitled The History of the Santa Monica Bay Region and Recreation in Santa Monica, created by Stanton Macdonald-Wright. Born and raised in Santa Monica, Macdonald-Wright was a pioneer of abstract art and a co-founder of Synchromism, an art movement that emphasized the use of color to create form and rhythm, similar to musical compositions. These murals were funded by the Federal Art Project (FAP), a division of the WPA that was headed up in Southern California by McDonald Wright himself.
The mural on the north wall, The History of the Santa Monica Bay Region, depicts the “Pre-European” era of Santa Monica, focusing on the indigenous Tongva people and the arrival of Spanish explorers. This section emphasizes the natural springs and the pristine landscape of the bay. On the south wall, Recreation in Santa Monica, shifts the focus to the City’s urban development, showcasing the development of Santa Monica in the 1930s as a bustling seaside resort and recreation magnet. These scenes include depictions of the Santa Monica Pier, the aeronautical industry (specifically Douglas Aircraft), the vibrant beach culture, and polo players, inspired by Will Rogers’ nearby ranch.
What makes these murals particularly significant is the technique Macdonald-Wright used. Rather than traditional oil on canvas, he utilized “petrachrome,” a process involving crushed stone and colored cement. This technique was chosen for its durability and its ability to integrate seamlessly with the building’s architectural surfaces. The vibrant, saturated colors—reds, deep blues, and earthy ochres—reflect Macdonald-Wright’s obsession with color theory and give the figures a sculptural, heroic quality.
Despite their beauty, the murals have not been without controversy. The history mural was criticized for depicting the colonial conquest of Native American land, and the modern mural for its “elite” perspective of the City’s claims to fame. Investigation into the murals as artworks disclosed other meanings, such as the naming of Santa Monica, and reflecting the tragic death of famed polo champion Will Rogers. In 2021, the city made a commitment to install interpretive signage near the murals to provide context and honor the true history of the Tongva people, ensuring that the lobby will serve as a place for education as well as aesthetic appreciation.
Santa Monica City Hall was designated a City Landmark in 1979 and remains a fully functioning seat of government. The lobby and its murals continue to be a primary destination for historians and visitors interested in the intersection of New Deal public works, regional history, and the evolution of American modernism.
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