a handful of structures. Shortly thereafter, in 1914, he accepted his nephew Louis as a partner. After this time, Gill began living and working mainly in Los Angeles County, although the Gill & Gill partnership lasted until 1919. Multiple projects for the fledgling city of Torrance may have prompted the move. Gill returned to live in North San Diego County in the 1920s, but his pace of work slowed considerably due to lingering illness, changing public tastes, and his diminishing willingness to compromise with clients. After the late 1920s, his work added Art Deco or "Moderne" touches. In the late 1920s, Gill produced several civic buildings for the city of Oceanside, California. This would be his final large project. His last contract was to create houses for several displaced Native American families who would then settle at the Rancho Barona Indian Reservation near Lakeside, California. Importance Irving Gill was concerned with the social impact of good architecture and approached his projects with equal skill and interest, whether he was designing for bankers and mayors or for Indian reservations, an African American church, or migrant Mexican workers and their children. Gill's architecture established "a new beginning in life and art" and represented a "grand rejection" of the common "architectural mise en scene from other times and places," according to historian Kevin Starr. His work was described as "cubist" in publications of the time. Gill's interiors were concerned with removing most unnecessary detailing, partly for reasons of economy and hygiene. His houses are known for minimal or flush mouldings; simple (or no) fireplace mantles; coved, and therefore fluid, floor-to-wall transitions; enclosed-side bathtubs; plentiful skylights;, plastered walls with only occasional, but featured, wood elements; flush five-piece doors; concrete or Sorel cement floors; and a general avoidance of dividing lines, ledges, and unnecessary material changes. According to Joseph Giovannini, "the desire for an easily maintained, sanitary home drove Gill's aesthetic toward purity." Gill's aesthetically best work, much of it dating from the 1910s, favors flat roofs without eaves, a unity of materials (mostly concrete), casement windows with transoms, white or near-white exterior and interior walls, cubic or rectangular massing, plentiful ground-level arches or series of arches creating transitional breezeways in the manner of the California missions. His best-known work still in active use today includes the Ellen Browning Scripps residence (now the Museum of Contemporary Art San Diego), the earliest buildings of The Bishop's