Home Builder/Developer: Hawkins, Edward B.
Birth/Death Dates: 1902-1991
Practice Dates: 1942-1967
Firms: Construction Products Company
Colorado Metal Products
General Investments Company

Edward B. Hawkins was born in 1902 in Denver, Colorado, graduated from the city’s East High
School, and went on to study civil engineering for two years at Colorado State Agricultural
College, now Colorado State University, in Fort Collins. In 1924, he moved to Chicago where he
entered the construction trade. He worked as a building superintendent for Home Builders of
America, a firm involved in the construction of houses in LaGrange, Evanston, Wilmette,
Winnetka and Skokie, Illinois. During this period, he undertook small general contracting
projects. His increasing interest in residential design led him to study firsthand the Chicago area
work of architect Frank Lloyd Wright. Wright had won international acclaim for his Prairie Style
buildings in Oak Park, Illinois, where he lived and worked until 1909. By the 1920s, Wright had
relocated to Los Angeles.
When the Great Depression stalled home building, Hawkins joined the Civilian Conservation
Corps (CCC) federal relief program. With the CCC, Hawkins built roads, fireplaces and picnic
areas throughout the Chicago region. In 1942, Edward and Charlotte, his wife, returned to
Denver. For the duration of World War II, Hawkins served in a civilian capacity at the Rocky
Mountain Arsenal, a federal chemical weapons manufacturing plant.
Hawkins also began to establish himself as a home designer and builder in Denver. He
constructed his first house at 14th and Niagara on a lot next to his family home and continued
with homes in the 2500 to 3000 blocks of Race, Albion, Ash, Forest and Glencoe. Between
1942 and 1949, Hawkins built thirty-five individual modern homes in northeast Denver ranging in
price from $10,000 to $23,000. He designed the houses himself, incorporating ideas about
modern architecture and modern living from his work and studies in Chicago.
During this period Hawkins’s firm, Construction Products Company operated a shop in
Lakewood at 14th and Harlan, in an old streetcar barn. Under the supervision of shop foreman
Clyde Mannon, houses were prefabricated for on-site assembly. Custom aluminum-frame
windows were also manufactured for use in Hawkins’ own homes and for sale to local architects
and home builders.
In August of 1949, Hawkins conceived of developing an entire subdivision, signing an option to
purchase a thirty-acre parcel in Englewood. In November of 1949, he completed the purchase
of the property from M. Olive Hensley for $5,250 and christened his new holdings Arapahoe
In order to promote their products in the booming new housing market, the Revere Copper and
Brass Company joined with the Southwest Research Institute, part of the Housing Research
Institute, to create a national program to advance “better architect-builder relations and the
general improvement of the quality of speculatively built houses.” The program solicited
proposals featuring quality modern design, which Revere considered more cost effective andlivable than traditional residential design. Participants juried into the program would build ten or
more economical, single-family homes designed by a professional architect. Local and national
publicity would promote the homes, architects, home builders and Revere Copper and Brass
products throughout the country.
Hawkins recognized that the Revere program could help him sell his new subdivision. However,
the program included strict Federal Housing Administration (FHA) housing design guidelines
that shunned modern homes with flat roofs and plain, asymmetrical facades as a fad, refusing to
consider them sound, long-term investments. While traditional homes in large developments
were readily financed in whole, Hawkins had already discovered that the FHA was willing to
loan only 80 percent of the purchase price for one of his modern houses. By associating his new
subdivision with the Revere Quality House Program, Hawkins most likely hoped to garner more
favorable financing terms from the FHA.
In order to participate, Hawkins set aside his own design ambitions and hired Eugene
Sternberg, who had been recommended to him by the Revere Program. Sternberg, a
board-certified architect and professor at the University of Denver School of Architecture and
Planning, agreed to participate because of his interest in the creation of socially conscious
modern housing combining quality architectural design and economical construction.
In 1949, Sternberg’s site and construction plans were submitted to the Revere Quality House
Program. Upon their acceptance into the program, William C. Atkin, a San Antonio based
technical advisor to the Southwest Research Institute, visited Denver to lay the groundwork for
the construction and display of the initial nine homes.
Charlotte Hawkins served as business manager. Clyde Mannon, who previously worked as
Hawkins’ shop foreman, joined the operation at Arapahoe Acres. He assisted Hawkins with
construction and directed prefabrication at the new carpentry shop constructed at 2901 South
Lafayette Drive to replace the Lakewood location. Mannon, a native of Golden, Colorado,
became Hawkins’ partner in General Investments Company and Hawkins Associates, both
corporations formed to finance and build Arapahoe Acres.
Within Arapahoe Acres, Sternberg partially abandoned the surrounding street grid. His
curvilinear plan reduced automobile speed and discouraged through traffic, resulting in a safer,
quieter neighborhood. On October 13, 1949, after a battle with Englewood over the ability of the
fire department to locate individual houses in a neighborhood with such a radical street design,
the full subdivision plan was approved and filed with Arapahoe County and the Englewood
Planning and Zoning Commission. In November of 1949, Hawkins borrowed $85,000 from
Denver’s Central Bank to finance the initial construction phase, mortgaging nine of the lots.
Instead of regrading and leveling the lots, common residential development practice, the natural
grade, a forty-foot slope from east to west, was retained. Some houses were sited on flat lots
atop high points or low expanses below. Some stepped up or down to the front, rear or side of
their sites. Houses were oriented on their lots for privacy, and to take the best advantage of
southern and western exposures for solar heating and mountain views. The homes were set at
twenty-three to forty-five degree angles to the street behind a twenty-five foot building line.
Walks and driveways were situated to create broad lawns and provide areas for landscaping in
a variety of proportions and dimensions.
For Arapahoe Acres, a diverse community was envisioned for families of varying size and
financial resources. Homes were grouped in price ranges from $10,000 to over $20,000. Lot sizes varied from 66 x 100 feet up to 80 x 150 feet. Each home is of individual design. The initial nine homes designed by Sternberg were a single basic plan varied by individual location on the
lot and by the position and character of the carport and main entrance. Each home had a paved
terrace to the rear. The primary exterior materials were red or yellow brick, plywood panels and
Sternberg designed the homes on a four-foot module with flowing living and work areas set off
from the bedrooms for privacy. Sliding interior wall panels were based on the Japanese Shoji
screen. A variety of options was offered on the roof type, the fireplaces included in every house,
and the color and finish of exterior and interior walls. Interior walls were often paneled in natural
hardwood plywood. Modern kitchens offered new appliances and efficient workspaces. Floors
were asphalt tile. Due to the sponsorship of Revere Copper and Brass, the model home
featured copper in the mechanical construction and interior finishes.
The homes were characterized by many construction innovations that Sternberg brought with
him from his work in London. They included insulated cavity brick walls and the area’s first
warm-air heating system combining radiant floor heat with forced air heat distributed under
concrete slabs to floor registers along walls. Acoustical ceilings provided noise control.
Stylistically, Sternberg’s work was related to the International Style.
By the time the Denver press announced the opening of the model home on Sunday, March 12,
1950, the first group of nine homes had already been sold. Despite an untimely snow storm,
over 4,000 attended the opening at 2900 South Marion Street, drawn by headlines promising a
modern model home with comforts normally reserved for more expensive houses. Model home
admissions were donated to Laradon Hall, a Denver school for the education of disabled
children. Visitors were asked to contribute to “scientific housing research” by filling out a four
page survey on house design, siting, options and pricing.
With the announcement of the show home opening, Hawkins and his suppliers and
subcontractors ran adjacent advertising in the Denver Post. Colorado Metal Products, Hawkins
own window manufacturing firm, advertised the “Columbine Tubular Aluminum Casement
Windows” which were installed in the show home.
Through the Revere Quality Home Program’s massive publicity campaign, Arapahoe Acres
appeared nationally in the architectural and construction press. In 1950, Life magazine featured
Arapahoe Acres in “Best Houses under $15,000; Eight fine, mass-produced examples show
buyers what they can get in low-priced homes.”
A commendation from the Southwest Research Institute’s division of housing and construction
technology was noted in Architectural Record, which singled out Arapahoe Acres for its “quality
and character.” In a 1950 Progressive Architecture article that questioned architects nationally
about their designs for speculative builder homes, Arapahoe Acres was a featured project. A
1951 Progressive Architecture “Case Study” mentioned Arapahoe Acres as a noteworthy
development. Katherine Ford and Thomas Creighton also featured it in their book, Quality
Budget Houses.
In the construction press, the July 1951 Practical Builder ran a feature article entitled “A Sell-Out
in Contemporary Architecture” and Revere Copper and Brass ran full-page ads featuring
Arapahoe Acres in national trade publications. Better Homes and Gardens magazine offered a
complete set of Arapahoe Acres house plans for $25.00, on which Sternberg received a
commission for each set sold.

During the initial success of Arapahoe Acres, it became evident that Hawkins did not share
Sternberg’s interest in low-cost, affordable homes. Much to Sternberg’s dismay, Hawkins sold
the model home for more than the $11,500 upon which they originally agreed. This created a rift
between the two men and in 1950, Edward Hawkins and Eugene Sternberg ended their collaborative
relationship. Approximately twenty homes were built on Sternberg’s plans, almost all on
the Marion Street frontage.
After the departure of Sternberg, Hawkins was free to fulfill his own ambitions as a designer.
Virtually all of the work of Hawkins for Arapahoe Acres reflected his admiration for the Usonian
Style that Frank Lloyd Wright developed in the years following the Depression. After his return
from Chicago, Hawkins continued to observe Wright’s work including a visit to Wright’s Taliesen
West in Scottsdale, Arizona.
Hawkins built homes within the original Sternberg site plan. Hawkins believed style took
precedence over economy. Except for a series of small homes on South Cornell Circle, all variations
on a single, simple plan, Hawkins designed unique and increasingly larger and more
luxurious homes. Initially built and sold on speculation, Arapahoe Acres homes were more often
designed and built by Hawkins under contract with individual home buyers.
Though early homes in Arapahoe Acres had been successfully financed by FHA/GI loans, the
FHA balked as Hawkins began to build more extreme modern designs. After much discussion,
his house at 2920 South Lafayette Drive received approval, but at a low valuation–only $12,800
on a house with a sales price of $21,000. By 1954, conventional private mortgages became the
norm and with the success of the subdivision, Hawkins himself began to provide financing.
Exterior construction materials choices expanded to include natural stone, concrete block, a
wide variety of brick, tongue and groove siding, board and batten siding and lapboard siding,
roof and balcony fascia. Wood sunscreens, louvers and other details appeared. Glass became
an important exterior design element.
Earth tone paint colors, matching or complimenting the tones of adjacent natural materials, were
the rule in Arapahoe Acres. Hawkins was particularly autocratic in the use of color in the
neighborhood, personally supervising and selecting paint colors custom mixed by his painting
contractor, Charles Buckley. Hawkins rule of thumb, “When in doubt, use putty,” is still quoted
by original owners. Coral and turquoise sometimes appeared, but only as accent colors on front
doors or to emphasize architectural details.
Hawkins’ interiors were related to the plans of Frank Lloyd Wright as expressed in his Usonian
Style manifesto, The Natural House. They featured dramatic, flowing living, dining and kitchen
areas with bedrooms and bathrooms grouped for privacy and quiet.
The range of custom millwork and cabinetry prefabricated in the neighborhood’s carpentry shop
expanded. Bedrooms included entire walls of closets with floor to ceiling sliding doors, built-in
chests, and headboards; baths had wood cabinets, custom towel racks, and wall display details;
dens had built-in desks and bookcases; and custom couches and sideboards were built into
living and dining areas. Kitchens were designed for maximum efficiency of food preparation,
service and cleanup. Many featured a pass-through to living areas, breakfast bars, and cabinets
with wooden doors below and sliding doors of glass or Masonite above.  Philippine mahogany, redwood, and grasscloth covered interior walls and ceilings. Ceiling
beams were exposed as an architectural detail in many homes. In others, ceilings were finished
in stained plywood panels. Masonry materials which appeared on the exterior of homes moved inside as prominent fireplace features, wall, and floor surfaces. Fireplaces served as a focal
point of living rooms in every home. Floors were commonly cork, hardwood, and asphalt and
rubber tile. Entrance halls often featured flagstone. Recessed lighting was standard. Hawkins
also designed decorative finish tile for some homes. Copper hoods on kitchen exhaust units and
copper trim on the fireplaces continued to appear, a legacy of the relationship with the Revere
Copper and Brass Company.
Indirect lighting emanating from flush panels integral to or concealed adjacent to their formal
entrances dramatically lit house exteriors. Custom outdoor planters, walls and fences were
common, frequently integral to the houses themselves. In back yards, patios with built-in
furniture and barbeque units offered outdoor living and entertaining during the summer months.
Screened service yards concealed hanging laundry, incinerators and trash bins from view. Front
and rear entrances incorporated built-in mail and milk boxes.
Automobiles, an increasingly important part the post-war world, were accommodated by a
variety of one- and two-car carports and garages, often with built-in storage units. Concrete
driveways and walks were frequently combined into a single surface to maximize space for
landscaping. Narrow concrete sidewalks had simple, angled curbs.
Custom street signs featured a typographic identity for Arapahoe Acres, the initial letters “A”
formed by arrowheads reflecting the source of its name, the Arapaho Indian tribe. House street
numbers in modern typefaces were routed on organic forms or cut out and applied to exterior
finish materials.
Hawkins’ life revolved around the design and construction of Arapahoe Acres. His total
involvement with Arapahoe Acres was reflected by his long-term residency in the neighborhood,
where he and Charlotte won the lifelong friendship of many home buyers. The Hawkins lived at
2910 South Marion Street, 2909 South Lafayette Drive, 1420 East Bates Avenue, 2921 South
Franklin Street, and 2960 Lafayette, which served as their home, design studio and business
office during the height of subdivision construction. Altogether, Hawkins was sole designer of
approximately seventy homes in Arapahoe Acres. Clyde Mannon, formerly Hawkins’
construction foreman, served as his contractor during this period, directing a loyal crew
including carpenters, bricklayers, hod carriers and laborers. Cabinetmaker Bill Norlin, who had
joined Hawkins as a journeyman carpenter in 1951, assumed Mannon’s duties in the shop. The
other trades were performed by a carefully selected and dedicated group of subcontractors.
Two houses in Arapahoe Acres were built by Hawkins from designs by national architects as
Colorado display homes for Better Homes and Gardens. Both homes drew extensive local and
national publicity to Hawkins and Arapahoe Acres. The first, “Home for All America,” was
constructed at 2901 South Franklin Street. It was furnished and decorated by Hal Lipstein for
Davis & Shaw, a local furniture retailer. Over 3,000 visited the model home on opening day,
August 29, 1954.
The “Idea Home of the Year” was built at 2921 South Franklin. Opening day attendance on
August, 28, 1955, was 2,895 and total attendance was approximately 17,500. The house,
designed by architects Hugh Stubbins Associates, Cambridge, Massachusetts, was built in over
100 locations in 37 states and Canada. Interior design and furnishings were provided by the
major Denver department store, Daniels & Fisher. Lenny Baylinson, an Arapahoe Acreshomeowner and organist at Denver’s Brown Palace Hotel, performed live music for model home
visitors.  The primary landscape planning of Arapahoe Acres is believed to have been the work of
Hawkins. Along the streets, sweeping lawns were punctuated by specimen trees and shrubs,
planted to retain vistas of the mountains. A small landscaped island appears at the foot of South
Lafayette Drive. Local landscape contractor Roy Woodman is known to have worked with
Hawkins on design, as well as supplying planting materials. Hawkins designed landscaping for
individual homes as well, as evidenced by his drawings for plantings at 2949 South Lafayette
Drive. Other homeowners contracted directly with independent landscape firms; drawings by
designer Max Capron with Marshall Nurseries survive for 1421 East Cornell Avenue.
As the neighborhood matured, Hawkins, a consummate promoter, continued to garner publicity
and press for Arapahoe Acres. In a number of cases, his home plans were offered for sale. A
Hawkins-designed house at 3064 South Cornell Circle was exhibited in the 1953 Denver
“Parade of Homes.” Hawkins’ homes at 1431 East Cornell Place and 1500 East Cornell Avenue
were featured in the Denver Post’s Empire Magazine. A Hawkins’ designed home at 3080 South
Cornell Circle was published in Better Homes and Gardens Home Building Ideas of 1957. The
issue featured the work of 185 residential architects and designers nationwide, organized by
region. The McCalls Garden Book of 1967 featured a Hawkins-designed paving of exposed
pebble aggregate alongside the work of renowned Denver landscape architect Saco Rienk
Construction in Arapahoe Acres began in 1949 and concluded in 1957. As the subdivision
neared completion, Hawkins decided to utilize the lot at 2980 South Lafayette Drive as a neighborhood
park and playground, an idea that Sternberg had originally proposed for eight lots on
South Cornell Circle. Neighboring homeowners objected, however, and in 1955 Hawkins began
construction of a home on the site.
That same year Hawkins, undoubtedly inspired by his studies of the Japanese influence on
Wright’s work, traveled to Japan. Upon his return, he demolished the partially completed house
on South Lafayette and began again. The final version, unabashedly Japanese in style, has
many design, material and landscape features unique to the neighborhood. The house at 3051
South Franklin Street, also built during this period, includes many Japanese-style details.
The Japanese style house at 2980 South Lafayette Drive was the Hawkins’ residence for ten
years prior to retirement and their final home in Arapahoe Acres. In exchange for the loss of the
playground, the couple opened their swimming pool and adjoining pool house to neighborhood
families on Saturday mornings during the summer months.
To Hawkins, residents were more than mere home buyers. They were partners in his vision of
an all-encompassing community of “contemporary” homes. He was a charismatic individual who
inspired great loyalty. To quote one original Arapahoe Acres owner, “Ed was a fatherly spirit
who taught us a lot about design and sophisticated taste.” Hawkins took his responsibilities as
an educator seriously and was not shy in correcting homeowners’ ill-conceived design and color
As Arapahoe Acres neared completion in 1955, Edward Hawkins purchased land close to
Bowles and Belleview for the development of a new project, Arapahoe Hills. Longtime business
partner and contractor Clyde Mannon, now working under the name Mannon Associates,
assumed the project after the completion of only three or four houses.

In 1967, Edward and Charlotte Hawkins retired to Vista, California, where Hawkins designed
and built his final home in a Japanese style on the San Luis Rey golf course. For eight years,
the two traveled around the world on tramp steamers. Edward B. Hawkins died in 1991 at the
age of eighty-nine. Charlotte died in 1995.
This biography is a condensation of Diane Wray’s Arapahoe Acres National Register

Source:  Office of Archaeology and Historic Preservation, Colorado Historical Society’s biographical sketch series: “Builders of Colorado”