Laguna's scenes were not institutions. They were the same few dozen people meeting in different rooms. Scroll the atlas's people layer and watch the braid.
The atlas currently documents 106 people whose lives are traceable across the map, gathered into 17 named scenes: the art colony, the surf pioneers, the Brotherhood, the cartoonists' gang, the greeters, the Coast Inn's nightlife, the pageant founders. Each dot is a person; the bigger the dot, the more places their documented life touched.
Of those, 100 appear at three or more places: culture here was ambulatory. The longest trace in the record, 32 places, belongs to the atlas's own editor, which is what documentation looks like from the inside. Among the documented, the longest life-routes are Mark Chamberlain (23) and Anna Althea Hills (21): a canyon photographer and a plein-air painter, each of whom turns out to be less a resident of any address than a circuit through the whole town.
Flip the question: which places collected the most people? The answer is the town's living rooms. The Laguna Playhouse (11 people) leads, then the Art Museum, the White House Restaurant, City Hall, Greeter's Corner, the Pageant grounds. A theater, a museum, a bar, a restaurant, a civic chamber: 51 places in the canon hosted more than one documented life.
No scene owned a room. The rooms were where the scenes leaked into each other.
Put the most-traveled people above and the most-shared rooms below, and draw a thread wherever a life passed through a room. Almost every thread crosses another. The painter and the greeter share a corner; the cartoonist and the councilman share a bar. The scenes this atlas names, for all their separate colors, are one continuous braid of acquaintance, which is the real reason a town of twenty-some thousand could carry ninety years of culture.
Every thread on this chart is a documented co-presence in the record, and each one is walkable today.