Revised Development Plan Preserves Century Plaza Hotel
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The Guardian 082218
8/25/2018 Back to the Futuro: the spaceship house that landed in Yorkshire | Art and design | The Guardian Back to the Futuro: the spaceship house that landed in Yorkshire Dreamed up in Finland and shaped like a flying saucer, Matti Suuronen’s ‘house of the future’ turned out to be an impractical curio but its atomicage aesthetics are still alluring Mark Hodkinson Wed 22 Aug 2018 01.00 EDT ike jetpacks, flying cars and robot butlers, the Futuro was supposed to revolutionise the way we lived. Unlike those other staples of an imagined future, however, this architectural oddity actually existed. A colourful pod in the shape of an ellipse, the Futuro was a sci-fi vision of the future, offering us a living space light years away from what most of us were used to. Nicknamed the Flying L Saucer and the UFO House, it was symbolic of the ambitious space-race era. But as the Futuro celebrates its 50th anniversary, the revolution it promised clearly never happened. Aficionados estimate that of the 100 or so made, only 68½ (more on the half later) remain. One belongs to Craig Barnes, an artist based in London, who saw a Futuro in a “dishevelled and tired” state while on holiday in Port Alfred, South Africa. He decided to mount a rescue mission. “I have family out there,” he says, “and I’d been seeing this Futuro since I was about three. I viewed it as a spaceship. I drove past in 2013 and workers were knocking down a garage next to it. -
Residential Architecture of John Lautner in Southern California, 1940-1994 MPS Multiple Name
NPS Form 10-900a OMB No. 1024-0018 (8-86) United States Department of the Interior National Park Service NATIONAL REGISTER OF HISTORIC PLACES CONTINUATION SHEET Section Page_ ================================================================================ SUPPLEMENTARY LISTING RECORD NRIS Reference Number: 64501264 Date Accepted: 04/19/2016 N/A Property Name County State Residential Architecture of John Lautner in Southern California, 1940-1994 MPS Multiple Name This property is listed in the National Register of Historic Places in accordance with the attached nomination documentation subject to the following exceptions, exclusions, or amendments, notwithstanding the National Park Service certification included in the nomination documentation. ~·Sign t Date of Action ?' ~======-====================================================== Amended Items in Nomination: Context Narrative: Page E-6. Please note: the location of Taliesin is Spring Green, Wisconsin. Footnote No. 12: Northern State Teachers College is now Northern Michigan University-Marquette. ' These clarifications were confirmed with the CA SHPO office. DISTRIBUTION: National Register property file Nominating Authority (without nomination attachment) NPS Form 10-900-b OMB No, 1024-0018 United States Department of the Interior National Park Service National Register of Historic Places Multiple Property Documentation Form This form is used for documenting property groups relating to one or several historic contexts. See instructions in National Register Bulletin How to Complete the -
Los Angeles Mid-Century Modern Dens of Vice by GABRIEL SOLOMONS
Hollywood menace: Los Angeles mid-century Modern Dens of Vice BY GABRIEL SOLOMONS Introduction: A third of the way into Thom Andersen’s 2003 video essay ‘Los Angeles Plays Itself’, the narrator (Encke King) voicing Andersen’s words turns our attention to the ways in which architecture – specifically mid century modern architecture – has been routinely portrayed with villainous associations by Hollywood film-makers since the 1950s: ‘One of the glories of Los Angeles is its modernist residential architecture, but Hollywood movies have almost systematically denigrated this heritage by casting many of these houses as the residences of movie villains.’ [Andersen 2003: 41mins] Andersen collects examples from a number of films to support this theory, weaving together a series of convincing references that include houses designed by, amongst others, John Lautner, Richard Neutra, Douglas Honnold and Frank Lloyd Wright. Although the Lloyd Wright Ennis house cited in the film (and used so effectively in Ridley Scott’s Blade Runner, 1982) is actually an example of Mayan Revival Architecture which utilised ornamentation more at odds with modernism’s principles, the majority of Andersen’s references highlight an intriguing precedent – and one which will be elaborated on with further examples later in this essay. The houses used – from Neutra’s Lovell Health House (featured in Curtis Hanson’s LA Confidential, 1997) and Honnold’s Del Rio mansion in Santa Monica (featured in William Friedkin’s To Live and Die in L.A., 1985) to Lautner’s Chemosphere in the Hollywood Hills (featured in Brian De Palma’s Body Double, 1989) and his Sheats-Goldstein residence (featured in The Coen Brothers’ The Big Lebowski, 1998) – are all the homes of dubious, shady characters; crime bosses, killers and high class pimps. -
JOHN LAUTNER: an Annotated Bibliography
2009 JOHN LAUTNER: An Annotated Bibliography Compiled and Annotated by John Crosse Wolff Residence (see item 220.) 2 John Lautner: An Annotated Bibliography (Uncorrected Proof – Not for Sale) Chemosphere (Malin House) (see item 136.) Compiled and Annotated by John Crosse ©2009 modern-ISM Press 6333 Esplanade Playa del Rey, CA 90293 [email protected] 310-301-6339 3 Introduction The 2008 Hammer exhibition “Between Earth and Heaven: The Architecture of John Lautner” and Getty-Hammer Symposium “Against Reason: John Lautner and Postwar Architecture” created a flood of publicity and generated much renewed interest in Lautner‟s life and work. It also motivated me to look deeper into the literature for information on this unique and creative genius. A logical starting point for me was to perform a “Lautner” search in my 8,000 item “Julius Shulman Annotated Bibliography” prepared while researching a book on Shulman cover photos. The search resulted in 275 articles with Shulman photos of Lautner projects. Shulman has logged close to 75 assignments on Lautner projects over the years for various clients ranging from Lautner himself to book and article authors, magazine editors, newspaper reporters, exhibition curators, homeowners and realtors. He also used his considerable marketing skills and contacts with publishers and editors to help spread the gospel of modernism according to Lautner to a global audience. This bibliography compiles my Shulman-Lautner findings with the excellent bibliographic foundation laid by Ludolf von Alvensleben in the 1991 Viennese exhibition catalog “John Lautner: Architect: Los Angeles”, “John Lautner, Architect” with text by Lautner and edited by Frank Escher and the John Lautner Foundation web site. -
Los Angeles Department of City Planning RECOMMENDATION REPORT
Los Angeles Department of City Planning RECOMMENDATION REPORT CULTURAL HERITAGE COMMISSION CASE NO.: CHC -2007 -2072 -HCM HEARING DATE: October 18, 2007 Location: 7764 Torreyson Drive TIME: 10:00 AM Council District: 4 PLACE : City Hall, Room 1010 Community Plan Area: Hollywood 200 N. Spring Street Area Planning Commission: South Valley Los Angeles, CA Neighborhood Council: Hollywood Hills West 90012 Legal Description: Lot 20 of M B 208-20/27 PROJECT: Historic-Cultural Monument Application for the HARPEL HOUSE #1 REQUEST: Declare the property a Historic-Cultural Monument APPLICANT/ Mark Haddawy OWNER: 7764 West Torreyson Drive Los Angeles, CA 90046 OWNER’S Anna Marie Brooks REPRESENTATIVE: 1109 4 th Ave. Los Angeles, CA 90019 RECOMMENDATION That the Cultural Heritage Commission: 1. Declare the property a Historic-Cultural Monument per Los Angeles Administrative Code Chapter 9, Division 22, Article 1, Section 22.171.7 2. Adopt the report findings. S. GAIL GOLDBERG, AICP Director of Planning [SIGNED ORIGINAL IN FILE] [SIGNED ORIGINAL IN FILE] Ken Bernstein, Manager Lambert M. Giessinger, Preservation Architect Office of Historic Resources Office of Historic Resources Prepared by: [SIGNED ORIGINAL IN FILE] ________________________ Edgar Garcia, Preservation Planner Office of Historic Resources Attachments: March 17, 2007 Historic-Cultural Monument Application 7764 West Torreyson Drive CHC-2007-2072-HCM Page 2 of 3 FINDINGS 1) The subject building “embodies the distinguishing characteristics of an architectural type specimen, inherently valuable for a study of a period style or method of construction” as an example of International Style residential architecture. 2) The building is associated with a master builder, designer, or architect, as a work by the architect John Lautner. -
Appendix A: Biographies of Local Practitioners
APP-A-1 Appendix A: Biographies of Local Practitioners These biographies are intended to provide brief information about known architects, designers, builders, and landscape architects practicing in Palm Springs These are not definitive histories of each practitioner. Information is derived from a variety of primary and secondary sources including the Pacific Coast Architecture Database; the AIA Historical Directories and Membership Files; finding aids for architect archives; and publications of the Palm Springs Preservation Foundation, the Palm Springs Modern Committee, the Palm Springs Historical Society, and the Cultural Landscape Foundation. FINAL DRAFT – FOR CITY COUNCIL APPROVAL City of Palm Springs Citywide Historic Context Statement & Survey Findings HISTORIC RESOURCES GROUP APP-A-2 Ainsworth, Robert (1895-1970), AIA Born: Shawano, WI Education: University of Michigan, B.S. Architecture (1922) Firms: Robert H. Ainsworth, Architect (1932-1963); Ainsworth, Angel and McClellan, AIA (1963-1966) Wisconsin-born architect Robert H. Ainsworth, AIA, graduated from the University of Michigan with a B.S. in Architecture in 1922. Prior to opening his own practice he worked for Chatten & Hammond in Chicago, Marston & Van Pelt in Pasadena, and was chief draftsman in the office of Wallace Neff. Ainsworth went on to establish a practice in Pasadena. Early in his career, he designed a number of large estates in period revival styles for wealthy clients in the Pasadena area. In the postwar period Ainsworth’s designs shifted toward the Mid-century Modern aesthetic. In 1963, Ainsworth joined forces with Herbert W. Angel and Robert B. McClellan in the firm of Ainsworth, Angel and McClellan, AIA. Armét, Louis L. -
Los Angeles Zu Besichtigen
extra wohnen & design ie wenigsten Menschen haben jemals eines der Häu- Dser von John Lautner betreten – und doch sind sie Höhlen vielen bekannt. Betreten kann man sie freilich auch kaum, weil der vor hundert Jahren geborene und 1994 verstorbene Archi- tekt fast ausschließlich Privathäuser baute; und bekannt sind sie dennoch, weil Lautners Villen immer wieder in berühm- mit Ausblick ten Filmen vorkommen. So zum Beispiel in den James-Bond- Verfilmungen „Moonraker“ und „Diamantenfieber“, in „Body Jubiläum. Vor 100 Jahren wurde der stilprägende Double“ von Brian De Palma, in „The Big Lebowsky“ von Architekt John Lautner geboren, dessen Häuser den Coen-Brüdern und in jüngerer Zeit in dem hypergestyl- die Kulissen für zahlreiche berühmte Hollywood-Filme ten Erstlingswerk „A Single Man“ des Modedesigners Tom Ford. Vermutlich ist es auch diese doppelte Identität aus bilden. Georges Desrues erhielt die unzugänglicher Privatsphäre einerseits und filmischem Bekannt- seltene Gelegenheit, eines der legendären heitsgrad andererseits, die Lautners Häuser für Schauspieler Gebäude in Los Angeles zu besichtigen. und Filmemacher in Los Angeles so attraktiv macht. Auch die Villa der Schauspielerin Kelly Lynch („Cocktail“, „Drugstore Cowboy“) diente als Drehort für Spielfilm-, Fern- seh- und Werbeproduktionen. 1998 kauften Lynch und ihr UTLINE O ORBIS C PATRICK FRASER/ PATRICK ORBIS C RCAID/ A LAN WEINTRAUB/ A Benedikt Taschen im Chemosphere House RCAID A Das berühmteste Objekt Lautners steht im Hang wie eine fliegende Untertasse – mit Blick aufs San Fernando Valley LAN WEINTRAUB/ A „Der verschwindende Raum erscheint mir als die nachhaltigste, erträglichste und am meisten lebenspendende Qualität in der Architektur“ Architekt John Lautner 78 profil extra • März 2011 Ehemann, der Produzent und Drehbuchautor Mitch Glazer Architektur gilt und der seinen ehemaligen Mitarbeiter einst („Lost in Translation“), das verfallende Harvey House in den als „zweitbesten Architekten der Welt“ bezeichnete. -
If You Were Cool, Rich, Or Bad Enough to Live Here, You'd Be Home
If You Were Cool, Rich, or Bad Enough to Live Here, You’d Be Home Film Culture’s Obsession With the Architecture of John Lautner Essay by Adam Baer Photographs by Elizabeth Daniels and Ken Hively 104 The Sheats–Goldstein House, master bedroom. (elizabeth daniels) ne should not move to Los Ange- East and West—institutes devoted to appren- les ambivalent about living in a ticing, to Wright’s learn-by-doing method—he near-perpetual state of revision. worked on a couple of Wright projects before I’ve lived in the city for eight years, moving to Los Angeles in 1938. It was a city Oenough time to love it deeply, and in adopting with enough money and devotion to innovation the Angeleno constitution I’ve come to em- that he hoped to fund some of his own work, brace an abiding concern with appearances. I though he found much of the city loathsome, don’t mean this in a derogatory way, that the ugly. Still, it was here that he produced most of city is superficial. But Los Angeles—with its his—and L.A.’s—iconic architecture, breaking sylvan, scruffy hills of shrubs and chaparral, its from the formal modernism of his teacher in flexibly employed subcultures, the mishmash highly creative ways that expressed a reverence of mini-cities and architectural styles resting for nature. Wright called Lautner “the world’s comfortably above fault lines—is both a city to second-best architect,” the highest praise pos- watch and a city that watches you back as you sible from a notoriousy self-involved personal- traverse it. -
Architecture and Engineering, 1850-1985 Sub-Context: Engineering Theme: Technological Developments in Construction Subtheme: Hill Houses, 1920-1985
LOS ANGELES CITYWIDE HISTORIC CONTEXT STATEMENT Context: Architecture and Engineering, 1850-1985 Sub-Context: Engineering Theme: Technological Developments in Construction Subtheme: Hill Houses, 1920-1985 Prepared for: City of Los Angeles Department of City Planning Office of Historic Resources July 2017 Page | 1 TABLE OF CONTENTS PREFACE 1 CONTRIBUTOR 1 THEME INTRODUCTION 1 HISTORIC CONTEXT 3 CRITERIA FOR HILL HOUSES 35 SELECTED BIBLIOGRAPHY 37 Page | 2 SurveyLA Citywide Historic Context Statement Architecture and Engineering/Technological Developments in Construction/Hill Houses, 1920-1983 PREFACE This sub-theme of Hill Houses, 1920-1985 is a component of Los Angeles’s historic context statement, and provides guidance to field surveyors in identifying and evaluating potential historic resources relating to this building type. Refer to HistoricPlacesLA.org for information on designated resources associated with this theme as well as those identified through SurveyLA and other surveys. CONTRIBUTOR Daniel Prosser is a historian and preservation architect. He holds an M.Arch. from Ohio State University and a Ph.D. in history from Northwestern University. Before retiring he was the Historic Sites Architect for the Kansas State Historical Society. THEME INTRODUCTION The modernist hill house was a product of the automobile and the resulting development of hillside sites. Beginning in the early 1920s the passenger car permitted access to districts in which grades were too steep for streetcar service. Hill houses occupied sites in those districts in which developers left the slopes of the lots intact, rather than grade to create level building pads. In fitting onto these sites, the hill house broke with the traditional level-lot concept of foundation and superstructure. -
Lautner's Chemosphere Gets a New Life Events
Lautner’sChemosphere TALIESIN getsanewlife fter two years of restoration, John Lautner’s famous Chemosphere house ® FELLOWS in the Hollywood Hills above Los Angeles, is once again the remarkable Ainnovative design that Lautner created in 1960. The new owners Angelika and Benedikt Taschen first saw the house in 1997 in a neglected state, and set NEWSLETTER about repairing the building and Lautner’s reputation. “(The house) was unique,” NUMBER 3 Ms. Taschen recalled. “authentic and intense, idealistic and full of fantasy, non- APRIL 15, 2001 conformist. I felt immediately that it fit our character perfectly.” The Taschens are German publishers of books on art, architecture and erotica, and have published a book by Barbara-Ann Campbell-Lange in 1999 titled “John Lautner” which increased appreciation of an architect who was one of the early apprentices of Frank Lloyd Wright in the 1930s. The originality and design ability of Lautner received rare praise from the master who seldom acknowledged the work of the former apprentices. Lautner himself—a curmudgeonly, highly inventive designer of homes as well as the influential if not “infamous” Googies Coffee House, now defunct, on the Sunset strip—wed technological inno- vation to a poetic understanding of site. He was almost forgotten when he died in 1994 at 83. His work expressed the nature of mate- rials and most often his structures were organic abstractions in con- crete, often on spectacular sites in California and in Mexico where the swooping colossus of Acapulco, the Arango house, emerges from its perch on a mountainside overlooking the sea. Leonard Malin, the original client, was an aerospace engi- neer who, at 27, left his job to help build the Lautner design. -
Everyday Modernisms by Alan Hess
EVERYDAY MODERNISMS: DIVERSITY, CREATIVITY AND IDEAS IN L.A. ARCHITECTURE, 1940-1990 by Alan Hess, for the Los Angeles Conservancy May 2013 DEFINING MODERNISM Modernism is the broad term defining a wide range of buildings and city planning concepts reflecting the new conditions of twentieth century life. Modern architects believed that new conditions of lifestyles and technology should be given a fresh interpretation, rather than being forced into the forms of previous eras. Modernism derives its forms and beauty from a fresh use of materials, structures, and functions. Modernism includes a wide range of styles, looks, and aesthetics, including (but not limited to) the rich ornament and natural materials of Organic Modernism, the smooth sculptural volumes of Late Moderne, the muscular exposed concrete of Brutalism, the exuberant structural expressionism of Googie, the exposed steel or wood structures of the Case Study House Program, and the spare flat-roofed steel- and-glass International Style. The primary theme linking these varied expressions is the free exploration of the new, wherever that search led the architect. L.A. BEFORE 1940 Well before 1940, Los Angeles architects (both native-born and immigrant) had developed a free-thinking, exploratory Modernism blended with commercial pragmatism that generated new forms, new architectures, and a new decentralized city. Southern California had been nurturing a culture of architectural experimentation as early as 1900. Inspired by a near-ideal climate and a dramatic natural landscape that inspired artists, the brothers Charles and Henry Greene had turned to the Arts and Crafts Movement (not the Classicism fashionable at the times) to create an informal, airy, and beautiful new architecture. -
Silvertop Reboot LA Times
SILVERTOP REBOOT JOHN LAUTNER’S ICONIC 1958 “HOUSE OF THE FUTURE” IS RESTORED FOR A NEW GENERATION A soaring concrete shell forms a column-free roof over Silvertop’s main living area. The glass wall retracts at the push of a button, 42 opening the house to the terrace. Mass Beverly’s Nido dining chairs complement a Mecox dining table. Landscape design by Studio MLA. Text by Michael Webb /PhotographybyTim Street-Porter 43 44 ilvertop is a habitable sculpture: a explains: “Luke was game to make it all it could be Opposite top: Bestor Architec- ture restored every aspect of dynamic composition of concave and become a demonstration of the future of design, Silvertop. At the entry, tile and convex curves that seems to as Lautner had intended.” Interior designer Jamie was replaced and cedar siding levitate from a hilltop overlooking Bush designed new furniture that takes its cues from refurbished. Sthe Silver Lake reservoir. A billow- the architecture, while providing a comfortable liv- Opposite, bottom left: The cast- ing concrete vault, supported on four ing environment for Wood, his wife—writer Sophia bronze front door is original; the columns, arches over the expansive living room. Nardin—and their two teenage daughters. terrarium was replanted and is open to the sky. Bowed brick walls at either end conceal the compact kitchen and bedroom wing. An elliptical infini- Wood started out as a guitarist in an alt-rock band Opposite, bottom right: A glass, metal and wood doorway provides ty pool echoes the ellipse of the roof vault. A steep and progressed, through a stint at Dreamworks, to access to the west courtyard.