John Lautner

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John Edward Lautner (July 16, 1911 - October 24, 1994) is an American architect. After an internship in the mid-1930s with Frank Lloyd Wright, Lautner opened his own practice in 1938, where he will work for the rest of his career. Lautner trains mainly in California, and most of his work is housing. John Lautner is perhaps best remembered for his contribution to the development of the Googie style, as well as to some of the medieval houses he designed in the late 1950s and early 1960s, which included the House of Leonard Malin, Paul Sheats House, and the House of Russ Garcia.

Video John Lautner

Biography

Lautner was born in Marquette, Michigan, in 1911 and is a mixture of Austrians and Irish descendants. His father, John Edward Lautner, who migrated from Germany ca. 1870, self-study, but earned a place at the University of Michigan as an adult and later studied philosophy at GÃƒÆ'Ã‚Â¶ttingen, Leipzig, Geneva and Paris. In 1901, he was appointed head of France and Germany at the recently established Marquette Northern State Normal School (now Northern Michigan University), where he later became a teacher. His mother, Vida Cathleen (Gallagher), is an interior designer and a master painter.

The Lautners were very interested in art and architecture and in May 1918, their Marquette "Keepsake" home, designed by Joy Wheeler Dow, was featured in The American Architect magazine. An important initial influence in Lautner's life is the construction of the idlyllic family summer cabin, "Midgaard", which is located on a stone shelf on a secluded promontory on the shore of Lake Superior. The Lautners designed and built their own cabin and mother designed and painted all the interior details, based on her study of the Norse house.

In 1929, Lautner enrolled in the Liberal Arts program on his father's campus - now renamed Northern State Teachers College - where he studied philosophy, ethics, physics, literature, drafting, art and architecture history, reading works by Immanuel Kant and Henri Bergson, playing woodwinds and piano, and developing an interest in jazz. He continued his studies in Boston, Massachusetts and New York City. In 1933, Lautner graduated with a degree in Liberal Arts.

In April 1933, after reading Frank Lloyd Wright's autobiography, Vida Lautner approached the architect, who recently launched his apprenticeship program at Taliesin. Lautner was quickly accepted at the Fellowship, but he was recently engaged to neighbor Mary Faustina ("MaryBud") Roberts and could not afford the fee, so Vida approached MaryBud's mother, who agreed to pay the couple to join the program.. John soon realized that he had little interest in formal formation and avoided the Taliesin drafting chamber, preferring the day-to-day tasks of "carpenters, plumbers, farmers, cooks and dishwashers, who were students, whom I still believed to be the real way to learn". From 1933 to 1939, he worked and studied under Wright in studios in Wisconsin and Arizona.

Lautner thrived under Wright's guidance. In 1934, the year he and Mary married, he was preparing design details for Wright's Los Angeles home for Alice Millard, working at Playhouse and Studios in Taliesin, and he had the first of many articles (under the masthead "Di Taliesin" ) published in the Wisconsin State Journal and Capital Times. The following year, he was assigned to be a two-year project overseeing the Wright-designed house in Marquette for MaryBud's mother. In 1937, he agreed to oversee the construction of Johnson's "Wingspread" residence (his personal favorite among his Wright projects) near Racine, Wisconsin and traveled with Wright to oversee Malcolm Willey House's photography in Minneapolis, Minnesota, his own little house. He was also deeply involved in the construction of the Drafting Room at Taliesin West - which influenced the design of his house Mauer (1946) - collected photographs of Wright's work for the special edition 1938 Architecture Forum and then briefly returned to Taliesin to help assemble the model and materials for the 1940 Museum of Modern Art exhibition.

Lautner left the Fellowship in early 1938 (mainly because MaryBud was pregnant) to build his own architectural practice in Los Angeles, but he told his mentor that, while seeking an independent career, he remains "ready to do whatever you or your Fellowship needs". They work together around eleven Los Angeles projects over the next five years and their relationship continues sporadically. The Lautners arrived in Los Angeles in March 1938 and their first child Karol was born in May. Lautner's first independent project is a one-room, low-cost framed house at a cost of $ 2500 for the Springer family, built with his contractor friend Paul Speer, but this is their only brief collaboration product. In September 1938, Wright contacted him and this led to Lautner's surveillance of a series of domestic projects of Los Angeles, Sturges, Green, Lowe, Bell and Mauer.

His first significant solo project was his own home in Los Angeles, Lautner House (1939), which helped establish his name - it was the subject of Lautner's first article on his own work, published in the June-July edition of California Art & amp; Architecture , and it's displayed in Beautiful Home where it's praised by Henry-Russell Hitchcock as "the best house in the United States by an architect under thirty". During this period, Lautner worked with Wright on the Sturges House design in Brentwood Heights, California, and in the unembiled Jester House. Lautner oversaw the construction of Sturges House for Wright, but during construction he encountered serious design, cost and construction issues that culminated with the threat of legal action by his owners, forcing Wright to bring students from Taliesin to complete repairs.

Meanwhile, Bell and Green projects are stalled due to rising costs. The Greens were canceled, but Wright gave Bell's commission to Lautner. He was also involved to keep an eye on Mauer's house when the Mauers fired Wright for failing to deliver work drawings on time. Although Mauer House has not been completed for five years, the Bell House is quickly completed and it consolidates the previous successes of Lautner House, earning him much praise and recognition - the University of Chicago asked for plans and drawings to be used as a teaching tool, and it was featured in numerous publications during the next few years included the Los Angeles Times , the three-page spread in the June 1942 edition Arts and Architecture , in May 1944 the problem Home and Garden it's a "model house for California living"), a feature of California Design centered in Bell and Mauer homes, Forum Architecture , and The California .

During 1941, Lautner was again brought in to oversee two more of Wright's troubled projects: the redesign of Ennis House and the ill-fated project of the posh Malibu residence ("Eaglefeather") for filmmaker Arch Oboler. This is overwhelmed by many problems (including the tragic death of the Oberzer boy in a water-filled excavation). The retreat designed by Lautner for the wife of Obolt was finally built.

During 1942, he designed a nursery for Astor Farm (since being destroyed) and in 1943, he joined the Structon Company, where he worked on wartime construction and military engineering projects in California, giving him valuable exposure to the development of construction technology currently. It also marks the end of his professional relationship with Frank Lloyd Wright.

In 1944, Lautner pursued a joint venture with architects Samuel Reisbord and Whitney R. Smith before becoming a design partner in the practice of Douglas Honnold. He collaborated with Honnold on several projects including the Dan Coffee restaurant in Vine St., Hollywood, and on Broadway downtown Los Angeles, and remodel the Beverly Hills Athletic Club (since being destroyed) as well as two solo projects, Mauer House and Eisele Guest House. Another important landmark this year is the "Three Western Homes" article in the March issue of House & amp; Garden , which includes a floor plan of the Bell Residence and four (unsecured) home photos by Julius Shulman. These photographs mark the start of lifelong associations between architects and photographers; over the next fifty years, Shulman recorded about 75 assignments for various Lautner projects (for Lautner and other clients) and his photographs of the Lautner architecture have appeared in at least 275 articles.

Lautner abandoned Honnold's practice in 1947, mainly because he had started a relationship with Honnold's wife, Elizabeth Gilman (though the two men reportedly remained friends). He parted company with MaryBud (they divorced later that year) and moved to Honnold's residence in 1818 El Cerrito Place, where he set up his own design office. He embarked on a series of significant design projects including Carling Residence, Desert Hot Springs Motel, Gantvoort Residence and Henry's Restaurant in Glendale. Lautner soon formed a high-profile profile and throughout the late 1940s and early 1950s his work was featured regularly in both popular and professional publications, including Architecture Records, Art & amp; Architecture , Home & amp; Park , Ladies' Home Journal and Los Angeles Times .

Lautner and Gilman married in 1948 and MaryBud returned to Marquette with their four children, daughter of Karol Lautner (born 1938), Mary Beecher Lautner (b) California, 1944), Judith Munroe Lautner (b. California, 1946) and son of Michael John Lautner (b) Astor Farm, Indio, California, 1942 - d. California, 2005). The year's Lautner output included the Lincoln-Mercury Showroom Tower Motors in Glendale and Sheats "L'Horizon" Apartments, but most of the other designs that came from that year were domestic commissions never built.

There were more important commissions in 1949-1950 including Dahlstrom Residence, Googie's Coffee House and UPA Studios in Burbank. During the 1950s, he was part of an exhibition of groups of sixteen California architects at Scripps College in Claremont, California, and in 1951 his work was included in Harris's influential guidebook and the Bonenberg Guide to Contemporary Architecture in Southern California Watling, 1951). Lautner obtained its architectural license in 1952 and in February, House and Home published Henry Haskell's article defining the genre "Googie Architecture", which included two photos of Shulman from a Los Angeles restaurant accompanied by an article on Rumah Foster and Carling and L'Horizon apartments.

From the late 1940s until his death, Lautner worked primarily to design domestic homes. His initial work was on a relatively modest scale but in later years, as his reputation grew and his client base became more prosperous, his design project grew even greater, culminating in an area of â€‹â€‹25,000 square feet (2,300m ²) Arango Residence in Acapulco, Mexico. This project, together with his appointment as Olympic Architect for the 1984 Summer Olympics in Los Angeles, is one of the most important things of his career in the future.

After years of chronic illness, Elizabeth Lautner died in 1978; in 1982 Lautner married the caretaker, Francesca. The last years of Lautner were also undermined by declining health and loss of mobility.

In recent years, Lautner's work has undergone a significant critical assessment with the 1999 publication of Alan Hess and Alan Weintraub's "Architecture John Lautner" (Rizzoli), and the 2008 exhibition at the Hammer Museum curated by architect Frank Escher and architectural historian Nicholas Olsberg. In 2009, Lautner became the subject of a documentary film directed by Murray Grigor, Spaceless Space: The Architecture of John Lautner.

Maps John Lautner

Architecture and influence

John Lautner designed more than 200 architectural projects during his career, but many designs for larger buildings never materialized. In the architectural press, its existing workforce has been dominated by its domestic commissions; although he designed many commercial buildings including Googie, Coffee Dan and Henry, Beachwood Market, Desert Hot Springs Motel and Lincoln Mercury Showroom in Glendale, unfortunately, some of these buildings have been destroyed. With some exceptions (eg Arango House in Acapulco, Turner House in Aspen, Colorado, Harpel House # 2 in Anchorage, Alaska, home of Ernest Lautner in Pensacola, Florida) almost all of the remaining Lautner buildings are in California, mostly in and around Los Angeles.

His distinctive application to the principles of Organic Architecture is, of course, strongly influenced by his apprenticeship under Frank Lloyd Wright. Speaking of his time at Taliesin, he remembers:

Throughout his life, Lautner is a passionate admirer of his mentor (to whom he is usually referred to as "Mr. Wright") and he remains a dedicated Organic Architecture practitioner. His oral history interview revealed that he paid little attention to International Style and its principal architects:

Nevertheless, even during his work under Wright, Lautner sought to build his own individual and distinctive style:

Although his earlier works were not surprisingly displayed by some of his mentor influences, Lautner gradually developed his own style and consciously avoided anything that could be classified as "Wright-influenced". The exceptions among later commissions for this are Wolff House in West Hollywood (1963) which is often quoted by critics as the "Wrightian" building, much to the dismay, but as described in 1986:

Lautner's approach to architecture embodies Wright's philosophy and busyness, above all, the notion of building as a "total concept". Like Wright, his work also demonstrates a strong preoccupation with essential geometric forms - circles and triangles are the dominant motifs both in the overall design and the details - and the house is also rooted in the idea of â€‹â€‹integrating a house into its location. and creating an organic stream between indoor and outdoor spaces, although Lautner's work arguably takes the latter concept to a higher level.

Another similar thing is that, like Wright, many Lautner homes are located in high locations or "tough" locations - hillsides or beaches - and are clearly designed to take advantage of the sights of the sites on offer; he also follows Wright's dictum to build on the slopes rather than on a hill.

Lautner's work is essential for radical expansion in both the technical and spatial vocabulary of domestic architecture. It achieves this through the use of the latest technology and building materials, for example, the use of gamination plywood plywood, steel beams and sheets, and especially its ongoing exploration of the possibility of reinforced and prestressed concrete architecture - and through the use of nonlinear layouts, open and multi-level plans, shaped and folded concrete forms, skylights and light-well and panoramic expanses plate glass. Another key characteristic of the Lautner architecture is its heterogeneous approach, not only in its overall concept - each of Lautner's buildings is a unique design solution - but also in its material use, as noted by Jean-Louis Cohen in his essay "John Lautner's Luxuriant Tektonik" :

It is ironic that, although Lautner is famously working like a Carling and Harpel house, Chemosphere and Sheats Goldstein Residence have become closely related to Los Angeles in the public imagination, Lautner has repeatedly expressed his displeasure with California. In an oral history interview, he was very critical of architectural standards in Los Angeles, and idealized a rural Michigan environment in his youth, as he remembered in 1986:

Primary works

Lautner Residence

In 1939, Lautner had just finished working with Frank Lloyd Wright and was trying to build himself. He began building his first house on a 25-foot hill in the Silver Lake area. House of 1,200 square feet has three levels, which descends according to the hillside contours. The terrace is top rate; furthermore, kitchen and dining room; at the bottom of the house is the living room. The house has red plywood ceilings, mahogany kitchen counters, and the walls and floor of bagac, African wood. Lautner lived there for only two years and never built another for himself.

Foster Carling Residence

One of Lautner's earliest significant works, this house embodies many of its major design concerns and includes key features that will continue to explore and develop throughout its career. It is also important as a project that unites it with the builder John de la Vaux. Coincidentally, the two met through their wives, who knew each other socially - at the time, Lautner had trouble finding a contractor to work at home, and de la Vaux, a shipbuilder, was eager to move into housing development. At the suggestion of his wife de la Vaux approached Lautner and offered to build a Carling House, and they sealed the deal with a handshake. As de La Vaux declared in the documentary LautÃƒ Â© l 2009, the project was halted by a rare snow storm that spilled over six inches of snow in the Hollywood area. Lautner's design incorporates many innovative features: He uses an external steel cantilever beam to support the hexagonal main room roof, creating a fully open space, free of internal columns. This design, and the hillside situation at home, combine to produce a 360 degree view across Los Angeles. Another striking feature is the removable wall seats - a single wall portion of the living area, with a built-in sofa, hanging on one side and supported by the caster on the other, allowing the entire structure to swing out, opening the exit space onto the terrace close together. This is an idea he reviewed with Turner Residence in Aspen. There is also a swimming pool that partially infiltrated into the living room under a sheet of glass plate, a feature he reviewed for a greater effect on Elrod House. The Carling House has become one of Lautner's most famous designs and marks the beginning of a successful collaboration with de la Vaux, which takes place through seven major projects, including the famous "Chemosphere".

Googie

Although well known for its settlement commissions, Lautner is also an important contributor to the commercial genre known as the Googie architecture. Alan Hess, author of Googie Redux: Ultramodern Roadside Architecture records Lautner's contribution to the new car-oriented architecture developed in Southern California by architects such as Lloyd Wright and Wayne McAllister from the 1920s; Dans Coffee Lautner, Henry, and Googies define an architectural approach to scale, nameplate, and commercial interior space. The term "Googie architecture" was coined in 1952 by Douglas Haskell's famous "House and House editor" after he saw the Googie Coffee Shop designed by Lautner while driving through Hollywood with renowned architectural photographer Julius Shulman. Haskell used the term in the Feb. 1952 Home and Home magazine article about a new and stuck design style, though it was soon used as an insulting term in a "serious" architectural circle.

Lautner first defined the architectural solution for the car-oriented suburban architecture, scale, function and public spaces in the remodel of Henry at Glendale in 1947. The Googie Coffee Shop, designed in 1949, stands on the corner of Sunset Strip and Crescent Heights, next to the Pharmacy The famous Schwab; unfortunately it was destroyed in 1989. It was typical for expansive glass walls, capturing angular shapes, prominent roof lines, and carnival-oriented signs of car traffic: advertising for itself. Another key work by Lautner in the Googie genre is Henry's Restaurant (1957) at Pomona; its curved roof, resembling a reversed hull, curved over an interior booth and large open beams (made of glue-laminated timber) brought to the exterior, where they supported a sloping awning sheltering the drive-in area. Other architects spread Modern aesthetics from coffee shops/drive-ins such as Tiny Naylor's (owner of Lautner Douglas Honnold), Ship's (Martin Stern, Jr.), and Norm's and Clock's (Armet and Davis.)

Googie became part of the postwar American Zeitgeist, but was mocked by an established architecture community in the 1950s as superficial and vulgar. "Googie is used as a synonym for undisciplined design and careless work," reports historian Esther McCody. Until 1972 Robert Venturi's book "Learning from Las Vegas" did the mainstream architecture even closer to Lautner's logic validation. The force was demeaned by the East Coast critics and Lautner's reputation suffered; as a result he became wary of speaking to the press and it should be noted that the 1986 Oral History UCLA interview did not include any references to these early projects.

Harpel Residence ( 34.127611 Ã‚ Â° N 118.368182 Ã‚ Â° W /< range> 34.127611; -118.368182 )

This elegant hill house is designed and laid out to take advantage of the panoramic view of Los Angeles. Unfortunately, it was widely changed by the later owners, including an unsympathetic second addition and planting a large fence beside the pool, which completely obscured the view intended to frame, but has been restored faithfully in 2014 to the present. owner, Marc Haddawy, at a cost of over US $ 500,000.

The Chemosphere ( 34.127623 Ã‚ Â° N 118.368789 Ã‚ Â° W /< range> 34.127623; -118.368789 )

Lautner's reputation was restored with an innovative design for Leonard J. Malin Residence, also known as "Chemosphere" (1960), which has become one of his most famous and most influential creations. Located at 776 Torreyson Drive, Los Angeles, the house was designed for young space engineer Leonard Malin in 1960 and built by John de la Vaux. The steep hillside site was given to Malin by his father-in-law, but it was considered impossible to build until Lautner designed his design:

Lautner cleverly solved the 45-degree inclination by placing the whole house above the ground on a 50-foot (15 m) concrete pillar located above a 20-foot (6.1 m) large concrete pad with a diameter and 3 feet (0.91 m) thick, buried in the rocky hillside. In the center of the pillar, eight "radius" of elbow steel - deflected to bosses formed into the column surface - extends outward and upward, supports and stabilizes the outer periphery of the house, and the center pillars also houses utility cables and pipelines. Lautner gives access from the entrance to the steep hillside by installing a funicular, ending in a short gently sloping alley leading to the entrance. The house is octagonal and forms candy in parts, and is often described as a "flying saucer". Because effectively no strong external walls - the entire "face" outside the house are eight large picture windows - the Chemosphere enjoys panoramic views of the San Fernando valley. Large laminated laminated laminates and laminates, which echo the hulls and hulls, were built by de la Vaux using the same type of mortise connection that he used in his ship building.

The construction of this very unusual project saw the initial budget of $ 30,000 to more than $ 100,000, but fortunately Malin and Lautner were able to cover the shortfall by getting corporate sponsorship, including funding from Southern California Gas Company and support from Chemseal Corporation of America, providing sealants, plastics and other materials, in exchange for home use for promotion and the right to name the "Chemosphere" house for advertising purposes. After passing through a series of owners, the building was rented out and sometimes used as a party venue and in the 1990's the interior was heavily relegated. Fortunately, German publisher Benedikt Taschen bought the house in 2000 and returned it in collaboration with architects Frank Escher and Ravi Gunewardena, awarding them the award of the Los Angeles Conservancy. The Chemosphere is now a Los Angeles landmark and in 2008 an expert panel commissioned by the Los Angeles Times rated Chemosphere as one of the "top 10 most lifetime homes in L.A.". It is one of the most unusual and distinctive homes in the Los Angeles area and its unique design has made it a feature or reference in many media productions.

Reiner Residence ("Silvertop") ( 34.098988 Ã‚ Â° N 118.269163 Ã‚ Â° W / 34.098988; -118.269163 )

As his career grew, Lautner increasingly explored the use of concrete and he designed houses for his wealthier clients that featured the main structural elements made from reinforced concrete. A commission by industrialist Kenneth Reiner, 4,721 square feet of Reiner-Burchill Residence, "Silvertop" (1956-76), is the first major exploration of the sculptural possibilities of monolithic concrete as it is designed to follow the exact contours of its hilltop site.. The house is located on 1.26 hectares of land on a hilltop and is reached by a cantilevered concrete entrance that surrounds a circular guesthouse. It features a large curved concrete roof above the living room of the main house. The arches of the living room walls are made up of five hanging glass panels. The infinity pool is one of the first of its kind.

The project has a long and difficult age - while it is still under construction, the original owner Kenneth Reiner (with whom Lautner collaborated closely) has been bankrupt by fraudulent deals from his business partner and he was forced to sell the house. Lautner also faces opposition from the Los Angeles building certification authority, who is disappointed with the post-stress concrete road radical design, which can not get out of the base of the house without the columns supporting it from the bottom, and only four inches thick. Not surprisingly, the Los Angeles building inspector demanded a static load test to prove that it could take the weight of the car - a deadlock reflecting Lautner and Wright who had previously contretemped with a skeptical building authority demanding a load test on Wright's famous "lotus" column pad for the Johnson Wax Building. In the event, Lautner's load calculations proved perfect and in fact the instruments recorded more deflections in the concrete than the temperature changes as the sun went down than they did from the weight of the sandbag loaded onto the road to test it. The project was then not completed for some time. When it became available through bankruptcy in 1974, Philip and Jacklyn Burchill bought the house. They worked with Lautner to finish the house and move in 1976.

Elrod Residence ( 33,793670 Ã‚ Â° N 116,510852 Ã‚ Â° W < span>/ 33,793670; -116,510852 )

Arguably the most widely seen of Lautner's work, Elrod House for Arthur Elrod (1968) became famous for its use as a location in the Bond Diamonds Are Forever film. Located on a hillside in the desert outside Palm Springs, California, the most notable feature is the large circular "sunburst" concrete canopy that seems to float above the main living room; this area also incorporates a great outcrop of natural rock at the edge of the room, creating the impression that the building's fabrics blend with the stone. The canopy is fitted with sliding glass doors and curved aluminum that allows fully open space about half its circumference, opening onto a semicircular swimming pool and a spacious terrace. The main hilltop site offers views of the surrounding desert.

Desert Hot Springs Motel (now known as Lautner Hotel) ( 33,938671 Ã‚ Â° N 116, 480667 Ã‚ Â° W / 33.938671; -116.480667 )

Originally designed in 1947 as a planned community of over 100 buildings, storefronts and ponds on 600 hectares in Desert Hot Springs in Coachella Valley, near Palm Springs, California. Lautner's client is famous film director Lucien Hubbard, the winner of the first "Best Picture Oscar" for the silent film "Wings". After building a prototype of the first four units and the project assembly was stopped and then used for Hubbard stars and young stars as a holiday from Los Angeles; gradually falls into unused and sits empty for almost 20 years. After Hubbard's death in 1972 600 acres were divided and sold; property pools are burned and bought by adjacent golf courses to be rebuilt in different designs as their club houses. The prototype unit was bought by buyers from San Diego but they sat empty for nine more years until the interior designers renovated them and put in the kitchen and baths, although at some point the kitchen and baths were demolished and removed. The owner kept the property for almost twenty years until 2000, renting out rooms as apartments. It was then sold to Steve Lowe, who briefly ran it as the Lautner Motel. After Lowe died in 2005, the property passed the court because it was finally returned to the market in late 2006, when designers Ryan Trowbridge and Tracy Beckmann bought it in 2007 for less than $ 400,000. The couple spent the next three and a half years renovating and restoring the property. Their efforts won approval from the Lautner Foundation, which approved the name change as Hotel Lautner, in honor of its designer. The hotel reopened for business in September 2011.

Hope Residence ( 33,787592 Ã‚ Â° N 116,511754 Ã‚ Â° W < span>/ 33,787592; -116,511754 )

17,500 sq ft (1,630 m ²). Dolores and Bob Hope Residence (1973), located close to Elrod Residence in Palm Springs, have large corrugated triangular roofs, punctured by large central circular light shafts. The original unfinished house was destroyed by a fire started by a welder torch during construction. Bob and Dolores Hope bothered extensively in the second design, with the result that Lautner ultimately distance himself from the project. Although not well known and rarely available to the public (located within a closed private community), this is one of the largest and most striking in Lautner's domestic design. In February 2013, the property was marketed for $ 50 million; the asking price then drops to $ 34 million.

Arango Residence ("Marbrisa") ( 16,822456 Ã‚ Â° N 99,857224 Ã‚ Â° W / 16.822456; -99.857224 )

Can be spelled out the maritime career of Lautner, the vast Marbrisa (25,000 square feet) in Acapulco was built for Mexican supermarket juggler Jeronimo Arango in 1973 and jointly designed by Lautner and Helena Arahuete during his first year with the company. Perched on a hilltop location, with uninterrupted views across the Acapulco Bay, the main residence is overcome by a large open-air terrace with spectacular views of the beach and bay surrounded by a "moat of sky" that surrounds the shore; The terrace itself is topped by a large semi-circular shaped tent made of cast, reinforced concrete.

Crippled Children's Society, Rancho del Valle rehabilitation center

Lautner designed the 11,200 square-foot Rancho del Valle rehabilitation center in 1979. In 2014, Oakmont Senior Living, based in Santa Rosa volunteered to get the Winnetka Avenue location and to replace the two-storey Lautner building, 84,978 square feet of facilities more suited to elderly. The Los Angeles Conservancy is trying to save the building.

Iconic John Lautner '60s House Will Be Donated To L.A. Museum - Curbed

src: cdn.vox-cdn.com

Cultural impact

Some of Lautner's homes are now designated as the Los Angeles Culture-History Monument.

In the movie

Its dramatic and photogenic space has often been used as a location for film, TV and photography, and they also influence film production and design sets:

Elrod Residence is the location for the 1971 James Bond movie sequence Diamonds Are Forever where Bond fights with the killer women "Bambi" and "Thumper";
Chemosphere has been used several times as a movie or TV location, including The Outer Limits (1964) and Brian De Palma's Body Double (1984). The designs are also directly referred to in the video games of Grand Theft Auto: San Andreas and the movie Charlie's Angels and parodied (as Troy McClure's home) in an episode of The Simpsons >. It has also influenced the design of the space-time stage house in the animated sitcom The Jetsons , which aired two years after the house was built, and is very similar to the design of the "Jupiter II" spacecraft in the sci-fi series < i> Lost In Space . The exact copy of Chemosphere interior is used as a device for current TV;
The Reiner-Burchill Residence ("Silvertop") in Silver Lake has been featured in Less Than Zero (1987);
Sheats Goldstein Residence in Beverly Hills has been featured in The Big Lebowski , Bandit and Charlie's Angels: Full Throttle and is -after location for shooting modes;
the Garcia House ("Rainbow") in West Hollywood is featured in Lethal Weapon 2
The set of "car cafes" made for the Quentin Tarantino movie Pulp Fiction is explicitly modeled on the famous example of Googie style, including Googie Lautner restaurant (which rises but still stands when the movie is made) and Henry's Restaurant in Glendale.
The Schaffer House of Glendale is home to the title character in A Single Man (2009);
for Iron Man film, production designer Michael Riva and concept artist Phil Saunders based Tony Stark's house design on Lautner architecture. The building exterior (a series of computer-generated drawings digitally converted into a Point Dume State Preserve location photo in Malibu) is reminiscent of Silvertop and Marbrisa, combining many Lautner "sign" elements including dramatic cliffs - side locations, large glass, the classic "split-level" location and the winding organic line.

Many of Lautner's buildings are at one point owned by celebrities. Between 2001 and 2007, Seal Residence at Malibu's Carbon Beach is owned by actors David Arquette and Courteney Cox; sold for US $ 33.5 million. Actor Vincent Gallo has three Lautner homes, including Wolff House in West Hollywood and Garcia House. In 2014, actress Gwyneth Paltrow and singer Chris Martin bought Garfield Residence for 3,650 square feet at Point Dume for $ 14 million.

Public building

One of the few Lautner buildings that is regularly open to the general public is the Desert Hot Springs Motel, which was restored in 2001. The Bob Hope residence was made available for public museum sponsored excursions during 2008-2009.

In 2016, LACMA announced a donation from Sheats Goldstein House from its current owner, James Goldstein. Donations include homes, surrounding land, and $ 17 million for home maintenance, as well as some art at home, including works by artist James Turrell. According to the Los Angeles Times, the museum will use the house to hold events, fundraisers, exhibitions, and sometimes public access tours.

Documentary

In 1990 "Spirit in Architecture" by director Bette Jane Cohen was produced by Aluminum Films. It featured an interview with Lautner filmed for production.

In 2009, Googie Company released the Infinite Space documentary: The Architecture of John Lautner, directed by Murray Grigor. It features contemporary images and extensive archives of many of Lautner's major buildings (mostly not open to the public), excerpts from oral histories of Lautner 1986, interviews with Lautner family, colleagues and clients, Lautner archivist, Frank Escher, and Lautner fans. It is been a long time. Frank Gehry, as well as an ongoing reunion of three surviving principals who built Chemosphere - Lautner's assistant, Guy Zebert, original owner Leonard Malin, and builder John de la Vaux (who was 95 years old at the time of filming).

Sheats Goldstein House by John Lautner | Yellowtrace.

src: assets.yellowtrace.com.au

Legacy

The Lautner heritage is currently curated and immortalized by the non-profit John Lautner Foundation. In 2007, the Foundation donated John Lautner's drawings, models, photographs and other materials to the Getty Research Institute's Special Collections.

In 2008 Lautner's life and work became the subject of a large retrospective exhibit at the Hammer Museum in Los Angeles. Reviewing exhibitions, writers and critics Hunter Drohojowska-Philp praised the work of Lautner:

In 2011, the city of Los Angeles recognized the life and influence of architects on what would become its 100th anniversary, declaring July 16 John Lautner Day. The reception was held at the Los Angeles County Museum of Art, along with exhibits and panel discussions on the Lautner heritage.

LACMA gets gravity-defying John Lautner-designed home featured in ...

src: www.latimes.com

Awards

Associate American Institute of Architects, 1970
Record Architecture Award for Excellence, 1971
Distinguished Alumni Award, Northern Michigan University, 1975
Record Architecture Award for Excellence, 1977
Cody Award, 1980
Los Angeles chapter, Institute of American Architects, Man of the Year, 1980
The Olympic Architect, 1984

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Why Do Bad Guys Always Get The Best Houses? | ArchDaily