Monday, May 11, 2009

MCM Mondays - Frank Lloyd Wright

June 8, 1867-April 9, 1959


"A brilliant psychologist, Frank Lloyd Wright, became the spokeman for American architecture around the world. He understood human needs and administered to them through his work. Above all he sought repose, a restful environment free of tension which catered to the mental health and happiness of the indweller. Born in Richland Center, Wisconsin, in 1890, Wright not only influenced this area with his Prairie Style architecture, but expanded to Los Angeles, Phoenix, New York, and eventually beyond the boundaries of the United States.

Wright conceived of the interior space in terms of rooms overlapping and interpenetrating--often at the corners. Use areas were defined by screening devices and subtle changes in ceiling heights. For Wright, spaces were defined rather than enclosed, and use was relative to the individual rather than absolute.

Until the outbreak of war in 1914, Wright continually evolved the prairie house toward greater abstraction in Oak Park, near Chicago. Roofs and balconies gradually became flat, hovering slabs, and a geometric interplay between verticals and horizontals replaced an emphasis upon wall. Even his non-residential work reflected this development: the Larkin Administration Building and Unity Temple reiterated geometric shapes and the uselessness of a visible roof.

In the 1920s in Los Angeles, Wright continued to develop his architectural vocabulary with cast blocks of concrete. Especially of note are the residences known as the Hollyhock House for Adine Barnsdall, the Freeman House, and the Ennis-Brown House in Griffith Park. Each house has its own distinctive signature block design, a natural form reduced to pure geometry.

In 1936 he designed and built both Fallingwater in Connecticut and the Johnson Administration building. Near Phoenix, Arizona, he built Taliesin West as a winter retreat. His last project during his long and illustrious life was the Guggenheim Museum in Manhattan. A circular spiral of a building, the Guggenheim became an icon of New York architecture." via La Obscura.


Fallingwater


Interior of Fallingwater

The Massaro House, designed in 1950 at the age of 83 by Wright, is not quite as famous as the Fallingwater House but is a bit of controversial in the fact Wright never completed it before his death. According to this great article in NY Times Magazine, "In 1950, at 83, Frank Lloyd Wright designed a house for a private island on Lake Mahopac, about 50 miles north of New York City. He dreamed it might surpass Fallingwater, his 1935 masterpiece—but then the client ran short of funds, and the house was shelved for almost 50 years..." Eventually a local born sheet metal magnate, Joseph Massaro, set out to complete the house despite numerous obstacles and opposition. The Wright Foundation today does not recognize the Massaro house as one of Wright's accomplishments.

Wright’s design uses his typical juxtaposition of straight,low lines and sharp angles atop the tumbling rocks and reflective lake.

Layers of granite form the walls of the main bedroom; the triangle-hexagon pattern is repeated in the oxblood poured-concrete floor.

View from the main living room.



Photos by David Allee

And finally, the The Solomon R. Guggenheim Museum, which opened on October 21, 1959, is Lloyd's crowning achievement and one of the 20th century's most important architectural landmarks.

Photo by Carol M. Highsmith

Photo by Jim M. Goldstein


Friday, May 8, 2009

Happy Friday!


Sooo sorry for the absence of my 'Furniture Fridays' post today - this week honestly got away from me; how did it become Friday so quickly? Promise I'll make up for it next week. Hope you have a fab weekend!



Thursday, May 7, 2009

"Don't Stop Believing..."

If you are as astute as I think you are, you're probably asking yourselves what the title of this post has to do with pictures of this lil' ole house in Pennsylvania. Well...as I was planting peppers in the garden like a mad-woman this past weekend, I happened to walk past the t.v. and airing was the last episode of The Sopranos (normally I would have walked right on by because I do not agree with mafia vernacular being censored - if you know what the f* I'm talking about.)

However, if you are (or were) a Sopranos fan, then you should know the last episode is quite special in it's own right. Not only was it memorable because of the suspenseful ending, Journey's "Don't Stop Believing" was playing in the tense restaurant scene and thus serves as inspiration for today's post. Journey!! I don't care how many millions of times I hear that song I still get chills.

Now, I know the decor of this 1962 house doesn't quite go hand in hand with the lovely design trends of 1981, which is when 'Don't Stop Believing' was released, but whatever...cut me some slack people.


Who says you can't mix mid-century modernism with an airbrushed Mexican movie poster?


...even this sweet Conan The barbarian poster is in Spanish. Nice.



Let's just quickly skip over this unfortunate living room...save for the Magnus Olesen couch and matching armchairs.



I'm still trying to jedi-mind trick the Mr. into thinking an egg chair of some sorts really is a good idea for our theater room. And that Italian arc lamp? Oh, that WILL be going in the theater room, Mr.


Photos by JWSamson.

And finally, a super-cute breakfast nook with an Eames folding table, Cuban political posters and Kartell and Dansk plastic kitchenware. And I'm digging that large Op-Art piece!

What is YOUR favorite Journey song or memory associated with Journey?

Tuesday, May 5, 2009

Ashe and Leandro

I never get tired looking at these great interriors by ASHE + LEANDRO, an architecture and interior design practice located in New York City, dedicated to creating spaces that innovate and inspire.






..and even though though this room is not designed by Ashe + Leandro, I thought it worthy of being considered in the cool club.


Photo by Petra Bindel.

Monday, May 4, 2009

MCM Mondays - Pierre Koenig


Pierre Koenig, 1925-2004. R.I.P., talented cool dude.

"The architecture of Pierre Koenig, FAIA, demonstrates a simple elegance derived from a design process that melds plan, structure and nature into a holistic experience. With the use of steel and glass he has evolved fresh and exciting solutions to some difficult aesthetic and structural problems.

His first exposed steel and glass house, completed in 1950 while still a student at USC, launched him on a career that has earned him international recognition for numerous innovative buildings. When Arts and Architecture magazine was seeking inventive architects for their Case Study Houses, they chose Koenig to design two of them, Case Study House 21 and Case Study House 22.

Over the years Case Study House 22 has become an iconic symbol of Southern California living. It is a spectacular house soaring above the city below, with long cantilevered roof and floor overhangs that extend the viewer's line of vision to the distant ocean and the horizon beyond. Case Study House 21 exemplifies a meticulous coordination between plan, structure and detail. The landscaping, designed by Koenig, is composed of water, brick and gravel to extend the horizontal planes of the house. In 1989 the Museum of Modern Art (MOCA) in Los Angeles constructed on-site at the Temporary Contemporary a full scale walk-through model of CSH 22 for the exhibit titled "Blueprints for Modern Living."

Pierre Koenig's work has been published throughout the world. Recent honors include the 1996 AIACC Lifetime Award and the AIACC 25 Year Award, the Pacific Design Center Lifetime Achievement Award and the University of Southern California School of Architecture Outstanding Alumni of the Year Award. The first monograph devoted to his architectural career will be published this Spring by Phaidon Press." Via La Obscura.

The Case Study House #22, more popularly known as the Stahl House, is Koenig's most well-known work located on 1636 Woods Drive, Los Angeles. West Coast's most famous house built in 1960, is the backdrop of many TV shows and movies and is still occupied by the original owner, Carlotta Stahl. Lucky lady.






Not as well known but of the same style, Case Study House #21, the Bailey House, located in the Hollywood Hills (9028 Wonderland Park Ave., Los Angeles) was constructed in 1958 and embodies much of what is the quintessential L.A. Modern.

At 1320 square feet, it was built for $20,000. The 2 bedroom structure is balanced by five, count them, five reflection pools that completely surround the house and serve both cooling functions and as visual transitions between building and site. Koenig himself oversaw a complete renovation of the house for owner Dan Cracchiolo in 1998, after which it was sold for $1.5 million to Mark Haddawy. He sold it in December 2006 for over $3.5M. Guess who is doing some stalking this weekend??





Koenig's Case Study House #21 photographed by Julius Schulman (are his iconic images burned into your retinas yet?), with Pierre Koenig himself at the stereo. Then...


...And now. Remember when Brad Pitt collaborated with photographer Steven Klein (I heart you) in the 'controversial' edition of W magazine starring then rumored new love/man-eater Angelina?


Nice Papa Bear chair, BRAD.




Saturday, May 2, 2009

Decor Porn

Whoa, Nelly...


Allen Jones Chair, 1969

Filles Lampes by Marianne Maric

Friday, May 1, 2009

MCM Furniture Friday - Charles Eames

Charles Eames occupied a unique position in the design world from 1940 when he and Saarinen won the competition for the design of a chair by the Museum of Modern Art in New York. But it is not just for his designs that he is important. Eames, and his wife and partner Ray Eames, achieved something much more rare: they caused a shift in the way we look at everything. Part of the secret of the Eames' success was that the items he picked for display were never from the world of high-art. Perhaps only Los Angeles, with its free-wheeling cultural ambiance and its questioning of European values, could have nurtured and sustained such a frankly hedonist, and whimsical, approach to design.


Charles Eames and his wife and design partner Ray. Man I wish I were around in the 40's, this couple looks like they really knew how to party!

Probably one of the most well known Eames chair is the molded plywood lounge chair and ottoman designed in 1956. Charles intended for this chair to have a "warm, receptive look of a well-used first basemen's mit". Despite the high price based on the fact the original prototype was upgraded with more individual pieces that made up the chair that combined factory technologies with expensive hand labor and craftsmanship, this chair became one of the best selling designs for Herman Miller.


Eames Lounge Chair

Eames Lounge Chair v2.Pug??


"XLounge," a fat chair version of the classic 1956 chair by Charles and Ray Eames, as reworked by Mark Wentzel.




The Eames Molded Plastic Rocker (1948), often known as the RAR (rocking armchair rod), was out of production for 30 years before being brought back with the blessings of the Eames Office. Originally manufactured in fiberglass-reinforced plastic, this classic rocker was updated in durable and environmentally friendly molded polypropylene.


The Eames Wire Chair, introduced in 1951 for the consumer who wanted quality design at a reasonable price. The Eameses molded the seat of their wire chair using cross-woven wires and positioned it on the bent-wire "Eiffel Tower" base. Due to cost restraints, strength requirements, and to further an organic shape, they made the rim of the chair a lighter-gauge wire and doubled it for strength and stability. This advance brought about their first American mechanical patent for design.


A few examples of Iconic Eames clocks, a coat hook and magazine rack...


The clock below is my absolute fave, however. Not only do I prefer the classic subdued mix of gold and wood, it can also be used as a weapon.