John Lautner
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Frank Lloyd Wright, Rudolph Schindler, Richard Neutra, and John Lautner defined 20th century Californian architecture. Lautner started working with Frank Lloyd Wright and later designed iconic buildings such as the Malin residence/“Chemosphere” (Hollywood, 1960); the Garcia residence (Los Angeles, 1962); and the Sheats-Goldstein residence (Beverly Hills, 1963/1989). These buildings have been featured in major Hollywood films.
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The Chemosphere—whose name is tied to a corporate sponsorship that helped fund its construction—is an icon of Mid-Century Modern residential architecture. It was featured in the film “Body Double” (1984) and inspired the home of the villain in the film remake of “Charlie’s Angels” (2000). The residence was originally built for Leonard Malin, an aerospace engineer.
As with many of Lautner’s buildings, the landscape of the site inspired the final design, particularly the steep, nearly 45-degree slope that was considered unbuildable. Instead of building retaining walls out from the slope to support the structure, Lautner’s design hovers over the untouched landscape, supported by a 30-foot-tall reinforced concrete column. An octagon-shaped building sits on top of the column, with a roof constructed as if it were the keel and ribs of a ship. These elements create an interior that is open and free from obstructed views of the landscape and beyond.
Perhaps the most-seen Lautner house is the Sheats- Goldstein residence. The films “The Big Lebowski” (1998), “Bandits” (2001), and “Charlie’s Angels: Full Throttle” (2003) are just a few of the many films that have featured the house—also a favorite of photographers. The centerpiece of the design is another concrete roof, which contains three folded, triangular surfaces. Two points touch the ground at different elevations, essentially creating a concrete sail. The interior coffered ceiling rises 18 feet overhead at the tallest point and dives down to almost six feet to allow for shade from the sun. More than 700 small drinking glasses were incorporated into the roof ’s design to create tiny skylights. (Lautner considered this a way to recreate the light of a northern Michigan forest.) The natural light also allows the concrete to once again appear weightless—similar to the Garcia residence, but this time trading organic forms for purely geometric ones. The original clients, Paul and Helen Sheats, sold the house soon after it was completed in 1963. Businessman James Goldstein purchased it in 1972 and worked closely with Lautner on a series of projects to bring the design to perfection. Lautner was free to incorporate new technologies into the ongoing renovations, including concrete-and-steel furniture and a transparent sink that looks like a waterfall when in use and gives the user an uninterrupted view of the landscape.
One of Lautner’s grandest designs rose above Acapulco Bay in Mexico, where in 1973 the architect built a 25,000-square-foot home that seemed to float above the water. The Arango residence, also called Marbrisa, included an expansive open-air terrace with bedrooms on the level below.
The living room pavilion of the Elrod Home was originally enclosed in glass, but desert storm winds blew out the glass-pane walls in 1971. Lautner said he knew the blowout was a possibility, but he decided to take the risk. After the windstorm shattered the glass, the pavilion was left as a completely open space. The owner liked the effect so much that instead of replacing the panes, he asked Lautner to open the pavilion by designing retractable glass doors. There are now two mechanized 25-foot doors fabricated by an aircraft manufacturer.
  Inspirations.  
The gilded castle
The Heavy Palace
Reactive Space
Calatrava : Sculptures
PIXelated Cube
CAMOUFLAGE ARCHITECTURE
The e-scooter Boom
The Venice Pavillon
Collaborative City Planning
Structures
Dreaming of Skyscrapers
Alessandro Mendini 1931-2019
Terror Architecture -18th Century Prisons
Kunio Makaewa
Digital Biology
Future City - Fashion, Food, Transport
Architecture
The loft bar
Mechanical Suprematist
Immersive sketch
penccil: This was 2017
serpentine 2017
BS1
BKM/Barozzi/Veiga
Fallingwater
Green Architecture…. Is it blessing or curse!!
Library
Vico Magistretti
Franz Kline
Lattice
Jeff Zimmerman
Kenzo Tange
American Food
Organic Public
Design for Disaster
Shared Space
Food Architecture
Sky Walk
Pillars
Microscopes of utopia
also:
Carlo Scarpa: Sketch and Work
Peter Zumthor: Thinking Architecture
The Bauhaus Revolution
In Orbit
Tom Ngo
Future Architecture
Superstudio, Superproduction, Superconsumption
Heartbeat, Heartseat
Swarm fabrication: Kokkugia / Roland Snooks
Spatial Clusters
This City
Une Cité Industrielle by Tony Garnier
The Glass House
The Oily Actor
Julius Shulman: Visual Drama
Bird´s Nest
Mimicry and Makeshift
Colliding Worlds
Jean-Jaques Lequeu
Jorge Zalszupin and L'Atelier
Amor Vacui
Áron Jancsó
Archispecture
Small Buildings
Raymundo Colares
Bring the outside in: The houses of Joseph Eichler
Harrison and Abramovitz
Air Luxe
Bubble
DADAMAINO
Manufactured Landscapes
Pierre Besson
Weaving spaces
Mass, space, plane and line
Radiofonografo RR126
Superheroes
Carlo Mollino: Tables and Chairs
Pascal Häusermann
Janine Abraham & Dirk Jan Rol
The contemporary condition
Merzbau
André Bloc - Sculptures Habitacles
Sadamitsu Neil Fujita
Stan Galli
Spacecraft
Mirrors
Roland Rainer
Harry Seidler
Ponte City
The Way Of The Light