GB. Architect John Lautner, «the dialogue with the borrowed landscape», the apprentice of Wright, part 1. english text
“The Borrowed Landscape”
John Lautner, his architecture in dialogue with the “borrowed landscape”.
John Edward Lautner Jr. (Marquette, Michigan, 1911 – Los Angeles, California, 1994) grew up in a rural area of the United States, immersed in nature and surrounded by lakes and forests on the shores of Lake Superior.
This early experience profoundly shaped his conception of architecture and became a constant reference in the design of his houses, always conceived in intimate communion with their surroundings.
His works seek to dissolve the boundaries between interior and exterior through the use of large expanses of glass, natural materials, and an intelligent integration of open spaces.
His father was a university professor of German origin, a man of great erudition, and his mother was a painter of Irish descent. «I have never been able to be either completely free like an Irishman or disciplined like a German», he said in one of his most extensive interviews, conducted in 1986 (6). Perhaps the secret of his genius lies in this ambivalence. John Lautner was awarded a scholarship to study architecture at Taliesin, the school founded by Frank Lloyd Wright, where he remained for six years during the 1930s.
There he met future architects and artists such as E. Fay Jones (1921–2004) (3), Santiago Martínez Delgado (4), and Paolo Soleri (5).
During his time at Taliesin, he participated in two projects in Los Angeles, including the Sturges House, and collaborated as construction supervisor on Wingspread, the residence that Frank Lloyd Wright designed for H. F. Johnson Jr., president of the SC Johnson Company.
Wingspread House
The Wingspread House, built in 1937, is situated on a 12-hectare estate in Racine, Wisconsin. The residence displays the long horizontal lines characteristic of Frank Lloyd Wright and a masterful use of natural wood.
The name Wingspread refers to the four wings of the house, which extend from the great central hall. It was the Johnson family’s residence until the 1950s and was later donated to the Johnson Foundation, where it now serves as a conference center. It is located eight kilometers from Racine, Wisconsin. Over the past fifty years, Wingspread has hosted meetings that gave rise to numerous initiatives and institutions, including the National Endowment for the Arts (NEA), National Public Radio (NPR), and some of the earliest American gatherings in support of the establishment of the International Criminal Court. In 1989, it was designated a National Historic Landmark.
John Lautner described himself as «half completely free wild Irishman, through his mother’s heritage, and half completely square German, through his father’s». His father, John Edward Lautner (1871–1959), emigrated from Germany as a child. Self-taught in his early years, he later graduated from the University of Michigan and spent eleven years in Europe studying at the universities of Paris, Göttingen, and Leipzig. Upon returning to the United States, he settled in Marquette, Michigan, where he taught anthropology, philosophy, ethics, French, and German as a university professor.
His father met the woman who would become his wife, Vida Cathleen Gallagher (1885–1958), one of his students, twenty years his junior. She was an interior designer and painter (6). The Lautners showed a deep interest in art and architecture from an early age. In 1918, their house in Marquette, “Keepsake,” designed by Joy Wheeler Dow (1864–1938), was published in The American Architect magazine. A decisive influence in John Lautner’s life was the construction of the family’s summer cabin, “Midgaard,” built upon a rocky outcrop on a remote promontory along the shore of Lake Superior (7).
The Lautners designed and built the log cabin with their own hands, while Vida was responsible for its interior design and decoration, drawing inspiration from her study of Nordic dwellings. In 2013, Midgaard was listed on the United States National Register of Historic Places. In 1929, John Lautner enrolled at Northern State Teachers College, where he studied philosophy, ethics, physics, literature, drawing, art, and the history of architecture. He played the piano and various wind instruments. He did not receive formal architectural training until he entered Taliesin, the school at Spring Green, Wisconsin. During his father’s sabbatical years, he spent periods living in Boston, New York, and Chicago, cities whose cultural atmosphere contributed to broadening his intellectual and artistic interests.
Under Wright’s Tutelage
John Lautner always felt a profound admiration for Frank Lloyd Wright. When he decided to follow his own path, he stated that «I was going to work from my own philosophy, because that is what Wright wanted his apprentices to do». He also maintained: «My plan for being an architect is to work from the ground up and from my philosophical ideas». Speaking about his working method, he explained: «… I always begin from scratch with sketches and try to form a complete idea. I gather all the information from the client: what they like and dislike, the idiosyncrasies of the physical things involved, and I absorb the totality of the requirements. Then, in addition to consolidating that knowledge, I try to create an entirely new idea that can solve that particular problem. It may take me a short time or several months. Sometimes I need so much time to absorb the situation and assume my role that, in reality, this process itself becomes a contribution to the project».
From 1933 to 1939, John Lautner worked and studied with Frank Lloyd Wright at Taliesin in Wisconsin and at Taliesin West in Arizona, where Wright had created a unique school for the education of architects. He avoided the drafting room, preferring the everyday tasks of «carpenter, plumber, farmer, cook, and dishwasher». His experience at Taliesin taught him far more than drawing: he learned stone masonry and carpentry, as well as the value of teamwork.
Years later, in an interview with Marlene Laskey for UCLA (the University of California) (6), John Lautner recalled: «There were no classes, no rules or laws of any kind, except not being late for breakfast. No one taught anything. Physical work and hands-on learning were what mattered most». Frank Lloyd Wright had instilled in him a way of understanding architecture that integrated thought, experience, and construction. Referring to the Arango House in Acapulco, Lautner explained: «I knew exactly the kind of environments they required. They had bought that site overlooking the bay and asked me to design a mountain house. When I went to explore the area, I sat on the site and, after a while, discovered some higher points on the slope that extended directly toward the main living room. That allowed me to conceive the whole project as a single, unified idea. I would create an open terrace, free of any obstacles that might spoil the view, with a band of water surrounding it as a transitional element integrating the house with the bay. Then I could imagine something like a slope disappearing into the sky, beyond sight. It would be a free space, visually and psychologically suspended between the sky and the sea».
John Lautner progressed rapidly under the tutelage of Frank Lloyd Wright. When he married MaryBud Roberts in 1934, he was preparing the design details for one of Wright’s houses in Los Angeles for Alice Millard, working at Taliesin’s Playhouse and Studios. In 1936, he was assigned to a project that would last two years: supervising the construction of Deertrack House in Marquette, designed for Abby Beecher Roberts, MaryBud’s mother. Years later, the house would become the home of Carol Lautner, the couple’s eldest daughter. In 1937, he agreed to supervise the construction of Wingspread, the Johnson family residence near Racine, Wisconsin, his favorite among the Frank Lloyd Wright projects on which he worked. That same year, he traveled with Wright to Minneapolis, Minnesota, to supervise the photography of the Malcolm Willey House, a work whose spatial conception would exert a notable influence on the houses he would design in later years.
He was also deeply involved in the construction of the drafting room at Taliesin West, which influenced the design of his later Mauer House (1946). He compiled photographs of Frank Lloyd Wright’s work for a special issue of Architectural Forum published in 1938 and briefly returned to Taliesin to assist in the preparation of models and materials for the exhibition that the Museum of Modern Art (MoMA) in New York devoted to Wright in 1940. He remained with his mentor for six years, until 1940, when he moved to Los Angeles to begin his independent professional career.
«I am conscious of not wanting to be classified, but rather of continuing to grow and change without interruption, of developing fundamental ideas that enrich life itself and provide a timeless enjoyment of space. This is what I call “real architecture.” Without beginning or end». While striving to establish an independent career, John Lautner wrote to Frank Lloyd Wright assuring him that he remained «ready to do anything that you or your Fellowship might need».
He worked alongside Frank Lloyd Wright on approximately eleven projects in Los Angeles over the following five years. In March 1938, he moved there to take charge of two projects, including the Sturges House (1939), and decided to stay, cut the umbilical cord, and try his luck in an immense city that at first horrified him. «The first time I drove down Santa Monica Boulevard, I thought it was so ugly that I became physically ill. I felt that way for an entire year. After having spent my life surrounded by the natural landscapes of Michigan, Arizona, and Wisconsin… it was the most dreadful thing I had ever seen». In time, that first impression became a personal challenge: «Through my work, I have tried to create oases of beauty despite being in Los Angeles». His first daughter, Karol Lautner, was born in May 1938 (8). His first independent project was a modest one-bedroom house built with a timber frame at a cost of only $2,500 for the Springer family. In September of that same year, Wright once again called upon him to supervise several projects in Los Angeles, including the Green, Lowe, Bell, and Mauer houses. During this period, Lautner collaborated with Wright on the designs for the Sturges House in Brentwood Heights, California, and the Jester House, which was ultimately never built.
Lautner also supervised the construction of the Sturges House for Wright, although the project was plagued by serious design, cost, and construction problems that culminated in the owners threatening legal action, forcing Wright to send Taliesin students to complete the necessary repairs. When the Mauer family terminated their contract with Wright because the working drawings were not delivered on time, they decided to commission Lautner to complete the project. Shortly thereafter, Wright entrusted him with the Bell House commission, which Lautner completed swiftly, consolidating the success of his first independent house. The project received critical acclaim, and the University of Chicago requested its plans and drawings for use as teaching material.
Lautner was an architect-researcher who experimented throughout his professional career with form and structure, as well as with the spatial relationships between architecture, the natural environment, and their material expression. His work was widely published in specialized journals and newspapers, including the Los Angeles Times, the three-page feature devoted to him by Arts & Architecture in June 1942, the House and Garden article of May 1944 that described his work as «the model house for California living», and publications in California Design, Architectural Forum, and The Californian. Particularly significant were the exhibitions Between Earth and Sky: The Architecture of John Lautner, organized in 2008 by the Hammer Museum and the Getty Center (9), and its subsequent presentation in Glasgow, Scotland. Likewise, the symposium Against Reason: John Lautner and Postwar Architecture contributed to rekindling interest in his life and work, generating wide coverage in the architectural press.
Such as the catalogue of the 1991 Vienna exhibition John Lautner: Architect: Los Angeles, with texts by John Lautner himself and edited by Frank Escher, as well as the website of the John Lautner Foundation. His first solo project was his own residence in Los Angeles, the Lautner House (1939), conceived as a laboratory of ideas in which he began to develop many of the spatial and constructive principles that would characterize his later architecture.
The house was the subject of an article published in the June–July issue of California Arts & Architecture. The architectural historian and critic Henry-Russell Hitchcock described it in House Beautiful as «the finest house in the United States designed by an architect under thirty years of age».
See Henry-Russell Hitchcock’s comments on Wright in The Works of Frank Lloyd Wright, Princeton Lectures, and the Walker House at https://onlybook.es/blog/las-obras-de-frank-lloyd-wright-parte-12-conferencias-en-princeton-y-la-casa-walker/?utm_source=chatgpt.com
In 1943, John Lautner worked for the Structon Company on wartime engineering and military construction projects. The following year, he collaborated with architects Samuel Reisbord and Whitney R. Smith before joining the office of Douglas Honnold as a design associate. As Lautner did not obtain his architectural license until 1952, Honnold signed the projects they produced together. Honnold had begun his career in the 1930s as an interior decorator and also worked as an art director and film set designer for Metro-Goldwyn-Mayer.
Lautner collaborated with Douglas Honnold on several projects, including the Coffee Dan’s restaurants on Vine Street in Hollywood and on Broadway in downtown Los Angeles, as well as the remodeling of the Beverly Hills Athletic Club (now demolished). During this period, he also completed two independent projects: the Mauer House and the Eisele Guest House. Of particular importance was the article “Three Western Homes,” published in the March issue of House & Garden, which included the plans of the Bell Residence and four photographs by Julius Shulman (10).
These photographs marked the beginning of a lifelong collaboration between John Lautner and Julius Shulman. Over the following fifty years, Shulman documented approximately seventy-five of Lautner’s projects—both personal commissions and works for other clients—and his photographs of the architect’s work appeared in at least 275 publications. In 1945, Lautner became a partner in Douglas Honnold’s practice, which he left two years later after falling in love with Elizabeth Gilman, his partner’s wife.
When he decided to separate from his first wife, MaryBud Roberts, Lautner did not seek another home; instead, he moved into Honnold’s house at 1818 El Cerrito Place, where he established his new architectural studio. A year later, in 1948, he married Elizabeth. MaryBud returned to Marquette with their four children, Karol (1938–2015), Mary Beecher (1944), Judith Munroe (1946), and Michael John (1942–2005).
His stepdaughter, Elizabeth Honnold Harris, described him as an «incorrigible observer», an expression that reflects his enduring intellectual curiosity and his ability to find inspiration in everyday life. Despite that «small detail», Honnold and Lautner remained lifelong friends.
He was married to Elizabeth Gilman until her death in 1978, following many years of chronic illness. In 1982, he married Francesca Hernández, who had cared for Elizabeth during the final years of her life. Lautner’s work during this period included the Tower Motors Lincoln-Mercury showroom in Glendale and the Sheats “L’Horizon” Apartments.
He then undertook a series of important projects, including the Foster Carling House (1947) in Los Angeles, the Gantvoort Residence (1947) in La Cañada Flintridge, Henry’s Restaurant (1947) in Glendale, and the Desert Hot Springs Motel (1947), now known as the Hotel Lautner. The latter was originally conceived as the prototype for a community of more than one hundred buildings and swimming pools spread across approximately 240 hectares acquired by film producer Lucien Hubbard, winner of the first Academy Award for Best Picture for Wings (1927). This ambitious project was never completed and today survives as one of the few Lautner buildings open to the public.
In the Late 1940s and Early 1950s
His work appeared regularly in both specialized and widely circulated publications, including Architectural Record, Arts & Architecture, House & Garden, Ladies’ Home Journal, and the Los Angeles Times. It has also been extensively documented in archival collections and reference databases such as the RIBA (Royal Institute of British Architects) Library, Columbia University’s Avery Architectural and Fine Arts Library, WorldCat, WilsonWeb, and Art Index, among others.
1949–50
He completed the Dahlstrom Residence (1949), the celebrated Googie’s Coffee House (1949) in Hollywood—the building that gave its name to the Googie architectural style—and the UPA Studios animation facilities (1951) in Burbank.
1950
He participated in a group exhibition of sixteen California architects held at Scripps College in Claremont, California.
“Sixteen Southern California Architects Exhibit Contemporary Trends”.
The exhibition was also published in the April 1950 issue of Arts & Architecture, featuring 39 photographs by Julius Shulman, including two of Lautner’s Mauer House.
1951
His work was included in the influential guide A Guide to Contemporary Architecture in Southern California (Watling, 1951), edited by Frank Harris and Weston Bonenberger.
1952
In 1952, he obtained his architectural license. That same year, House and Home published the influential article “Googie Architecture” by Douglas Haskell, illustrated with two photographs by Julius Shulman of Googie’s Coffee Shop in Los Angeles. The publication also included an article devoted to the Foster Carling House and the L’Horizon Apartments, making a decisive contribution to the dissemination of Lautner’s work and to the popularization of the term “Googie,” which would eventually come to define an entire movement of postwar Californian architecture.
1984
In 1984, he was appointed Olympic Architect for the Los Angeles Summer Olympic Games. Architect Duncan Nicholson, who worked in his studio for five years at the beginning of the 1990s, wrote of him: «Lautner was an architect’s architect. He did not wear a bow tie or pretend to be something he was not. He was always unassuming, although, if you worked for him, you had better know what you were doing, because otherwise you would pay dearly for it».
John Lautner referred to his clients in these terms: «My clients are all individuals with considerable personality; otherwise, they would not come to me». Many of them were connected to the entertainment industry, such as Bob Hope, Anne Baxter—the granddaughter of Frank Lloyd Wright—and John Hodiak; others were musicians, such as George Carling, Miles Davis, and Russ Garcia; artists, such as Helen Sheats; interior designers, such as Arthur Elrod; and, above all, engineers and technicians, such as Leonard Malin and Kenneth Reiner. The latter worked in the innovative aerospace industry and contributed technical solutions that proved decisive for some of his buildings, which would hardly have been the same without their collaboration.
1999
The Architecture of John Lautner, by Alan Hess and Alan Weintraub, published by Rizzoli International Publications, was released in 1999. It remains one of the most comprehensive monographs devoted to his work.
2008
An exhibition was held in 2008 at the Hammer Museum, curated by architect Frank Escher and architectural historian Nicholas Olsberg.
Lautner is remembered not only for the development of the Googie style, but also for the architecture of the so-called “Atomic Age,” a period extending from 1940 to 1963, when Western society was immersed in the concerns of the Cold War.
Architecture, industrial design, commercial design (including advertising), interior design, and the fine arts were all influenced by the themes of atomic science and the Space Age. Atomic Age design became both popular and readily recognizable through its use of atomic motifs and symbols of the Space Age. Among the works of this period are the Leonard Malin House, the Paul Sheats House, the Garcia House, and the Rainbow House.
John Lautner designed more than 200 architectural projects during his career, although many of his large-scale building designs were never realized. In the architectural press, his work has been largely represented by his domestic commissions; however, he also designed numerous commercial buildings, including Googie’s, Coffee Dan’s, and Henry’s restaurants, the Beachwood Market, the Desert Hot Springs Motel, and the Lincoln Mercury Showroom in Glendale. Unfortunately, several of these buildings have been demolished.
With a few exceptions, such as the Arango Residence in Acapulco, the Turner House in Aspen, Colorado, the Harpel House #2 in Anchorage, Alaska, and the Ernest Lautner House in Pensacola, Florida, nearly all of Lautner’s surviving buildings are located in California, primarily in and around Los Angeles.
Lautner’s final years were overshadowed by declining health and the loss of mobility.
14 films and the Lautner Houses Used.
The Sheats-Goldstein Residence has been the Lautner house most frequently used by Hollywood, followed by the Chemosphere and the Elrod House, both of which have become cinematic icons.
1. The Duplicate Man (1964) – Malin House (Chemosphere).
2. Diamonds Are Forever (1971) – Elrod House.
3. Body Double (1984) – Malin House (Chemosphere).
4. Less Than Zero (1987) – Reiner-Burchill Residence (Silvertop).
5. Lethal Weapon 2 (1989) – Rainbow House.
6. Playing God (1997) – Sheats-Goldstein Residence.
7. Sunset (1998) – Jacobsen House.
8. The Big Lebowski (1998) – Sheats-Goldstein Residence.
9. Bandits (2001) – Sheats-Goldstein Residence.
10. Charlie’s Angels: Full Throttle (2003) – Sheats-Goldstein Residence.
11. A Single Man (2009) – Schaffer Residence.
12. L.A. Confidential (1997) – Harpel House (selected scenes).
13. Charlie’s Angels (2000) – Sheats-Goldstein Residence.
14. Southland Tales (2006) – Sheats-Goldstein Residence.
Notes
1
A.V. Arquitectura Viva. Frank Escher, 31/12/2010. John Lautner 1911–1994.
2
John Lautner. Infinite Space. Original title: Infinite Space: The Architecture of John Lautner (USA, 2008, 91 min.). Documentary directed by Murray Grigor. Arquia/Documentary Collection No. 36, with texts by architect Jorge Gorostiza.
3
American architect and designer E. Fay Jones (1921–2004) was an apprentice of Frank Lloyd Wright at Taliesin. He was the only one of Wright’s disciples to receive the Gold Medal of the American Institute of Architects (AIA) in 1990, the institution’s highest honor. He also achieved international recognition for his thirty-five years of teaching at the School of Architecture of the University of Arkansas.
In the late ’40s and early ’50s
His work appeared regularly in both professional and popular publications, including Architectural Record, Arts & Architecture, House & Garden, Ladies’ Home Journal, and the Los Angeles Times. It has also been extensively documented in major architectural archives and reference databases such as the RIBA (Royal Institute of British Architects) Library, Columbia University’s Avery Architectural and Fine Arts Library, WorldCat, WilsonWeb, and Art Index, among others.
1949-50
He was part of a group exhibition of sixteen California architects at Scripps College in Claremont, California.<<<< He designed the Dahlstrom Residence (1949), the celebrated Googie’s Coffee Shop (1949) in Hollywood—which gave its name to the Googie architectural style—and the UPA Studios (1951) animation studios in Burbank.
1950
He took part in a collective exhibition of sixteen California architects held at Scripps College in Claremont, California, entitled Sixteen Southern California Architects Exhibit Contemporary Trends. It was also published in the April 1950 issue of Arts & Architecture, featuring 39 photographs by Julius Shulman, including two of Lautner’s Mauer House.
1951
His work was included in Harris and Bonenberg’s influential A Guide to Contemporary Architecture in Southern California (Watling 1951). His work was included in the influential A Guide to Contemporary Architecture in Southern California (Watling, 1951), edited by Frank Harris and Weston Bonenberger.
1952
In 1952, he obtained his architectural license. That same year, House and Home published the influential article “Googie Architecture” by Douglas Haskell, illustrated with two photographs by Julius Shulman of Los Angeles’s Googie’s Coffee Shop. The publication also included an article on the Foster Carling House and the L’Horizon apartments, contributing significantly to the dissemination of Lautner’s work and the popularization of the term “Googie,” which would come to define an entire movement of postwar California architecture.
1984
In 1984, he was appointed Olympic Architect for the Los Angeles Summer Olympic Games. Architect Duncan Nicholson, who worked in his studio for five years in the early 1990s, wrote of him: “Lautner was an architect’s architect. He didn’t wear a bow tie or pretend to be something he wasn’t. He was always unassuming, although if you worked for him, you had better know what you were doing, because otherwise you would pay dearly for it.”
Lautner spoke of his clients this way “My clients are all individuals with quite a bit of personality; If not, they would not come”.
Many of those clients were related to the world of entertainment, such as Bob Hope, Anne Baxter – Wright’s granddaughter – and John Hodiak, others were musicians such as George Carling, Miles Davis and Russ Garcia, or artists such as Helen Sheats, interior designers such as Arthur Elrod, and, above all, engineers and technicians, such as Leonard Malin and Kenneth Reiner, the latter worked in the innovative aerospace industry, and provided solutions to some of its buildings, so that without them they would not have been as they are.
1999
The Architecture of John Lautner, by Alan Hess and Alan Weintraub, was published by Rizzoli International Publications, one of the most comprehensive monographs devoted to his work.
2008
An exhibition is held in 2008 at the Hammer Museum curated by architect Frank Escher and architectural historian Nicholas Olsberg.
Lautner is not only remembered for the development of the Geogie style, but for the style of the so-called “Atomic Age”, a period from 1940 to 1963 when Western society was immersed in concerns about the Cold War.
Architecture, industrial design, commercial design (including advertising), interior design, and fine art were influenced by themes of atomic science, as well as the Space Age. Atomic Age design became popular and recognizable, with the use of atomic motifs and space age symbols. From that time are the Leonard Malin House, the Paul Sheats House, the Garcia House or the Rainbow House.
John Lautner designed more than 200 architectural projects during his career, but many large building designs were never realized. In the architectural press, his current work has been dominated by his domestic commissions; Although he designed numerous commercial buildings, including Googie’s, Coffee Dan’s and Henry’s restaurants, Beachwood Market, Desert Hot Springs Motel and the Lincoln Mercury Showroom in Glendale, several of these buildings have sadly been demolished.
With exceptions such as the Arango Residence in Acapulco, the Turner House in Aspen, Colorado, the Harpel House #2 in Anchorage, Alaska, the Ernest Lautner House in Pensacola, Florida, almost all of Lautner’s existing buildings are in California, mainly in Los Angeles and surroundings.
Lautner’s final years were marred by declining health and loss of mobility.
Notes
1
AV. Living Architecture. Frank Escher, 12/31/2010. John Lautner 1911-1994.
2
John Lautner infinite space. Collection directed by Murray Grigor. Texts by Architect Jorge Gorostiza. Original title “A Infinite Space. The Architecture of John Lautner (USA, 2008-92)”. Arquia Collection / Documentary 36.
3
American architect and designer E. Fay Jones (1921–2004) was an apprentice of Frank Lloyd Wright at Taliesin. He was the only one of Wright’s disciples to receive the American Institute of Architects (AIA) Gold Medal in 1990, the institution’s highest honor. He also gained international recognition for his thirty-five years of teaching at the University of Arkansas School of Architecture.
4
Colombian muralist, painter, illustrator, and graphic designer Santiago Martínez Delgado (Bogotá, 1906–Cajicá, 1954) was one of the leading representatives of Art Deco in Colombia. He studied at the School of Fine Arts in Chicago and was a disciple of Frank Lloyd Wright at Taliesin. Among other distinctions, he received the Logan Medal of the Arts, the Colombian National Artists’ Salon Award, and the Cross of the Order of Boyacá for his work on the mural in the Elliptical Hall of the National Capitol, considered one of the most significant mural works in the country.
5
https://onlybook.es/blog/arq-paolo-soleri-por-hakj/
6
Interview with Lautner by Laskey in 1986. In 1986, Marlene Laskey interviewed John Lautner for the Oral History Program at the University of California, Los Angeles (UCLA).
His six and a half hour interview was published by UCLA under the title “Responsibility, Infinity, Nature”.
It is available through the Internet Archive, an online library for researchers, historians and academics. The library maintains copies of the book in several different formats. It can be read online or downloaded.
Internet Archive. Responsabilidad, infinito, naturaleza historia oral transcripción : Lautner, John, 1911- entrevistado: descarga gratuita, préstamo y transmisión: Internet Archive
7
Lake Superior is the largest of North America’s Great Lakes and the world’s largest freshwater lake by surface area, as well as the third largest by volume. Shared by Canada and the United States, its waters flow into Lake Huron through the St. Marys River.
8
“John Lautner. Architect». By Alicia Paz González Riquelme and Eduardo Basurto Salazar Department of Methods and Systems. Metropolitan Autonomous University. Mexico.
9
The Hammer Museum is an art museum and cultural center, part of the University of California, Los Angeles. Founded in 1990 by industrial entrepreneur Armand Hammer to house his personal art collection, the museum has since expanded its reach to become «the most modern and culturally relevant institution in the city.»
Critically acclaimed by the museum are presentations by emerging contemporary artists, many of them historically overlooked. It hosts more than 300 programs year-round, from conferences, symposiums and readings to concerts and film screenings.
10
Julius Shulman was born in Brooklyn, and grew up on a farm in Connecticut. He moved to Los Angeles to begin his studies, but never finished them. His mentor was Richard Neutra, who upon seeing the photos he took of the Kun Residence, commissioned him to immortalize his projects. “Actually I’m just a salesman, I sell architecture».
When John Entenza, director of the magazine Arts and Architecture, launched his Case Study program in 1945, Julius transformed projects by Eames, Neutra or Soriano into Icons.
“Shulman’s Stahl House snapshot is one of those images that summarizes an entire city” wrote the New York Times critic of the time (referring to Case Study 22, designed by Pierre Koenig from 1959).
«When I started working I realized that very few of my colleagues captured people in their work, but I thought that if I was going to photograph architecture I wanted to show it being functional».
«My images always tell a story, perhaps because there are people in them».
He lived in a house designed by Raphael Soriano in the Hollywood Hills. In 2015, the Californian studio LOHA restored it respecting its original design.
Follow at https://onlybook.es/blog/arq-john-lautner-el-dialogo-con-el-paisaje-prestado-parte-2/
———
The three articles on Architect John Lautner, complete in Spanish and English.
Arq. John Lautner, el diálogo con el paisaje prestado, el aprendiz de Wright. parte 1 https://onlybook.es/blog/arq-john-lautner-el-dialogo-con-el-paisaje-prestado/
English text https://onlybook.es/blog/gb-architect-john-lautner-the-dialogue-with-the-borrowed-landscape-part-1-english-text/
Arq. John Lautner, el diálogo con el paisaje prestado, el aprendiz de Wright. parte 2 https://onlybook.es/blog/arq-john-lautner-el-dialogo-con-el-paisaje-prestado-parte-2/
English text https://onlybook.es/blog/gb-architect-john-lautner-the-dialogue-with-the-borrowed-landscape-part-2-english-text/
Arq. John Lautner, el diálogo con el paisaje prestado, el aprendiz de Wright. parte 3 y final https://onlybook.es/blog/arq-john-lautner-el-dialogo-con-el-paisaje-prestado-parte-3/
English text https://onlybook.es/blog/gb-architect-john-lautner-the-dialogue-with-the-borrowed-landscape-part-2-english-text-2/
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