The 1950s era made its mark in Modern Architectural Design with Southern California's reputation in creativity and architecture. In gaining international fame was the city's residential architecture, mainly because of the Case Study program sponsored by Arts+Architecture magazine. Although through Sunset magazine, Modern Architectural Design spread even more like wildfire in popularly.
The growth in the region was also gaining quite the buzz nationally. Its flourishing population pushed an enormous mass production housing of tract style homes, new shopping centers, recreational facilities, and an marvelous car culture of drive ins, car washes, and car dealerships that focused on new youth and their culture. New buildings with new designs, at the same time gained attention not only in a positive light, but negative one too.
Home Savings and Loan, Beverly Hills (Millard Sheets, 1956).
These changes spread across the entire culture and every class, as varied expressions of Modernism exploded. Displaying the new Modern Architectural Design was the McDonald brothers' golden arched fast food joint, Stanley Meston 1953, Downey. This Modern Los Angeles Architectural Design display became one of the most renowned designs of the decade across the nation. Home Savings and Loan was also a series of first stand out buildings, Millard Sheets 1956, Beverly Hills. With the security of a vault and decked out with mosaic murals, sculpture, and stained glass bringing fine art to the commercial area.
Highrise offices also popped up. The circular Capitol Records Tower (Welton Becket Associates, 1956, Hollywood) became an automatic landmark, while Glendale Fidelity tower (W. A. Sarmiento, 1959 in Glendale) was a natural blend of articulated service towers of brick with metal sunshades. The lozenge shaped Union Oil building (Pereira and Luckman, 1958, Downtown L.A.) and the Getty Tidewater Offices (Claud Beelman, 1956, Koreatown) was added to the array of Modern Los Angeles Architectural Design.
Wayfarers Chapel (Lloyd Wright,1951).
Church architecture likewise expressed the same wide range of Modern Los Angeles Architectural Design ideas, from Wayfarers Chapel(Lloyd Wright, 1951, Palos Verdes), stands out because of its striking use of natural materials and glass on the very edge of the ocean, to 28th Church of Christ, Scientist (Maynard Lyndon, 1955, Westwood), displayed is a restful composition of abstract Late Moderne shapes.
A Custom home expresses a breathtaking Modern Los Angeles Architectural Design from Silvertop (John Lautner, 1963, Silver Lake) even to Case Study House #21 (Pierre Koenig, 1959, Hollywood Hills). Though they are very different in concept, both became famous internationally by pushing forward the Los Angeles Architectural Design potential of prestressed concrete and steel frames, working together perfectly.
Experimenting in housing construction at the same time was planning and organization, it flourished tremendously. A unique team of talented architects joined in a congressional way, the Mutual Housing Association, they built Crestwood Hills (1950, Brentwood), a well planned community by like minded professionals in the hills of Brentwood, with community amenities and a high standard of Los Angeles Architectural Design in the individual homes clinging along the hillside. In his own estate, Dawnridge (Tony Duquette, 1949, Beverly Hills) Tony Duquette designer from the classic L.A. industries of flicks and fashion, displayed that history and ornament both coincide in the Modern Los Angeles Architectural Design. Los Angeles Architectural Designs most influential housings were the mass produced tracts that lays over former farming land. The nation was amazed at the factory like production of Lakewood, an instant city of Ranch Houses, schools, libraries and including shopping centers. "Ranch House" normally referred to as a single story family house with a gable roof with a homey and welcoming appearance, sometimes a garage was added.
Ranch House architecture came in many varieties and sizes, from the Minimal Traditional Ranch Houses of entry level tracts located in Lakewood, to the more extravagant Traditional Ranch Houses (often being custom designed) that some homes feature shake roofs, board and batten siding, and diamond pane windows, to a more contemporary Ranch House.
Ranch Houses also came in varieties to choose from, including the prefabricated versions designed by Cliff May and architect Chris Choate, displayed at Rancho Estates (1954) in Long Beach. All while the majority of tract housing was built by developers without architects, several respectable architecture firms (Palmer and Krisel, Smith and Williams, Jones and Emmons, and Edward H. Fickett) brought to the table a respected Modernist ideas to the Los Angeles Architectural Design and constructed tens of thousands of tract homes.
A higher density amount of multiple housing had manifested in more ways than one, including the Dingbat apartment house. The Dingbat name came to be from the ornamental flourishes, signs, or light fixtures in the shape of the starburst,the "dingbat" symbol of typesetting, on its street side. The traditional Southern California courtyard apartment was modernized by architects like Richard Dorman at the Rose Apartments (Richard Dorman, 1959, Mar Vista) and Edward H. Fickett in the Sunset Lanai(1952, West Hollywood), apartments provided around a communal swimming pool/sunbathing/socializing area.
Every Aspect Of Life Was Touched By Modernism
Los Angeles Architectural Design also helped with the growing economy to create jobs in the auto and aerospace industries, a demand had been created for modern high rise offices in the traditional center city, at the same time for low rise suburban office and manufacturing campuses.
The Stuart Pharmaceutical Factory (Edward Durell Stone, 1958, Pasadena) had set a standard by linking office and manufacturing space with recreational facilities for employees designed by landscape architect Thomas Church, this has been the model of the modern workplace.
The new television industry produced CBS Television City (Pereira and Luckman, 1952, Miracle Mile), being looked at as an International Style box with flexible functional studio spaces. The city shape also changed as Los Angeles Architectural Design responded to car mobility to create new patterns of eating, shopping and entertainment. The Miracle Mile was an urban planning response to the auto in the 1930s, and continued to reign as a fashionable urban district with department stores, new high rise buildings, and banks all through the 1950s and 1960s. Keeping the entire city together was the new freeway system, whose polished, curving four lane interchange between the Harbor and Hollywood freeways (1949, Downtown) became an instant tourist attraction with visitors and locals. Along such boulevards and freeways,
Pann's (Armet and Davis, 1958)
Southern Californians kept moving on with their lives. They drove to bowling alleys like Covina Bowl (Powers, Daly, DeRosa 1956, West Covina) that was the social center, and to amusement parks like Marineland of the Pacific (Pereira and Luckman, 1958, Palos Verdes, ended up getting demolished in 2006).
Googie style coffee shops began to pop up by the 1950s. Examples such as Romeo's Times Square, later known as Johnie’s (Armet and Davis, 1956, Miracle Mile) and Pann's (Armet and Davis, 1958, Westchester) combining both bold scales of visibility from the car and the human scale to create a welcoming garden like dining area.
These types of buildings summed up that decades lifestyle, Los Angeles Architectural Design, and city planning were all reinvented for California.
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