lortondale

The Trimmers are Coming, The Trimmers are Coming!

2011-05-05T08:02:00.000-05:00

AEP PSO has informed us that they will be returning soon to trim trees near utility lines. When I have exact dates I will include them. In the meantime I have included two links. The first outlines homeowner's rights when dealing with AEP PSO. The second is a planting guide to use when considering locations for planting trees.

Homeowner Rights

Planting Guidelines

Amazing Original Mid Century Illustrations

2011-03-21T09:01:00.000-05:00

check out these mid-century illustrations from Marco over at mid-century-home.com

Design Icon: The Sputnik Chandelier

2011-03-19T13:46:00.000-05:00

Michael Lassell,
Features Director, Metropolitan Home

Every once in awhile, I am moved to do a little research on an object that has become a style icon, like the “Sputnik”-style chandeliers that used to just come with tract houses back in the day and now show up regularly in midcentury retro spaces and on the pages of Met Home. This one, the “Orbit” chandelier is one of its recent incarnations—and it’s only $249 at Z Gallerie.

It’s not hard to see why the lamps got their name if you know what Sputnik looked like. Here it is, the first satellite to orbit the earth, a silver orb the size of a basketball trailing four long antennae.

Interestingly enough, the first “Sputnik”-style lamps were produced 3 years before Sputnik made its historic journey in 1957. Back in 1954, Gino Sarfatti designed a series of four chandeliers for Lightolier, which were called Astral, Skyrocket, Sparkler, and Mobile. Here are two of them, above.

Lightolier, which is still one of the great lighting companies of the world, discontinued Sarfatti’s 1954 line around 1959, by which time dozens of copycats were already on the market.

Enter Lincoln Center, New York City’s nexus of high-culture performing arts buildings, which broke ground in 1959 in a neighborhood where “West Side Story” had just finished filming. Now considered‹by some at least‹as a masterpiece of its period, Lincoln center¹s simplified white columns and arches were not universally well-received. Writer and critic Penelope Gilliatt famously quipped that Lincoln Center looked like it had been ordered over the phone by Mussolini, a snide reference to Il Duce¹s obsession with grandiose deco-inspired architecture (the opera house is on the left in the photograph above).

The Metropolitan Opera opened at Lincoln Center in 1966 with Franco Zeffirelli’s over-elaborate debut production of Samuel Barber’s “Antony & Cleopatra,” which nearly killed diva Leontyne Price, who was trapped inside a pyramid by malfunctioning scenery that was creating a widening abyss at her feet. Above, just for the fun of it is a photo of poor Leontyne with costar Justino Diaz on opening night.

As part of the décor of the new opera house, which was designed by architect Wallace K. Harrison, a number of crystal “Sputnik”-style chandeliers were hung in the lobby and above the orchestra (these raise and lower for increased dramatic effect). Here's a night shot of the Lobmeyer chandeliers above the Met's lobby.

These stunning works of art were produced by the historic Austrian company J. & L. Lobmeyer (founded in Vienna in 1823). Fantastic in their own right even now, the dazzling starburst chandeliers not only epitomize the 1960s, they foreshadow the phenomenal work in contemporary crystal chandeliers currently spearheaded by Nadia Swarovski at her family’s firm.

The Met is now part of the tradition of the “Sputnik” chandelier. When John Lyle designed his brother Jim and sister-in-law Trish’s house in their Mississippi home town, John and Trish chose a starburst lamp inspired by those of the Metropolitan Opera from MSK Illuminations (shown in situ in this Jack Thompson photograph, featured in October's Metropolitan Home).

Which just goes to show you: What goes around, comes around. Like Sputnik.

Michael Lassell,
Features Director, Metropolitan Home

Vintage Travel Posters

2011-03-19T08:59:00.001-05:00

Looking for something to put on your walls? how about some of these vintage travel posters from grainedit! Keep an eye out at estate sales and fleamarkets for these gems...

1. Come to Africa - Designed by Gerard van de Voort - c1975
How about virtual tour around the world to start off the week? I dug up a handful of travel related posters from 1950s -1970s for all the desk jockeys that are itching to get out of town. Enjoy!

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2. Argentina c1950 -Poster artist - Cesareo 3. Beieren c1960- Designed by Herman Verbaere 4. Paris-Orly for Air France c1962- Design & Illustration by Jaques Nathan Garamond 5. Air Afrique c1965- Designed and illustrated by Jacques Auriac 6. Finland print for Finnair c1958 - Design by Erik Bruun 7. Rainbow poster for EL AL Israel Airlines - Design by Dan Reisinger 8. Switzerland c1967 - Design by Herbert Leupin 9. Turku Abo - Tourist poster for the Finnish town of Turku c1966?- Design by Marti Mykkanen 10. Hunting in Poland c1961 - Design by Wiktor Gorka 11. Switzerland poster for EL AL Israel Airlines - Design by Dan Reisinger 12. Poster for Belgian Railways c1966 - Design by Wictor Langer 13. Wengen Switzerland poster c1965 - Design by Martin Lauterburg + Fritz Lauener 14. Austria poster for Pan Am Airlines c1971 - Design by Chermayeff & Geismar 15/16. Israel: The land of the Bible produced for the State of Israel Tourist Centre - Design by Jean David 17. Travel Royal Blue c195? - Design & illustration by Daphne Padden 18. Great Canadian North -Pacific Western Airlines - Anonymous c1960
(images 1,2,3 via Van Sabben auctions) image #12 via grid studio , image #14 via the excellent Container List, image #17 via Larking About
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Also worth checking: David Klein TWA posters.

New Lortondale Photographs

2011-03-09T21:49:00.000-06:00

I received these new Lortondale pictures from former resident Greg Moore. Taken around 1963-1964. enjoy.

Paul Ibou: Logos, Posters & Calendars

2011-03-09T10:11:00.000-06:00

Paul Ibou: Logos, Posters & Calendars

Calendar for Antwerp-tax designed by Paul Ibou
Iconofgraphics has a great post on the work of Belgian designer Paul Vermeersch (a.k.a. Paul Ibou).

Volksdansfestival Schoten -  Poster for Folk Dance Festival  1962

Various logos

Paul Ibou circa 1970s

Owls greeting card from 1965

What is Mid-century Modern Design and Why is it Cool?

2011-02-05T10:11:00.002-06:00

I came across this great article, enjoy!

The first time that I had heard the term, "Mid-century Modern," was from a friend's lips who owned an "antique" store selling such fare in verticals of furniture and lighting. He told me, "think the Jetsons," referring to a futuristic cartoon that had aired on television, when we were toddlers. BING! I envisioned the circular, space-ship-y, urban designs and I knew what he was talking about. The quasi-euphemism was coined by novelist, Cara Greenberg, in her book about the furniture of that era, reflective of the late 1930s to mid-1960s.

Mid-century referred to the "middle" of the 20th century--so DUH! 1950s style or thereabouts.

The post-war, post-Depression generation was struggling to rebuild optimism.

The stoic, formal, traditional and old-fashioned Victorian-like styles gave way to a fresh, airy wave of mindsets that preferred to be blanketed by a soothing dream of a high-tech, safe and exciting Sci-Fi future. In this way, Mid-century modern (MCM) design was and is a very cool vision, instead of just a dry, historic series of events. So not only was MCM furniture, architecture and design a pragmatic plan to restructure and obliterate reminders of war-torn environmental ambiance, it was also a brilliant way to psychologically resolve society's post-traumatic symptoms of war and a depressed economy.

Historians might clinically argue that the inspiration for MCM design was "structuralism," conceived by the global engineering caucus for architectural restoration: the International Congresses of Modern Architecture, (ICMA). The ICMA was founded in 1928 and its members were about thirty of the most respected architects in Europe. These most prominent architects were responsible for spreading the principles of the "Modern Movement," but their focus was scattered in all the main domains of "social art."

The bottom-line is that there was a very humanistic motive to all of this architectural and decorative think-tanking during post-war and post-Depression years. Refreshingly, the push towards a newer and better internal and external property design, wasn't totally about the "Almighty Dollar," in those days.

The creative intellect of American founding fathers of MCM urban development such as architect Frank Lloyd Wright, real estate developer, Joseph Eichler and the furniture visionaries, Charles and Ray Eames gave birth to post-war optimism in their clearly stated, uncluttered, seamless style.

The home became a reflection of the new American dream which was the idea of looking forward to a brighter and "greener" planet, made visible to the homeowner with glass walls instead of obstructive sheet rock and wooden beams. MCM was a rapidly spreading universal sensation that pushed war and the Depression memories into the past where they belonged. The concept was to enjoy the lush beauty of manicured shrubbery or stunning panoramic views by pulling them into the home through huge window space--as well as to let these views co-exist as (in some cases) carefully placed, gorgeous, external decor.

It is evident that the 50s were when Earthlings were reconstructing a positive mindset together, if, for example one examines the Scandinavian influence welcomed into the American home. "Danish Modern" is almost synonymous with MCM given the sleek, simple lines of desks, credenzas, bars and tables influenced by a culture also trying to resolve their post-war psyches, and designing furniture half way across the globe from the US.

Mid-century Modern was and is not only an artistic property design but a reflection of the world's united vision to live life in the best possible way: looking to a contemporary future filled with light, natural beauty, openness and hope.

Now, what could be cooler than that?

Lortondale Neighborhood - Tulsa, Oklahoma

2011-01-20T22:54:00.000-06:00

Welcome to the website for the Lortondale Neighborhood in Tulsa, Oklahoma. Oklahoma's finest mid-century modern neighborhood, Lortondale was built between 1954-1956. The last 7 years has seen a great resurgence in the neighborhood with dozens of new households moving into the neighborhood because of the unique modern architecture. Browse our site, read the history and check out the gallery after that swing over to our Facebook page and join us.

"Lortondale, built on the Eugene Lorton Estate, is an example of the very latest and finest in Contemporary Living. " -Lortondale Sales Brochure, 1954

Preservation and the Recent Past: A Year in Review

2011-01-04T10:01:00.009-06:00

The past year has brought about a lot of progress in the field of preserving modern and recent past buildings, landscapes, and structures. As a desire to see resources from the modern era preserved and re-used has permeated the country at great levels, we have witnessed the emergence of countless new local groups, bloggers, and preservationists dedicated to raising awareness of the importance of these resources. Sites like Retrorenovation have attracted tens of thousands of viewers looking to rehabilitate their vintage homes. We have also seen State Historic Preservation Offices engaging the topic at an unprecedented level. In the past year, states such as Georgia, Pennsylvania, and Colorado have released new documents aimed at encouraging understanding of our modern heritage. In addition, states like Michigan, Ohio, and Hawaii currently have recent past context studies underway. Complementing such efforts are the projects and events undertaken by well-established non-profit historical and preservation organizations such as the Providence Preservation Society and Historic Landmarks Foundation of Indiana.

Added to this are the efforts of our friends at the National Trust for Historic Preservation and the TrustModern program. Throughout the past year, the TrustModern program has dramatically increased awareness of our modern and recent past history and played an instrumental role in facilitating discussion at the local, regional, and national levels. Their Summer 2010 issue of the Forum Journal focused entirely on modernism and the recent past. Through the Modern Module program, the Trust has prompted a new level of interest in Boston, Aspen, Minneapolis, and Los Angeles (the latter two occurring in 2009). As always, those at the TrustModern program have also been outspoken proponents of saving significant elements of our recent heritage and have been influential in the re-use of landmarks such as the Century Plaza Hotel in Los Angeles, California.

The decision to re-use and appropriately rehabilitate the Century Plaza Hotel was a major win for advocates of our modern built environment. So was the United States court ruling in favor of RPPN, which stated that the National Park Service could not demolish Richard Neutra’s Cyclorama in Gettysburg until they considered alternatives, as mandated by the National Historic Preservation Act. Other wins included the restoration of Louis Kahn’s Trenton Bath House, the re-use of the Wilde Building in Bloomfield, Connecticut, the saving of the Carr House in North Carolina, and the dedication of funding to the much-deserving Miami Marine Stadium. Unfortunately, many battles were also lost in the past year. Perhaps the most notorious of these is the destruction of the Michael Reese Hospital campus, co-designed by Walter Gropius, by the city of Chicago. In New Orleans, many modernist schools have been lost to demolition or neglect as the school district abandons aging facilities. Despite advocacy efforts, the Memorial Coliseum is on its way down in Corpus Christi, Texas.

In the new year, many battles remain to be resolved. The fate of the Cyclorama remains to be decided, as does that of Prentice Women’s Hospital in Chicago. We also wait to see what will happen to resources such as Lloyd Wright's Moore House in Palos Verdes Estates, Hogan Fountain Pavilion in Louisville, Kentucky, the Paolo Soleri Amphitheater in Arizona, Bell Laboratories in New Jersey, and the Civic Arena in Pittsburgh, Pennsylvania. In addition to these are countless local gems that remain endangered in communities across the country.

For RPPN, the past year has also meant a lot of progress. In early 2010 we released an updated website that coalesced information into a user-friendly, interactive format. We also expanded our web presence, embracing the power of social media communities like Facebook, Twitter, and Flickr. RPPN also re-introduced The Bulletin, a free publication featuring articles from preservationists, advocates, and interested parties from throughout the country. We also had a great turnout at this year's RPPN Annual Meeting, hosted in conjunction with the National Trust for Historic Preservation's Annual Conference, and we continued to provide support and advocacy for efforts throughout the country. Through such efforts, the RPPN community has increased dramatically. Every day new members follow along with RPPN, share stories, and engage in discussion about ongoing issues, embracing the shared passion of the community. In addition, through such features, the efforts of YOU - the active community – have been shared with people throughout the country.

In 2011 we look forward to seeing our community continue to grow. The year will bring a lot of new directions, new ideas, and new challenges. We will continue to monitor and report ongoing issues throughout the country, as well as provide support where we are needed. As always, there will be plenty of ways for YOU to become involved in the network, support RPPN’s activities, and share your passion for preserving the recent past. Should you have any questions, ideas, or comments, please feel free to contact us at any time. We hope that you continue to be a part of the RPPN family and help us grow to unprecedented levels by sharing the mission of RPPN with friends and colleagues.

Bossa Nova And The Rise Of Brazilian Music In The 1960

2011-01-04T09:26:00.001-06:00

Bossa Nova music arrived in Brazil at the end of the 1950s with an optimism and modernism that paralleled the arrival of the new Brazilian president, Juscelino Kubitschek, who promised ‘fifty years of progress in five’ in his election campaign and announced the building of a new capital city, Brasilia, deep in the heartland of Brazil. The city was designed by Oscar Niemeyer, a man who had just designed a new musical theatre production in Rio of a play written by Vinicius de Moraes and with music written by Antonio Carlos Jobim. These two, along with the singer João Gilberto were about to make Bossa Nova, the first modernist Brazilian art form, the most succesful Brazilian export since coffee.

Bossa Nova And The Rise Of Brazilian Music In The 1960s is a unique collection of the cover art of Brazilian Bossa Nova music, containing hundreds of record covers complete with a history of Bossa Nova, biographies and essays on many of the artists involved in the movement.

Details:
Edited by Gilles Peterson and Stuart Baker
12″ x 12″ book, 200 pages
Available at Soul Jazz Records & Amazon
(via Swiss Legacy)
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Also worth viewing:
2000+ Bossa Nova Album Covers
Rogerio Duarte and the Tropicalia Movement
Naive: Modernism and Folklore in Graphic Design

George Nelson: Architect, Writer, Designer, Teacher

2010-12-31T13:35:00.002-06:00

There is no better way to get ready for the new year than the excitement of a great exhibition on a great modern designer.

George Nelson, ca.1965

February 3 – May 8, 2011

George Nelson (1908-1986) was one of the most influential figures in American design during the second half of the twentieth century. With an architectural degree from Yale, he was not only active in the fields of architecture and design but also a widely respected writer and publicist, lecturer, curator, and a passionate photographer.

George Nelson: Architect, Writer, Designer, Teacher celebrates the birth of this iconic American designer, who would have turned 100 in 2008. Organized by the Vitra Design Museum to commemorate this occasion, the exhibition is the first comprehensive retrospective of Nelson’s work. It includes over 120 three-dimensional objects, including examples of chairs, benches, desks, cabinets, lamps, and clocks as well as over 50 historical documents, including drawings, photographs, architectural models, and films. The exhibition is divided into five subject areas. Numerous furnishings by Nelson from the collection of the Vitra Design Museum—not only classics but also lesser known pieces—form the core of the exhibition.

Nelson’s office produced numerous furnishings and interior designs that became modern classics, including the Coconut Chair (1956), the Marshmallow Sofa (1956), the Ball Clock (1947) and the Bubble Lamps (1952 onwards). As design director at Herman Miller, a leading US manufacturer of modern furniture design, Nelson had a major influence on the product line and public image of the company for over two decades. He played an essential role in bringing the company together with designers such as Charles Eames, Alexander Girard, and Isamu Noguchi. Early on, Nelson was convinced that design should be an integral part of a company’s philosophy, and by promoting this viewpoint, he also became a pioneer in the areas of business communication and corporate design.

Watch the Video

Exhibition Sections

The first section, Nelson and the House, highlights George Nelson as a pioneering planner and designer of the modern single family home during the 1940s and ’50s. Key items include architectural photographs of one of his first townhouse designs, the Sherman Fairchild House (New York, 1941); his bestselling book on modern housing, Tomorrow’s House (1944); and photographs and a model of his modular, prefabricated Experimental House (1952-57). Additional objects on view are images of his famous Storage Wall (1944) and original furniture pieces, such as the Herman Miller Case Goods (1946), Comprehensive Storage System (1959), Coconut Chair (1956), and Marshmallow Sofa (1956).
The extraordinary diversity of design tasks taken on by Nelson extended beyond furniture design. The Corporate Design section showcases Nelson’s numerous clients, Abbott, Alcoa, BP, Ford, Gulf, IBM, General Electric, Monsanto and Olivetti, as well as the United States government. Through brochures, advertisements, and vintage audiotapes, visitors explore Nelson’s success in developing corporate design at Herman Miller. He established his own firm, George Nelson & Company, in 1947 and ran it for more than three decades. Along with exhibitions, restaurant interiors, and showrooms, George Nelson & Company designed kitchens, flatware and dishes, record players and speakers, birdhouses and weathervanes, computers and typewriters, company logos and packaging, rugs and tiles.
Nelson was also a prominent innovator in the development of the modern office environment. Several of his functional designs can be seen in the section devoted to The Office. Iconic examples include the L-shaped desk (1947), which was a forerunner of the workstation; Action Office (1964); and Nelson Workspaces (1977).

The exhibit design section focuses on Nelson’s role as head designer of the American National Exhibition in Moscow (1959). The Chrysler Pavilion at the 1964-65 New York World’s Fair and Nelson’s exhibition work for The United States Information Agency are also highlighted.
The final section provides an overview of George Nelson as an author, editor, and one of the most important thinkers and visionaries in the realm of twentieth-century design. In addition to showcasing the numerous articles and books published by Nelson, this section shows some of his films and slide presentations, in which he addressed the topics of urban planning, consumerism, and aesthetic perception in Western society. Nelson’s analytical eye, his ability to go beyond mere questions of form and to think in the larger context of practical applications, and his achievements in the area of design education make his work—today more than ever—significant and highly relevant.

An exhibition of the Vitra Design Museum, Weil am Rhein, Germany. This Exhibition has been generously sponsored by Herman Miller

Swaged Leg Chair (1954) and Swaged Leg Desk (1958)

Coconut Chairs and ottoman, 1956

Fairchild House, 1940/41

Ball Clock, 1948

Marshmallow Sofa, 1956

George Nelson, ca.1965

Storage Wall, published in Life Magazine, 1945

Pretzel Armchair

Demon Decorations

2010-12-15T22:30:00.001-06:00

I have been contemplating what would be my next post in regards to a Mid-Century Modern Xmas. I already touched a bit on the Aluminum Xmas trees, and everyone and their mother is talking about MCM themed gingerbread houses. After a bit of thought the obvious answer hit my right between the eyes like a Sarah Palin bullet. Demon Decorations....You might be asking yourself what the hell!? Exactly..What the Hell is right. See for some time I have been obsessed with Xmas decorations that feature santa and or elves as some sort of twisted contorted devils. Our fundamental understanding of Santa is more or less like the famous coke santas or the Rockwellian versions. Plump, Merry and Jolly.

But when I started to become interested in Mid-Century Design, I started noticing this less jolly version of Santa. A version that look more like he was up to no good. Like he might become animated the night before Christmas and attack you with a sharpened candy cane shiv. What escapes me is the "why-factor". Why did Xmas decorations from the 50's-60s take a decidedly evil turn for the awesome?

Vintage Xmas Ideas

2010-12-09T09:38:00.001-06:00

Need some ideas for Xmas cards, decorating etc.? Check out this flickr slide show for some great inspiration!

Aluminum Xmas Trees

2010-12-08T09:12:00.001-06:00

We are in the midst of another fullblown holiday season. Nothing marks the the beginning of the season at the Hood house like the unveiling of the 6' tall evergleam aluminum tree complete with color wheel and rotating base. The color, rotation, shimmering, sparkling and accompanying sounds of tiny whirring motors are enough to create a trance like state of all things Xmas.

Hitone: Vintage Book Covers

2010-11-01T09:27:00.001-05:00

Poetry Leaving Certificate Anthology, WJ Steele, Fallons (1969). Cover design: Cor Klaasen

Introducing English, Augustine Martin, Gill & Macmillan (1970). Cover design: Cor Klaasen

Léamh Só, Proinsias MacSuibhne, Fallons (1972). Cover design: Cor Klaasen

Lá agus Oidhche, Micheál MacLiammóir, An Gúm (1929). Jacket design by Micheál MacLiammóir.

Ceo Meala Lá Seaca, Micheál MacLiammóir, Sáirséal 7 Dill (1952). Jacket design by Micheál MacLiammóir.

Aisteoirí Faoi Dhá Sholas, Micheál MacLiammóir, Sáirséal 7 Dill (1956). Cover design Micheál MacLiammóir.

Walking in Wicklow, J.B. Malone, Helicon (1964). Cover design by Cor Klaasen.
The unfortunate Fursey, Mervyn Wall, Helicon (1965). Cover design by Cor Klaasen.
Meeting Christ, Brian Kelly, Educational Company of Ireland (1971). Cover design by Cor Klaasen.
Thinking Through Mathematics, Gerard Beggan, Fallons (1971). Cover design by Cor Klaasen.
Aistí agus comhrá, Pádraig Mac Concoille, Fallons. Cover design by Cor Klaasen.
Cuir Síos Air, Fallons. Cover design by Cor Klaasen.

Power of Ten celebration at Philbrook

2010-10-04T15:56:00.001-05:00

100 Ways to Screw Up Your Mid-Century Modern Home

2010-09-30T10:43:00.001-05:00

For a while now there has been a thread at Lotta Living describing the 100+ most unforgivable ways to screw up a mid-century modern home. Peruse the list below and see if there are any you recognize, agree with or disagree with...

1) Adding a steeper roof on top of your flat or shallow pitched roof.
2) Ornate front door. (Etched glass windows)
3) Adding a second story.
4) Putting in a country kitchen.
5) Installing a white metal colonial style garage door in place of the original redwood sided door
6) Adding vinyl double hung replacement windows
7) Heading to Home Depot/Lowes with home equity loan money in hand
8 ) Adding inappropriate window treatments i.e.-paned windows, decorative shutters, fancy storybook scrollwork/moldings.
9) Replacing your tar & gravel roof with Spanish tile.
10) Covering your tongue & groove ceiling and wood beams with sheetrock
11) Roof over the atrium and add desirable square footage
12) Putting a white picket OR Wrought Iron fence in the front yard (or ANYWHERE for that matter)
13) One word: Stucco
14) Two words: crown molding!
15) Three words: 70s wall paneling
16) Carriage lights
17) Slathering one color of paint over everything - double points if it's Peach, Pink or Yellow.
18 ) Painting over stone
19) replacing single pane glass in the glass end gables with double pain glass or plywood
20) vinyl siding
21) Installing gaudy brass light fixtures.
22) Covering up glass or painting over it. Exterior siding over what used to be glass under the two sets of windows in the J&J rooms. Inside paneling was installed over the glass
23) Replacing in slab ductwork with overhead ductwork
24) Enclosing the carport / Converting the garage into living space
25) Granite!!!!!!!!
26) Install over-sized "professional grade" appliances (Viking, Subzero) in small galley kitchen.
27) Covering poured terrazzo with Home-Depot ceramic tile
28 ) ANYTHING made out of bright, shiny brass
29) Tear it down to build a McMansion
30) tearing out the original flat panel, flush faced kitchen cabinets and replacing them with fancy, ornate routed ones
31) Replacing original wood framed windows with aluminum framed sliding glass doors:
32) Basin sinks / oversize tubs / Anything described as turning your bathroom into a "personal spa" or "retreat"
33) Installing inappropriately decorative house numbers.
34) selling off all the one of a kind, original architect designed furniture and light fixtures because it "doesn't fit in"
35) Putting in grid windows
36) Installing a ceiling fan in a vaulted, exposed beam and t&g ceiling
37) Using a pick axe or jackhammer to remove original 8x8 linoleum tiles so one can install Home Depot terra cotta pavers and pimpin' purple carpet. I only wish I had the pictures to prove it. You simply haven't lived until you've patched and leveled the entire slab on your hands and knees.
38 ) Installing hardwood floors over a radiant heated concrete slab
39) cutting down the fascia, removing original down spouts to install gutters.
40) whitewash the interior with white paint to make it feel larger
41) marble!!!
42) Stupid Door Handles
43) Visual overload
44) Big Greek / Italian /Mediterranean columns added to the front (or inside). Also, gaudy statues and fountains containing cherubs, angels, naked people, The Virgin Mary etc,
45) painting over unpainted exterior wood (instead of stain)
46) Collecting and displaying too many knick knacks in a 1200 sq ft MCM house:
47) Removing all signs of nature outside by putting concrete everywhere, thereby defeating the harmony between house and nature attitude of many modernists.
48 ) Sticking a mantle on a stone fireplace that isn't supposed to have one.
49) Putting a white lattice archway in the front yard walkway with flowers and vines growing all over it.
50) Plain ole' neglect...having a cool MCM home, and letting it go...chipping paint, rotted fascias, overgrown foliage etc...
51) paint a redwood tongue and groove ceiling
52) covering beautiful terrazzo floors with nylon fiber wall to wall carpet to "update the place"
53) Installing an aluminum patio (awning - editor)
54) Popcorn ceilings
55) Installing the cable box right outside the front door
56) Putting in one of those one-piece molded plastic mailboxes on a post.
57) Fake brick exterior siding (There's a bunch of these on the Neutra tract homes near the Burbank Airport).
58 ) Compromising your principles.
59) Misunderstanding/confusing "Ranch House" with "Ranch Style" house thus recreating the Little House on the Prairie
60) A sweet barn style shed. See pic;
61) Lace curtains (maybe this is just a Texas problem?)
62) Placing ANYTHING in or around the house from Hobby Lobby, Kirklands, or credited to either Thomas Kinkade or Mary Englebreit.
63) Smothering the interior with cheesy wallpaper.
64) Removing perfect mahogany paneling so that it can be replaced with drywall (this also includes just covering it with drywall).
65) Saltillo Tiles
66) Adding onto the back, after all, all that glass makes a great room divider!
67) Never throwing anything away.
68 ) Adding exposed conduit, wire mold, or worse, exposed wiring to beams and columns of you post and beam home.
69) Buying a mid-century modern home and then normalizing it to make it look like any other home.
70) Round top windows!
71) Raising up your slab on grade MCM home and adding a basement under it.
72) Replacing your vintage globe lights with too much cheesy low-voltage lighting.

74) Three or four masonry materials where one or two will do.
75) invite 100 scooterist over to your house, with a live punk band, and 5 kegs of PBR (no, I haven't done this... yet)
76) adding an addition not in the style and design of the home
77) allowing termites to gobble it all up
78 ) anything faux
79) hire an architect who doesn't understand Modernism
80) not participating on the Lotta Living bboard
81) Stained glass or beveled glass windows
82) tiling over original magnasite deck... extra points for bad colorful folk art tile
83) Placing a Pink Flamingo in your Garden/Yard
84) Describing MCM houses as "retro"
85) Placing an A/C unit on the top of your roof
86) Refacing an original fireplace, let alone with a thin flagstone laminate
87) Installing arches or rounded corners in a room opening or between rooms
88 ) Turning the master bedroom into a den
89) Replace your garage door with a brick fireplace
90) Inappropriate furnishings?? (see flowery couch with detailed, routed wood)
91) Adding brick driveway columns topped by gold stone lions
92) Building a circular turret on the front of the house (I'll take pics of these last two for you).
93) Adding lattice to the front to "improve the look and privacy"
94) Covering the metal columns with wood to make them look like more like classical columns.
95) Hanging seasonal flags (i.e. santa, the easter bunny) outside your entryway
96) French doors to patio
97) Sawing off the overhanging roof and beams (Most of the P&Ks in my neighborhood have fallen victim to this)
98 ) covering up exposed beams so the house look like other conventional framed homes
99) Adding turned pickets to all railing for that "country French" look!
100) Looking over an untouched, near-pristine P&K home and then declaring , "It has such potential!"
101) Painting over original polished aluminum Nutone range hood and splash shield.
102) Removing original skylark boomerang Formica countertops
103) tearing out original award winning landscaping to plant box woods.
104) planting boxwoods
105) planting bradford pears
106) yard ornamentation
107) turning your front yard into a playground full with play set
108) Inappropriate landscape lighting
109) Hanging towels up in place of curtains
110) non thoughtful placement of new thermostat
111) inappropriate storm doors
112) bad porch lights
113) horrible door knockers
114) fake stained glass inserts
115) painting your concrete porch green
116) satellite dishes
117) less than thoughtful placement of the ac unit
118) White plastic lattice screens!
119) Shutters!...
120) Screwing down additional insulation onto your t&g wood roof deck with screws that are too long and pierce through to the inside.
121) Painting over birch (or any other wood) closets/paneling.
122) let the realtor do it, so you don't have to
123) Installing a classical European wallpaper mural
124) Letting a real estate agent list a house as "a desirable lot" and not even showing pictures of the MCM house.
125) Hiring a realtor who just doesn't get it
126) Turn it into a barn (adding a gambrel roof - editor)
127) putting up an enchanted garden wall mural (in the interior - editor), complete with shutter murals
128) painted landscape rocks and wishing wells
129) Wall to wall carpet over hardwoods... so wrong!
130) those self-stick vinyl tile squares on a beautiful hardwood floor!!
131) Adding "bay-windows" in the living area and those ugly "bump out" windows in the kitchen.
132) Eliminating the eaves by pushing out exterior walls in search for more square footage.

Oklahoma Native John-Paul Philippe for West Elm

2010-09-29T12:08:00.001-05:00

MODERNIST STYLE IN MULTIPLE MEDIUMS
John-Paul is a multi-talented painter and designer who divides his time between his Soho work studio, bucolic upstate home and roster of clients around the world. His distinctively modernist painting style put him on the map, and John-Paul now references this clean, graphic style in projects as diverse as furniture design, murals, large scale sculpture and even a private chapel in the Dominican Republic. John-Paul has also collaborated with Barneys New York on design components for a dozen stores, both in the U.S. and Japan.

MODERN ART MEETS MODERN LIVING (AND THE HOUSE NEVER LOOKED BETTER)
We've always thought John-Paul's original and whimsical look would mesh beautifully with the west elm aesthetic. Modesty aside, we were right. Our collaboration with the artist and designer has resulted in a number of chic and covetable new pieces including pillows, sculptures and framed drawings. Thanks John-Paul.

Born Modern: The Life and Design of Alvin Lustig

2010-09-29T09:28:00.001-05:00

from grain edit

After several years in the making, the highly anticipated book by Steven Heller & Elaine Lustig Cohen (Alvin’s wife) was finally released by Chronicle books last week. This is the first monograph devoted to this master of modern design, whose brief but prolific career had a profound and lasting influence on a generation of designers to come.

The book is broken into five key sections. The first explores his youth, early experiments with printing and design and his fellowship after high school with Frank Lloyd Wright at the famed Taliesin school. The next two sections focus on his work in graphic design, interiors as well as his forays into architecture and furniture. Included are photographs and scans of his remarkable book covers for New Directions in the mid-to-late 1940s and the elusive “Lustig Chair” created for Paramount Furniture in 1949. The final sections are reserved to his discuss his forward-thinking approach to design as an educator and author.

Alvin and Elaine, Los Angeles , 1949

Various book covers 1945-1951

(L) Ski Alta, 1946 (R) Homes for Heroes, c.1944

The Day of the Locust, 1949

“The Lustig Chair” designed for Paramount Furniture, 1949
Born Modern: is available for purchase at Amazon and Chronicle Books.
—–
Also recommended: The Alvin Lustig Archive and The Collected Writings of Alvin Lustig and

Jean Paul Philippe at Aberson's

2010-09-23T10:24:00.001-05:00

John-Paul Philippé is a painter and designer based in New York City. He was born and raised in Oklahoma and spent twenty-three years as a painter living in London. His work is currently being shown at Aberson's Exhibits on Brookside. It is definitely worth a visit.

From his studio in the heart of Soho, John-Paul works with a small group of professional artists to complete a wide array of creative projects. The vision that began with his paintings is now part of his unique collection of works ranging from architectural and furniture design to murals, sculptures and handcrafted woodwork.

Blanca Gomez Interview

2010-09-22T07:48:00.001-05:00

I am a big fan of illustration and graphic design and from time to time I will be bringing you articles about it. This is from the archives at Grain Edit, enjoy!

Today Grain Edit is proud to present Blanca Gómez of Cosas Minimas. Blanca is a Graphic Designer and Illustrator based in Madrid, Spain. You may remember her work as featured on Grain Edit’s on-going poster pick series. We like her clean and simple style and took some time to talk to Blanca about her work and creative process. We hope you’ll enjoy it.

Where are you from originally?
I am originally from Madrid and that is where I currently reside. I am always saying that I’d like to move somewhere else for at least a while, but here I am. I suppose underneath it all Madrid isn’t so bad.
Tells us a bit about your art/design background. Where did you study?
When I was little I would draw all day long like many kids do and my parents enrolled me in a painting academy. I would always say that I wanted to be a painter, but as I grew older I didn’t see it as a feasible option and the idea faded.
When it was time to head to college I wasn’t clear what I wanted to do with my life. I had always considered drawing a hobby, but never imagined it as one that could earn me a living. Instead I chose to study Publicity because I thought it would lend itself to creativity and aide in my professional development, but I soon realized that Publicity was not for me.
I continued my studies, but explored other alternatives like photography and film through my fourth year, which I spent in Milan. It was in Milan that I became interested in graphic design. I remember attending an eye-opening exhibition of Milton Glaser’s work and somehow finally figuring out what I should do. When I returned to Madrid I enrolled in evening classes at a design school while I wrapped up my publicity studies. I was in classes all day until 11 P.M. and it was very exhausting but well worth it in the end.
One month after finishing college and my design coursework I began working for a small graphic design studio that was mainly dedicated to the production of business literature. That is where I learned to work in a very rigorous and precise manner. I’ve been working for graphic design studios for seven years now.
When did Cosas Minimas begin and how has it grown?
Cosas Minimas got its start several years ago in a very curious way. I was working for another graphic design studio at the time and was in the habit of constantly drawing on post-its. Most of the drawings ended up in my wastebasket and my boss would tell me that I should do something with those drawings, but I never paid much attention. One day he simply told me that he had chosen a name for my website and purchased it for me. So it just naturally morphed out of what was once merely a hobby at work.
What was initially meant to be a personal project gradually and naturally turned into a professional project. Having a site dedicated to my personal projects forced me to learn more and more. As time went on I began dedicating more time and effort into Cosas Minimas. That is how my first commissions and collaborations came about, always via the web, until finally my hobby became my primary job. It’s not like I had a plan or predetermined objective, it just happened. These days Cosas Minimas continues on its undefined path; dividing my time between personal projects, the store, and commercial commissions.

What inspires you most?
To be sincere, I’m not too certain what inspires me. I suppose that everything that surrounds me and everything that I like inspires me inevitably. I’m a huge collector of objects and books. Picasso said something along the lines of it being best for inspiration to find you working, I happen to think that’s good way to put it.
Which artists/designers do you admire and/or are inspired by?
Given the easy access we have to thousands of good artworks today, it
is impossible for me to recall all of the artists that interest me. Moreover, the Internet has produced an interesting phenomenon thanks to sites like ffffound, and I believe that many works have come to
eclipse the very artists that produce them. It seems these days we are more likely to recognize an image or style long before we know the artist. I find this interesting because in the end it is the work itself that matters most.
Let’s try anyway: The French illustrator Sempé has stuck with me since I was little and read Nicholas. I love the tenderness and humor in his illustrations. Other illustrators that are among my favorites include Dupuy and Barberian who also illustrate comics. I’ve always been very interested in Comics. I also like many Japanese illustrators. I recently discovered Tatsuro Kiuchi and the simplicity in his drawings, especially those in black and white, I found to be very impressive.
As far as designers go, I am clearly a fan of mid-century design, above all else people like Alexander Girad(especially), Olle Eksell, And Bruno Munari. Presently, I am smitten with Vostok, a Catalonian studio that employs unimaginable printing techniques. Another illustration favorite is illustrator and designer Cristobal Schmal who also happens to be a colleague.

You mention your love of mid-century design and that’s clearly an affinity you share with Grain Edit. Would you agree that during that era of design it was much easier to identify where work was coming from than it is today or can you identify any regions around the world that have made their work unmistakable?
Although it is evident that it is becoming more difficult to identify where work is coming out of I think there are certain countries that continue to hold personal characteristics that are very identifiable. Clearly this is my own subjective opinion and without any solid backing. For example, I think that the design from the Nordic countries of Europe maintain a style that is recognizable and all their own. Their illustrations maintain certain characteristics that are common to their work. There is a common simplicity in style with great expression underneath it all. There are also many Japanese illustrators, especially for children, that when you see their work you know that it can’t be from any where else in the world.

You say the Internet has brought about interesting phenomena and that your first commissions and collaborations found you via the web. How has the Internet influenced your work and how do you think it will continue to evolve?
Not just at the beginning, today my clients continue to find me via my website as the Internet helped mark a significant point of flexion in my career. If it weren’t for the Internet I would probably still be working on more corporate type projects because at the time I lacked the confidence needed to contact potential clients to present my personal work. Moreover, if I had to promote my work in other ways it never would have occurred to me to do so outside of Spain. Today, the majority of my work is done for foreign clients and that truly widens my professional horizons.
I also have an online store and I communicate with clients via email. And thanks to the Internet I have met colleagues that I speak to on a daily basis who keep me from going crazy as a result of working alone. My blog is another way that I get feedback about my work.
In any case, what I am saying is rather obvious. I suppose that in the future things will continue to evolve and I don’t see myself working any other way. Sometimes I think that in the future I would like to interact more directly with my clients, but then I remember the closeness of clients when I worked at an agency and realize that it’s possible to be much closer to a client thousands of miles away than face to face.

Can you tells us about any projects you’ve been involved in that you’re particularly proud of?
It’s not a project in the strictest sense, but I was very flattered that Janine Vangool chose an illustration of mine for the cover of the first issue of Uppercase Magazine. I had never before seen my work featured on the cover of a magazine much less the first issue and now I fear I won’t see it again. The best part is that my work was on the cover of a fantastic magazine, but I feel honored more than proud.
On another note, I’ve just finished a series of greeting cards for Carrie and Hal of Red Cap (they’re lovely people). They asked to use existing works, but when I proposed new illustrations for them they accepted and gave me free reign when it came time to work. I think this will be obvious when you see the final results. I am very happy with the final product and recently had a chance to view some samples. They left a great impression and I can’t wait to see the real thing. Generally I feel most proud of my personal projects over my commercial projects.
It sounds like you’re involved in a lot of fun and interesting projects. Is there anyone you’re interested in working with or for?
I am lucky to have a collaborative project pending with some friends that aside from being my friends also happen to be really great at what they do. The less positive side is that the project is currently stalled because of me. In reality, the paradox is that I am rather individualistic in my work and I’ve been used to working alone for a long time. On the other hand, I would like to collaborate with so many people that I am incapable of naming just one.
I would like to see my work in other arenas and in mediums that at first glance appear distant from my own work, a line of skateboards, wooden toys, or textiles for example. So if anyone out there would like to reach me you know where I am!

Blanca’s studio
Can you walks us through your work flow?
While my process for commissioned work is very disciplined (whenever possible), I don’t have a predetermined process for personal projects because I work chaotically. The following work was commissioned, but has a very personal touch. The client gave me free reign in the production of limited edition prints for his store. The store specializes in music posters so my first idea was to make a fake poster billing for a fake concert. The turning point came about while listening to the song Autumn in New York, I decided then I would do something Jazz inspired with New York as the backdrop.

Sometimes I sketch on paper and others I start sketching in Illustrator. In this case I decided to start drawing (in Illustrator) the character playing the trumpet in basic shapes. The first character was too silly or caricature like for the idea I had in mind. I eliminated the trumpet and began to style him. Once I have a clear idea of form I begin experimenting with various brushes. I also experiment with fonts for the text.

Once the character is defined I begin to work on the background and play with color. The title of the song inspires a melancholic image (blue) and I decide to experiment with a palette of cool colors. This process can be somewhat chaotic and I can have as many as 20 different versions in one document, but here I’m sharing fewer samples.
As I work on the background I incorporate the character into the composition and move him along the landscape. I lose the fake poster idea because at this point I’m aware that the illustration has overshadowed the design.

After several hours of trial and error there is nothing I like. I decide to leave the computer and sketch on paper. These sketches are quick and rough in order to get some idea of the composition of the elements. When I do this I recognize what is wrong, the character and the background are too similar and this is confusing and the character is lost in the background. I decide to reduce and contrast the color palette and also change the size of the elements. I reduce the cityscape and make the character more prominent on a first plane. Now it is night in the drawing and there is a protagonist in sight. I think this will work much better.

I normally finish my illustration in Illustrator before I begin working in Photoshop, where I complete things with brushes and textures. But that wasn’t the case here. Once I had a clear vision I began working with various elements that I already had, collage style, directly in Photoshop.
Now we have the background of the illustration.

Once the background is defined I copy and paste the character from Illustrator. Evidently, the contrast of the vector character with the background is very ugly. It is time to find textures and to apply brushes to the character.
I choose the appropriate texture and silhouette the character. Then I duplicate and adjust the layers until I find a result that I like. I also color certain parts so that the result is not too plain.

Finally we have the illustration, but it could use some life because it appears dark and sad. I add the stars that I started with in Illustrator and that is that last touch that it needs to come to life.
The client chose another option that I presented.
We would like to extend a great big thank you to Blanca for sharing her work with Grain Edit. Please be sure to visit Cosas Minimas to see more of her work. Also, don’t forget to stop by the shop to pick up her latest cards and prints.

Gastrotypographicalassemblage

2010-09-21T09:10:00.001-05:00

17 September — 30 October

Kemistry Gallery is celebrating the work of legendary designer Lou Dorfsman, art director for the CBS network.

The exhibition centres on his most notable creation, the 11-metre wide handmade wooden typographic wall that he named Gastrotypographicalassemblage. Created during an era when designers were both artisans and well-trained communicators, the wall is the largest modern typographic artefact in existence, described by Michael Bierut as ‘an irreplaceable piece of design history.’ With custom type created by Herb Lubalin and Tom Carnase, the wall contains almost 1500 individual characters.

“There are few pieces that represent the typographic and design spirit that illuminated that moment of history, and certainly none on a scale as ambitious.” Milton Glaser.

The gallery has been working directly with the saviours and restorers of the wall, designer and Dorfsman colleague Nicholas Fasciano, and Executive Director of the Center for Design Study, Rick Anwyl.

With over sixty original examples of Lou’s art-directed work for CBS, featuring contributions from Al Hirschfeld and Milton Glaser, the exhibition serves to demonstrate Lou Dorfsman’s skill in defining a brand to over 200 million people. Featuring historically significant print spreads and a half-scale two-dimensional reproduction of the wall, Kemistry Gallery have also commissioned parts of the wall to be reproduced for purchase along with a limited edition print, available here.

Further reading:
London Design Festival // Design Related //
Design Observer // UnderConsideration //

tepera|hood design open house

2009-09-14T17:07:00.005-05:00

Pardon my bit of self-promotion. Join us at the tepera|hood design open house.

Better Living by Design with Modern Tulsa

2009-09-07T11:51:00.004-05:00

Better Living by Design, with Modern Tulsa
Thursday, September 10, 2009
Philbrook 5:30 pm to 7:00 pm
Pohlenz Cucine Moderne 7:00 pm to 8:30 pm
Admission is free with an RSVP.

Modern Tulsa in conjunction with the Philbrook Museum teams up to offer a free evening of modern design Thursday ,September 10th. Join us from 5:30 to 7:00 as we view the selected works from the George R. Kravis II Collection of modern design. The collection features items from 1900 to the present designed by iconic names like Dreyfuss, Eames, Frankl, Geddes, Teague, Vassos and Noguchi. Attendees will also have access to the show in the main gallery, Auspicious Vision (Aug, 23-Nov. 29), a showcase of American Modernism paintings from the Edward Wales Root collection.

The evening starts at Philbrook, to enjoy the exhibits from 5:30 pm to 7:00 pm. Then we'll make the short drive up Peoria to visit Cucine Moderne from 7:00 pm to 8:30 pm for a taste of modern kitchen design and beverages. The highlight of the evening will be a presentation by collection donor George Kravis at 7:30 pm.

Runnells Weekend-Kansas City-9.19-9.20

2009-09-02T16:15:00.003-05:00

KCMODERN presents:
When Mid-Century Modern was GREEN
David B. Runnells Climate-Wise Home Tour & Patio Party
Saturday, September 19, 2009, 7:00-9:00 PM
200 W. 94th Street & Wornall Road, Kansas City, Missouri
Park at the Temple at 9400 Wornall and cross street to 94th.
Meet other Modern enthusiasts and experience a unique
Mid-Century Modern “Country Home” designed by David B.
Runnells to be sustainable in 1950. Enjoy campfire food and
yard beer at this special “recession proof” KCMODERN
event. Limited advance reservations are available for $10
per person until Thursday, September 17th. A separate ticket
is required for the Sunday tour.

Cranbrook To Kansas City
David B. Runnells Mid-Century Modern Homes Tour
Sunday, September 20, 2009, 2:00-5:00 PM
This tour will require driving to multiple homes so start early.
Start at 7300 Roe Circle, Prairie Village, Kansas.
Park at Baptist Church at 75th & Roe, walk north to Roe Circle.
Or start at 2400 W. 86th Terr. & Lee Blvd. Leawood, Kansas.
There will be limited parking on 86th Terr. Cul-de-sac
See at least 8 cool examples of Mid-Century Modern
homes designed by Architect, David Benton Runnells.
Tickets are $15 in advance or $20 the day of the tour.
Limited tickets will be sold at the event registration tables
on a first come first served basis, so buy your tickets now!

Order Your Tickets Today
Make your checks payable to KCMODERN and send payment
to KCMODERN, 5301 W. 66th Terrace, Prairie Village, KS 66208.
All advanced tickets to be picked up the day of the events at the
registration table. We will tour the homes regardless of weather.

More info at 913.262.5056 or www.KCMODERN.blogspot.com.

KCMODERN raises awareness and promotes preservation of
Modern Architecture and Design. Proceeds from this event will
fund future KCMODERN events and modern activities.

David Benton Runnells 1913-1973

Architect, David B. Runnells traveled extensively in Europe after graduating from University of Illinois. He was heavily influenced by the work of Alvar Aalto while traveling through, Finland and Sweden on a scholarship to the University of Stockholm.

Runnells was a student of Eliel and Eero Saarinen, studying city planning at Cranbrook, a hotbed of modern design education. Other students attending at that time were Charles and Ray Eames, Florence Knoll, Harry Bertoia, Benjamin Baldwin, Harry Weese and Jack Lenor Larsen. Runnells worked in the Saarinen offices during part of World War II and did competitions with co-worker and Case Study House Architect, Ralph Rapson.

Runnells eventually settled in Kansas City sometime around 1943 as head of the industrial design department of the Kansas City Art Institute. He was a director of planning with the Kansas City Planning Department from 1943-46. He became an architect in 1946 and partnered in Runnells Clark Waugh and Matsumoto Architects. Together, they did one of his best known projects, the new Art School building for the Kansas City Art Institute. The only other project known to have come from that partnership is the James I. Clark Residence.

After the partnership dissolved, with Waugh and Matsumoto leaving to teach, Runnells went on to do merchant home builder designs and custom homes, many of which were built by modern builder, Don Drummond. The Revere Homes are his best known merchant builder design. The Reed Residence is the best surviving example of his large custom residential work. The two custom personal residences that he designed for himself and for Don Drummond have both been demolished. His 1966 design for the Alpha Kappa Lambda Fraternity in Lawrence, Kansas has also been demolished.

El Rancho Grande Neon Sign Ceremony Reminder!!

2009-08-24T08:35:00.003-05:00

REMINDER!!!!!!!
Join Modern Tulsa Wednesday, August 26th at 7:30 as we celebrate the El Rancho Grande neon sign restoration. Come meet and mingle with other Modern-Junkies as we enjoy 1/2 price margaritas and appetizers. El Rancho Grande is Tulsa’s only remaining authentic Route 66 eatery. In the same location since 1953, its iconic neon sign has faithfully advertised “Tulsa’s Grandest Tex-Mex Tradition”.

Come find out about upcoming Modern Tulsa events and how you can get involved. Hope to see you there!

2009-08-14T11:31:00.003-05:00

Thank You for your comments, we appreciate the feedback.

ORU Upgrades not All Good

2009-08-14T09:39:00.007-05:00

By Rex Brown www.oklahomamodernblog.com

Love it or hate it, the architecture of Oral Roberts University is nothing if not unique.

For years I’ve heard that ORU is the most visited tourist site in Tulsa. I have no idea if that factoid is true. But I do know from my own personal experience that out-of-state visitors often ask me to drive them past the futuristic campus on South Lewis.

What happens when Tomorrowland runs headlong into cold, hard reality?

I think that’s exactly what’s happening at Oral Roberts University lately. Recent work on the space-age complex has mostly involved improvements to infrastructure- widening a creek, improving drainage, building a bridge. But some of the so-called improvements are more destructive.
oru-construction

Until earlier this week the area around the base of ORU’s famous Prayer Tower was a geometric plot of gardens and bubbling water fountains surrounded by tall trees. The garden was an integral feature of the futuristic complex, strategically situated below Tulsa’s most unmistakable spire. As one passer-by reminisced, “I always thought this is what heaven would be like.”

But earthly finances appear to have disrupted Oral’s vision of heaven on Earth. The recessed garden oasis is currently being mowed under and filled with dirt. Crews are moving in ornamental rock to hide the angular concrete, lava rock and that ubiquitous anodized aluminum. Presumably the maintenance of a complicated system of ornamental fountains require people and money that ORU has deemed unnecessary. It’s apparent that maintaining the unique look and feel is not a high priority.

ORU’s space-age structures, designed by Tulsa architect Frank Wallace, have survived relatively intact for nearly 50 years. Today the campus maintains a kitsch appeal lost on most of the students who attend classes there. Hopefully it’s not lost on the people who pay the bills.

George R. Kravis Design Collection

2009-08-11T15:16:00.003-05:00

GEORGE R. KRAVIS II DESIGN COLLECTION / SELECTED WORKS / OPENS SEPT. 8th

Lortondale has been a design hot spot for 55 years now, and Mad Men, The Incredibles, Volkswagen and multiple other commercials are helping to legitimize our assertion that Lortondale is indeed STILL the most modern neighborhood in town. We have been working hard for the past 5 years to promote the neighborhood as a design mecca. It is because of this that I am so excited that we were mentioned on the Philbrook blog in anticipation for the upcoming exhibition of 50 design objects from the George Kravis collection. There are several of us here in the neighborhood who have large collections of modern design icons and it will be a thrill to see a collection of those objects we collect and live amongst on display at the Philbrook.

shane

El Rancho Grande Neon Sign Undergoes Restoration

2009-07-29T14:46:00.002-05:00

One drop makes a ripple. As neon signs go, the Meadow Gold sign was a pretty big drop and we are definitely starting to see the ripples. One of Tulsa’s oldest eating establishments El Rancho Grande, Tulsa’s Tex-Mex Tradition since 1953, has been busy restoring their iconic route 66 neon sign. Neon was removed and repaired and the sign was freshened up with a new coat of paint. Next up for the sign will be the restoration of the flashing arrow. Jon Roberson, aka Dr. Neon, was responsible for the tube work and Terry Seay of Seay Electric Company completed the task of putting the sign back together.

Craig Borum of PLY Architecture

2009-07-10T10:45:00.006-05:00

I had the opportunity last night to attend the Eastern Oklahoma Young Architect's Forum lecture series. Craig Borum of PLY Architecture was the speaker. It was really inspiring to hear Craig talk about their ideas of fusing hand making together with mechanization.

Check out their work at www.plyarch.com

2009-06-30T22:03:00.000-05:00

160 is an affirmation…

…An affirmation that both Modern Tulsa and the Lortondale Neighborhood Association are on the right track in their efforts to promote and preserve mid-century modern architecture in Tulsa.

There are only so many posters you can hang and websites you can post to before you cross your fingers and hope that people show up. Boy, did they ever - to the tune of 160 tour attendees!

The streets east of Yale in the Lortondale neighborhood were abuzz with activity as over 160 individuals toured 6 Lortondale homes during the first annual Living in HiFi Modern Home Tour.. A diverse crowd of new neighbors, former residents, potential new residents and curious couples packed the houses for over three hours. All of the houses were in various states of completion - from full remodels, to restovations and houses under construction, there was a broad range of styles on display. Each homeowner was on hand to proudly show off their handiwork and talk with tour participants about their respective houses, future plans and the history of the neighborhood.

The tour was also a time to make connections and strengthen the bonds of the Lortondale community. Many former residents of the neighborhood turned out to see what all the buzz was about, relaying fond memories of growing up in Lortondale and summers at the pool. New residents of the neighborhood came out to participate in the event, meet their neighbors and take the opportunity to see what others were doing with their houses.

The events didn’t end with the tour. Attendees were treated to a good old suburban BBQ afterparty. Drinks flowed and music played as individuals mingled for another 3 hours. The party concluded with drawings for several prizes donated by some of our wonderful sponsors. With conversations covering a range of topics including architecture, design, music and politics, the afterparty provided the perfect platform for further strengthening the resolve of an informed group concerned about the fate of modern architecture in Tulsa.

There was no larger affirmation than discovering that there are so many others in the community who feel as passionately as we do about the cultural and historically significant design and architecture of Tulsa. Events such as this give us an opportunity to honor everything we say in our “mission” statement so we truly can be Modern Tulsa. Please keep an eye out for our upcoming events, as education, preservation and participation are essential to our success.

2009-06-17T13:53:00.009-05:00

Lortondale Pool

4941 East 26th Street
Tulsa, OK. 74114

Open Tuesday thru Saturday - 1-8 pm; Sunday - 1-6 pm

We invite you to join us for the 2009 swim season. Opening day was June 6th. We are expecting a great season and look forward to you and your family joining us.

We offer Red Cross certified lifeguards, pop & snack machines, picnic areas with charcoal grills, sun decks, play area for young and young at heart (volleyball, basketball goal, swings), private parties available. Tell a friend!

- Family Season Membership $165.00
(In-house family members only unless pre-arranged with board; Grandparent or babysitter
arrangements available with board approval)

- Single Season Membership
(Adults only unless approved by board)

- Guest of Members $3.00/ day or visit

If you have any questions about membership or the pool, please call Susan Rogers @ 630-9957

"Living in HiFi" Lortondale Home Tour

2009-05-31T11:31:00.004-05:00

“Living in HiFi” will be an annual modern home tour hosted by the Modern Tulsa committee of the Tulsa Foundation for Architecture . Focused on mid-century modern residential architecture, the tour will seek to promote an awareness and the preservation of this oft-overlooked and dismissed style of architecture.

"Living in HiFi" will premiere June 13th in the historic Lortondale Neighborhood.
Designed and built in 1954 by Tulsa duo Donald Honn (architect) and Howard Grubb (builder), the Lortondale Neighborhood was the recipient of a multitude of national design awards. The neighborhood was featured in an array of magazines including House and Home and Better Homes and Gardens.

In recent years Lortondale has experienced something of a rebirth. A new generation of homeowners, interested in modern design, are snapping up the houses just as fast as they come on the market. After decades of neglect, many of the houses in the neighborhood are being restored to their former modern glory. Most importantly, the Lortondale Community is experiencing the same restoration.

This year’s tour seeks to convey the energy that is the Lortondale Neighborhood today. Featured are 6 houses in various stages of completion. From the beginning stages of a restovation to a virtually complete example of HiFi-modern bliss, this tour of Lortondale will show you what all the buzz is about.

Tickets are $10 in advance and $15 day-of. The tour will take place from 5:30 - 8:30 with an after party lasting from 8:30 -?

Tickets are available for purchase at the following locations:

Dwelling Spaces
119 South Detroit

Urban Furnishings
3636 South Peoria

Ida Red
3346 South Peoria

Tulsa Foundation for Architecture
2210 South Main

hope to see you there!
_________________
Shane Hood
Lortondale
Tulsa, Oklahoma
www.lortondale.blogspot.com

2009-05-08T10:36:00.001-05:00

2009-05-07T00:48:00.001-05:00

Julius Shulman - Oklahoma Modernism Rediscovered - April 30 - June 7.

2009-04-28T14:22:00.004-05:00

Organized by the Oklahoma City Museum of Art, Julius Shulman: Oklahoma Modernism Rediscovered is the first-ever retrospective of photographs taken in Oklahoma by legendary architectural photographer Julius Shulman. The exhibit runs from April 30 through June 7 and will feature over 65 images - many unseen by the public for decades - of buildings designed by such world-renowned architects as Bruce Goff, Herb Greene, William Caudill, Truett Coston, Robert Roloff, and Paul Harris. Twenty-one architectural projects from six Oklahoma cities and towns will be represented in the exhibition, including homes, banks, churches, museums and hospitals. In addition, on Saturday, May 2, the Museum will sponsor an architectural bus tour of several Oklahoma City-area buildings that Shulman photographed during the years he worked in Oklahoma.

2009-04-22T23:57:00.001-05:00

2009-04-22T23:37:00.001-05:00

2009-04-15T00:23:00.002-05:00

2009-04-15T00:09:00.001-05:00

2009-04-02T14:12:00.001-05:00

2009-01-27T12:55:00.023-06:00

Lortondale

Lortondale Exteriors
A side by side comparison of historical -vs- present day.

Lortondale Interiors
A side by side comparison of historical -vs- present day.

Lortondale Sales Brochure
Original brochure given to interested parties and homeowners.

House and Home Magazine
House and Home Magazine article January 1954

Modern Tulsa Residences

Trade Secrets House
1953 Life Magazine $15,000 "Trade Secrets" House

1954 Better Homes and Garden's Home for All America
4225 South Oswego, Tulsa, Oklahoma

1956 Better Homes and Garden's Idea Home
1734 South Erie, Tulsa, Oklahoma

Modern Tulsa Architecture

Mayo Meadow Liquor Store (demolished)
Architect Robert Buchner designed liquor store at 21st and Yale

Jaycees Headquarters (demolished)
J. Edward Luders, Harry Morris, Donald Honn, Joseph Saunders, Hideo Sasaki

Modern Neighborhoods

Ridgewood
Ridgewood - St. Louis Mid-Century Modern Neighborhood

drummond restovation

2009-01-27T11:52:00.010-06:00

Drummond "Restovation" Blog

I met Jerad Foster a few years ago at a KC Modern event celebrating the Mid-Century Modern Drummond homes in Kansas City. He had just started working on his Revere Home "Restovation", and informed me at the time that he would be bloging his adventures online. Fast forward a couple years ahead and a lot of sweat and hard work and Foster has neared the end of the road on his restovation. Check out his blog and follow his new adventure Studio Build, Foster's new exploration in design-build.

The American Look - 1958

2009-01-26T11:53:00.002-06:00

2009-01-26T11:23:00.015-06:00

Neighborhoods

Arapahoe Acres
Krisana Park
Modern Phoenix
Snow Heights
Eichlers of SoCal
Eichler Network
Santa Margarita
Rancho San Miguel
Eichler Homes of San Francisco and Marin County
Green Meadow
Memorial Bend
Ridgewood
Holmes Run Acres
Northcrest
Dallas and Fort Worth MCM
Modern Austin
Red Stick Modern (Baton Rouge)

Furniture/Accessories

Out of Vogue
OTTO Shop

Lighting

Outdoor

Art

Johnny Taylor Art

Resources

Meanwhile Back at the Ranch
Prairie Mod
The Mid-Century Modernist
Apartment Therapy
Desire to Inspire
Just a Modern Guy
Lotta Living
Lush Pad
MCM League of Portland
Mile Hi Modern Denver
Denver Modern
KC Modern
Dallas Modern Homes
Classic Las Vegas

The Mod Squad

2009-01-24T09:08:00.006-06:00

The Mod Squad
Group adores retro look of Lortondale
By KIM BROWN World Scene Writer

Flat roofs, sleek lines, wood paneling. What some might consider outdated is in high demand for Modern Tulsa.

When Tulsan Cole Cunningham decided to move back from Phoenix a little more than a year ago, he created a Web site to locate like minds who appreciate mid-century modern architecture and other modern styles. And what he found was an enthusiastic and excitedly eclectic following.

Members of Modern Tulsa are architects, designers, Realtors and home owners who like the design and aesthetic of the 1950s and 1960s homes built in many Tulsa neighborhoods, such as the Lortondale neighborhood near 26th Street and Yale Avenue.

"There are a lot of nice little neighborhoods in Tulsa, and Lortondale is probably Tulsa's biggest and most noteworthy," said Cunningham, who works at Winston Media. "There's a great collection of homes and most are still intact. Neighborhoods like this in L.A. are coveted."

Lortondale was created in the 1950s by builder Howard Grubb and architect Donald H. Honn to provide modern, affordable homes for families during the Baby Boom. Some of Modern Tulsa's members live in Lortondale, such as Dustin Thames, a Realtor. He purchased his home because he's been "into mid-century stuff as long as I can remember."

"This neighborhood is like living in a painting. It's a way to apply design to your living style."

Thames has taken mid-century modern to heart. From the vintage furniture he purchased at estate sales to the authentic wood paneling and cabinets in the house to his dishes designed by Russel Wright, Thames' home is a throwback.

"It hasn't been what I like to call, 'Home Depot-fied,' " he said. "This is good for a guy like me because it's my first home, but it's a value."

He's had to put some work into it, like pulling out the carpets and installing stainless-steel countertops in the kitchen. But keeping it authentic hasn't been outrageously expensive.

"Is it feasible? Absolutely," Thames said. "The hardest part is doing it. But there are forums and magazines have pages dedicated to restoring these places."

But Modern Tulsa isn't limited to just mid-century. Cunningham said the group is also interested in urban modern and more current styles. He met Thames through the group, which has had a few events since forming. Networking and education are also goals.

"I don't claim to know it all," Cunningham said. "On the weekends I get out and explore and take photos. That's how I find a lot of people."

2009-01-21T11:40:00.001-06:00

2009-01-21T11:19:00.002-06:00

Lortondale Interiors
A side by side comparison of historical -vs- present day.

2009-01-20T21:24:00.002-06:00

Eero Saarinen - Shaping the Future

2009-01-20T18:32:00.009-06:00

Marcel Breuer's Atlanta Central Library Threatened

please click here to sign the online petition for the Marcel Breuer Atlanta-Fulton Central Public Library

To: The Fulton County Board of Commissioners
To: The Atlanta-Fulton Public Library System, Director John Szabo
The Fulton County Board of Commissioners, Chairman John Eaves
The City of Atlanta, Mayor Shirley Franklin

We call to you attention that any and all attempts to obscure, defund and otherwise, with willful intent, delegitimize the great, historical signficance of the currently standing and fully functioning, 28 year-old Atlanta-Fulton Central Public Library, are now being met with resistance; as witnessed in the formation of this petition, operating in tandem with other forms of collective civic action.

We call to your attention that this declaration makes no assumptions about what may become, as we are most concerned with what we feel should be.

We call to your attention that the architectural site that we seek to protect and preserve was designed by legendary architect Marcel Breuer, who counts among his more than 300 public and private commissions, with being credited for the design of The Whitney Museum in New York City, the HUD and HEW buildings in Washington D.C. and (in a partnership) the UNESCO building in Paris, France.

We call to your attention that it is our desire to work with, not against, the leadership and stewardship of this collective civic investment, in that we believe that "to remove a significant modernist monument -- important in and for its time and still satisfactorily fulfilling its original function to serve the community -- designed by a major architect of historical importance and world renown, would be a serious civic blunder in the cultural history of Atlanta"

So let it now be known that all who sign herein speak peacefully, in a unified spirit of service, cooperation and preservation with the hope that our voices shall be known, counted and heard. As we ask that the leadership attributed to deciding the fate of this site, regard this petition as a formal request that said leaders make a sincere and honest pledge toward instituting a policy of site renovation and preservation in respect to Marcel Breuer's enduring legacy as expressed in his final epic work, the iconic Atlanta-Fulton Central Public Library.

Sincerely,

2009-01-20T00:14:00.008-06:00

Tulsa World- Wednesday, June 06, 2007

2009-01-20T00:05:00.003-06:00

2009-01-19T20:23:00.009-06:00

Lortondale History

by Lortondale Resident Steve Edlich

In the early 1950s, Tulsas largest volume home builder was a man named Howard C. Grubb. Howard Grubb was a merchant builder, as tract house developers were known at the time, and built mostly starter homes for first-time home buyers. Typically, merchant builders would buy a 20-40 acre tract of undeveloped land, subdivide it, install utilities, and start building homes for the booming post-war housing market, purely on speculation. The depression years of the 1930s and the war years of the 1940s had taken their toll and there was a huge pent up demand for housing after WWII. The baby boom was in full fling, and builders were selling homes as fast as they could build them.

The typical Howard Grubb home of 1950-1951 was a two bedroom, one bathroom, single attached garage house built on a crawl space foundation, about 950 square feet, and selling for approximately $9,000.00. In the early 1950s, Grubb sold about 300 of these houses a year in Tulsa. In 1952, he had a different idea. Modern architecture was becoming more popular in both commercial and residential construction. Homebuilders such as Joseph Eichler in California were having great success with their modern home designs. Howard Grubb teamed up with a local Tulsa architect named Donald H. Honn to develop more modern homes, in the mid-priced range. He wanted to offer homebuyers of the time something on the cutting edge of architecture, with amenities not usually found in mid-priced homes. Grubb and Honn developed several designs during 1952-1953, rejected many, and finally came up with their plans for the Lortondale housing addition in Tulsa, OK.

It was very important to Howard Grubb that he offer the latest in home design with perceived extra value for the money. In mid 1953, Grubb and Honn constructed 3-4 prototype homes for Lortondale, constructed at 21st Place and Pittsburgh Avenue in Tulsa. They used these houses to test public opinion, make design changes as they thought necessary, and gauge sales demand. In early 1954, their marketing studies were complete and they forged ahead with construction of the Lortondale housing addition at 26th and Yale Avenue in Tulsa, OK. The original plans for Lortondale were for approximately 540 homes, built on four 40-acre tracts between 26th Street and 31st Street, Yale and Hudson Avenues in Tulsa. Original selling prices for Lortondale were from $13,500.00 to $16,500.00, depending upon the model and options selected. Donald Honns Lortondale plans allowed for great flexibility, 3 bedrooms, 1, 1 , or 2 full bathrooms, 1 or 2 car attached garages, bonus living areas or 4th bedrooms.

Every Lortondale home included both central forced-air heating and central waterless, or refrigerated air conditioning. Lortondale was the very first merchant builder development in the United States to feature all waterless air conditioned homes. Grubb formed an agreement with the Chrysler Airtemp company (a division of Chrysler Motors, just like Frigidaire Corp. was a division of General Motors) to supply 3-ton central air units for all Lortondale homes. In exchange, Chrysler air conditioning ads in magazines of the time prominently featured Lortondale houses. Air conditioning was a true luxury at the time, usually reserved only for custom built homes, but Grubb was able to offer this luxury in his mid-priced homes.

Each 40 acre Lortondale tract was to be built around a community center/swimming pool. Each Lortondale owner would own a share of the swimming pool in his area. This was also another first for Tulsa. Grubb did build the first swimming pool in the original 40 acre Lortondale tract at 4941 E 26th Street, but future pools were not built. (There is a second pool, the 5300 Swim Club, in Lortondale II, but this was not built by Grubb; it was developed by others.)

The Lortondale architecture was certainly unique, at least for Tulsa. Slab-on-grade construction with HVAC ductwork in the slab, extremely low pitched or flat roofs, and open floor plans were all new for Tulsa and this part of the US in early 1954. All Lortondale homes featured combo living/dining rooms at the rear of the house with expansive floor to ceiling glass walls looking out onto the back yard. Exposed ceiling beams in living and bedrooms (depending upon roof pitch), mahogany paneled walls, modern kitchens with the new (for 1954) Formica laminate countertops in both kitchens and bathrooms were all the latest in modern design at the time. Every Lortondale home also featured a built-in Hotpoint automatic dishwasher, another luxury usually seen in only high priced homes of the era.

Ultimately, only about 220 homes and one swimming pool were constructed according to Howard Grubbs original vision for Lortondale. Why?

We can speculate a lot about this, but several factors come to mind. First, the FHA (Federal Housing Administration.) In the early 1950s, the FHA guaranteed about 25% of all residential mortgages, about the same ratio as today. The FHA was notorious for their reluctance to accept new concepts and ideas in homebuilding, and very slow to revise their underwriting standards. The FHA felt that modern (contemporary) home architecture was a fad and not a good long-term investment, so they would not initially guarantee loans on modern homes. This eventually changed, but it planted a seed in the publics mind that modern design homes were not a good investment. In addition, conventional mortgage lenders usually took the easy way out and adopted FHA underwriting standards too, so in effect, what the FHA said was the rule. From its very start in early 1954, Lortondale was the neighborhood of choice for young architects, college professors, engineers, and other professionals who appreciated the esthetics of modern design. But after a point, demand dried up and there wasn't enough local demand to sustain Lortondale construction to the ultimate end.

Americans love to go to work in their ultra-modern, glass walled skyscrapers, but when they come home at night, the preference has historically been for cape cod, salt-box, or more provincial type homes. The 1950s was a time of the space-age, when everyone was looking to the future and all the wonders it may contain. Howard C. Grubb and Donald H. Honn wanted to bring a part of that future vision to the average American of moderate means, and gave us Lortondale.

2009-01-19T09:59:00.011-06:00

lortondale

The Trimmers are Coming, The Trimmers are Coming!

Amazing Original Mid Century Illustrations

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Design Icon: The Sputnik Chandelier

Vintage Travel Posters

Looking for something to put on your walls? how about some of these vintage travel posters from grainedit! Keep an eye out at estate sales and fleamarkets for these gems...

New Lortondale Photographs

Paul Ibou: Logos, Posters & Calendars

Paul Ibou: Logos, Posters & Calendars

What is Mid-century Modern Design and Why is it Cool?

Lortondale Neighborhood - Tulsa, Oklahoma

Preservation and the Recent Past: A Year in Review

Bossa Nova And The Rise Of Brazilian Music In The 1960

George Nelson: Architect, Writer, Designer, Teacher

February 3 – May 8, 2011

Exhibition Sections

Swaged Leg Chair (1954) and Swaged Leg Desk (1958) Coconut Chairs and ottoman, 1956 Fairchild House, 1940/41 Ball Clock, 1948 Marshmallow Sofa, 1956 George Nelson, ca.1965 Storage Wall, published in Life Magazine, 1945 Pretzel Armchair

Demon Decorations

Vintage Xmas Ideas

Aluminum Xmas Trees

Hitone: Vintage Book Covers

Power of Ten celebration at Philbrook

100 Ways to Screw Up Your Mid-Century Modern Home

Oklahoma Native John-Paul Philippe for West Elm

Born Modern: The Life and Design of Alvin Lustig

Jean Paul Philippe at Aberson's

Blanca Gomez Interview

Gastrotypographicalassemblage

tepera|hood design open house

Better Living by Design with Modern Tulsa

Runnells Weekend-Kansas City-9.19-9.20

El Rancho Grande Neon Sign Ceremony Reminder!!

ORU Upgrades not All Good

George R. Kravis Design Collection

El Rancho Grande Neon Sign Undergoes Restoration

Craig Borum of PLY Architecture

"Living in HiFi" Lortondale Home Tour

Julius Shulman - Oklahoma Modernism Rediscovered - April 30 - June 7.

drummond restovation

The American Look - 1958

The Mod Squad

Swaged Leg Chair (1954) and Swaged Leg Desk (1958)

Coconut Chairs and ottoman, 1956

Fairchild House, 1940/41

Ball Clock, 1948

Marshmallow Sofa, 1956

George Nelson, ca.1965

Storage Wall, published in Life Magazine, 1945

Pretzel Armchair