If you like mid century modern design then this is the perfect eye candy. The article includes numerous photos of their stunning Cliff May home...you'll even see pieces they bought from deja vu, like the twin units seen below.
Cliff May home in Long Beach, CA
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Set of 2 Steelecase Chairs in chrome + leather 1968 - available now at deja vu
Thanks to a tip from one of the set designers of 'Mad Men' (she frequents the shop, hunting pieces for the show – see previous blog post) we found out that the chairs were part of the modern charm of the Midnight Sun restaurant. Midnight Sun was built in the Peachtree Center Office Building in the late 60's, by architect John Portman, with the goal to revitalize the city's downtown area.
His Peachtree Building established a model for multipurpose complexes globally, due to his famous Hyatt Regency Hotel (1967), which included a 22-story expansive lobby and became the prototype of countless atrium hotels that he and others built during the 1970s and after.
Portman also designed and built the Polaris Restaurant in 1967. The rotating restaurant atop the Hyatt was the tallest building in the Atlanta sky. Both the Polaris and Midnight Sun quickly became tourist attractions for the unique architecture and interior design.
Midnight Sun interior featuring Steelecase Chairs by Warren Platner
Midnight Sun in Atlanta, Georgia 1968
We have two of the chrome and leather chairs by renown designer Warren Platner for purchase, just click here to be taken to the listing for more information
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1940's Chest of Drawers by Eliel and Pipsan Saarinen - available now at deja vu Long Beach
Most of you already know who Eero Saarinen is. If you don't, you've undoubtedly come into contact with his designs, or a knock off version – one of the biggest examples of his work, the Arch in St. Louis. Yeah, he's kind of a big deal.
But did you know that he came from a family of artists?
Considering his creative feats it shouldn't shock you to find out that his sister was a furniture and interior designer, his mother a sculpture, weaver and textile designer, and his father an architect and painter; and that Eero shared an architectural practice with his father and brother in law.
Do you know why he designed the famous pedestal base for his Tulip Collection?
Or how the 'Womb Chair' came to be?
Read on for a quick overview of the talented family that inspired a design legend.
Pipsan, Loja, Eero, Eliel and Juho Saarinen (Eliel's father)
Although Eero may be the most well known of the Saarinen's, his father, Eliel, achieved fame for his Art Nouveau buildings in the early 20th century. His first work was a blend of Finnish wooden architecture, British Gothic Revival and Jugenstil and was later christened the Finnish National Romanticism. It was with this style Eliel won the design competition for the Helsinki Central Railway System in 1904. However, demands for modern architecture arose and Eliel completely abandoned the romantic style for a more rational take, completing new plans by 1909. The station was built by 1919 and has since had various renovations. In 2000, a glass roof was added to the station, which was in the original plans by Eliel, yet they were done with a new design.
Helsinki Railway Station - photo by Jorge Lascar in 2008
In 1904 Eliel married his second wife, Finnish sculpture Louise (Loja) Gesellius. Together they had two children, Eva Lisa (also known as Pipsan) and Eero. The Saarinen family moved to Illinois in 1923 when Eliel contributed to a design competition to build the tribune tower. He lost, coming in a short second, yet years later the plans came to fruition in Houston, Texas for the Gulf Building.
In 1925 George Gough Booth, major newspaper tycoon and art philanthropist, asked Eliel to design the campus of Cranbrook Educational Community. This led to the creation of Cranbrook Academy of Art in 1932 and was initially run by Eliel. Booth intended the school to be an American equivalent of the Bauhaus, with teachings focused on design practices and theories from various styles. Loja became the director of weaving and textile, while Eva Lisa taught the first official contemporary furniture design class and student Eero took sculpture and furniture classes. It was while here at Cranbrook that Eero gained friends, some that led to revolutionary collaborations, with the likes of Ray Eames (then Ray Kaiser) and Charles Eames, Florence Knoll (then Schust) and Harry Bertoia.
Eliel and Loja dressing the part for "Crandemonium" held at Cranbrook - courtesy Cranbrook Archives
Florence Knoll and Eero Saarinen with Tulip prototype
The Saarinen's lived and breathed art and it's evident that creativity was part of their daily life. Eliel was know to have costume parties, while years later, Eero would encourage guests to wear funny hats. While Eero didn't have his own school to teach his children, he found unique ways to inspire creative thinking with fictional mysteries that the kids were to solve, some lasting for days.
His sense of humor can also be seen in his designs. When Florence Knoll expressed her desire for a chair she could curl up in, he created the “womb chair”, a padded cocoon like structure to ensure comfort. He went on to say “its unofficial name is the Womb chair because it was designed on the theory that a great number of people have never really felt comfortable and secure since they left the womb.” His tongue-in-cheek attitude is also evident in his creation of the iconic tulip series, with the intention to “clear up the slum of legs in the U.S. Home”.
The Tulip Series (left) and the Womb Chair
While Eero was designing for Knoll, Eva Lisa went on to design interiors for many of her father's commissions. She married architect Robert Swanson and opened an interior design department in his firm. She designed custom furniture for clients and eventually sold a line to Johnson Furniture Co, called F.H.A. (flexible home arrangement).
1950's Lounge Chair by Pipsan for the 'Sol Air' Line
Eero went on to share an archtectural practice with his father in the mid 1930's, called Saarinen, Swanson and Associates. It was headed by Eliel and Robert from the 30's until Eliel's death in 1950. While working at the practice Eero also designed furniture for Knoll, thanks in part to his early friendship with Florence. Eero became the principal partner in 1950 until his death in 1961.
Eero died at the young age of 51, yet he is not forgotten. With a sparse 20 years (give or take) as a designer and architect, over 50 years later, Eero's designs remain modern yet classic. His work is still relevant, the womb chair and Tulip series, among others, are still in production. Eero Saarinen remains one of the most recognized figures in mid century modern design.
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Look at that smile - pure bliss!
Ray Eames trying out an experimental model of a plywood lounge chair. Although this prototype was never produced, it was an important forerunner for the Eames Lounge Chair and Ottoman, introduced in 1956: http://www.vitra.com/en-gb/home/products/lounge-chair-ottoman/overview/
www.vitra.com
© Eames Office, LLC (eamesoffice.com)
Self portrait of Charles Eames - isn't it grand!
Happy Holidays!!!
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If you're heard of Eero Saarinen then you'll be pleased to know the Architecture and Design Museum in Los Angeles has an exhibit until January 3, 2013
If you don't know who he is, you should go and find out...or just google him to find out all about his amazingness
Find out about the exhibit here: http://aplusd.org/exhibitions-current
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Peter Moruzzi is presenting his newest book aimed at uncovering classic American dining spots from the mid century era. His book entices your appetite with exclusive new photography and appeals to retro fans with vintage shots as well. As a nightlife historian, Peter reveals the finest mid century restaurants, from continental style fine dining, to historic steakhouses, lounges and Polynesian palaces.
Come see and hear all about it this Saturday!
The book launch will include a slide talk, tasty treats and classic cocktails provided by many of the restaurants included in the book
Details:
Peter’s book is titled “Classic Dining: Discovering America’s Finest Mid-Century Restaurants”
Saturday November 10th 7-9pm
@ Wacko: 4633 Hollywood Blvd
FREE
]]>by admin on July 13, 2012 in Mid-Century Modern Design, Mid-Century Modern History
Once again, our friends at deja vu Long Beach have shared a few thoughts and tips on Mid-Century Modern Design!
People tend to think that veneer indicates a lower quality product. That is entirely false. Yes, some veneer is down right awful, but for good reason. It’s made of low quality material; think faux wood with a matte or shiny plastic coating. If the mere thought of owning a veneer piece makes you ill, this information may come as a shock to you: more than 99.9% of large surfaces on Danish furniture produced in the 1950′s was veneer. Yes, it’s true! But there is a method behind this madness. When furniture is made of plywood, lumber board or particle board, it doesn’t crack or warp, as solid wood does. This provides insight as to why danish furniture is able to stand the test of time. Not only does using veneer allow for stronger and longer lasting pieces, it also makes it more aesthetically pleasing by allowing a repetitive grain pattern, also characteristic of Danish design. Some sellers advertise furniture (often in good faith) as solid teak or walnut. In their defense, the piece is usually so thoroughly covered that it appears to be solid. This also means that veneer from this era is easily refinished, as it is thick, real wood. To clarify, there is furniture from this period that is solid wood, but when it comes to danish design, it tends to be veneer.
Now you know a little bit more about how teak was used by mid century Danish designers. Does this make you wonder why teak is so synonymous with Scandinavian countries? I thought so! Me too. After doing some research this is what I’ve found:
After WWII ships returned from Asia with as much teak as they could, not wanting to return without goods. This is one reason why this particular wood was so cost effective for Scandinavian countries, beginning in the late 40′s. There was an abundance and Scandinavian designers began building furniture at a low cost to be mass produced. However, this wasn’t the first time this wood had been utilized. Teak, or Tectona grandis, is native to the tropics. It was used as early as the 7th century, adorning homes of wealthy and powerful people. As early as the 1600′s Indonesia was colonized by the dutch, who began using teak wood for shipbuilding for its ability to ward off dry rot. Teak has an abundance of natural oils and rubber locked within the tight grain of the wood. They also protect the wood from dry rot, which can happen to older wood furniture. What’s more, the oils and rubber protect the heart of the wood from invaders like fungi and parasites, even termites that can destroy other woods. Protecting wooden furniture from such intruders requires applications of weatherproof oils and treatments; not so with teak. You’ll find an abundance of natural oils and rubber locked right into the tight grain of the wood. All woods contain oils that protect the tree — think maple, sap or tea tree oil. Teak, however, can retain these oils and its rubber even after being felled and processed. Because of this, teak has greater naturally weather-resistant properties than just about any other type of wood. When dried to a proper moisture level the oils and rubber weatherproof the wood. If well cared for, teak pieces can last for a hundred plus years.
References:
If you would like to find a Mid-Century Modern home of your own, please do not hesitate to contact me, email us at info@ocmodhomes.com, or call (949) 200-7795.
Photo by Julius Schulman of Neutra looking over the Silver Lake Reservoir
The rich history within the compound is what make this space in Los Angeles so worthy of the much needed restoration. Not only did it entertain and inspire people like the Frank Lloyd Wright, alongside Charles and Ray Eames; it incoprorated International Style and California modern design, with innovation at every detail.
Richard Neutra's VDL Studio and Residences were built in three phases between 1932 and 1966. Named VDL after it's benefactor, Van der Leeuw, who loaned Neutra $10,000 (with no interest) for the project. Neutra saw this as a chance to put his philosophies to the test. He set out to prove “human beings, brought together in close proximity, can be accommodated in very satisfying circumstances, taking in the precious amenity called privacy.”
The first phase introduced a modern glass box home and studio. It featured modern urban design, new building materials and built-in furniture. During the second phase, a garden house was added to the back of the lot. This compact wing had walls that slid open onto a pocket garden and functioned as a shared space, but with plenty of places for privacy. The third phase occurred after a fire destroyed most of the property in 1963. The house was rebuilt with some improvements by Dion, son of Neutra, while his father oversaw the project. This time they were able to use their learned knowledge to make use of seriously innovative climate-sensitive elements like rooftop cooling pools and automated sun louvers.
Now it seems the VDL landmark is in it's fourth phase. In 1990, Neutra's widowed wife Dione, left the compound to Cal Poly Pomona College of Environmental Design. Together the faculty and students preserve and maintain the property, to the best of their ability. In order to raise funds for the large cost to restore and regular upkeep, the buildings have been opened to the public for tours on Saturdays. In fact, it is the only Neutra residence accessible to the community, aside from exterior views or temporary special events. They have also added an artist residency program to encourage visits and expose more artists.
In a campaign to raise additional funds of up to $1 million, a Julius Shulman photograph of Neutra sitting on the rooftop terrace in 1966 will be available for purchase at www.neutra-vdl.org. The prints are numbered and signed by Shulman and sell for $2,000 apiece (photo pictured above).
You can also find more information from Press Telegram article by Sandra Barrera
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With June Gloom in mind, and Father's Day fast approaching, these items seem fitting.
*Howard Miller Clock & Magazine Rack $395
*French Spelter and Marble Jaguar $295
*Early Eames Table in Black 1948 $1,250
*Black Pendant Light $450
*N.O. Moller Stools with Black Leather $495
*Tiki Faces on Canvas $395
these items have not yet been listed on our website - please contact us if you are interested
find us on Instagram: dejavulongbeach
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