Tag Archives: HERITAGE FINE WINES

#167: MID-CENTURY MODERNISM: POINT OF DEPARTURE

March 24, 2023

Linea Residence G, Palm Springs, California (w/ Andrew Adler, photo by Hunter Kerhart)

100,000 attendees descended on Palm Springs last month for Modernism Week 2023, the 10-day design festival celebrating Mid-Century Modernism (“MCM”). As a feature lecturer, I presented The Myth of Mid-Century Modernism—positing that we honor the design style of the 1950s and 1960s, but should not embalm it. For the thousands of MCM fans and fanatics, my position was blasphemous of sorts.

Speaking at the Annenberg Theater, Palm Springs (photo by Olive Stays)

There are a dozen ideas from MCM that serve well as design themes—to be adapted not regurgitated. Acknowledge past legacies, but look forward not backward.

Case Study House #9 / Entenza House, 1950, Pacific Palisades, California, by Eames and Saarinen (photo by Julius Shulman)
Herget Middle School, Aurora, Illinois (w/ A4E and Cordogan Clark, photo by Mark Ballogg)

The MCM concept of the open floor plan countered the traditional compartmentalization of homes. At Poon Design, we applied the open floor plan to the design of a middle school. Rather than the conventional 12-foot wide by 10-foot tall, congested hallway lined with lockers, we created a 60-foot wide by 30-foot tall corridor—more a central atrium. Within sits the community functions open and accessible—library, math amphitheater, woodshop, and social areas.

Mirman Residence, 1959, Arcadia, California, by Buff, Straub and Hensman (photo by Julius Shulman)
Linea Residence L, Palm Springs, California (w/ Andrew Adler, photos by James Butchart)

In California, we are blessed with moderate climate—not too hot, not too cold—that allows us to bring the outside in, blurring the division between interior and exterior. With today’s advanced engineering, the span of openings are wider. Technology even allows for sliding doors to disappear into walls.

Case Study House #22 / Stahl House, 1960, Los Angeles, California, by Pierre Koenig (photo by Julius Shulman / J. Paul Getty Trust
14th Shamarpa Reliquary Building, Natural Bridge, Virginia (photos by Mark Ballogg)

Expansive walls of glass are prevalent in MCM homes. Here, we apply the ideas of lightness and transparency to a Buddhist temple. In the day, the walls of glass mirror the surrounding landscape, and at night, the glass disappears.

top: Alexander Home, Twin Palms, 1955, by William Krisel; bottom: Park Imperial South, 1960, by Barry A. Berkus, Palm Springs, California (photos from palmspringslife.com)
Feather River Academy, Yuba City, California (w/ A4E, photo by Gregory Blore)

Often called the “butterfly” and “accordion” roof, we used such shapes not as an MCM gesture on a house, but as a unifying theme throughout a high school campus. Our roof lines recall the local mountains and serves as a metaphor for the institution’s mission statement, “Learning in Action.”

Frey House II, 1964, Palm Springs, California, by Albert Frey (photo from psmuseum.org)
top and bottom left: Mendocino Farms 3rd and Fairfax; bottom right: Mendocino Farms Fig at 7th, Los Angeles, California (photos by Poon Design)

A restaurant can capture the imagination through wit and charm by applying 400 wood clothespins on chicken wire making a chandelier, faux grass expressing a new concept of the American picnic, and a mural-like chalkboard continuous from wall to ceiling.

top: Century Modern Pattern 01 (from happywall.com); bottom: color palette (from kathykuohome.com)
top left: Vosges Haut-Chocolat Factory and Headquarters, Chicago, Illinois (photo by Anthony Poon); top middle: Joss Cuisine, Beverly Hills, California (photo by Poon Design); top right and second row left: S/B Residence, Encino, California (photo by Poon Design); second row middle: Greenman Elementary School, West Aurora, Illinois (w/ A4E and Cordogan Clark, photo by Mark Ballogg); bottom left: Coral Mountain Residence C, La Quinta, California (w/ Andrew Adler, photo by Lance Gerber); Villa Sunset, Beverly Hills, California (photo by Martin/Poon)

We enjoy the application of color and patterns, but not just as decoration—rather, to add personality to a space, to capture the spirit and character of the owner—whether a purple chocolate factory, red powder room, of multi-colored gymnasium.

left: Eichler Home, 1950s, California, by Joseph Eichler (photo from sunset.com); right: Sputnik chandelier, 1939, by Hans Harald Rath of J&L Lobmeyr (photo from etsy.com)
top: Aura Cycle, West Hollywood, California (photo by Aura Cycle); bottom left: Doheny Plaza, West Hollywood, California (photo by Hunter Kerhart); bottom right: S/B House, Encino, California (photo by Poon Design)

Light can be more than simply a source of illumination. Consider light to be similar to stone, wood, or metal. Meaning, light can also be a building material. Light can be an element to be shaped, harnessed, and applied like a painter applies oils to a canvas.

Round House, 1968, Wilton, Connecticut, by Richard Foster (photo by Iwan Baan)
bottom: Heritage Fine Wines, Beverly Hills, California (photo by Poon Design)

Having dominated architectural outcomes for centuries, the classical principles of architecture were open to MCM reinterpretation. At this wine store, the cabinetry possesses a traditional look with its cornice, trim and paneling. Yet, we applied such a traditional look to an elliptically-shaped showroom. Upon entering, the bottles of Bordeaux embrace the visitor.

Eichler Homes, Burlingame, California, by Joseph Eichler (photos by Anthony Poon)
top: Alta Verde Escena, Palm Springs, California (photo from earth.google.com); bottom: Residence I-3, Palm Springs, California (w/ Andrew Adler, photo by Chris Miller)

As the Case Study Housing program attempted, Poon Design also sought to provide attainable, budget-driven, mass produced homes. Building and selling 230 contemporary homes in four new Palm Springs communities has earned us the highest national honor from the American Institute of Architects, the 2018 Best in Housing, alongside dozens of other regional and national awards.

left: MCM Hilltop Community, 1950, Seattle, Washington, by Paul Kirk; right: Roberts House, 1955, West Covina, California, by Richard Neutra (photo by Cameron Carothers)
Din Tai Fung, Costa Mesa, California (photos by Poon Design)??? Glendale, California (photos by Poon Design and Gregg Segal)

New tools and technology allowed us to exploit MCM’s drive for a high sense of craft. Giant lampshades at the famed Din Tai Fung restaurant reinterpret historic Chinese screens. Through computer scripted patterns alongside milling techniques of oak plywood, we created lampshades and skylights that are works of sculpture, expressing a devotion to detail and innovation.

Case Study House #8 / Eames House, 1949, Pacific Palisades, California, by Charles and Ray Eames (photo by Julius Shulman, J. Paul Getty Trust)
top: Chaya Downtown, Los Angeles, California (photo by Gregg Segal); graphic design for Chaya (by Poon Design)

MCM architects sought to provide design services combining three prominent strains: architecture, interiors and landscape. For our Chaya Downtown restaurant, we went further to deliver a cohesively designed environment. We created the branding, website, and graphics. We also designed furniture and lighting, as well as curated the art. We continued our pursuits to include the employee uniforms and even the selection of music. Music too is an element of architecture. What is heard during the morning hours of coffee is different than the business lunches—different than festive happy hour, different than an elegant dinner, and different than late night cocktails.

Case Study House #22 / Stahl House, 1960, Los Angeles, California, by Pierre Koenig (photo by Julius Shulman / J. Paul Getty Trust)
The Point Lifestyle Center, Irvine, California

We continue the optimism of MCM at larger scales and more ambitious programs than housing. For this lifestyle center serving the Asian community, the first floor comprises an Asian fish market, the second is a Korean spa, the third a Japanese karaoke bar, and the fourth a Chinese rooftop garden restaurant.

Kaufmann House, 1946, Palm Springs, California, by Richard Neutra (photo by Slim Aarons)

The design concepts of Mid-Century Modernism endure, because they are timeless and universal. The challenge is to look to MCM concepts as a platform to launch into the future—as inspiration not as nostalgia, for interpretation not replication.

#120: COMING OF AGE IN ARCHITECTURE

July 3, 2020

top: Boa Nova Teahouse, Porto, Portugal, by Alvaro Siza (photo by Joao Morgado), lower left: Centre Pompidou, Paris, France, by Piano & Rogers (photo by Denys Nevozhai, @dnevozhai); lower right: Aarhus, Denmark, by BIG (photo by BIG)

The design industry often states that the career of an architect doesn’t truly begin until age 50. Why are architects only commencing a successful career when colleagues in other industries are planning their retirements?

How is it possible that Mozart wrote his first symphony at eight? Or at a mere 18, Billie Eilish won five Grammy Awards. On the other hand, I.M. Pei was an elder at 66 when he was awarded the Pritzker Prize. He was even older, 71 years, when he designed the world-famous Louvre Pyramid.

left: Wolfgang Amadeus Mozart (1782 painting, Joseph Lange, from smithsonianmag.com); right: Billie Eilish (photo by Sara Jaye Weiss/Rex Shutterstock, from theguardian.com)

Very few architects have completed great buildings at a young age. Such rare individuals, though fully grown adults, are like child prodigies in architecture. Alvaro Siza wasn’t even 30 when he designed the poetic Boa Nova Tea House in Porto, Portugal. Only in their early 30s, Renzo Piano and Richard Rodgers created the groundbreaking Centre Pompidou in Paris. And Bjark Ingels amassed a global portfolio of ambitious projects before even reaching 40—a portfolio of built works equal in depth to colleagues literally twice his age.

But these few examples are extremely exceptional. More typical is a Frank Gehry at nearly 70 finally having the opportunity to bring to the world his iconic Guggenheim Museum in Bilbao, Spain. Some of Zaha Hadid’s most elaborate and bold projects are now being completed, several years after her unfortunate passing at 65. As a typical investment banker relaxes upon his riches at 40 or 50, world-famous I.M. Pei worked into his 90s.

If our architectural career doesn’t truly launch until 50 or even 60, the question screams out: Why? The answer is complex, but mostly two-fold.

upper left: Guggenheim Museum, Bilbao, Spain, by Frank Gehry (photo by Juan Gomez, @nosoylasonia); lower left: Louvre Museum, Paris, France, by I.M. Pei (photo by Irina Ledyaeva, @irinaledyaeva); right: Generali Tower, Milan, Italy, by Zaha Hadid (photo by Ricardo Gomez Angel, @ripato)

The Practical

After completing one’s architecture education and obtaining the state license to practice (yes, the word is “practice”), an individual is legally an architect. But at 20-something, could such a new architect design a performing arts center or a museum, both projects that typically define a milestone in one’s career? Is it practical that a corporate board of directors or a university would hire this young architect to design a project over $100 million?

Such a sophomoric designer might have worked on similar projects in school, but in concept only. In real practice (again, “practice”) the project has a budget, client demands, city codes, engineering, construction trades, etc. It is unlikely that this architect would have the client savvy, technical expertise, office infrastructure, and team of architects, consultants, and legal counsel—as well as personal maturity.

An architect usually launches his career with the renovation of his uncle’s master bathroom, or maybe a mom-and-pop café. Then hopefully, one project leads to another. Eventually after decades, the house design leads to a condo building, then maybe a restaurant or hotel, eventually a classroom building and college library, then a theater or corporate headquarters, finally having a shot at something like a museum or skyscraper. And this can take years, decades, or even an entire career.

left: TWA Flight Center, Queens, New York, by Eero Saarinen (photo by Max Touhey); right: Grundtvig’s Church, Copenhagen, Denmark, by Peder Vilhelm Jensen-Klint (photo by John Towner, @heytowner)

The Philosophical

The other side of the answer is about artistry. Some creative minds bloom early and some bloom late. Architects don’t usually bloom early because the opportunity to bloom doesn’t present itself until decades of experiences have passed. Sure, we can all design big things as we did in school—in the abstract. But can we really wrap our head around designing a real airport or cathedral?

Symphony No. 1 in C Major, Op. 21, by Ludwig van Beethoven (from pinterest.com, Judy Jensen)

With his first symphony, Mozart was considered a genius at 8, but it took until 30 for Beethoven to compose his first symphony. Beethoven was a late bloomer, but he was still ahead of architects by two decades, as we struggle to find our first bonafide opportunity to flex our creative muscles.

Opportunity aside, architects need their talents to season, age and ripen. We need to develop the skills to know a good solution from a bad one, to know that a marvelous roof design won’t collapse—to know great from good. Like the finest of wine, sometimes the cork stays in the bottle until the time is right.

Heritage Fine Wines, Beverly Hills, California, by Poon Design (photo by Poon Design)
© Poon Design Inc.