From: House & Garden, 1954
Archive for the ‘General’ Category
From Wiehle-Carr: Set far back from the street, this superior two-story modern residence was designed for a sculptor (EV Staude) and her husband by one of LA’s premier architects of the post World War 2 period. A working studio at the rear of the property by Frank Lloyd Wright-influenced designer Ted van Fossen had preceded the house, as had the 20′ x 40′ swimming pool near the front, and its garden setting. Flood damage was the impetus for the present owner to embark on a wide-ranging revival of original interior and exterior features and revamping for fittings, finishes, and furnishings of all main rooms and baths.
Was there ever a more optimistic time in the US of A than the 1950s? Seems like a lot of thought went into the swell future with push-button homes and jet-engined cars (some fly, some don’t) in the garage. Architect Paul Laszlo had his own vision of living in 2004 as seen from 1954:
The lessons were taken from a tour of a well-preserved home designed by Paul Kirk (see another Paul Kirk house here). Here are a few of the 10 Lessons:
- Keep it simple.
- Connecting the inside to the outside creates harmony with the site.
- Let nature do the work.
Update – Tour the Ford HouseFrom LIFE Magazine (1951):
Architect Bruce Goff, one of the few U.S. architects whom Frank Lloyd Wright considers creative, scorns houses that are “boxes with little holes.” But he likes circles, believing that a circle is “an informal, gathering-around, friendly form.” Working on this theory, he designed a house for the Albert Fords of Aurora, lll. which makes most modern houses look quaint.
The house consists of a huge, domed center circle, 166 feet around. and two semicircular bedroom wings, all shaped by steel arches made of standard Quonset ribs. At the base of the center sphere, which is built on three levels, is a curved cannel coal wall, treated against smudging and weathering. For sparkle, this wall is studded with ordinary playing marbles and with numerous 100-pound clusters of bright glass cullets, a hardened waste product periodically cleaned from glass furnaces.
Navy surplus rope covers the horizontal ceilings. Cypress siding, laid in a herringbone pattern, lines part of the domes and walls. There are no windows, so ventilation is provided by hinged louvres and ceiling vents. Chief hazards of the main living space are the glass walls, which carry out Goff’s theory of “space moving inside and out.” To keep guests from trying to follow suit Mrs. Ford is growing succulent plants in ditches outside the glass walls.
The house, which cost $64,000, delights its owners. Mr. Ford, who is a gas-company executive, likes the doorless carport (“No trouble now to put the car away”); Mrs. Ruth Van Sickle Ford, who is the director of the Chicago Academy of Fine Arts, is pleased to have a balcony studio where she can paint, a gallery where she can hang pictures and plenty of room where she can entertain-all in a house that requires little care. Friends and curious passers-by are often less delighted. While building was in progress so many people came to gape at what they variously called the “big apple,” “birdcage,” “dome” or “hangar” that the Fords posted a sign reading, “We don’t like your house either.”