Nothing Permanent: Modern Architecture in California

Key Question Being Explored in This Insight:

How does the study of mid-century modern architecture in California between 1920 and 1970 reveal the diverse and often conflicting perspectives of its key practitioners?

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Institution: Emory University

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How does the study of mid-century modern architecture in California between 1920 and 1970 reveal the diverse and often conflicting perspectives of its key practitioners?

Image courtesy of interviewee. February 12, 2025

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This video video discusses a conversation about California modernism, focusing on architects such as Rudolph Schindler, Richard Neutra, and the Eameses. The dialogue covers topics like architecture styles, material usage, philosophical influences, and the relationship between architects and users. The transcript also delves into how photography, film, and writing styles play a role in understanding and interpreting architectural designs. This video video emphasizes the deeper intentions and conflicting ideas behind the architecture, urging readers to look beyond surface aesthetics and consider the underlying concepts and influences.

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Key Points from the Text:

1. California modernism, particularly in architecture, spans from around 1920 to 1970, characterized by unique use of materials such as wood, water, and stone, distinct from traditional steel or heavy-duty structures.

2. Architects like Richard Neutra and Rudolph Schindler, influenced by Austrian architecture, played significant roles in shaping California modernism, each with their own distinct styles and philosophies.

3. The book delves into how architects like Neutra were concerned with shaping inhabitants' experiences through the design, believing that architecture had a profound impact on individuals continuously.

4. The Eames, known for their furniture and design, preferred photography and film as they allowed them to control every element without the risk of user alteration, while also influencing viewers subtly.

5. The writing style of the book aims to provide a serious and transparent exploration of California modernist architecture, focusing on the conflicting intentions and deeper meanings behind architectural designs rather than just surface aesthetics.

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Here are some key quotes from the video you :

1. "California Modernism runs from 1920 to about 1970 or so."
2. "A lot of the stylistic identity of mid-century modern emerges from California."
3. "California Modernism is warmer, with a use of wood, water, and stone, rather than steel."
4. "Nora and Neutra studied under Adolf Loos in Vienna, and took his lineage in two different directions."
5. "Neutra was concerned with the long-term impact of his architecture on the inhabitant, shaping them over time."
6. "Schindler focused on spatial concepts and complex, intricate structures."
7. "The Eames shifted their design commitment to photography and film, with a focus on modeling rather than making physical products."
8. "Charles Eames was a reflective and meditative thinker about the practice of architecture."

These key quotes touch on various aspects of architecture, design philosophies, architectural influences, and the creative process.

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Thanks again.

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Okay, professor, it's the 22nd of January,

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it's 5:30 PM in London.

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We're talking about, how does nothing permanent?

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We're talking about modern architecture in California.

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California Modernism.

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Am I kick off by asking you,

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before we get into the big meaty question,

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what actually is California modernism

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in terms of architecture?

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Yeah, so, you know, ma a lot of ca

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what is called California architecture falls under the

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heading of what most people would call mid-century modern.

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Mid-century modern is a general term

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that covers really the world in architecture.

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Um, but a lot of the stylistic, identity

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of mid-century modern emerges from California,

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from the architects that I talk about,

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but California modern specifically, it runs from,

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you know, the 19 really from 1920 to about 1970 or so.

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Uh, and you can kind of bookend it with the lives of,

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of two great architects, the arrival

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of people like Rudolph Schindler

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and Richard Nora into California,

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and then the death of Richard Neutra in 1970.

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But what's specific about the California side

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of the equation is, their use

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of materials is a little different than,

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maybe some other modern architecture.

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It's warmer, so there's a use of wood and water and stone

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and things like that, and not as identified

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with things like, quite as identified with things like steel

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or heavy duty permanence

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of someone like a me vanderau. Really

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Good. Can I ask you then, what

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was the motivation?

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'cause we are talking about a book for the book itself.

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Yeah. Uh, so I grew up in California.

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Uh, I was surrounded by these, these things.

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Not that, not that they meant anything to me,

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but I was around this architecture

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and I went away to study in Chicago,

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and I had a very good, good teacher who when I then returned

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to California,

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after, working at Northwestern for a little while,

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I began to look at this architecture differently.

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And like many people in California

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who are interested in architecture,

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they pick up this guidebook by g Harden winters.

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And I used it and drove around

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to every single remaining structure that was around.

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And this was in 19 97, 19 98.

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And I photographed everything I could find.

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Um, and it wasn't quite as cherished back then. Believe me.

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Um, things have changed dramatically since

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the late nineties.

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Now, I'll add one other thing to that,

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in terms of motivation.

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Um, so I grew up there and it,

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and then I came back to see it in, in a new way.

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But my family's also, Viennese.

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So, the two major architects

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and several others, even, Richard Ttra

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and Rudolph Schindler, both from Vienna.

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So there was a kind of a connection I felt

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to that, to that world,

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A lineage almost.

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So you've said twice, you,

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you see things differently the second time.

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Well, when you embark on this book. In what sense?

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What do you mean? I know that might be the theme

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of the interview, but what do you mean by that?

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Yeah, I, so I think the big problem

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with this under the understanding

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of this architecture is how it's framed.

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Um, and it is framed largely in this kind of MCM

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or mid-century modern, categorical framework.

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Um, and that's kind of a marketing term,

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more than anything so associated with lots of, you know,

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mag design magazines, basically.

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Um, and it has been for quite a while,

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at least since the eighties.

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Um, but I don't think that does much justice,

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to the material.

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So what happened for me is once I started looking at it,

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I started seeing, that it is as complex and divided

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and, you know, conflict ridden

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as any period of great art making.

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And, and I should add that I really do think of this period,

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you know, the really from the 1930s to the 1960s is a kind

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of golden age of architecture, in the 20th century.

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So, but like all golden ages, you know, if you go back

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to the Renaissance, there, there's, there's conflict.

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Um, so the mid-century modern

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as a label really doesn't do justice to the kind of

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core differences that, that drive the,

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mo different kinds of expression there.

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Yeah, really good. Well done so far.

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So in terms of that narrative, I think you've, you've,

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you've touched upon that, but let's just talk about these

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relationships and the philosophical influences of NCHA

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and Schindler and Charles and Rayes.

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What, what impact did they have?

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Yeah, so the, the Schindler

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and Neutra both studied under Adolf, Lois and Vienna.

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And I think one way to describe what's happening

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between those two architects is they're trying to,

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they're competing over the lineage of Los,

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in the United States.

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Both of them were highly productive architects.

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Nore in particular, was extremely productive in ways

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that someone like Adolf Los was not at all.

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Um, but they took different ideas from Los, and,

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and, and kind of,

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took his lineage in two competing

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different, different directions.

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Um, NECHO was much more concerned with time to,

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to simplify matters, much more concerned with the, the,

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the understanding of his architecture over time.

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So his fundamental concern was that it affects you,

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365 days a year, as he says, always continuously.

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It's, I mean, it's actually coming out of, you know,

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the lockdowns.

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You get to know your house very, very well.

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And I think Deutsche was incredibly attuned to the idea

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that your environment shapes you.

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And he meant that in the most literal way, conceivable.

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Whereas Schindler, you know,

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found something very different in Los,

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he was much more interested in the spatial concepts

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that Los, developed.

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So his ideas were more about tr

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that the complexity you can communicate through very,

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very simple materials.

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And for ler, ler really loved the mo the most

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complicated site you can find.

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So if it was on a, a, a site

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that absolutely no one would touch

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with a 10 foot pole on the side of a mountain, in, you know,

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Hollywood, that's gold for him.

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So difficulty is what he, he really thrived in

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and tried to make as complex, intricate,

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structures as possible.

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Whereas noche is all about refinement.

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So that from the beginning to end,

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it's really about refining details until it gets down

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to the one detail that's perfected.

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Um, and that will have this kind of, as he sees it,

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cumulative effect over the inhabitants over time

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and shape them, in fundamental ways.

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Now, I'll just add that ch the, the EAMS is, is a,

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I think if people come at this from another angle,

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they might find it strange to see, Charles

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and Ray Eames as linked in as I, as I do

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with someone like Schindler.

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They did not, Schindler Schindler died in, 52.

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So it's quite young when,

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quite early on in the Eames is queer when they knew him.

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Um, but the, I think that that,

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that the Eames has carried on the tradition that Schindler,

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started much more so than Neutra,

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even though stylistically I think people would think that,

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and they lived, the,

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the Eames is lived in a Nora apartment, so there's a kind

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of common sensical way in which they're linked,

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but in fact, I don't, I actually don't think that helps us

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to understand them much at all. Uh, that, yeah.

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Okay. Take that really good.

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So you spoke about space, you spoke about time.

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How about agency materiality, which you have touched upon,

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but a notion of human experience.

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How does that feed you?

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Yeah, so I, I, there's a long first chapter,

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which is all about,

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really centrally about Nora's conception

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of how materials function.

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And the argument there,

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and this is the argument that I think is, has impact on the,

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on the field as a whole, that is,

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is really not about California modern,

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but about the, the, our collective understanding of

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what architecture means and does.

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So what Nora does, Nora I is in, in California,

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and in 1928, Walter Gropius from the Bauhaus

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arrives into Los Angeles.

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So in May of 28, no Gropius is there visiting

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with Nora in Los Angeles.

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He invites Nora to come back to the Bauhaus.

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And what you see there is, a clarification of one,

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I think fundamental strain within modern architecture

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that derives from a brow house conception

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of architectural making.

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And what does that mean? That means that, as Gropius said,

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architecture controls psychological function.

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So the belief was that the inhabitants agency counts

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for very little, and the architect's

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agency counts for a lot.

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Now, it's not as if they're trying

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to express something with their structures.

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They thought that every shred of the built environment kind

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of rains down on you at all times, molding and shaping you.

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So the core term for this book about this one Bauhaus

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tradition, is human sculpting.

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That's a phrase from Bruno ta that this shape literally

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sculpts you in down to your DNA.

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So there's a lot of discussion about chromosomes.

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And then after, you know, in the mid fifties, DNA

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and then noche was obsessed with the idea

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that you could alter, chromosomes

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or DNA, it goes that kind of far down, in,

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in shaping it inhabitant over time.

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Now, Schindler, the Eames is not nothing about that ever.

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They had no interest in that whatsoever.

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So that's a kind of fundamental dividing line is whether

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architect shapes the inhabitant

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or whether it is the architect that's trying

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to express themselves, not in a kind of expressionistic way,

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but rather get their ideas across

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Well explained. Really good.

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Okay. So back to the book

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or throughout this, we're gonna speak about it, but,

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but in terms of the actual, the book itself,

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visual elements, how do they sort of compliment,

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the textual discussions in your

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Yeah, so one thing that's crucial is the use

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of architectural photography.

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And, I'm grateful that the Getty allows the photographs

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of Jewel Schulman, to be used freely.

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And Schulman was a, is a, a giant figure in this world.

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Um, Schulman's photographs, which many people know,

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and they're, they're the kind of, you know, the, the,

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stylistic calling card of mid-century modern, if you like.

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Um, and, and Schulman is a very great architect.

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What, and so the, the reason I feature the photograph

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and why photography features

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so fundamentally in this book is that, it is the moment

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before the user arrives, Sonora leans on Schulman

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above all, because it gets him a sense of

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what the architecture is before people arrive.

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Because when people arrive, the idea is distorted.

241
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And, the, the idea

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that architectural can is under threat and will not survive.

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Cher's book is called Survival Through Design.

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He really means the survival of the identity, of the idea

245
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of the architecture through its users.

246
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Um, so he is concerned fundamentally about

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how people will mess up, his designs.

248
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There's these amazing, you know, moments

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where he goes into someone's house 30 years later

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and there's a watercolor on the wall,

251
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and he, it draws out how to frame it in particular ways,

252
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so it'll kind of move off the wall.

253
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So when interrupt his architecture, so they'll kind of like

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handling all the way down is, is certainly, part of

255
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what Nora's sensibility is.

256
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So the photographs represent before, the people arrive.

257
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Um, so that, that's really why Noche valued them.

258
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Above all, it, it functions differently with the Ames.

259
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Photography functions differently with the ames,

260
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but it's a kind of related issue.

261
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Um, I can just, I can touch on that.

262
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So with the ees is, the, the, the, the core paradox

263
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with the Eames is, is they start out in

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architecture and furniture.

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So they design a house for themselves, a showroom,

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and of course, most famously their furniture,

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but they really fundamentally shift their design commitments

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to photography and above all film.

269
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So they make over a hundred films, many of which, most

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of which have not been seen.

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And the idea, what they became uncomfortable

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with was producing architecture

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or in, in that sense, anything that could be changed

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or shaped by the user.

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Um, so the, what attracted them to furniture, first of all,

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was it, they called it architecture

277
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or miniature, where you control every single element.

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There's no, they can't get their mitts on it, right?

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You can't hang a watercolor on a furniture.

280
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Um, and film was really the apotheosis of their approach,

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because in that way, there was no alter it ever,

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as they said, it will never erode once it's in the can.

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They said it's fixed forever in the ways

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that architecture was not.

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So what is the paradox,

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as I say about the ES is they in a sense produced a massive

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amount, 10,000, 20,000 photographs

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or the Library of Congress, I mean,

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I don't know if anyone looks at them, but there's thousands

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and thousands of photographs,

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but all of them never in the service

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of making any product, right?

293
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So what they, the, the core term for them becomes modeling.

294
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So the modeling is you do everything up to making the thing.

295
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'cause once you make the thing,

296
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then you impose your, your work on the world.

297
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And then that they, they didn't wanna have any,

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they didn't wanna have that responsibility.

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They were deeply concerned about the idea

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that they would be imposing what they're doing on the world

301
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or not, just kind of the exact opposite.

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His whole point was that you have to mold

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and shape the world, and how are you gonna do that best?

304
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The Eames were like, yes, they agreed.

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In a sense, it will shape the viewer,

306
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and that's why we're not gonna do it.

307
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Brilliant. So you spoke about Prota,

308
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the protagonist throughout the interview.

309
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What about you in terms of your writing

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style in, in the book?

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Can you tell us a bit about how that helps us

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or how it helps readers, reengage with the theory

313
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of California modernist archite?

314
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Yeah, I, I mean, as I say, I think there's been a kind

315
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of disservice to this architecture in the sense that,

316
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that people are not taking it as serious as it was.

317
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So these are very serious, deep thinking people.

318
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Um, you know, neutro is,

319
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a deeply intellectual in his way

320
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and wrote, you know, there's,

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there's a least 20 unpublished books that he, he, he wrote,

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and thought very seriously.

323
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And, but no one takes that very seriously.

324
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Um, the Eames has wrote,

325
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and Charles Eames in particular,

326
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lectured all over the country, all over the world.

327
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I was a deeply kind of, reflective

328
00:14:54.685 --> 00:14:56.885
and meditative thinker about the practice of architecture.

329
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So, in terms of my writing style, I want it to be

330
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as transparent as possible.

331
00:15:00.945 --> 00:15:04.045
Uh, but I also want it to be serious in a way again, that I,

332
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there's really not much of a literature

333
00:15:06.745 --> 00:15:09.965
or narrative about this period except for very kind

334
00:15:09.965 --> 00:15:11.965
of simplistic ones based in style.

335
00:15:15.185 --> 00:15:16.405
That's about all the time we have.

336
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If you told, I was gonna ask you, what do you hope one

337
00:15:18.205 --> 00:15:19.565
of those piffy questions, what do you hope

338
00:15:19.565 --> 00:15:20.765
readers take from the work?

339
00:15:20.905 --> 00:15:22.805
Do you wanna answer that? I mean, do you want to do that?

340
00:15:23.355 --> 00:15:24.725
It's a bit piffy. You don't have to.

341
00:15:25.395 --> 00:15:27.845
Yeah. I mean, if in, in terms of

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what readers should get out of this is, again, to kind

343
00:15:30.365 --> 00:15:33.125
of come back to this work with a sense of the, the

344
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conflicting sets of intentions that define the nature

345
00:15:37.155 --> 00:15:40.155
of this work, that it shouldn't be understood simply in

346
00:15:40.155 --> 00:15:43.475
terms of its stylistic facade dimensions,

347
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but rather in terms of its intent.

348
00:15:44.935 --> 00:15:47.275
So two structures that might look like might

349
00:15:47.345 --> 00:15:48.555
mean very differently.

350
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That's what I hope readers will be attuned to.

351
00:15:51.145 --> 00:15:53.435
Yeah. Brilliant. Lovely. Fantastic. Let's wrap.

352
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Lemme see back on the.

Quick Answers

Title: Unveiling the Essence of California Modern Architecture

00:00:00 - California architecture falls under the heading what most people would call mid-century modern. Mid-century modern is a general term that covers really the world in architecture. but a lot of the stylistic, identity of mid-century modern emerges from California, from the architects that I talk about, but California modern specifically. it runs from, you know, the 19, really from 1920 to about 1970 or so. and you can kind of bookend it with the lives of, of two great architects, the arrival of people like Rudolph Schindler and Richard Nora into California, and then the death of Richard Neutra in 1970.
00:00:36 - of the equation is, their use of materials is a little different than, maybe some other modern architecture. It's warmer, so there's a use of wood and water and stone and things like that, and not as identified with things like, quite as identified with things like steel or heavy duty permanence of someone like a meese vanderau. So I grew up in California. I was surrounded by these, these things, not that, not that they meant anything to me, but I was around this architecture
00:01:08 - and I had a very good, good teacher who when I then returned to California, after, working at Northwestern for a little while, I began to look at this architecture differently. And like many people in California who are interested in architecture, they pick up this guidebook by g Harden winters. And I used it and drove around to every single remaining structure that was around in, this was in 19 97, 19 98. And I photographed everything I could find. and it wasn't quite as cherished back then. Believe me.

"Unveiling the Complexity of Mid-Century Modern Architecture: Beyond the Label"

00:01:40 - the late nineties. Now, I'll add one other thing to that, in terms of motivation. so I grew up there and it, and then I came back to see it and, and new way, but my family's also, Viennese. So, the two major architects and several others, even, Richard Nora and Rudolph Schindler, both from Vienna. So there was a kind of a connection I felt to that, to that world. I think the big problem with this under the understanding
00:02:12 - and it is framed largely in this kind of MCM or mid-century modern, categorical framework. and that's kind of a marketing term, more than anything so associated with lots of, you know, mag design magazines, basically. and it has been for quite a while, at least since the eighties. but I don't think that does much justice, to the material. So what happened for me is once I started looking at it, I started seeing, that it is as complex and divided
00:02:45 - as any period of great art making. And, and I should add that I really do think of this period. You know, the really, from the 1930s to the 1960s is a kind of golden age of architecture, in the 20th century. So, but like all golden ages, you know, if you go back to the Renaissance, there, there's, there's conflict. so the mid-century modern as a label really doesn't do justice to the kind of core differences that, that drive the, mo different kinds of expression there.

Title: Architectural Competitions and Contrasts: Nora and Schindler's Battle over the Legacy of Los

00:03:16 - Lois and Vienna. And I think one way to describe what's happening between those two architects is they're trying to, they're competing over the lineage of Los, in the United States. Both of them were highly productive architects. Nora in particular, was extremely productive in ways that someone like Adolf Los was not at all. but they took different ideas from Los, and, and, and kind of, took his lineage into competing
00:03:46 - NECHO was much more concerned with time to, to simplify matters, much more concerned with the, the, the understanding of his architecture over time. So his fundamental concern was that it affects you, 365 days a year, as he says. continuously. It's, I mean, it's actually coming out of, you know, the lockdowns. You get to know your house very, very well. And I think Deutsche was incredibly attuned to the idea that your environment shapes you. And he meant that in the most literal way, conceivable,
00:04:19 - found something very different in lows. He was much more interested in the spatial concepts that lows, developed. So his ideas were more about tr that the complexity you can communicate through very, very simple materials, and for Shin really loved the mo the most complicated site you can find. So if it was on a, a, a site that absolutely no one would touch with a 10 foot pole on the side of a mountain, in, you know, Hollywood, that's gold for him. So difficulty is what he, he really thrived in

"Refinement vs. Tradition: The Architectural Legacy of Neutra, Eames, and Schindler"

00:04:51 - structures as possible. Whereas noche is all about refinement. So that from the beginning to end, it's really about refining details until it gets down to the one detail that's perfected and that will have this kind of, as he sees it, cumulative effect over the inhabitants over time and shape them, in fundamental ways. Now, I'll just add that ch the, the Eames is, is this, I think if people come at this from another angle, they might find it strange to see, Charles
00:05:22 - as I do with someone like Schindler. They did not, Schindler died in, 52. So it's quite young when, quite early on in the Eames is queer when they knew him. but I think that that, that the Eames has carried on the tradition that Schindler, started much more so than Neutra, even though stylistically I think people would think that, and they lived, the, the Eames is lived in a Nora apartment, so there's a kind of common sensical way in which they're linked,
00:05:53 - to understand them much at all. There's the long first chapter, which is all about, really centrally about Nora's conception of how materials function. And the argument there, and this is the argument that I think is, has impact on the, on the field as a whole, that is, is really not about California modern, but about the, the, our collective understanding of what architecture means and does. So what Nora does, noche is in California, and in 1928, Walter Gropius from the Bauhaus arrives into Los Angeles.

"Human Sculpting in Modern Architecture: The Bauhaus Influence and Intent in Architectural Making"

00:06:25 - with Nora in Los Angeles. He invites noche to come back to the Bauhaus. And what you see there is, a clarification of one, I think fundamental strain within modern architecture that derives from a brow house conception of architectural making. And what does that mean? That means that, as Gropius said, architecture controls psychological function. So the belief was that the inhabitants agency counts
00:06:54 - agency counts for a lot. Now, it's not as if they're trying to express something with their structures. They thought that every shred of the built environment kind of reigns down on you at all times, molding and shaping you. So the core term for this book about this one Bauhaus tradition, is human sculpting. That's a phrase from Bruno ta that this shape literally sculpts you in down to your DNA. So there's a lot of discussion about chromosomes. And then after, you know, in the mid fifties, DNA
00:07:25 - that you could alter, chromosomes or DNA, it goes that kind of far down, in, in shaping the inhabitant over time. Now, Schindler, the Eames is thought nothing about that ever. They have no interest in that whatsoever. So that's a kind of fundamental dividing line is whether architect shapes the inhabitant or whether it is the architect that's trying to express themselves, not in a kind of expressionistic way, but rather get their ideas across. I'm grateful that the Getty allows the photographs

Title: "Schulman's Photographs: Capturing the Essence of Mid-Century Modern Architecture"

00:07:56 - And Schulman was a, a, a giant figure in this world. Schulman's photographs, which many people know, and they're, they're the kind of, you know, the, the, stylistic calling card of mid-century modern, if you like. and, and Schulman is a very great architect. What, and so the, the reason I feature the photograph and why photography features so fundamentally in this book is that, it is the moment before the user arrives. So Nora leans on Schulman above all,
00:08:28 - before people arrive. Because when people arrive, the idea is distorted. And, the, the idea that architectural can is under threat and will not survive. Cher's book is called Survival Through Design. He really means the survival of the identity, of the idea of the architecture through its users. so he is concerned fundamentally about how people will mess up, his designs. There's these amazing, you know, moments
00:09:01 - and there's a watercolor on the wall, and he, it draws out how to frame it in particular ways, so it'll kind of move off the wall. So when interrupt his architecture, so they'll kind of like handling all the way down is certainly, part of what Che's sensibility is. So the photographs represent before, the people arrive. so that, that's really why noche valued them. Above all, it, it functions differently with the Aimes photography functions differently,

Title: "Evolution of Design Principles: Eames' Transition from Architecture to Film"

00:09:32 - The core paradox with the Aimes is, is they start out in architecture and furniture. So they design a house for themselves, a showroom, and of course, most famously their furniture, but they really fundamentally shift their design commitments to photography and above all film. So they make over a hundred films, many of which, most of which have not been seen. And the idea, what they became uncomfortable with was producing architecture,
00:10:02 - that could be changed or shaped by the user. so the, what attracted them to furniture, first of all, was they called it architecture miniature, where you control every single element. There's no, they can't get their mitts on it, right? You can't hang a watercolor on a furniture. and film was really the apotheosis of their approach, because in that way, there was no alter it ever, as they said, it will never erode once it's in the can said it's fixed forever in the ways that architecture was not.
00:10:37 - in a sense produced a massive amount, 10,000, 20,000 photographs or the Library of Congress. I mean, I don't know if anyone looks at them. There's thousands and thousands of photographs, but all of them never in the service of making any product, right? So what they, the, the core term for them becomes modeling. So the modeling is you do everything up to making the thing. 'cause once you make the thing, then you impose your, your work on the world. And then that they, they didn't want to have any,

"The Deep Thinking and Intentionality Behind Mid-Century Modern Architecture"

00:11:07 - They were deeply concerned about the idea that they would be imposing what they're doing on the world, or nor just kind of the exact opposite. His whole point was that you have to mold and shape the world, and how are you gonna do that best? The Eames were like, yes, they agreed in a sense it will shape the viewer, and that's why we're not gonna do it. I think there's been a kind of disservice to this architecture in the sense that people are not taking it as serious as it was. So these are very serious, deep thinking people.
00:11:40 - and wrote, you know, there's, there's at least 20 unpublished books that he, he, he wrote, and thought very seriously. And, but no one takes that very seriously. the Eames is wrote, and Charles Eames in particular lectured all over the country, all over the world. I was a deeply kind of, reflective and meditative thinker about the practice of architecture. So in terms of my writing style, I want it to be as transparent as possible.
00:12:09 - that there's really not much of a literature or narrative about this period except for very kind of simplistic ones based in style, in terms of what readers should get outta This is, again, to kind of come back to this work with a sense of the, the conflicting sets of intentions that define the nature of this work. That it shouldn't be understood simply in terms of its stylistic facade dimensions, but rather in terms of its intent. So two structures that might look alike might

"Delving Deeper: Unveiling the Intent Behind Mid-Century Modern Architecture in California"

00:12:39 - That's what I hope readers will be attuned to.

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