Further Travels

19 April – Another day another couple of Frank LW’s. Local architect Frank Henry took us around the quite magnificent 1954 Harold Price House (currently known less prosaically as the U-Haul House for its current owners). Frank had worked with Wright on the concrete block building which was both elegant and eminently liveable. Careful detailing designed to cope with an unforgiving climate and the central canopy roof which seemed to float over the space it protected from the elements, gave the house a unique character.

Then to the First Christian Church which was started in 1950 but completed after his death in 1970. Something of a curate’s egg this one – it suffered perhaps for having been originally designed as part of a campus for a religious community and being adapted for more contemporary worship by a very different type of congregation. Wright was never one to waste a good design if the first client didn’t want it! Iconic Tower.

On then to something very much more modern – the Phoenix Art Museum and, in particular, the recent extension by Tod Williams Billie Tsein Associates (mid 90’s). A good collection of contemporary art well displayed in a series of comfortably interlocking spaces.

The day was rounded off by an enjoyable gathering in the Scottsdale home of (Past Master) Richard and Ann Saxon

20 April – As a prelude to the departure for San Diego and Los Angeles A visit was made to architect Eddie Jones’s Phoenix home (shown above). Arizona’s frequently unforgiving climate and the terrain are the ideal setting for his unique work. Built in 1998 out of rammed earth with walls two feet thick the house was breath-taking and the balustrade-less glass floored walkways and stair were exciting and challenging. Where Jones built, others have followed and he now finds himself surrounded by largely mediocre developments. It was great to hear Eddie talk about construction techniques and design influences.

San Diego’s main claim to architectural glory is the Salk Institute designed by Louis Khan in the 1960’s. 25 years later it was still considered good enough to win the AIA’s coveted ‘long service award’.

Thought by many to be well up among the great modern buildings in the United States it was greatly admired by the group. We were fortunate to gain access (thanks to the family connections of two members of the group) to the laboratory areas and to see at first hand how Khan worked his concept of ‘servant and service spaces’. Beautifully set, imaginatively designed and built with meticulous attention to detail both the original and the (much criticized) extension lived up to expectations.

21 April –On then to Tinsel Town. Los Angeles was to prove a revelation though, it must be said, that we managed to avoid the seedier parts. Sunset Boulevarde was tacky just on a drive through.

First stop the seminal Eames House by Charles and Ray Eames. This was No 8 of a series of 25 homes in the Case Study House Programme dating from the mid 40’s until the early 60’s. The aim of the project was to produce ‘architect designed homes to be built and furnished using techniques and materials derived from the experience of WW2’. The use of prefabricated and off the shelf parts and coloured external panels produced a dwelling in which they lived for many years.

It had a profound influence on a generation of architectural student - particularly those from countries not constrained by tight inner city sites. Despite the establishment of the Eames trust, the house is showing its age. The setting is truly magnificent.

The nearby Stuart Bailey Residence (1946) at Pacific Pallisades by Richard Neutra has been lovingly restored to its simple glory. Sadly, we were unable to gain entry.

LA architect Ray Kappe kindly allowed us to roam all over his 1969 home and studio built on a steep, heavily wooded and watered hillside lot. Six concrete towers provide the earthquake stability for a glass and timber house. Fascinating interconnecting internal spaces and natural materials in strong geometric forms are features of his subsequent houses.

Nothing could be more different than the next site visited – Richard Meier’s Getty Centre (1997). Its 600 acre mountain top setting in the Santa Monica Mountains called for something special and this is what they got. The buildings are in concrete in steel with largely travertine cladding - as near to Meier’s trademark white buildings as he was allowed to get. Acres of glass.

There are five interconnected buildings all using the same palate but with varying geometric forms. While each was interesting, the overall effect was, to this tourist, slightly sterile and overbearing: perhaps rather too theatrical. The highlight was the major landscaping cascading down the hill designed by Robert Irwin – very dramatic and bringing a touch of humanity to the centre as a whole.

Some good art but not, I suspect, a great collection.

More to follow.