by Massimiliano Di Bartolomeo
Between Earth and Heaven. The architecture of John Lautner
Edited by Nicholas Olsberg
Rizzoli International, New Yor k 2008 (pp. 234, $ 60.00)
Some buildings outperform their own designers. They
become part of the collective cultural humus, diffused via
popular media systems that lack the filters of academic
status or committed criticism. This may simply be because
they form the backdrop to a successful film or a music star’s
video, or because a top fashion house did their latest photo
shoot there. Some buildings are a bit like those songs whose
chorus everyone knows, but no one can ever remember the
name or face of the singer. John Lautner’s buildings are a
bit like this and perhaps it is no accident.
Lautner spoke of architecture in terms of structural
invention, in which the components of the structure converge
to develop the space. Its inhabitants are mere shadows, to
be left blurred in the background, perhaps that of Acapulco
– surrounded by the unbroken lines that fuse together the
sky, sea and terrace of the Mar Brisas Residence, built in
1973. Lautner was always in search of the spectacular and,
indeed, a certain thread can be discerned between his and
Gehry’s most recent works.
It is therefore no surprise that his buildings, such as
the Chemosphere, could rapidly mutate from dream to
nightmare, albeit a whimsical one. However, the extremism
of a house designed to resemble a UFO, hovering in midair
above a single central mushroom-like pillar, is proof that,
in organic architecture, Wright’s essence is not to be found
in the forms but in the spirit behind them. Zevi stated this
on observing the architecture of Lautner, who was a former
pupil of Frank Lloyd Wright and an interpreter in his own
right of organic design. The substance may lie elsewhere,
far removed from the snapshots of these spectacular buildings
that were so loved by Hollywood film stars and that
still today are perfect and favourite locations for film and
musical productions.
Between Earth and Heaven, a monograph edited by
Nicholas Olsberg, examines the boundaries between form
and substance, design and intuition, artifice and nature in
Lautner’s architecture. His ambiguity is clear in the involuntary
confusion we feel when looking at the photographs
of his built projects and mock-ups. The distinction between
true and fake is not always clear when you have concrete
walls that turn suddenly like pieces of cardboard, and wooden
beams that stretch out like sticks of balsa wood. Even
those living there sometimes look like cardboard cut-outs.
The chapter entitled “Structuring Space” illustrates
projects that show how organic unity does not stem from the
form but rather from the normality with which even the most
refined structural calculation or the most ingenious technological
application yields to the brutal force of nature. In
the Pearlman Mountain Cabin, for example, the tree-trunk
columns are a forest within the forest and seem to have difficulty
in holding up the projecting terrace; in the Walstrom
House, the solids and voids are glass and wood, and the
house seems to carve its spaces directly out of the shrubs
and leaves that surround and penetrate it. It is no coincidence
that Lautner’s designs are based on refined engineering
invention; Hope House looks just like a shell poking out
of the sand of Palm Springs, without revealing the nature
of its structure.
Yet, in these snapshots – which are almost metaphysical,
but then also geometric – you realise that the architecture’s
spectacular effect is produced via human-scale
dimensions. No sudden drops are needed to instil a sense of
the monumental in a cantilever roof or pilework; the comparison
with the landscape is manifested in the symbiotic
relationship between design and nature, observed exclusively
by the onlooker. In this sense, we can perhaps say
that it is the inhabitant who is really behind the camera,
the involuntary photographer of a film that permits no other
presence
It almost signifies a privileged relationship between
architecture, landscape and, finally, the inhabitant. It is
unbelievable if not experienced personally, like a blurred
shadow against the backdrop of the Acapulco seafront.
Lautner and the spectacular
Between Earth and Heaven. The architecture of John LautnerEdited by Nicholas Olsberg Rizzoli International, New Yor k 2008 (pp. 234, $ 60.00) Between Earth and Heaven, a monograph edited by Nicholas Olsberg, examines the boundaries between form and substance, design and intuition, artifice and nature in Lautner’s architecture. His ambiguity is clear in the involuntary confusion we feel when looking at the photographs of his built projects and mock-ups.
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- 03 December 2008