Hugh Kaptur is the last living midcentury modern architect in Palm Springs. Working alongside names such as E. Stewart Williams, Donald Wexler, Bill Cody, John Porter Clark, and Albert Frey, he helped give Palm Springs its distinct clean-line, low-rise forms. 

Originally from Detroit, Hugh Kaptur fell in love with Palm Springs while on vacation and never left. As one of the major midcentury modern architects of Palm Springs, his influence is felt all over the Californian town. 

A Love of Design

Kaptur, who credits his mom for his choice of occupation, studied architectural engineering at Lawrence Institute of Technology before joining the Marine Corps. Upon his return to civilian life, he found employment at a nursery. It didn’t take long before he realized this was not what he wanted to do for the rest of his life. His true passion was design. 

Kaptur decided to ask his dad to help get him a job at GM Styling. One of the first GM Styling employees, Victor Kaptur, secured Hugh a job in his division. Although this job only lasted a couple of years, he was able to provide for his family and practice design. 

“Keep the proportions good, keep it pleasing, and it will be noticed through its quiet elegance.” – Hugh Kaptur

Pursuing His Passion

In 1956, Kaptur moved his family to Palm Springs to pursue a career in architecture. He joined Donald Wexler of Wexler and Harrison as an apprentice. Even though he was laid off from this position, he refused to let it stop him. 

Kaptur began practicing architecture in his family garage, creating renderings for other architects. He was also hired by contractors to draw building plans. One of Kaptur’s most famous buildings is the Tahquitz Plaza. A 1970s complex of retail and office space on Palm Springs’ central East Tahquitz Canyon Way, this building has been a landmark destination for locals. Kaptur designed this building with a modernism-meets-Spanish-pueblo style. Appointed as a Class 1 Historic Site, Kaptur himself recently refreshed and restored it.

From Commercial to Residential

While Kaptur created some of Palm Springs most well-known buildings, he is primarily known as a residential architect. Kaptur designed some of Palm Springs’ most notable and beloved homes. A couple of his most famous creations include homes for actors Steve McQueen and William Holden. 

Most of his homes were designed in the typical midcentury modern style- an open plan with flat planes and clean lines. However, he was also influenced by Spanish heritage and the California way of life, also known as “Desert Modernism.” Kaptur’s homes included large glass windows and patios, along with water features (usually pools). 

Yet his most recognized homes aren’t necessarily what makes his work so legendary. Kaptur’s portfolio includes more than 200 homes in the Palm Springs area. Each of these homes is an expression of the quiet elegance his work reflects. 

“I’ve always called it ‘quiet elegance’. Where you can walk into a home and very quietly it shouts at you.”

An Omnipresent Inspiration

In 2014, Kaptur received his very own star on the Palm Springs Walk of Stars and has received many awards. Much of his work can be seen during Modernism Week, and some years there are events in his honor. Kaptur’s work continues to influence Palm Springs and other midcentury modern enthusiasts.

To see examples of Kaptur’s work, click HERE.

Watch Quiet Elegance: The Architecture of Hugh M. Kaptur HERE.

Enjoy Your Own Midcentury Modern Work

Interested in the simplicity and functionality of mid-century modern? Find the perfect piece to begin, or add to, your own art collection, by visiting our GALLERY. We have beautiful, original mid-century modern pieces by Raymond Loewy, Vincent Raney, and many others.

The post Hugh Kaptur: The Architectural Embodiment of the Desert Modern Spirit appeared first on Form Function Art.

While mindful of the struggles of many Americans, yet also keeping an eye on potential overseas sales, Walter Chrysler had a vision for a small, affordable car. Chief Engineer Ken Lee decided to pull in Theodore Pietsch II, a fledgling designer, to create Chrysler’s vision- the Star Car. Sadly, the Star Car never made it to market. Even so, Pietsch’s designs were so good that he was hired to create a whole line of cars and their amenities, launching his career as an automobile designer.

Automobile Appreciation in the Blood

Theodore Pietsch II was born in 1912 to well-known Baltimore architect Theodore Pietsch and his wife Gertrude. Although his father never learned to drive, his mother is rumored to have been the first woman in Baltimore to drive a car. Pietsch’s uncle was also a car enthusiast. Arthur Stanley Zell, president of the Zell Motor Car Company and of Stanley Zell, Inc., was Maryland’s first automobile distributor. 

It seems as though the love of automobiles and design ran deep in Pietsch’s DNA. Pietch was creating two-dimensional drawings for car catalogues in his teens, and later majored in design and mechanical drawing at the Maryland Institute, Baltimore. These drawings, coupled with his education, would land him his first role as an automobile designer.

It Began with Chrysler

After working for Walter Chrysler and Ken Lee for a few years, Pietsch decided it was time to move on to more challenging projects. Over the course of his career, Pietsch worked for almost every major US automaker, including Chrysler, Hudson Motors, Briggs Manufacturing Company, Ford, Studebaker, and American Motors. 

In 1952, the future was looking pretty fantastic during Pietsch’s second stint at Chrysler. Yet when Pietsch received a call from world-renowned designer Raymond Loewy to join him on his Studebaker project, he couldn’t say no. The potential for exciting new challenges was too great to turn down, so Pietsch joined Loewy in his firm and got to work. Studebaker was on the decline, however, and a few years later Pietsch found himself out of work in the automobile industry. 

A Changing Industry

Even though Pietsch was able to find auto design work again, the industry had changed so much that he found himself exceedingly unhappy and it began to affect his health. It was then that he decided to retire.

Regardless of how he ended his automotive career, his creations and designs were essential to the industry as a whole. Out of his limitless enthusiasm for automotive design and his creative genius, he was well-admired in the auto industry.

Leaving a Legacy

Thanks to his son, Theodore Pietsch III, Pietsch’s work has been catalogued and now resides at the Wolfsonian Institute. If you would like to peruse Pietsch’s sketches and other works, you can browse the catalogue.

Also, if you would like more information on Pietsch’s personal story, Theodore Pietsch III wrote his father’s biography, available for purchase on Amazon.

Best of all, if you would like to add a Theodore Pietsch II original work to your own personal collection, you can find two of his pieces here. 

Enhance Your Collection

If you are looking for the perfect mid-century modern piece to begin, or add to, your own art collection, visit our GALLERY. We have beautiful, original pieces by Raymond Loewy, Vincent Raney, and many others.

The post Theodore Pietsch: From Trimming Blueprints to Automobile Design appeared first on Form Function Art.

If you have ever wanted a taste of the midcentury modern life or an excuse to visit Palm Springs, then Modernism Week’s Fall Preview is the perfect occasion. While Modernism Week won’t happen again until February 2020, this “mini-Modernism Week” is another chance to “celebrate and foster appreciation of midcentury architecture and design.”

Discover Midcentury Modern Architecture in Palm Springs

Modernism Week is dedicated to the education, preservation and sustainable modern living as represented in the Palm Springs area. Fall Preview does the same.

A slightly smaller-scale version of the February event, Fall Preview includes more than 50 events, from talks to tours to parties. This 4 day series of experiences is made for the midcentury modern aficionado. Not to mention, some of these events will be held in unique locations not regularly open to the public.

Reviving a William F. Cody Original

As a prominent architect in the Palm Springs area, William F. Cody was well-known for his hotel designs as well as his “contemporary residential commissions.” One of these residential commissions, The Fillmore Crank-Beverly Garland House has been recently rediscovered and restored. This home will be receiving landmark designation by the Indian Wells Historic Preservation Foundation around the same time as Fall Preview. A very lucky few Modernism Week Fall Preview Attendees will be able to tour the Crank-Garland house. Read more about the history, renovation, and preservation of this spectacular home here.

Empowering Future Architects and Designers

Modernism Week is more than a parade of homes. Started by local architecture and design enthusiasts in Palm Springs, this event showcases the city’s acclaimed mid-century architecture. Beginning in 2009, Modernism Week became a California 501 (c) (3) non-profit organization, providing an annual Scholarship Program for local high school seniors pursuing a degree in architecture and design. Modernism Week also provides financial support to local and state preservation organizations, along with neighborhood groups, that seek to preserve modernist architecture in California.

Join Other MCM Enthusiasts

Whether you go in October or wait until February, you won’t want to miss Modernism Week. For more information on how to attend, visit their website!

Create Your Own Midcentury Modern Architectural Art Collection

If you are looking for the perfect piece to begin, or add to, your own art collection, visit our GALLERY. We have beautiful, original mid-century modern pieces by Raymond Loewy, Vincent Raney, and others.

The post Modernism Week Fall Preview: October 17-20, 2019 appeared first on Form Function Art.

Using pencil and gouache, these stylists brought their visions to life. Every nuance and expression of the artist was captured, imagining automobiles into high-tech transportation devices or into sleek, modern sports cars. Despite the original intent of the automobile being simply to transport people, some people saw them as much more.

The Birth of the Concept Car

Although the first automobiles were an engineering marvel, they were not exactly eye-catching. Henry Ford was more concerned with having their success based on “engineering prowess,” not necessarily their visual appeal.

But after the devastating impact of the Great Depression, on both the economy and the outlook of Americans, one car designer decided to use his Hollywood roots to bring style and excitement to the world of automobiles.

Harley Earl began his career customizing cars for Hollywood stars in his father’s automobile shop. After joining General Motors in 1927, he began the first dedicated design department for an automaker.

Earl’s goal was to provide sleek, unified designs for automobiles. “Earl wanted smooth, flowing lines, with exterior parts ‘built-in’ to the design, blending with the whole,” noted historian Peter Grist.

Realizing the potential for poor designs and ideas to tarnish the great name of General Motors, Earl proposed the idea of the concept car. Instead of producing cars that might be too radical, only one would be produced as a concept car, saving the company money and potential bad publicity.

Although this idea was born before WWII, concept cars didn’t really take off until afterward. And when they did, they really made an impression.

Cars of the Future

After seeing the sleek, sporty cars of Europe, GIs returning from WWII had a major impact on the design of American automobiles. Americans were eager to see more exciting car designs from manufacturers. Some concept cars were updated versions of classics, and some were more cutting edge.

Beginning in 1948 with William B. Stout’s fiberglass “car of the future,” automobile designs became more futuristic. Raymond Loewy’s Studebaker Avanti concept had a unique, streamlined look.

In the 1950’s, concept cars were either “out of this world” or made for people who spent a lot of time in their cars. The Lincoln Futura (modified to be the Batmobile for the 1966 TV series Batman) and Ford Mystere are two of the most recognized concept cars of this time. Their fins and plastic domes gave the impression of driving a rocket down the street. Another well-known concept car is the Chevrolet Bel-Air, seemingly made for enjoying double-features at the drive-in. 

What Makes These So Timeless?

Even though many of these car design sketches were never realized at the production level, they still hold some magic in their pen strokes. These cars were designed with “naïve optimism”, when worries of foreign competition, oil shortages, and environmental regulations didn’t exist. Even more, these are “[works] of art that not only [contain] the height of skill and formal craftsmanship, but also [are combined] with cultural and historical significance,” says Christopher W. Mount. He also says, “the art of drawing by hand has all but disappeared in many of the design professions,” and “these drawings importantly signify a time when artistic skill and expression met beautifully and significantly with America’s most important and defining industry, the automotive industry.”

Add Automotive and Architectural Pieces to Your Collection

Interested in an original “concept car” design? Look no further than right HERE. If you are looking for the perfect mid-century modern piece to begin, or add to, your own art collection, visit our GALLERY. We have beautiful, original pieces by Raymond Loewy, Vincent Raney, and many others.

The post The Mid-Century Concept Car and the Lost Art of Formal Craftsmanship appeared first on Form Function Art.

While domed theaters aren’t the only design Raney created, this particular design is what comes to mind when people hear the name “Vincent Raney”, and for good reason. These theaters were prevalent across the western United States and became an icon of mid-century modern architectural design. However, Vincent Raney did much more than design entertainment venues: he helped soldiers reclaim their civilian lives.

Beginning His Architectural Journey

As a student, Vincent Raney studied at the University of Indiana, the University of Illinois, and the University of Arizona. For a while, Raney worked in Indiana at H.G. Atherton and later went on to work at Frederick H. Reimers, Masten, & Hurd, and William I. Garren in California.

In 1937, he began his own firm. Many of his projects included service stations for the Associated Oil Company of San Francisco, but his specialty was creating multiplex theaters for Snyfy Enterprises. A few of Raney’s theaters are still in use, one of which is the BAL Theatre in San Leandro, California.

Creating a Modern Marvel

Inspired by the Cinerama Theater in Los Angeles, Raney agreed to build a theater that would define the Century Theaters brand until the 21^st century. In 1964, Century 21 Theater opened in San Jose, California. Its dome shape was uniquely futuristic, but what’s more fascinating is that it was built on his own land and right beside the infamous Winchester Mystery House. Further down the road, Century 22 and 23 were built.

These theaters boasted a giant, curved widescreen- an experience that delighted both Hollywood directors and movie patrons. While his first domed theaters were built in San Jose, the design became popular in many states.

Unfortunately, many of these theaters have been torn down to make room for more modern developments. However, there are a couple still standing. One is Stargazers Theatre in Colorado Springs, Colorado that is still in operation, but as a premier live music venue. The original, Century 21, is also still standing, but sadly is in quite a state of disrepair. It is possible that this iconic part of San Jose history may be incorporated into the modern development that the city has proposed to be built around it.

More than Entertainment

While Raney may be best known for his domed theaters, he was also heavily invested in creating tract housing, which was affordable housing for GIs returning from WWII. In addition, Raney also designed a home in 1939 for the Golden Gate International Exposition on Treasure Island. To encourage home building and home buying after the Great Depression, this house was sold in a raffle with tickets costing $1. In 2004, this design sold for $845,000.

Outside of his passion for architecture, Raney was also a proficient aviator. Not only did he own his own airplane, but was also a member of the Sheriff’s Air Squadron.

Leaving a Legacy

Although he passed away in 2001, his influence lives on. Whether you visit one of his designs in person or enjoy them from your home or office, his careful attention to detail will leave you in awe.

If you are looking for the perfect piece to begin, or add to, your own art collection, visit our GALLERY. We have beautiful, original mid-century modern pieces by Vincent Raney, Raymond Loewy, and others.

The post Architect Highlight: Vincent Raney appeared first on Form Function Art.

Even in our beloved collectibles and antiques market, the tides are turning. It seems as though the value of pre-20th-century antiques has declined dramatically, in addition to more modern pieces. Some people say it is the end of collectibles, while some believe it is just a trend. We here at Form Function Art believe the latter.

So, What’s Really Going On?

Many antiques dealers are abandoning the “solely antiques” storefront for a mix and match venue, filled with both valuable collectibles and modern art. One such example is Todd Merrill of Todd Merrill Studio (formerly Todd Merrill Antiques). He states that custom-made pieces by living designer-artisans are now 70 to 80 percent of their business. “It’s a big behavioral change for the trade, for collectors, and for dealers. We’re not buying things on the secondary market for resale. We’re presenting artists and representing them like an agent.”

There are several reasons for this behavioral change.

1. The Great Recession of 2008. This huge economic downturn left many without expendable income. Where people used to pop into antique stores and buy whatever caught their eye, now people simply can’t afford to spend money on things that aren’t absolutely necessary.
2. The Minimalist Movement. Many Gen Xers and Millennials simply have no interest in “dust catchers” and are choosing to live with less “stuff” to create a sense of freedom in their lives.
3. Smaller Living Spaces. Due to economic circumstances, many people (especially young people) are forced to live in small apartments/homes, or even with their parents. There is also the Tiny House Movement that correlates with minimalism, where people are choosing to live in 100-400 sq. ft. homes to save money.

The Case for Collectibles

While these may seem like unsurmountable odds, we remain optimistic. History shows us that it can, in fact, repeat itself. The market ebbs and flows, fluctuating between bear and bull, hitting everything in between. Trends go out of style, then make a comeback 20 years later. One political party has the majority, and then the pendulum swings the other way.

We believe this is the case for collectibles. Many people are still looking for eclectic pieces to combine with their modern décor, creating a unique feel in their homes. According to Jamie Drake, a New York interior designer, a home without antiques “would be like a sentence without punctuation.”

The mass-produced décor of today simply doesn’t come with the same quality as something hand-crafted by a master. Take our Loewy originals, for example. Raymond Loewy was a visionary, an incredibly talented designer and artist. His designs are known the world over, from the S-1 Locomotive to the Skylab to Air Force One. Yet he only produced and signed a certain number of lithographs of these iconic designs. Owning one of these is like owning a piece of history.

While we cannot predict when this trend will end, we believe wholeheartedly that the market for collectibles will indeed rise again.

Invest in Your Collection Now

What better time to invest in original pieces? If you are looking for the perfect piece to begin, or add to, your own art collection, visit our GALLERY. We have beautiful, original mid-century modern pieces by Raymond Loewy, Vincent Raney, and others.

The post The Great Shift in the Collectible Arts Market appeared first on Form Function Art.

Despite its distinctive design, the Avanti is a luxury vehicle (originally produced by the Studebaker Corporation) that now remains only in the garages of collectors. Its history, although short, confirms that the Avanti was an impressive piece of work created under serious constraints.

The Rise, Fall, and Resurrection of Studebaker

Beginning as a blacksmith shop in 1852, the Studebaker Corporation entered the auto industry in 1902. During its peak, Studebaker acquired luxury carmaker Pierce-Arrow and produced several vehicles, including the Erskine and Rockne. Studebaker competed with the big names until 1933, when it succumbed to the devastation of the Great Depression and filed for bankruptcy.

New Management, New Designs

Later that year, Studebaker got back on track with new management at the helm. With Sherwood Egbert as the new owner, they sold Pierce-Arrow and made other consolidation moves to revive the company. In addition to the financial “housekeeping”, Studebaker decided to employ a new designer- one that would bring the company back from the brink. Egbert contracted with Raymond Loewy to create new, exciting designs to entice customers to welcome Studebaker vehicles back into their driveways.

While working with Studebaker, Loewy designed two of their most popular models– the Starlight and the Starliner. Because his previous designs were so well-received by the public, Loewy was asked to create what Egbert hoped would be a huge money-maker for Studebaker.

The Attempt to Move Studebaker Forward

There was no time to waste. Studebaker needed something to spice up showrooms and bring cash into the floundering company. Egbert envisioned something sporty and exciting, yet utilizing the frame of the current Studebaker Lark. With these instructions, Egbert gave Loewy exactly 6 weeks to come up with both a design and a full-scale clay model. Loewy quickly put together a design team, locked them away for 16 days in a rented bungalow in Palm Springs, and there the Avanti came into being.

Italian for “forward”, the Avanti demonstrated a much more modern feel and design. For example, the body was made out of fiberglass, not steel. Additionally, the Avanti had a smooth nose with no front grille. Loewy believed them to be too “commonplace”. The Avanti also came standard with front disc brakes. Finally, there was an unusual bump on the left side of the hood. Loewy explained, “If you were on a straight highway standing at the steering wheel, that panel was oriented forward where the roadway would bend with the horizon, parallel to the centerline of the chassis frame. It made the car and driver integral, like the sight of a gun.”

In just under 14 months, this project was completed and production began. Unfortunately, customers became frustrated because of delivery delays, causing slower sales. Egbert’s goal of selling 20,000 in a year fell far short as the Avanti only sold 4,643 over its lifetime. He left the company in 1963 for health reasons, and the Indiana factory shut down a month later. Studebaker officially closed its doors in 1967.

Two Studebaker dealers, Leo Newman, and Nathan Altman bought the rights to the Avanti design and began producing the Avanti II. The Avanti went through another iteration, after being featured in the sci-fi movie GATTACA, before production finally ceased in 2006.

A Loewy Favorite

Raymond Loewy not only designed the Avanti, but he also owned several himself. One he kept at his home in Palm Springs, and the other went to his home in France. It seems as though he was very proud of his creation, even if the masses didn’t fully appreciate it.

Concept as Art

Imagine delighting in the classic design of the Studebaker Avanti when perusing your collection. The artist created a maquette for the Avanti lithograph after his original 1962-1963 design. Using this design as a model, mylar sheets (one for each color), were prepared by Alberto Barrera, under the artist’s direction, and then chemically transferred onto emulsion-coated aluminum lithographic plates at the American Atelier. Silver foil was applied by hot stamping.

Proofs were pulled. Corrections and additions were made by hand to the first proofs by the artist. A second proof was pulled under the supervision of Technical Director, Mauro Guiffreda at the American Atelier. Finally, each print in the edition was inspected and initialed by hand in pencil by Loewy at The American Atelier in December 1978. You can own the Avanti lithograph by checking out the product page.

*An outline of Avanti Motors History

The post Avanti: Studebaker’s Underdog and Loewy’s Personal Vehicle appeared first on Form Function Art.

Here at Form Function Art, we enjoy architectural, industrial, and automotive art and we know a truly great artist when we see one. With over 300 awards and 13 Honorary Degrees, along with a widely published written work, Cesar Pelli is one such artist. This world-renowned architect passed away last week at 92 after a lifetime of changing the horizon, both literally and figuratively.

“I see my buildings as pieces of cities, and in my designs, I try to make them into responsible and contributing citizens.”  – Cesar Pelli

From the Plains of Argentina to the Plains of the US

As a young man in Argentina, Cesar Pelli’s parents encouraged his love for reading, math, art, and construction. When the time came to choose a career path, Pelli discovered that architecture incorporated his passion for both art and history. Pelli studied at the Universidad Nacional de Tucumán for a few years, then received a nine-month fellowship at the University of Illinois at Urbana-Champaign. During this time, his wife became pregnant with their first child. Pelli then secured a spot working with one of the most prominent architects of his era. Needless to say, the United States became his home.

Saarinen’s Apprentice

Eero Saarinen is well-known for “pushing material and aesthetic boundaries”, working in both furniture and architecture. It was at Saarinen’s firm that Pelli embraced Saarinen’s emphasis on lean, unified exteriors. This deeply impacted Mr. Pelli’s view of what he described as the “skin” of his designs, for which he would later become famous.

During this time, Pelli was challenged to create something beautiful out of the necessary structural elements of the TWA Flight Center at John F. Kennedy National Airport (can we add a link to this?). The resulting gull-winged building with its flowing lines has been delighting and inspiring travelers since its completion in 1962.

After a decade at Saarinen’s firm, Pelli decided to capitalize on the “explosive growth and experimentation for builders in Southern California.” He then took a job at the architectural firm DMJM.

Trailblazing with Glass

At DMJM Pelli experienced creative freedom, although within the boundaries of time and budget. It was here that Pelli executed his experiments with different glass facades. Some of his most famous projects during this time were the Pacific Design Center, San Bernardino City Hall, and the Federal Aviation Administration Building. Each of these buildings are admired and recognized because of their mirrored glass that reflects the cityscapes around them.

Beginning in 1976, Pelli experienced a busy and exciting season. He became Dean of Yale’s school of architecture, won a commission to expand and renovate the Museum of Modern Art (MoMA) in New York City, and began his own architectural firm. While his redesign of the MoMA Building was not a universal success, it launched his firm into the commercial architecture space.

“In my opinion, a tall building has to have a crown, it has to end on something that suggests that the building is in dialogue with the sky.”

Buildings in Dialogue with the Sky

One of his firm’s most notable projects is the Petronas Towers in Kuala Lumpur, Malaysia. These dual towers, at 1,483 feet, held the title of World’s Tallest Building from 1998-2004. While he was proud of this feat, his greatest accomplishment for this project was incorporating geometric patterns and aesthetics central to Malaysia and Islamic culture. The Petronas Towers are linked by a sky bridge about 500 feet in the air. Although practical in function, the sky bridge also serves a cultural purpose. Not only does the bridge provide an extra means of egress, it also forms what seems to be a gate. In Asian cultures, this symbolizes a portal to a higher world.

“Many architects will go to other countries and design an American building, and I believe that is a mistake. One needs to respect the country or the other place, otherwise, all of our cities end up looking the same…We wanted to make a building that is looking towards the future but with roots in the past.”

In 1995, the American Institute of Architects awarded Pelli the Gold Medal for the Petronas Towers. His dedication to preserving culture and inspiring people are central to his success.

A Legacy Lives On

Upon inheriting his father’s love of architecture, Rafael Pelli began working at his father’s firm Pelli Clarke Pelli. He now leads the company forward in designing buildings that capture cultures, emotions, and the skyline. If you would like to see more of Pelli’s work, this article highlights some of his most recognizable buildings.

Add Architectural and Industrial Pieces to Your Collection

If you are looking for the perfect piece to begin, or add to, your own art collection, visit our GALLERY. We have beautiful, original mid-century modern industrial and architectural pieces by Raymond Loewy, Vincent Raney, and others.

The post Remembering Cesar Pelli: Coloring Skylines around the World appeared first on Form Function Art.

While Charles was a pioneer in his own right, he delighted in giving his wife, Ray, the credit she deserved for their work- “Anything I can do, Ray can do better.” Ray’s artistic ability, coupled with her “insatiable curiosity and pleasure in all manner of objects and environments”, led to her notable contributions in furniture, textiles, and architecture of the mid-century.

“What works good is better than what looks good, because what works good lasts.” – Ray Eames

Who is Ray Eames?

Born Ray Kaiser in 1912 in California, Ray was always passionate about art, ballet, and structure. She spent years studying under famous artists, from Lu Duble to Hans Hofmann. However, her mother became ill and Ray left the Hofmann studio to care for her until her death. Afterward, and at the suggestion of a friend, Ray moved to Michigan to join the Cranbrook Academy of Art. This is where she met her partner in life and in art- Charles Eames.

A Match Made in Design Heaven

As Ray began her work at Cranbrook Academy, she partnered with Charles Eames and Eero Saarinen in preparing designs for the Museum of Modern Art’s Organic Furniture Competition. The molded plywood chairs they collaborated on won 2 first prizes. Presently, these chairs are still being manufactured today by Herman Miller and are available for purchase demonstrating the timelessness of the design. Soon after, Charles and Ray married and moved to California where they continued their work.

Commissioned by the Navy

Together, the Eames would take the furniture world by storm and their designs would also aid the United States Navy. During World War II, the US Navy asked Charles and Ray to develop leg splints for injured soldiers. The old leg splints were made entirely of metal and were awkward, heavy, and expensive. However, access to resources and military technology gave the couple a chance to perfect their plywood molding technique. They were able to create truly ergonomic, lightweight, and functional shapes with this technique. Charles and Ray were later asked to create pilots’ seats and stretchers as well. Many lives were saved because of the ingenuity of the Eames.

Designing the Best for the Most

Charles Eames is quoted as once saying, “The role of the designer is that of a very good, thoughtful host anticipating the needs of his guests.” Charles and Ray epitomized this attitude in their molded plastic, fiberglass, and wood shell chairs, in addition to their wire chair. They knew what people wanted from a chair: a simple, yet comfortable form that fits any body and every place. Prominent architectural critic Esther McCoy once called their molded plywood chair “the chair of the century”.

Production of these chairs, along with many other designs by Ray and Charles Eames, was given over to Herman Miller, Inc. where they are still available today.

More than Furniture

Not only did the world of furniture design change, but Ray Eames, along with Charles, had several other ventures. True to their love of all things mid-century modern, the Eames’ California home was part of the Case Study House Program. Additionally, they also opened an experimental design studio, where they produced film, architecture, and their transformational chairs.

Unique Designs that Stand the Test of Time

Ray Eames is most well-known for the molded chairs she and Charles created for offices and homes. Her artistic flair also allowed her to dream up fun and creative children’s furniture. Her most celebrated children’s chair is in the shape of an elephant. The neat, sophisticated lines of this chair make it almost too pretty to sit on. However, this chair has only recently been enjoyed by children. Only 2 prototypes were built in 1946, and had been on display in New York’s Museum of Modern Art until 2007. In celebration of Charles’ 100^th birthday, a limited supply of these elephants were produced in plywood. Soon after, a plastic version was released and has been delighting children all over the world. Ray’s free spirit lives on in the designs that still work, and work well, to this day.

Enjoy Your Own MCM Pieces

Interested in the simplicity and functionality of mid-century modern? Find the perfect piece to begin, or add to, your own art collection, by visiting our GALLERY. We have beautiful, original mid-century modern pieces by Raymond Loewy, Vincent Raney, and many others.

The post Ray Eames: Artist, Furniture Designer and Pioneer appeared first on Form Function Art.

When you think of fast food, what comes to mind? More than likely, it’s McDonald’s. McDonald’s restaurants are undeniably an American classic. Travel into just about any town and you will see the familiar sign inviting you in for a burger and fries. However, McDonald’s is not only known for its food. Believe it or not, it’s also known for its architecture.

Speedee Design

In order to highlight the quick service that made McDonald’s famous, they needed a store design that would both allow for speed of service and catch the attention of hungry customers. The McDonald’s brothers hired Stanley Meson who created the original building design in 1953. Dubbed “The Red and White”, Dick McDonald felt the roof was too flat and had the iconic Golden Arches added. The Red and White design lasted for about 16 years, but some are still operational today.

The Mansard Roof

In 1969, franchisees began transitioning their restaurants over to the Mansard Roof Design. This new adaptation of the traditional Mansard Roof, in contrast to the Red and White, gave a more sophisticated feel to the restaurants. While this style of restaurant is still in existence today, it has undergone many updates since its inception. However, the Golden Arches remain only in the signage.

Upgrading and Modernizing

In recent years, McDonald’s has attempted to rebrand itself to appeal to a younger generation. From McHives to implementing sustainability initiatives, this classic American brand is making some changes for the better.

As a matter of fact, one of these changes is at the McDonald’s global flagship store in Chicago. It is getting a surprisingly modern and clean facelift. No more brown and beige textiles. Instead, Ross Barney Architects have designed this building to include “cordless phone charging, a mini-arboretum with harvestable apple trees, and 27-foot windows to keep them and the whole interior well-lit”.

It appears as though McDonald’s is going back to its mid-century roots. In addition to simplifying operations, the brand is also simplifying its architecture. Time will tell if these changes are enough to reclaim its spot as the top quick-service restaurant. In any case, these new restaurants will look good trying.

Add Industrial and Architectural Pieces to Your Collection

If you are looking for the perfect piece to begin, or add to, your own art collection, visit our GALLERY. We have beautiful, original mid-century modern pieces by Raymond Loewy, Vincent Raney, and others.

The post McDonald’s: Modernizing a Classic appeared first on Form Function Art.