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.

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Image Source – Danny Heller Art

In painting, light is one of the most difficult aspects to capture. Photorealism has an unbelievable way of combining color and light. This fascinating mix of photography and painting has become an interest of mine and has led me to become familiar with photorealists that combine this genre of art with my passion: Mid-Century Modern.

Danny Heller has blown me away with how his pieces are created, and how difficult it is to distinguish whether I am looking at a painting or photograph. His art concentrates on chronicling Modern American imagery, specifically focusing on the architecture, design, and car culture found throughout the nation. He has been kind enough to share his story with me, and I believe you will find it as intriguing as his art.

Eric: Where did you grow up?

Danny: I grew up in the middle of the suburbs – the San Fernando Valley (deemed “America’s Suburb”) – and I never thought much of it. I was young, so I didn’t recognize or appreciate the idea of the suburbs, the post-war boom, the style of homes and buildings around me. It was idyllic, if not a bit bland. The ever-present car culture of the Valley did start to have an influence on me though, and only later would I start to pick up on the fantastic mid-century architecture of SoCal.

Eric: What did your parents do for a living?

Danny: My dad owned his own computer business and my mom split duties, helping him out and taking care of my brother and me. I didn’t know it at the time, but I was actually learning from the small business/entrepreneur mentality that my family had.  This would aid in my success with my own business: my art.

Eric: How did you get started in the art business?

Danny: I got started by entering a group art show contest on a whim. I had been painting in the evenings after my day job, ever since I graduated from college two years prior. Not only did two of my paintings get into the show, but they both sold. After that group show, I was given a solo show, which had considerable success. One show led to another and one success led to another, giving me the confidence, as well as the financial means, to do art full time.

Eric: What was the first piece of art you purchased?

Danny: I grew up middle class and purchasing original art wasn’t really an option or a standard thing to do. However, I was obsessed with comic books – my first real exposure to artwork. Needless to say, they were a good price point and I could see a lot of fantastic drawings by collecting them.

Eric: Why did you become a photorealist artist?

Danny: When I started out, I realized that I had a slight edge over other artists if I could portray something realistically. It worked out for me because I was hoping to portray things in a way that people would recognize them and appreciate them, almost like a documentarian. I also found that photo-realistic paintings allowed the viewer to instantly enter them, and perhaps stay longer looking at them.

Eric: Did you encounter any obstacles in the creation of your business?

Danny: Yes, many! An artist never jumps into the gallery world, fully formed and in the position to set prices that they can realistically live off of. So I had to work someday jobs for years while my paintings started to sell and I became a stronger artist. And then the Great Recession hit! Talk about struggles…I was let go of my day jobs and that forced me to go full-time into my art. However, the recession caught up to my collectors years later and so I had to go back to day jobs in order to pay the bills. Thankfully that didn’t last long and things bounced back. Aside from that, there are always the administrative things I need to learn and perfect, while simultaneously focusing on my artwork and growing as an artist.

Eric: How did you land on “Modern American architecture, design & car culture” as a focus?

Danny: Like I said, I grew up in the suburbs of Los Angeles, around some great mid-century architecture and a classic car scene, however, I didn’t recognize it at the time.  When I returned home after college at UC Santa Barbara, I started picking up on the “culture” of suburbia. I would recognize the feel of it in movies like “Edward Scissor Hands” and TV shows like “The Brady Bunch.” I realized there was a visual language there that was only beginning to be explored. Eventually, I started doing paintings of the post-war tract homes around me, mixed with the classic car culture. Eventually, that lead to the more high-designed mid-century tracts like the Eichlers in my town. Once I started painting them and learning about them, I never looked back. They were so dynamic and yet understated. I really landed on something big – something that was only beginning to be appreciated and rediscovered by society at large.

Eric: Has your taste evolved over the years as an artist?

Danny: Definitely! I’m still obsessed with mid-century architecture and classic cars, however, my interests have led me to different facets of Modernism. I started out painting strictly suburban houses, but that led to the Googie architecture of the LAX Theme Building. After dipping my toes in the commercial world of Modernism, I thought a series focusing on mid-century office buildings would be interesting, which led to a show on Downtown LA’s mid-century landscape. From there, I’ve done many series on Modernism found throughout New York, as I’ve started exhibiting out there.

Eric: What do you wish you had known when you started out?

Danny: Budget your money! Seriously though, I wish my teachers had been more realistic about being an artist. Maybe telling me there’s no shame in working day jobs to support my art. Also, I wish I had known to position myself better: right now I show in three galleries in three different cities. This allows me to not over-saturate a specific market and even weather some downturns in specific regions by diversifying my locations.

Eric: Who inspires you the most in the art world?

Danny: I’m a huge fan of Josh Agle (Shag). Not only do I love his wonderful mid-century-focused artwork, but how he conducts himself and his business. He’s managed to create a whole world in his art, while still reflecting the world around him. He’s branched off into products as well, carrying over the themes and aesthetics of his paintings into three-dimensional objects that delight and inspire in the real world.

Eric: What’s your go-to meal at your favorite hometown restaurant?

Danny: Since growing up in the suburbs, my wife and I moved down to the mid-century mecca of Palm Springs. It’s great because there are some amazing mid-century restaurants that are still around – restaurants that Sinatra and the like used to frequent.  One of them with a Modern-meets-Miami flare is the Tropicale restaurant which serves the best burger in the desert. Imagine sitting in a beautiful clamshell booth, light jazz music in the background, but chowing down on a huge, messy burger. Very old-school.

Eric: What’s one thing you can’t stop talking about?

Danny: That would probably have to be Disneyland. My wife and I are fanatics! It has such an interesting history originating in mid-century American design. There are still remnants of that great mid-century aesthetic still there if you know where to look. Not to mention all of the animation had a strong impact on me growing up, which probably still affects me and my art today.

Want your own Photorealistic Painting from Danny?

If you would like to find out more about Danny and his incredible art, you can visit his website or find him on Facebook, Twitter, and Instagram.

Expand Your Own Mid-Century Modern 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 An Interview with Danny Heller, Owner of Danny Heller Art appeared first on Form Function Art.

It is always a privilege to meet and get to know other mid-century modern art enthusiasts. David Repp and I have gotten to know each other over our shared appreciation for Raymond Loewy’s art and mid-century modern architectural pieces. Even though it was our mutual admiration of architectural art that connected us, his knowledge of the art world has been a tremendous help to me. As I am learning and growing in the art business, he has become somewhat of a mentor for which I am grateful. I believe you will appreciate getting to know him as much as I have.

Eric: Where did you grow up?

David: Cedar Rapids, Iowa

Eric: What did your parents do for a living?

David: My dad was an Electrical Engineer and my mom was a Housewife.

Eric: How did you get started in the art business?

David: I started out collecting for fun. When I began to accumulate more than I needed, I began finding other collectors and sold off some of the inventory. Once I started selling at design shows, I found myself in the business of selling art.

Eric: What was the first piece of art you purchased?

David: A rendering of the Advertising Center Building in San Francisco at Bush & Montgomery Streets in downtown San Francisco by Douglas Dacre Stone.

Eric: Why did you start an art business?

David: I enjoyed finding new art and realized that passing some of it on to other collectors was a way to prune the collection and acquire the means to obtain new material, which is always exciting.

Eric: Did you encounter any obstacles in the creation of your business?

David: No major obstacles – I had a day job to cover my costs so this was a hobby that eventually evolved into a business.

Eric: How did you land on “architects, antiques and emerging/mid-career contemporary design”?

David: When I landed in San Francisco many years ago, I interviewed for a job with a regional movie theater circuit. On the wall behind the guy interviewing me was a stunning rendering of their flagship theater in Northern California – a wonderful streamline/deco design in charcoal and that made me aware of design art. Once I had some excess time on my hands, I knew what I what to start looking for.

Eric: Has your taste evolved over the years of being in business?

David: My eye and tastes evolved to appreciate more decades and styles of design, as well as entirely different fields of design and not to just look for the obvious pieces. I learned that a quick sketch can be just as desirable as a highly polished piece, even though it took much longer to execute. Eventually, I started looking for artwork by industrial and automotive designers. Just about everything that gets built or manufactured begins as a design on paper and, given enough time to age, will become desirable art.

Eric: What do you wish you had known when you started out?

David: The names of certain designers and architects who were still alive at that point in time.

Eric: Who inspires you the most in the art world?

David: A safe answer to this would be Frank Lloyd Wright. I never had an original work on paper by him but had several artifacts, fragments and the like that I never tired of looking at. I no longer own them but look forward to the next one that crosses my path.

Eric: What’s your go-to meal at your favorite hometown restaurant?

David: Toto’s Pizza in San Bruno on the El Camino Real – ¾ baked light cheese – extra tomato sauce.

Eric: What’s one thing you can’t stop talking about?

David: Art

If you would like to find out more about David and Rediscovered Paper, you can visit his website at www.rediscoveredpaper.com.

Expand Your Own 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 An Interview with David Repp of Rediscovered Paper appeared first on Form Function Art.

Sixty years ago on April 9, 1959, Frank Lloyd Wright passed away in Phoenix, Arizona, at the age of 91. Although the world lost an incredible architect, his work and principles still make this world better and more beautiful.

Chances are, if you ask someone to name a famous architect, they will immediately respond with Frank Lloyd Wright. As one of the most famous architects both nationally and globally, his work and ideas have influenced American architecture for almost a century. Known for embracing change and pushing conceptual and technological boundaries in his field, Wright desired to create truly original American architecture.

The Early Years

As a preacher’s kid, Wright traveled quite a bit growing up. His father moved from one ministry position to another for many years. When Wright was 18 his parents divorced, forcing him to help provide for his family financially. He began studying at the University of Wisconsin and took a job working for the dean of the engineering school. When his studies were complete, Wright moved to Chicago and began working for a prestigious architecture firm.

New Styles of Design

At 22, Wright was married. Excited to build his family home, Wright negotiated a contract with his employer to gain the necessary money. This home in suburban Chicago was modest, yet imaginative, as Wright began experimenting with geometric shapes in its design. Wright began taking residential commissions outside of his normal architectural work, which enabled him to leave his job with the firm and set out on his own.

Home on the Range

Resolute in his mission to create homegrown American architecture, Wright spent sixteen years setting the standards for what became known as the “Prairie Style.” These homes echoed the long, low horizontal prairie on which they were built. With low-pitched roofs, deep overhangs, no attics or basements, and long rows of casement windows, these Prairie Style homes became some of Wright’s most important work.

In Response to the Great Depression

With a deep financial crisis waging war on the American economy, Wright saw the need for more affordable housing. In response to this need, Wright began designing homes that would address both economic trends and cultural changes. This design became known as “Usonian”. With Usonian homes, Americans were able to buy and enjoy homes that were both beautiful and affordable. Wright spent the rest of his career designing Usonian homes for clients with varying budgets.

Architecture that Nourishes Everyman

What made Wright such a notable architect was his passion for creating homes that were “functional, eloquent, and humane”. In addition, Wright felt strongly that architecture was not simply about buildings. Architecture is about nourishing the lives of the people in them. His belief that every person should live a beautiful life in beautiful circumstances led him to create the affordable architecture he is most known for.

Mid-Century Modern Art for Your Collection

If you are looking for the perfect piece to begin your own art collection or add to an existing one, visit our GALLERY. We have beautiful, original mid-century modern architecture pieces that will enrich your art experience.

The post Frank Lloyd Wright: America’s Architect appeared first on Form Function Art.

Known for producing some of the most famous mid-century modern houses in California, the Case Study House Program was created to offer tangible solutions for post-war families. Announced in January 1945, Arts & Architecture would be launching a series of 8 magazines, each featuring a house, to keep itself afloat after recently declaring bankruptcy. Each home would be open to the public for 6-8 weeks, then it would be available as a livable home.

House – Post War

As millions of soldiers returned home from WWII, the United States experienced a housing boom. Americans were still recovering financially and needed housing that was not only functional but affordable. Nationally known architects gathered to discuss the possibilities and create designs to accomplish this goal. Finally, they decided they had talked enough and proceeded to make this new kind of post-war housing available.

The architects involved in this project were chosen, not only for their ability to evaluate housing to be more realistic in terms of need but because they were “reasonable and realistic”. Among them were John Entenza, J.R. Davidson, Richard Neutra, Sumner Spaulding, Eero Saarinen, Charles Eames, William Wilson Wurster, Ralph Rapson, John Rex, Whitney Smith, Pierre Koenig, and Thornton Abell.

Of Practical Assistance

Because the architects were only responsible to the magazine, they were free to build them in the ways they saw as best. However, there were a few stipulations. Each house was to be built in a way that could be duplicated, not as an “individual performance”. Houses were also to be built within a certain budget, which gave accommodations to material price fluctuation. Also, architects could give consideration to new and novel materials and techniques, but they were not required to use them. In addition, they could choose to use or reject materials by national manufacturers. Whatever materials they decided to use, and whichever technique they chose, needed to produce results of the highest caliber.

The Impact of the Case Study Program

While 36 Case Study houses were designed, not all of them were built. They did, however, attract many people to Southern California for the chance to see these modern designs in person. Some of the innovations in these homes have become standard in today’s home design. Open floor plans, sliding glass screens, moving living rooms to the rear of the house, and exposing the structural frame are just a few examples of how Case Study homes shaped architecture going forward.

Although these homes were built to be both affordable and repeatable, they are now going for top dollar. Pierre Koenig’s house, known as either Case Study House 21 or Laurel Canyon, was recently listed for $3.6 million. The last two Case Study Houses 21 and 22, were designed by Pierre Koenig (1925-2004). Even though the Stahl House (#22) is more well known (thanks to Julius Shulman’s iconic night-time photograph), Koenig always regarded the Bailey House (#21) as his best building.”¹

Learn More

I invite you to read more into this fascinating subject with Arts & Architecture’s introduction to the program.  Additionally, you can get a glimpse of Case Study House 21 and Case Study House 22 to see what they look like today.

Add to Your Collection

If you are looking for the perfect piece to create your own art collection or add to an existing one, visit our GALLERY. We have beautiful, original mid-century modern architecture pieces that will enrich your art experience.

¹  JOURNAL†ARTICLE
Case†Study†House†21∫†The†®Re©making†of†a†Collector’s Item
Neil Jackson
Getty†Research†Journal
No. 7 (January 2015), pp. 5366
Published by: The University of Chicago Press on behalf of the J. Paul
Getty Trust
DOI: 10.1086/680734
https://www.jstor.org/stable/10.1086/680734
Page Count: 14

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A Broad Design Spectrum

Because it involves architecture, industrial design, furniture design, and graphic design, discussing Mid-Century design cannot be done in a vacuum.  Originally, this style was popular from approximately 1933-1965. Modern design, in general, began after WW1 and includes the Art Deco era in the 1920s, while Midcentury Modern is more organic, and streamlined and encompasses the 1950s and 1960s. The Modern Movement inspires less clutter and includes only basic elements of living.

Less is More

Without a doubt, “simplicity” is the word most people would use to describe mid-century modern. Architects in this genre were moving away from ornamentation and molding, focusing more on clean lines and raw structure. Also, mid-century modern used flat planes, along with more angular compositions and asymmetrical profiles.  Additionally, this style is centered more on a connection with the outdoors, with large walls and doors made of glass. In the words of William Krisel, “MCM is the same today as it was in the 1950s because it is not a style and is based on solid principles of design and human needs, along with functionalism, respect for the environment, and solving the basic human desires for livability.”

“Have nothing in your house that you do not know to be useful, or believe to be beautiful.”
― William Morris

Form Follows Function

Coined by Louis Sullivan, “form follows function” became a mantra to mid-century architects. While many structures had been built with the intent of being beautiful and (hopefully) giving a name to the designer, mid-century structures were built with the user or inhabitant in mind. We still appreciate architectural beauty today. However, with the rapid pace of 21^st Century life, functionality is more important than ever.

The Greats of the Mid-Century Modern Movement

Most notably, modern architects like Richard Neutra, Ludwig Mies van der Rohe, Charles & Ray Eames, Frank Lloyd Wright, and Frank Gehry have had a major influence on architecture. Their visions have also inspired industrial, furniture, and textile design.

Frank Lloyd Wright’s bold designs are considered some of the most recognizable in the modern movement. Inspired by the flat topography of the Midwest, Wright designed his now-famous Prairie-style architecture. Although Wright did not coin the term “Usonian”, he is the brainchild of Usonian architecture beginning in the late 1920s. Wright believed in the “American Dream” and wanted to design reasonably priced homes for the masses. In addition, he became interested in urban planning.

This Usonian style was his vision of designing modest and affordable one-level homes. They usually did not have a garage and boasted characteristic strong horizontal lines. Every square inch of space of these modest structures was utilized. By incorporating built-in furniture, simple materials, and open floor plans, these buildings were most assuredly functional. Also, Wright introduced prefabrication techniques during this time to lower construction costs. For more about this topic, I suggest you read about Broadacre City.

Although there are volumes of information and a lot of history about Mid-Century Modern design, these characteristics are why I, and many others, enjoy seeing and living with Modern design.

If You Appreciate MCM Architecture

We have the perfect pieces to begin, or add to, your own collection! Visit our GALLERY for beautiful, original pieces that embody the spirit of the mid-century modern style.

OTHER HELPFUL RESOURCES

“The Usonian House I” and “The Usonian Automatic,” The Natural House by Frank Lloyd Wright, Horizon, 1954, pp. 69,70-71m 81, 198-199

“Frank Lloyd Wright On Architecture: Selected Writings (1894-1940), “ Frederick Gutheim, ed., Grosset’s Universal Library, 1941, p.100

Blake, Peter. The Master Builders. Knopf, 1960, pp. 304-305, 366

Chavez, Mark. “Prefabricated Homes,” National Park service, nps.gov [accessed July 17, 2018]

“American System-Built Homes,” Frank Lloyd Wright Foundation, franklloydwright.org July 17, 2018]

Thoughtco.com

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