The next time you're traveling in search of American history, veer a bit off the beaten path to check out these hidden gems that are both architecturally and...
In 2006, when philanthropist and gallerist Shulamit Nazarian bought the famous Smalley House designed by A. Quincy Jones in 1973 on Holmby Hills in Los Angeles, she did not have the house redesigned, only the garden. And even that was a bold move as the garden was also a masterpiece of modernist design originally envisioned by Walter Gropius-trained landscape architect, Garret Eckbo (1910-2000).
Designed by Modernist architects A. Quincy Jones and Whitney R. Smith in 1950, the Shneidman House was added to the LA Historic-Cultural monuments list in 2012. Photo 1 of 17 in A. Quincy Jones and Whitney R. Smith’s Historic Schneidman House Lists for $3.8M.
In 2006, when philanthropist and gallerist Shulamit Nazarian bought the famous Smalley House designed by A. Quincy Jones in 1973 on Holmby Hills in Los Angeles, she did not have the house redesigned, only the garden. And even that was a bold move as the garden was also a masterpiece of modernist design originally envisioned by Walter Gropius-trained landscape architect, Garret Eckbo (1910-2000).
The 1938 A. Quincy Jones House & Studio was designed by the celebrated architect and his then-partner Ruth Schneider. The couple designed the home to sprout organically from the native vegetation on the western slope of L.A.’s Laurel Canyon. Photo 1 of 17 in You Can Rent Architect A. Quincy Jones’s...
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In 2006, when philanthropist and gallerist Shulamit Nazarian bought the famous Smalley House designed by A. Quincy Jones in 1973 on Holmby Hills in Los Angeles, she did not have the house redesigned, only the garden. And even that was a bold move as the garden was also a masterpiece of modernist design originally envisioned by Walter Gropius-trained landscape architect, Garret Eckbo (1910-2000).
This historic Victorian home for sale is a beauty with Queen Anne and Eastlake details. It is known as the Samuel and Jane E. Brown House. Decades-long owners Sue and Floyd Fish found this house by chance when it had been broken up into apartments. They instantly fell in love with it and have restored the brick Victorian into the stunner you see now.
In 2006, when philanthropist and gallerist Shulamit Nazarian bought the famous Smalley House designed by A. Quincy Jones in 1973 on Holmby Hills in Los Angeles, she did not have the house redesigned, only the garden. And even that was a bold move as the garden was also a masterpiece of modernist design originally envisioned by Walter Gropius-trained landscape architect, Garret Eckbo (1910-2000).
Not a long time ago we told you about architect Cory Buckner and her commitment to preserving a beautiful Mid-century neighborhood in Los Angeles: Crestwood Hills. Today we bring you the story of one of the homes in Crestwood Hills, the Schneidman House designed by A. Quincy Jones.
Explore bo mackison's 16638 photos on Flickr!
The slanted floor-to-ceiling glass walls were designed to mimic the surrounding slope. Photo 5 of 17 in You Can Rent Architect A. Quincy Jones’s Incredibly Charismatic Home and Studio in L.A.. Browse inspirational photos of modern homes.
Not a long time ago we told you about architect Cory Buckner and her commitment to preserving a beautiful Mid-century neighborhood in Los Angeles: Crestwood Hills. Today we bring you the story of one of the homes in Crestwood Hills, the Schneidman House designed by A. Quincy Jones.
The slanted facade and glass wall form a striking interior nook. Built-in shelves flank both sides of the area. Photo 12 of 17 in You Can Rent Architect A. Quincy Jones’s Incredibly Charismatic Home and Studio in L.A.. Browse inspirational photos of modern homes.
Homeowner and gallerist Shulamit Nazarian’s impressive art collection fills the modernist gem
The kitchen is filled with natural light and features modern elements such as the open shelving alongside a retro-looking built-in banquette. A mint green SMEG refrigeration adds to the home's vintage vibe. Tagged: Kitchen, Refrigerator, Wall Oven, Pendant Lighting, and Wood Cabinet.
Homeowner and gallerist Shulamit Nazarian’s impressive art collection fills the modernist gem
The stunning home of artists and teachers Matt and Lyda Kahn was designed for and in conjunction with important members of the Eichler design team inside circle.
This house, built in 1889, is an early design by John Batschy, one of Quincy’s most important architects. The house embraces the massing and details of both the Romanesque Revival and the Queen Anne styles. Queen Anne elements include the octagonal tower, the steeply pitched, irregularly-shaped roofs, and the textured surface treatments. The rough-cut stone, large arch window, and low-relief decorative panels are Romanesque Revival elements. Ezra Best was the founder and president of the E. Best Plumbing and Steam Heating Company. - www.quincyil.gov/PD/Preservation/Landmarks.htm
Homeowner and gallerist Shulamit Nazarian’s impressive art collection fills the modernist gem
In 2006, when philanthropist and gallerist Shulamit Nazarian bought the famous Smalley House designed by A. Quincy Jones in 1973 on Holmby Hills in Los Angeles, she did not have the house redesigned, only the garden. And even that was a bold move as the garden was also a masterpiece of modernist design originally envisioned by Walter Gropius-trained landscape architect, Garret Eckbo (1910-2000).
This 1947 A. Quincy Jones house was the first building in the Mutual Housing Association collective.
The 1938 A. Quincy Jones House & Studio was designed by the celebrated architect and his then-partner Ruth Schneider. The couple designed the home to sprout organically from the native vegetation on the western slope of L.A.’s Laurel Canyon. Photo 1 of 17 in You Can Rent Architect A. Quincy Jones’s...
Not a long time ago we told you about architect Cory Buckner and her commitment to preserving a beautiful Mid-century neighborhood in Los Angeles: Crestwood Hills. Today we bring you the story of one of the homes in Crestwood Hills, the Schneidman House designed by A. Quincy Jones.
rarely seen copies of the original blueprints by A. Quincy Jones recovered from the UCLA archives Photo 22 of 22 in Before & After: Another A. Quincy Jones Eichler Is Returned to its Former Glory in Oakland. Browse inspirational photos of modern homes.
Explore moderns_r_us' 669 photos on Flickr!
Homeowner and gallerist Shulamit Nazarian’s impressive art collection fills the modernist gem
Not a long time ago we told you about architect Cory Buckner and her commitment to preserving a beautiful Mid-century neighborhood in Los Angeles: Crestwood Hills. Today we bring you the story of one of the homes in Crestwood Hills, the Schneidman House designed by A. Quincy Jones.
12444 Rochedale Lane, Los Angeles 3 BD | 3 BA | 2,085 SF | 9,265 SF Lot $3,850,000
Part One: The Exhibition and Catalog from the Hammer Museum A. Quincy Jones Installation Photograph by Brian Forrest. Courtesy Hammer Museum, Los Angeles. I became interested in A. Quincy Jones, FAIA, sometime in the late 1970s because of the modernist tract homes he designed for Joseph Eichler in the Bay Area. In the early 1980s, I bought a monograph about him published by Process in Japan and studied his work more carefully. In 1985, I met his widow (and the editor of the Process book), Elaine Sewell Jones, at the AIA convention in San Francisco. Without realizing it, I found a mentor. When I moved to Los Angeles in 1989, I interviewed Elaine for LA Architect and gave a lecture/tour about Jones’s work for UCLA Extension. For several months, I spent every Friday afternoon at their home, known fondly as the Barn, reviewing images and talking with Elaine. This was my real education in both communications and modern architecture. The Barn Photo: Takashige Ikawa courtesy Fred Fisher and Partners. This summer, UCLA’s Hammer Museum mounted the first museum retrospective devoted to Quincy’s work (curated by San Francisco’s own Jennifer Dunlop Fletcher.) There are many reasons it took so long for him to be recognized in this way. While Quincy, with Elaine’s support and expertise, was very skilled at promoting the work in design publications, he was not looking for fame. He was running a business. As the exhibit suggests, he did not think this work was art, even though it involved artistry. He was happy to collaborate with others and was scrupulous about mentioning those contributions. Perhaps most importantly, his goal was to create not an iconographic photographic image, but a rich experience for the individual as s/he moved through a space from indoors to outdoors and back. A. Quincy Jones and Frederick E. Emmons, Architects. Fairhaven Tract Eichler Homes Model LJ-124, Orange, California, 1961. Photograph by Jason Schmidt, 2012. Courtesy Hammer Museum, Los Angeles. A. Quincy Jones and Frederick E. Emmons, Architects. Milton S. Tyre House, Los Angeles, California, 1951-54. Photograph by Jason Schmidt, 2012. Courtesy Hammer Museum, Los Angeles. A. Quincy Jones and Frederick E. Emmons, Architects. Marvin and Sandy Smalley House, Los Angeles, California, 1969-73. Photograph by Jason Schmidt, 2012. Courtesy Hammer Museum, Los Angeles. Elaine spent the many years I knew her processing Quincy’s enormous archive before sending it over to UCLA. It would be a daunting job for any curator to select a few hundred pieces from an archive that must number in the tens of thousands. Which projects merit mention? Which should be given a lot of space despite a lack of a model? Fletcher was a fine editor for this show. I might have a favorite project that was not included, but with so many completed projects, she has done an excellent job of selecting works that represent either Quincy’s approach or were noteworthy because of an innovation or a client. While it would have been a more varied exhibit with more models, I think that Quincy’s process relied largely on drawings to explore spatial relations and program. The Case Study House Exhibit of 1989, one of the great architecture exhibits about the modern era—indeed, I think it helped launch our renewed interest in mid-century modernism—had two full-scale houses rebuilt and the living room of the Eames House partially rebuilt. It would have been wonderful to have one of Jones’s Atrium model Eichlers in the middle of the show, but I suspect the budget didn’t permit it. Fletcher tries to strike a balance for the viewer who reads plans (i.e. design professionals) and those who do not. There are a lot of photographs, many of them contemporary. The overall effect of the exhibit is humility, which was the hallmark of Quincy’s work. He used to design buildings that almost disappeared so the individual could have a light-filled experience adjacent to nature. A dramatic gesture had to support the experience of place. In the early work, especially the Brody residence of 1948–51, there are a few more flourishes that show a Wrightian influence, but over time, he achieves a more mature and minimal vocabulary. A. Quincy Jones and Associates, Architects. Warner Bros. Records building, Burbank, California, 1971-75. Photograph by Jason Schmidt, 2012. Courtesy Hammer Museum, Los Angeles. A. Quincy Jones, Whitney Smith, and Edgardo Contini, Architects and Engineer. Gross House, Mutual Housing Association (Crestwood Hills), Los Angeles, California, 1946-50. Photograph by Jason Schmidt, 2012. Courtesy Hammer Museum, Los Angeles. A. Quincy Jones and Frederick E. Emmons, Architects. Jones and Emmons office building, Los Angeles, California, 1954-55 (phase 1), 1957-59 (addition). Photograph by Jason Schmidt, 2012. Courtesy Hammer Museum, Los Angeles. The wall text and catalog speak to Quincy’s designing from the inside out. As Elaine told me, he could see the experience that a visitor would have from every room. She used to say something like, “He walked every inch in his mind.” The plan is key to understanding the work. The show might have benefited from a few more notated plans, but then it would be tilted more to the architecture crowd than to the general public. These two sections and single sketch show Quincy's thinking about how an individual experiences space. Photograph by Jason Schmidt, 2012. Courtesy Hammer Museum, Los Angeles. For any student of modern architecture or West Coast culture in the middle of the twentieth century, the accompanying catalog would be a good investment. The format, considerably larger than Cory Buckner’s earlier Phaidon monograph, allows the plans to be read relatively easily. To supplement the several vintage photos on display, the Hammer commissioned Jason Schmidt to record several buildings as they exist currently. Many of the houses have had loving owners who have kept them intact, or in the case of the Gary Cooper residence, tried to return them to their original glory. A. Quincy Jones and Frederick E. Emmons, Architects. Milton S. Tyre House, Los Angeles, California, 1951-54. Transverse section through living room, dining room, and maid’s quarters. Courtesy Charles E. Young Research Library, UCLA Library Special Collections. One of the most telling drawings is a section through Sunnylands, the Annenbergs’ massive estate in Rancho Mirage. In this drawing, you can see Quincy’s idea for the furniture, which was far less opulent than the result. Billy Haines and his associate Ted Graber (who lived in an A. Quincy Jones house) were quite capable of doing restrained work, as their early collaboration at the Brody house shows. In his essay, Mayer Rus explores how the openly gay Haines (well, open for the times) and the more traditional (in appearances at least) Jones built a strong bond. Both individuals celebrated modern innovations, and yet both could bend for the sake of strong-willed clients like the Annenbergs. The next post will be an interview with Fred Fisher, who owns and works in the office designed and occupied by A. Quincy Jones and his partner Fred Emmons. Fisher recently rehabilitated the Jones residence known as the Barn for the artist Lauren Bon. He also renovated the Annenberg Residence, Sunnylands, in Rancho Mirage and designed the new visitors center for the complex, which respects Quincy’s approach, but is of this moment. A. Quincy Jones and Frederick E. Emmons, Architects. St. Michael’s and All Angels Episcopal Church, Studio City, California, 1960-62. Photograph by Jason Schmidt, 2012. Courtesy Hammer Museum, Los Angeles. For more information: http://hammer.ucla.edu/exhibitions/detail/exhibition_id/230 http://www.kennethcaldwell.com/blogdocs/LA-Architect_Elaine-Jones-09-1989.pdf http://designfaith.blogspot.com/2010/09/elaine-kollins-sewell-jones-1917-2010.html
Not a long time ago we told you about architect Cory Buckner and her commitment to preserving a beautiful Mid-century neighborhood in Los Angeles: Crestwood Hills. Today we bring you the story of one of the homes in Crestwood Hills, the Schneidman House designed by A. Quincy Jones.
The iconic building perches above Laurel Canyon
Homeowner and gallerist Shulamit Nazarian’s impressive art collection fills the modernist gem
Homeowner and gallerist Shulamit Nazarian’s impressive art collection fills the modernist gem
It can feel like owning even a house is a pipe dream. But that won’t stop us from daydreaming about the perfect properties, and we're madly in love with these historical homes.
Not a long time ago we told you about architect Cory Buckner and her commitment to preserving a beautiful Mid-century neighborhood in Los Angeles: Crestwood Hills. Today we bring you the story of one of the homes in Crestwood Hills, the Schneidman House designed by A. Quincy Jones.
