The Glass Box

Case Study #26: Mid Century Masterpiece

Case Study #26, August 2015... exterior side view with its incredible roof line

Tucked away in the rolling hills of Marin County, California is a sleeping giant. The unassuming suburban neighborhood of Peacock Gap leads you to an asphalt driveway with a secret- a slope and a corner which reveals a beauty on the hill overlooking an eternity of oaks and redwoods, and the mountains which lead to the ocean... 

Built near the end of the program, this sweeping, complex, and elegant steel house is one of the renowned group of homes called Case Study. 

Case Study #26 was designed by architect Beverley David Thorne, aka David Thorne, in 1962. Currently at 90 years of age, Thorne is the last surviving Case Study architect.

Predominantly in Los Angeles, and running from 1945-1966, the Case Study program was born out of a desire to express creativity and explore modernism for the masses. Lead by editor John Entenza, who used some of his own money to fund the program, Case Study was sponsored by Arts and Architecture Magazine. The homes were also used as a way of advertising new methods and materials for residential architecture, such as steel, as well as demonstrating the ideal of architecture and its relationship to the environment.

Case Study architects include: A. Quincy Jones, Charles Eames, Craig Ellwood, Eero Saarinen, Pierre Koenig, Raphael S. Soriano, and Richard Neutra

Case Study #26, 1963, aka the Harrison House, was the only home in the program built in Northern California. It has never been on the market until this week. Original owner. Being in the presence of such brilliant architecture was truly awe inspiring.

Case Study Home #26

177 San Marino Drive, San Rafael, CA    asking $1,850,000 

4/2, 1,955 sf, 37,950 sf lot

Designed by Architect Beverley David Thorne, 1962

Original plans for 1,400 sf lower level available with home

Built 1962-63 by Bethlehem Steel 

carport, walls of glass, views, clerestory windows, 800 sf deck

home is intact with minor changes, extremely well maintained

Case Study #26, my first glimpse of this remarkable home

Case Study #26, 1963

back to 2015.... right edge of the carport with magnificent steel posts extended from roof line

original exterior lights, steel post & beam, douglas fir roof deck runs throughout the house- roof deck is made from 2"x6" boards standing on end and sistered together... it's extremely heavy!

Looking left towards the home you can see the two roofs with large clerestory windows creating a  double roof... stunning!

stepping back, looking at the roofs and view beyond

still standing in carport, looking to the right towards entrance

wide angle shot of entrance- aggregate stairs leading to entrance slider... all exterior doors are sliders (as it should be :)

from base of stairs looking up

entering through first slider and a sea of aggregate... heaven!

coming in through entrance slider- livingroom is behind me, kitchen is right, bedrooms are left

now turning around facing the back of the home- kitchen is on the left- looking towards the  entrance vestibule, eating area and kitchen

three floors in this home, the original aggregate is the best!

looking back towards entrance slider... there are several sliders here leading to the living room or kitchen

this eating area is just beyond the entrance and off the kitchen

Eating Area: this cut out was a *site change* decision. it brings in light, creates a drop ceiling effect which gives the eating area a more intimate feel

in the kitchen facing the back of the home. this is not the original, changed by the owner (original owner). looks to be fairly period correct, but probably changed in the 1970's to open up the space...

here's the original kitchen with walnut veneer cabinets... (from Arts and Architecture Magazine, January 1963))

looking back into the kitchen

and the original! (photo courtesy of Arts and Architecture, January 1963)

cool original AM/FM radio & multi-channel intercom in kitchen

little seating area, or second eating area, just off kitchen facing back of the home. Original owner had a wood burning stove here!

going out to the deck and looking back at kitchen with its mitered glass corner- there are two of these corners which were a *site change* when the architect saw the view from the home

turning to look down the massive 800 sf foot deck which runs the entire back length of the house. most rooms have a slider to the deck for maximum indoor/outdoor living. Interestingly, this is not original deck...

this is... wow, an 800 foot aggregate deck! that's what you can do with a steel structure (photo courtesy of Arts and Architecture, 1963)

another shot of the deck outside the kitchen with the second roof coming over

original Sullivan Porter slider door handle! all but one slider is original. Sliders are 8' x 10' and  were custom fabricated to fit between the steel posts.

going back inside, standing in the kitchen sitting area, looking towards dining area and living room

dining area ceiling

dining area from living room

standing in dining area looking into living room (book case is not original- was added later). Another fun fact- the aggregate floor to the right was one place where architect was going to put a spiral staircase if lower level was built...

lovely, original open fireplace

original light fixtures are throughout the home

fireplace from the side with a dropped roof above, makes an intimate space

living room facing the back of the home

living/dining facing the back of the home

living room's large clerestory windows where second roof flies over lower one

going around to the bedroom wing where there are 3- 10" x 10" kid's bedrooms and a Master at the end of the hall... this is one of the kid's rooms. All have sliders to deck, and the view!

ceiling detail in one of the bedrooms. this roof deck runs throughout the entire home. it's made of 2" x 6" Douglas Fir and White Fir boards on end, rough side showing and glued together, appears to have been lightly stained

stepping out of another kid's bedrooms, looking in from the deck

master bath with its inventive corner toilet. both bathrooms have the same fixtures

Master is the last & largest room. has corner window

wide angle shot of Master bedroom deck area & view

deck view from outside of Master

heading back outside to the lower right hand side on the home.. on the same level as the front slider

right side of home, exterior has what looks to be a stucco skim coat

stepping back... right side of the home with upper roof, steel and concrete pillars into hillside

walking back to the house noticing this awesome original door bell!

back next to the home near the kitchen slider... structure above and to the right is the carport

detail of steel near kitchen slider

heading back up the stairs, through the carport and to the driveway... this is where the stairway to the back yard is located (wide angle shot of stairs down to back)

going down the stairs you can see under the house. David Thorne excavated when the home was built in anticipation of the lower level being eventually constructed

back view of the home with a wide angle. lot is graded but mostly unlandscaped

dry, sun drenched earth with a dusting of oak leaves... very Northern CA! this is the back yard (please excuse the sideways orientation- editor is on the fritz :0) 

back view of Case Study #26

David Thorne visiting Case Study #26 in 2015   (photo courtesy of Kathi Elliott)

for you *enthusiasts* out there... some additional historic photos of the home

plans of the home (photo courtesy of David Thorne)

original elevation drawing with proposed lower 1,400 sf level (photo courtesy of David Thorne)

elevation drawing of home as built (photo courtesy of David Thorne) 

Harrison family snapshot of home as it was being built (photo courtesy of Harrison Family and Kathi Elliott)

house construction- Bethlehem Steel worker, 1962-63 (photo courtesy of David Thorne)

steel frame of Case Study #26 (photo courtesy of David Thorne, Bethlehem Steel)

original brochure (photo courtesy of Arts and Architecture, January 1963)

one more view of newly constructed Case Study #26, 1963 (photo courtesy of Arts and Architecture, January 1963)

 

 

**all photos by Suzanne Dunn, The Glass Box unless otherwise noted. Please do not re-post without photo credit and permission. Thank you!!**

 

 

 

Disclaimer: I am not affiliated with any realtor or real estate brokerage. I am not a general contractor or home inspector. I am an Mid Century Modern homeowner with 15 years of renovation experience. Observations on homes are my own and are made during a walk through viewing. Buyers should obtain their own inspection by a qualified home inspector before purchase.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Coffee & Swagg with Redux: Making Eichlers Shine

beautiful pieces staged by Redux in a Concord Eichler recently for sale

The Glass Box is starting a new interview series, profiling those in and around the Eichler communities who have an interesting story to tell...

There was a break in the rain, and as the sun evaporated the clouds I stepped up to a vibrantly painted fire-orange Eichler door, laquered to perfection, for my first Glass Box interview with a splash of coffee.

Redux Stage Co. is dynamic duo! Business partners, good friends, and fellow Eichler owners in the fair city of Concord, Camila Baum and Blaine Siler know their Mid Century Modern. Both Camila & Blaine are passionate about vintage design. Each have been avidly collecting MCM for a number of years, and both Camila and Blaine have had their Eichler homes featured in print- most recently in CA Modern magazine- both Camila & Blaine- and in an upcoming full article in Atomic Ranch magazine- Blaine. 

Camila & Blaine are fun, animated, optionated (in a good way), knowledgable, and have flawless taste in design. Each have their own style of interior decorating which blends perfectly.  They turn a critical eye to everything they do to find the balance- an essential quality in a designer. They also make a lot out of very little, essential for a stager.

I've been impressed by the houses they have completed so far. They've turned shells into fully formed homes, selling the ideal of the MCM lifestyle with great success. And the reuslts are in... Redux's staged homes have flown into escrow at lightening speed.  

So- let's meet Camila & Blaine...

The Glass Box: What was your earliest memory of Mid Century Modern? 

Camila Baum: Watching classic movies on KQED in SF. We didn't have cable growing up. I think it was Auntie Mame with Rosalind Russell not the remake with Lucille Ball (don't get that mixed up) haha- I remember a scene with fab modern furniture, I wanted to live in her fancy New York apartment!

Blaine Siler: My grandma was something of a modernist, although her collection included one of those horrible naked lady oil drip hanging lamps, she also had a witco-esque sofa size art above her sofa and other super cool mid century wall hangings, I wish I had. 

 

GB: Did you have a favorite object as a kid? 

Camila: I was a comic book nerd, I collected Marvel trading cards, I was really drawn (get it) to the bold colors in comics.

Blaine: I liked my orange suitcase style record player very much.

 

GB: When and where did you start collecting vintage? 

Camila: When I was 18 I would go to the Alemany Flea Market in San Francisco, my first purchases were vintage pulp novels that I would never read i just liked the cover art, also vintage fashion magazines. 

Blaine: I remember being super into this place called "Gladrags" in Saginaw Michigan when I was 14 or 15, it was mostly vintage clothes but the shop owner had such cool vintage style. That may have been where my addiction started. 

GB: What's the best thing you've ever scored off of ebay/craigslist? 

Camila: My house. Long story short after a failed offer in Rancho del Diablo, I was on Craigslist and found an Eichler for rent in RDLS for $1,950 for the whole house! We thought that was such a great deal on a rental that we decided to stop looking to buy, and see if we would even like living in Concord. A few months into moving in the owners decided to sell and we swooped in!

Blaine: I think last week's purchase of 4 teak 1970's Herman Miller DCM's for $600 was pretty damn good!

 

GB: If you could you find your mystical-dream piece of furniture sitting on the side of the road with a *free* sign taped to it, what would it be?

Camila: A Drexel Suncoast hutch with the starburst design glass or the front panels.

Blaine: Duh...A Pierre Paulin Tongue lounge.

 

GB: When did you first discover Eichlers? How long have you owned your current home? 

Camila: I honestly don't remember when I discovered them, but there was an old website that was not Eichler Network that I stumbled upon around 2001 or 2002, I was a sophmore at college and that led me to read more about Eichlers and in 2005 we visited Concord for the first time because I found out there were Eichlers here and for cheap, in 2009 we purchased our current home three years out of college, we felt pretty grown up!

Blaine: Chris and Laura's two door's down (GB: another Eichler in Concord). I made an offer but didn't get it. Meanwhile I was accepted on another ranch (not modern) but cancelled the contract at inspections because I couldn't see myself in anything else after I saw the Eichler. I stalked the neighborhood for months waiting for the next one to come on the market.

snapshot of Blaine's Eichler livingroom

GB: What kind of remodeling and/or renovations have you done to your own Eichler? 

Camila: None really, just added a storage shed and painted, our house has been renovated, no original details whatsoever, some things we like, others not so much, I don't want to change it any further, so when we can afford to do things right we will make the "Eichler appropriate" changes. It is liveable except for cosmetic issues. 

Blaine: Mine was pretty crappy. had a leaking roof and defunct heating system. I spend most my money on those repairs over the 1st 4 years, but have slowly repaired and replaced everything else minus concrete in the atrium, and 4 doors in the back bedrooms/bathroom, -still on my to do list.

 

GB: Do you prefer staging vacant homes, or working with some of the owner's furniture & accessories? 

Camila: I like to so both because they have their own unique challenges and rewards, but its true. Empty homes are great because we can fulfill our grand vision, how would we live in that house? 

Blaine: Vacant.

 

GB: What color to you gravitate to for accents? 

Camila: Orange is such a fun color to work with it screams MCM. Lately I've been into the graphic contrast of black/white.

 Blaine: Turquoise.

Eichler atrium staged by Redux (Redux also consulted on landscaping)

GB: Who is your favorite designer? 

Camila: Gosh there are so many great designers, how do you choose? Are we talking living or dead? Currently Alexander Girard, I love his use of color on textiles. 

Blaine: hmmm, my latest obsession is learning about Bill Curry.

Eichler staged in Walnut Creek's Rancho San Miguel neighborhood

GB: What accent pieces can you never have too much of when staging? 

Camila: I think books, it's weird to think of books as an accent, but really they make a place warmer- great colors, sizes, and subject matter of source. Also lamps are great, I am obsessed with lamps- for staging I know I have to hold back.

Blaine:  Xanax :)

modernist Eichler office

perfect *pop* of color in an otherwise grey/white Eichler home

GB: And, one final question... when it comes to music: downloads or vinyl? 

Camila: Vinyl sounds great, additionally the cover art, vintage record art was so amazing! But for convenience, digital downloads. I'm just glad we live in an era that you can listen to both. 

Blaine: I'm with Camila. Vinyl sounds great, additionally the cover art, vintage record art was so amazing! But for convenience, digital downloads. I do love a vinyl moment, there are some Lp's I have I would never own digitally or pull up on Spotify simply because I love the nostalgia and sound quality of the record.

Redux Stage Co!

 

Redux Stage Co.

The Mid Century Modern Home Stagers

510-459-4085  

[email protected]

 

 

Photographs copyright Suzanne Dunn, The Glass Box

 

Please do not copy, share, or re-post without permission. Thanks! 

 

 

 

 

 

 

 

Cheapest Eichler in the Bay Area... Pleasant Jones & Emmons In Concord!

In my last post I got on a soap box about adding and substracting from an Eichler to make it outside of what would be an ideal style which harmonized with the house. 

Asking...When does updating, personalizing, remodeling, renovating compete with, or illiminate what is unique about Eichler homes?

It's a tough line to tow, especially if Mid Century Modern is not your cup of tea.

The problem, however, is that when an Eichler home goes on the market, there is a style, apart from what was there initially, which will hamonize with the home, thus getting you top dollar in this niche market. If you stray too far from this style, you may be considered a fixer. Hopefully a *liveable* fixer, but a fixer none-the-less...

A pleasant, well cared for home has just come on the market in Concord. It's an Eichler, heavily remodeled in a Southwest style, original owner. Here is info & my impressions:

4076 Wilson Lane, Concord  asking $504,950  (holy cow!! a real bargain even in Concord!)

Update: This home is currently off the market. If you were interested in this Eichler, contact the realtor...

DOM: 2 days  CONTACT: Greg Francis  Millineum Realty 866-444-4838

• 4,2, 1,656 sf, 7,300 sf lot
• atrium model, single garage, carport
• Built 1963
• Jones & Emmons Designed, Model #1184

What I like:

• Home is well maintained and clean
• Lot has some nice landscaping in parts 
• Some ball lights remain and are in good condition
• Luan is there in diningroom, will need restoration
• Original swinging kitchen door is present
• Original pantry is present, needs to be stripped
• Original fixtures outside are great
• Skylights in kitchen are nice to have
• Sliders, screen, back glass all look good
• Original front door is there
• Siding looks good
• Some newer Milgard windows
• Great aggregate driveway
• Newer foam roof (3 years old) keeps home cool

What I would change:

• Glass screen needs to be restored on one panel, take out wood strips over screeen
• Atrium is sealed- this is a tough one, may have to work around it
• Change atrium floor material- now a pebble/epoxy floor
• House has large amount of saltillo tile, would remove and put back VCT or alike
• Add back large ball light in entry
• Restore Luan which is present and add more
• Kitchen is 1970-80's redo, needs to be remodeled
• Original Mahaogany trim needs to be stripped
• Strange epoxy floor in some of the bedrooms
• Bathrooms are somewhat dated
• Take out all bushes against the house, especially in back 

Summary: This house has promise, especially for the price. However, it desperately needs Re-Eichlering! Since the competing Eichler a few doors down just went into escrow today, this is now the cheapest Eichler in the SF Bay Area. Not a bad deal for a clean home on a larger lot!

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

End of the Plain Plane: Braniff International Airline's Groovy Years

Pucci's "Space Bubble," 1967

..."The time had come, we decided, to add the last finishing touches to the airplane, and make it the nicest- not just the fastest- way to travel. We looked around for people who could take the idea and make it work. And we settled on two men. Alexander Girard. Emilio Pucci...In a little more than 6 months, Girard & Pucci initiated 17,543 changes. We have the most beautiful airline in the world."          

-Braniff International, 1965  "End of the Plain Plane" campaign

Braniff's "End of the Plain Plane" print ad

In 1965 Braniff International Airlines, based in Dallas, Texas, became the epicenter of cool design! "End of the Plain Plane" was launched with a seemingly unlimited budget to take the idea of luxury travel, for the masses, to a new level. Braniff sought out two of the most popular designers of the day- famed American textile, architectural, & industrial designer Alexander Girard, & illustrious, Italian fashion designer Emilio Pucci. They were essentially given free reign for a total re-design over anything and everything that represented Braniff International Airlines.

Girard's new Braniff logo, 1965 

The"End of the Plain Plane" campaign, which began in 1965 & ran through the mid-1970's, soon represented the best in Mid Century design. Girard, who was the textile Design Director for Herman Miller, brought in the latest in high quality commercial wools for plane and airport lounge interiors. His designs were were so all encompassing that everything from the space age Braniff Terminal of the Future at Love Field (1968), the Braniff ticket counters, and airport lounge furniture to the airplane serving pieces, napkins & sugar, and all other Braniff emphemera designs were conceived by Girard. Alexander Girard also designed the main logo, a stylized dove form, originally entitled "the blue bird of happiness."

Girard designed airport lounge with Herman Miller Eames furniture

Braniff First Class Porcelain Mugs 

Girard's Braniff plates

Terminal of the Future, Dallas' Love Field, 1968

In 1968, Girard designed the interior for the infamous Hostess College at Dallas' Love Field. The building, 6 stories in total, had three dormitory floors each with their own color scheme, modern furniture, and Central & South American crafts- Girard was a huge collector of this work it & often influenced much of his textile & wallpaper designs. In total the building contained furniture and murals containing 56 different Herman Miller fabrics.

Hostess in her room, c.1968 @Braniff Hostess College, Dallas interiors by Alexander Girard

Hostesses in Pucci, @Hostess College, c. 1968

Braniff Hostess College, 1968

Sadly, although the original college building is still there, almost nothing exists from the Alexander Girard design. All but the original, round fireplace and one Herman Miller wall hanging was stripped out years ago...

Emilio Pucci was given the task of re-imagining the airline uniforms. Pucci's creations became not just a new look, but a re-invention of the commercial uniform. While the airline pilot's uniforms, based on a nautical look, were pretty straightforward. The Air Hostess (as they were called at the time) uniforms broke away from the drab. The line came to be know as the "Air Strip," for its ability to be totally convertible. Drawing from contemporary high fashion influences- the swing coat, high boot, fur coat- as well as space age ferver with his air hostess "Space Bubble," Pucci created an unprecedented collection for each air hostess- all women at the time- to suit each airline interior, and air route. There were several collections designed for Braniff- one for each year. It was an incredible achievement!

Pucci I for Braniff, early collection, c. 1965

Pucci uniforms in front of Girard's plane color scheme, c, 1965

Pucci II uniforms, c. 1966-67

Pucci uniforms w/accessories, c. 1967-68 

"Air Strip" campaign print ad, c. 1967

two Braniff Pucci looks from the 60's

Pucci's "Rain Dome", aka "Space Bubble" with Pucci scarf   I love this look! Doesn't this model look a bit like David Bowie?

Braniff Hostesses modeling Pucci II, c. 1966-67   check out the shoes! too cool.

Even though Braniff Airlines went of business in the 1980's, their legacy fueled by unbridled enthusiasm to be inventive, cutting edge, hip, beautiful, and extraordinary will forever be on the minds of those who love the bold designs of the 1960's.

Nils Thorsson & the Designers of Royal Copenhagen Denmark

Nils Thorsson, c. 1960's Alumina-Royal Copenhagen's Artistic Director & Designer

I love the MCM fajance ceramics created under Nils Thorsson's leadership at Alumina-Royal Copenhagen, Denmark!

Even though this pottery was mass produced (in low volume), it still feels like one-off studio works. I buy Royal Copenhagen ceramics when I can for my home, and to sell them in my Etsy shop. 

Born in Sweden, Nils Johan Thorvald Thorsson (1898-1975) began to apprentice at the Alumina Factory in Copenhagen, Denmark at the tender age of thirteen. In 1917 Thorsson gradated from the Royal Danish Academy. He excelled as a designer and went onto become Alumina Factory's Artistic Director in 1928, a post which he held for forty one years! Thorsson was the factory's most prolific designer with a keen eye for talent. When Alumina purchased Royal Copenhagen in 1949, Thorsson took over there as well as Artistic Director, leading a team of ultra-talented designers.

Nils Thorsson, c. 1960's Baca Series Tile

Nils Thorsson designed several production ranges for Alumina-Royal Copenhagen. Four lines in particular became tremendously popular: Solberg (1930's), Marselis (Alumina-1950's), Tenera (1960's), and Baca (1964- 70's). Tenera was a special line because of it's design diversity. Many of the motifs have the color blue in common, but the use of color, and texture, has some exquisite variations with each designer's work. Tenera's design team consisted of: Berte Jessen, Inge Lise-Koefoed, Marianne Johnson, Kari Christensen, Bethe Breyen, Grete Helland-Hansen & Johanne Gerber. 

Marianne Johnson, c. 1960's Tenera Series decorative dish

Bethe Breyen, c. 1960's  Tenera Series decorative dish

Berte Jessen, c. 1960's  Tenera Series large rectangular vase

Bethe Breyen, c. 1960's  Tenera Series decorative bowl

One of my favorite designers of this era was Johanne Gerber. She had such design diversity. On one hand she would create a floral, earthy batik style, on the other use bold, graphic imagery- my favorite- which has become very popular with modern design collectors.

Johanne Gerber, c. 1960's  "Blue Forest"- Tenera Series decorative dish

Johanne Gerber, c. 1960's  Tenera Series decorative covered dish

Johanne Gerber, c. 1960's  Tenera Series decorative tile

Johanne Gerber, c. 1960's  Tenera Series decorative dish  iconic apple design!

With Baca, Thorsson's own design motifs ranged from naturalistic to abstrasct and even geometric. This line had a lot of complexity in design and relief within the glazing. Tenera & Baca were Alumina-Royal Copenhagen's most popular lines. Thorsson also worked with several other designers at Royal Copenhagen, including Ellen Malmer & Ivan Weiss, whose work explored nature motifs.

Most of the works are marked "fajance" which is a term for hand painted ceramic. The Alumina Factory dropped its name in 1969 and became Royal Copenhagen.

Nils Thorsson, c. 1964  Baca Series decorative dish   Nils Thorsson, c. 1964 Baca tall vase

Today, the look of Royal Copenhagen's Mid Century fajance designs are coveted and copied. They, like many design creations to come from Scandinavia, have become Mid Century iconic. I find these pieces a great way to get beautiful design accents for what is still a very reasonable cost.

Ivan Weiss, c. 1970's  Royal Copenhagen decorative dish

Ellen Malmer, c. 1970's  Royal Copenhagen large decorative dish

If you would love to own a piece of Royal Copenhagen fajance ceramic, I have several for sale in my Etsy shop. Please click on the link to see:

https://www.etsy.com/shop/etnaStreetModern

 

 

 

Alexander Girard: Attentive to Detail, Master of Surprise

Alexander Girard at Herman Miller, c. 1960's   hand drawing his designs

Alexander Girard (1907-1993)- nickname "Sandro"- was an American designer best know for his designs for Herman Miller as their head of fabrics and textiles. Like Charles Eames, a contemporary at Herman Miller, Girard was a trained architect who did not design buildings. He instead turned his considerable talents towards industrial design- textiles, interiors, graphics, furniture- and created some of the most iconic images of the period.

Alexander Girard design

One of the strong proponents of the new post-war modernism, Girard designed "For American Living" for the Detroit Institute of Art in 1949. He was hired at Herman Miller by Industrial Designer George Nelson- Creative Director 1947-1972- who had an eye for new, cutting edge talent.

While at Herman Miller- 1952 to 1975- Girard helmed several large scale projects including the short lived Textiles & Objects showroom in NY (1961) and the total re-design for Branff Airlines (1967).

Textile & Objects Showroom, aka "T&O", NYC, Herman Miller, 1961 -Eames furniture on the right

Herman Miller for Branff Airlines, Designer Alexander Girard, 1967 -very rare today, production lasted only 2 years

Together with fellow Herman Miller designers George Nelson and Charles & Ray Eames, Alexander Girard helped shaped what we today know as Modern Design.

Initially, much of Girard's designs were based on bold, black & white, geometric shapes. His love for folk art, however, soon become a driving force in his creations. After discovering an old established textile mill in Mexico, which he used to produce a series of cotton fabrics, Girard's world was opened to bright colors. The use of rich cultural influences in Modern Design not only informed the imagery, but the color palette which would become what we know as the 1960's look- known to many as " mod."

Alexander Girard design

Alexander Girard design

Over several decades Alexander Girard and his wife Susan amassed a large collection of folk objects which became very influential in his designs. The Girards created the "Girard Fondation" in 1962 to house their collection, and later donated it, some 100,000 objects, to The Museum of International Folk Art in New Mexico in 1978. A wing at the museum, and permanent collection exhibition, was designed by Girard in 1982.

"Old Sun," 1972, Alexander Girard design for Herman Miller

Much of Girard's designs are still re-produced. Maharam, for example, manufactures and sells several Alexander Girard fabric designs from Herman Miller. 

Checker Spirit, 1965  Alexander Girard Designer for Herman Miller, re-produced today by Maharam

I love Alexander Girard's work because of the beautiful balance between left and right brain. On one hand, you have exact detail & mathematical precision of the geometric form, much in black and white. On the other, you have all the energy & exhuberance of color, mixed with playful childlike forms of castles, large numbers & letters, hearts, celestial bodies and mythical creatures. It's a fun world to exist in!

Alexander Girard design

Portrait of Alexander Girard

**If you're interested in seeing some of Alexander Girard's designs first hand, check out the Herman Miller exhibition in San Francisco; see The Glass Box post, August 4, 2013... **                                                                                                                                                                                                    

Good Design: Stories from Herman Miller

exhibition entrance, July 13-September 22, 2013

_______________________________________________

1. What you make is important.

2. Design in an integral part of the business.

3. The product must be honest.

4. You decide what to make.

5. There is a market for good design

Herman Miller sales catalog, 1948

______________________________________________

It's always fun to see so many of your favorite things in one room. And, if I get a little education in the process, all the better! Such was the case at a survey of Herman Miller's designers, and their products, at the NEW industrial-cool San Francisco Museum of Craft & Design.

"Marshmallow Sofa", 1956 George Nelson designer  foam cushions, polynit upholstery on steel frame

clocks, c. 1947 George Nelson designer, for the Howard Miller Co.- Hermans' son

The Museum of Craft & Design, opened April 2013, is located in the newly re-vamped, re-developed, re-imagined Dogpatch area of SF.

I spent a lot of my childhood in SF, and didn't even recognize this part of town... where did all those large, business-park buildings come from? 

 The museum itself is housed in a semi-finished industrial space with only street parking. While they had a relatively small exhibition space, the museum managed to install two separate exhibitions and have a tidy, well curated, gift shop.

exhibition entrance w/banners

The exhibition covered several decades of Herman Miller's production, and iconic designers such as George Nelson-Herman Miller's Design Director, 1947-1972 -Charles & Ray Eames, and Alexander Girard. All were prominently featured. Several tantalizing displays of furniture were placed throughout the show. Many banner sized catalog-type pages dotted the exhibition's landscape- a lot of text for the curious!

George Nelson, c. 1954- Design Director Herman Miller 

Ray Eames, c. early 1950's- hayday of the Eames Office, Los Angeles

Since many of George Nelson's designs and the Eames' furniture has been re-produced over the years, not much of their work was new to me. But, there were some rarer, only seen in photographs, Herman Miller desks, samples, promotion materials, and textiles which really caught my eye.

Alexander Girard for Herman Miller wallpaper and fabric samples- heaven!

"Action Office 2 Model Kit", Herman Miller- intact, WOW!

Herman Miller Announcement for George Nelson, 1940's

Typewriter Desk, 1946-56 George Nelson Designer- walnut veneer, black leather, aluminum

It's easy to see the lineage of Herman Miller design from the 1940's- to Eichler cabinetry- straight through to 21st c. DWR, DwellStudio, Ikea, and alike. We as modern artists and designers owe much to the groundbreaking post-war period.

The Herman Miller Company had an incredible instinct for picking talent. Their work is timeless. Even today, these designers are rock stars.

Designers for Herman Miller, 1946-59, George Nelson Design Director

Eames Chair, c. 1940's burlwood veneer- I've never seen one in this veneer, cool!

Eames Storage Cabinet, 1950-54- plywood, micarta, zinc-plated hardware- iconic!

Eames Lounge Chair, c. 1947, red dyed molded plywood- timeless!

Museum of Craft & Design Entrance, 2013

Museum of Craft & Design                                                                                                                                                       2569 Third Street                                                                                                                                                                         San Francisco, CA                                                                                                                                                                         sfmcd.org