The birthplace of American modernism, Los Angeles is the epicenter for a new way of living for the last one hundred years, as manifested in its cutting-edge architecture and design. With roots in the innovative houses by Frank Lloyd Wright, Greene & Greene, and Rudolph Schindler in the early twentieth century, this constantly evolving city became a crucible of modern living. Inspired by the International Style, architects and designers in Los Angeles developed their own individual styles with a rare sensitivity to site, landscape, and human scale. This brand of modernism, blurring the boundaries of indoors and outdoors, has since been imitated from Seattle to Sydney. Acclaimed architecture and design photographer Tim Street-Porter captures the best Modernist architecture of Los Angeles, from the seminal Neutra houses to the idiosynchratic structures by Frank Gehry. With iconic buildings by Craig Ellwood, Pierre Koenig, John Lautner, Charles and Ray Eames, and Oscar Niemeyer, among others, L.A. Modern presents the full spectrum of Los Angeles modernism in gorgeous new color photography.

Affordable housing for the masses has been an age-old problem that some of the best minds in the world have tried to solve. Never was it more critical than after World War II, when many cities and economies were wiped clean and the world–quite literally–needed to be rebuilt. It was during this time that modern ideas led the way to the future. Modern Tract Homes of Los Angeles touches on the history of modern architecture and explores five housing tracts built between 1948 and 1964. Through these unique tracts, we gain an understanding of what the postwar climate was like and learn why modern houses still remain relevant today as new homeowners are drawn to their aesthetic and original homeowners continue to enjoy them more than half a century later. This engaging guide features 100+ images of interiors, exteriors, and decor and more than 40 archival images and floor plans.

Two Austrian-born designers have left their indelible mark on California?s residential architecture of the 1930s to 1960s: Richard Neutra (1892?1970) and Rudolph M. Schindler (1887?1953) combined modern form and inventive construction with new materials to create a truly modern vision of living that remains inspirational to the present day.00This new book features twenty famous and lesser known houses from that period, designed by the two pioneers and other architects that were influenced by Neutra?s and Schindler?s ideas. All are marked by highly economical use and outstanding quality of space, a minimalist aesthetic, and by their ideal adaption to climatic conditions. They are monuments of a period as well as timeless models for contemporary and future architecture.00The images by photographer David Schreyer show the buildings in their present state as a commodity of highest quality that can be, and should be, altered to meet today?s changed demands to a living space. Andreas Nierhaus?s texts, based on interviews, explore the relationship of the present inhabitants to their homes and what they mean to them. Together, the authors offer uniquely intimate insights into a sophisticated way of life still too little known outside California.

More comprehensive than any other book on this topic, Los Angeles and the Automobile places the evolution of Los Angeles within the context of American political and urban history.

This is the definitive volume on Craig Ellwood, a visionary architect, designer, and tastemaker often called the “California Mies van der Rohe.” Craig Ellwood, “the Cary Grant of architecture,” was one of the most visible faces of California mid-century modernism. He was known as much for his exquisitely designed, minimalist structures as he was for his exuberant lifestyle. This book celebrates and explores the glamour of Ellwood’s work, life, myth, and career. Through photographs, primarily of the iconic houses he designed in Southern California during the 1950s and ’60s, we see a life of refined decadence, expressed through gorgeous architecture, fast cars, beautiful women, Hollywood style, palm trees, swimming pools, and minimalist design—all in the context of the Southern California postwar building boom. This volume will appeal to design junkies, architecture buffs, students of modernism, and anyone interested in problem-solving and elegant solutions.

Historian Hurewitz brings to life a vibrant and all-but-forgotten milieu of artists, leftists, and gay men and women whose story played out over the first half of the twentieth century and continues to shape the entire American landscape. In a hidden corner of Los Angeles, the personal first became the political, the nation's first enduring gay rights movement emerged, and the broad spectrum of what we now think of as identity politics was born. Portraying life over more than forty years in the hilly enclave of Edendale (now part of Silver Lake), Hurewitz considers the work of painters and printmakers, looks inside the Communist Party's intimate cultural scene, and examines the social world of gay men. He discovers why and how these communities, inspiring both one another and the city as a whole, transformed American notions of political identity with their ideas about self-expression, political engagement, and race relations.--From publisher description.

A LOS ANGELES TIMES BESTSELLER. NAMED A BEST CALIFORNIA BOOKS OF 2021 BY THE NEW YORK TIMES A provocative, exhilaratingly new understanding of the United States’ most confounding metropolis—not just a great city, but a full-blown modern city-state America is obsessed with Los Angeles. And America has been thinking about Los Angeles all wrong, for decades, on repeat. Los Angeles is not just the place where the American dream hits the Pacific. (It has its own dreams.) Not just the vanishing point of America’s western drive. (It has its own compass.) Functionally, aesthetically, mythologically, even technologically, an independent territory, defined less by distinct borders than by an aura of autonomy and a sense of unfurling destiny—this is the city-state of Los Angeles. Deeply reported and researched, provocatively argued, and eloquently written, Rosecrans Baldwin's Everything Now approaches the metropolis from unexpected angles, nimbly interleaving his own voice with a chorus of others, from canonical L.A. literature to everyday citizens. Here, Octavia E. Butler and Joan Didion are in conversation with activists and astronauts, vampires and veterans. Baldwin records the stories of countless Angelenos, discovering people both upended and reborn: by disasters natural and economic, following gospels of wealth or self-help or personal destiny. The result is a story of a kaleidoscopic, vibrant nation unto itself—vastly more than its many, many parts. Baldwin’s concept of the city-state allows us, finally, to grasp a place—Los Angeles—whose idiosyncrasies both magnify those of America, and are so fully its own. Here, space and time don’t quite work the same as they do elsewhere, and contradictions are as stark as southern California’s natural environment. Perhaps no better place exists to watch the United States’s past, and its possible futures, play themselves out. Welcome to Los Angeles, the Great American City-State.

In the 1960s, a group of Los Angeles artists fashioned a body of work that has come to be known as the “LA Look” or West Coast Minimalism. Its distinct aesthetic is characterized by clean lines, simple shapes, and pristine reflective or translucent surfaces, and often by the use of bright, seductive colors. While the role of materials and processes in the advent of these truly indigenous Los Angeles art forms has often been commented on, it has never been studied in depth — until now. Made in Los Angeles focuses on four pioneers of West Coast Minimalism — Larry Bell, Robert Irwin, Craig Kauffman, and John McCracken — whose working methods, often borrowed from other industries, featured the use of synthetic paints and resins as well as industrial processes to create objects that are both painting and sculpture. Bell, for example, coated plate glass with films of material that alter the way the light is absorbed, reflected, and transmitted, while Kauffman employed a process usually reserved for commercial signs for his work. McCracken coated plywood with fiberglass then spray painted it with countless layers of automotive paints, and Irwin spray-painted discs of hammered aluminum or vacuum-formed plastics. The detailed study of each artist’s work is presented in the context of the emergence of modern art in Los Angeles, the burgeoning mid-twentieth-century gallery scene, and the light-infused LA cityscape. Initially undertaken as part of the Pacific Standard Time: Art in L.A.1945–1980 initiative, this volume combines technical art history and scientific analysis to investigate conservation issues associated with the work of these artists, which are often emblematic of issues in the conservation of contemporary art in general.

Public Los Angeles is a collection of unpublished essays by scholar Don Parson focusing on little-known characters and histories located in the first half of twentieth-century Los Angeles. An infamously private city in the eyes of outside observers, structured around single-family homes and an aggressively competitive regional economy, Los Angeles has often been celebrated or caricatured as the epitome of an American society bent on individualism, entrepreneurialism, and market ingenuity. But Don Parson presents a different vision for the vast Southern California metropolis, one that is deftly illustrated by stories of sustained struggles for social and economic justice led by activists, social workers, architects, housing officials, and a courageous judge. Public Los Angeles presents insights into LA’s historic collectivism, networks of solidarity, and government policy. A follow-up to Parson’s seminal Making a Better World: Public Housing, the Red Scare, and the Direction of Modern Los Angeles (2005), this volume helps shape our understanding of public housing, gender and housework, judicial activism, and race and class in modernday Los Angeles and asks us if history is repeating. Parson’s work anchors a collection of nine essays by friends and mentors who deepen the discussion of his themes: Dana Cuff, Mike Davis, Steven Flusty, Greg Goldin, Jacqueline Leavitt, Laura Pulido, Sue Ruddick, Tom Sitton, Edward W. Soja, and Jennifer Wolch. The book is richly illustrated. Biographical and curatorial essays by the book’s editors, Roger Keil and Judy Branfman, provide background material and a coherent storyline for a mosaic of fresh Los Angeles research.

"This volume is published for the occasion of the Getty's citywide grant initiative Pacific Standard Time: Art in Los Angeles 1945-1980 and accompanies the exhibition Pacific Standard Time: Crosscurrents in L.A. Painting and Sculpture 1950- 1970, held at the J. Paul Getty Museum, Los Angeles."