I mentioned in Part One that my friend David had sent photos of Bob Oshatz's work he photographed while in Oregon...I thought you would enjoy these pics of "floating houses"...In Part Three, I'll be posting some photos of houses by Oshatz. Enjoy!
Saturday, May 1, 2010
Robert Harvey Oshatz-Architect Part Two
I mentioned in Part One that my friend David had sent photos of Bob Oshatz's work he photographed while in Oregon...I thought you would enjoy these pics of "floating houses"...In Part Three, I'll be posting some photos of houses by Oshatz. Enjoy!
Friday, April 30, 2010
Robert Harvey Oshatz- Architect Part One
A good friend of mine David Milstead, architect and Director on the Board of Friends of Kebyar, recently went to Oregon to work with Bob Oshatz on some models for projects in the works. He sent me these photos. I don't know the various projects but I do know Oshatz's work is provocative, exuberant and just downright eyecatching...Influenced by Frank Lloyd Wright and Bruce Goff, he has assimilated ideas to create his own unique brand of Organic Architecture. His work is never dull and always cool.
Tuesday, April 20, 2010
Eric Lloyd Wright to lecture about his grandfather, Frank Lloyd Wright in Wichita
Architect, Eric Lloyd Wright, The grandson of Architect, Frank Lloyd Wright and son of Los Angeles Architect, Lloyd Wright will be presenting a lecture at Wichita State University on May 8, 2010. An Open House Reception will follow at the Frank Lloyd Wright designed Allen Lambe House.Two special events:
Saturday, May 8, 2010 1:00 pm
Lecture: Eric Lloyd Wright
“Thoughts on My Grandfather”
Campus Activities Center Theater,
Wichita State University Campus
Admission to lecture is free.
Saturday, May 8, 2010 2:30 – 5:00 pm
Open House and Reception
with Eric Lloyd Wright
The Allen-Lambe House Museum
255 N. Roosevelt, Wichita, KS 67208
Refreshments on the terrace and
Refreshments on the terrace and
self-guided tours.
$25 general public and $20 admission for Allen-Lambe House and Ulrich Museum members.
Ticket price is a birthday gift for the 20th Anniversary and benefit for restoration of The Allen-Lambe House.
Advance reservations required by calling 316-706-9286;
Reservation deadline is Wednesday, May 5, 2010.
Tuesday, April 13, 2010
KC Film Fest - Louis Sullivan: The Struggle for American Architecture
Join KCMODERN in supporting the Kansas City FilmFest by attending a new film about one of America's best Architects, Louis Sullivan. Frank Lloyd Wright, who worked in Sullivan's office, referred to Louis Sullivan as "Leiber Meister" or "My Master." A small group of KCMODERN folks will be be gathering in the lobby before the movie. Be sure to buy tickets in advance. Louis Sullivan: The Struggle for American Architecture
a film by Mark Richard Smith
“In the Gilded Age, one architect’s vision of freedom and the American landscape brought him success, failure, and an unforgettable place in history”For anyone interested in historic architecture, don’t miss this opportunity to see the new feature-length documentary on one of America’s greatest builders, Louis Sullivan (1856-1924) at the Kansas City Film Festival April 15 and 18. This tribute to architect Louis Sullivan tells a sweeping story with a wealth of visual detail. The rise and fall of Sullivan’s career originates with the 1871 Chicago fire, which made the city a blank slate for ambitious architects. In the late 1800s, Sullivan, who had made his way west after a rigorous École des Beaux-Arts education, created an authentically American architecture at a time when most buildings aspired only to knock off European styles. His commitment to originality led him first to the pinnacle of success with notable early skyscrapers and later to a swift decline due to changing customer tastes and an economic depression. Though his late-career “jewel box” banks were a triumph, Sullivan died penniless. Sullivan’s extraordinary ornamental designs set him apart as an artist. According to Frank Lloyd Wright, who was Sullivan’s chief draftsman for seven years, Sullivan “could draw as beautifully as he could think.
The film will be offered at two screenings:
Thursday, April 15 at 4:30 pm
Sunday, April 18 at 3:00 pm
Where: 2010 Kansas City FilmFest AMC Main Street (1400 Main St., Downtown Kansas City)
Tickets to Sunday's Showing:
https://www.movietickets.com/purchase.asp?perf_id=606510549
KC FilmFest:
http://www.kcfilmfest.org/
Information about the film:
http://www.louissullivanfilm.com/
Trailer:
http://louissullivanfilm.com/clips/windows.html
Monday, April 5, 2010
Modern Photo of the Week - Kauffman Stadium by Kivett and Myers in honor of Royals Opening Day
In honor of opening day for the Royals I thought I would post this image of an early design phase model of Kauffman Stadium. Notice that the ground level bowl wraps the entire field and that the signature fountains are not yet thought of. The spiral ramps are only one level high and the backwards cantilever of the upper deck is minimal compared to the final dramatic cantilever built. Also missing is the sexy upper deck canopy and lighting standards. The iconic crown scoreboard has not taken shape yet because this model was built at about the time the Kansas City A's left for Oakland. To the left one can see the first version of the infamous rolling roof, designed to cover either Arrowhead or Kauffman. What is most apparent in this model is the dramatic sculptural form of Kansas City's unique stadium beginning to take shape.Consider this image a teaser for many more great Kivett and Myers images that will be appearing soon thanks to KCMODERN reader Chris Fein.
Name: Model of Kauffman Stadium
Opened as Royals Stadium
Part of the Truman Sports Complex
Architect: Kivett and Myers
Year Designed: circa 1968
Builder: Unknown
Year Completed: Spring 1973
Size: N/A
Location: Kansas City, MO
Type: Outdoor Baseball Stadium
Style: Brutalist Modern
Status: Altered
Photographer: Unknown
Tuesday, March 30, 2010
1955 Brochure for 'The House that HOME Built'
KCMODERN friend, Scott Butterfield did some serious scan work of 'The House that HOME Built' brochure to let us share it with our readers. The promotional brochure was designed and printed by NBC for participating builders to use in their marketing of 'The House that HOME Built.' Kansas City Modern Builder, Don Drummond gave the brochure to Scott's parents in 1955, when they were thinking about having Don build them a house. Don Drummond signed the back cover for Scott at a soiree during the Drummond Weekend in 2006.Also note the math notation on the last image from 1955 to Scott's parents, "1680 square feet x $15 per square foot = $25,200." That is not a bad price for a Jones and Emmons designed home that was also built by Joseph Eichler. That would be $200,000 to $275,00o in today's dollars depending on what conversion you use. I would hate to have to try to build it today for $275k!
As I have mentioned before Jones and Emmons Architects went on to design the X-100 and Case Study House #24 for Joe Eichler.
Enjoy 'The House that HOME Built' in all its Mid-Century Modern goodness!
If you have not read it yet be sure to check out this article on 'The House that HOME Built.'
Friday, March 26, 2010
'The House that HOME Built'
In 1955 a popular TV show convinced builders across the country, including Kansas City’s own Don Drummond, to try their own Eichler homes
By Robert McLaughlin - originally written for the Eichler Network Newsletter
In Northern California, Eichler homes became as much a part of the landscape as chaparral and live oak trees. Except for a handful in upstate New York, and about 750 Eichler look-alikes in Oregon, Eichler homes never made much impact on the country as a whole. But for a brief time in the mid-1950s, it looked like they might when builders like Kansas City’s, Don Drummond began building their own authorized version of the Eichler home.
In 1955, thanks to a popular NBC television show ‘HOME,’ a design that California architects, Jones & Emmons originally created for builder, Joseph Eichler began popping up in 20 or more cities throughout the United States. Jones and Emmons Architects went on to design the X-100 and Case Study House #24 for Joe Eichler. Each house was built by local merchant builders attracted to the program by the free publicity provided by the popular show, sort of a mid-‘50s HGTV.
One builder who enthusiastically got behind the program was Donald Drummond, the nearest thing Kansas City had to a Joe Eichler.
‘HOME,’ hosted by Arlene Francis and correspondent Hugh Downs, aired weekdays following NBC’s Today show. It had 2 million viewers, mostly women. ‘The House That HOME Built’ segment, which ran regularly, tried to persuade America that glass-walled, low-gabled, modern homes would work anywhere in the country, not just sunny California.
The ‘House That HOME Built’ was co-sponsored by NBC and the National Association of Home Builders. Housing expertise was supplied by C.W. Smith, director of the Southwest Research Institute’s Housing Research Foundation.
“We recognize that regional preferences exist,” Smith told House and Home magazine in an April 1955 story, “but we want to show people that steep roofs, small windows and basements in the northeastern part of the country are due entirely to prejudice and habit and are entirely unnecessary technically as well as undesirable from a performance standpoint.”
Each builder paid $200 for the plans and agreed to build one model to be open to the public. A June 4, 1955 deadline was set to coincide with ‘HOME’s national publicity.
The program was likely the brainchild of Eichler, who hoped the buzz generated by the show would promote his own houses. According to the April 1955 article in House and Home, Eichler and Smith persuaded Quincy Jones and Frederick Emmons to design the house. In truth, Eichler had been building early versions of the Jones and Emmons design since 1953.
The producers mandate to Jones and Emmons was to design a house appropriate for any climate that could be constructed by builders anywhere in the United States. The program’s goal was to show “that an attractive, up-to date house, embodying principles of good design, can be built at a moderate cost.”
Promotion began when a model of Jones and Emmons’ design appeared on the show, which was broadcast from New York, on Feb. 28, 1955.
Jones realized that what worked for buyers in California might face resistance elsewhere. “We are going to be criticized that it is extreme, but it’s not,” he said. “Almost everything that’s in here we’ve been doing for 10 years.”
Eichler appeared on the show with Illinois builder Bruce Blietz two days later, and Drummond appeared March 25. Commercial television was less than a decade old, but both builders understood its power. “I figured I had about five minutes to sell a thousand houses,” Drummond recalled in a recent interview.
‘The House that HOME Built’ was a typical Jones H-plan, with two terraces defined by exterior walls. Kansas City Drummond owners call them “side atriums.”
One terrace is adjacent to the public entrance. The other is a private outdoor living area. An open kitchen-living area forms the center of the house, connecting the two legs of the H. Bedrooms fill the rear leg, while a carport and “all-purpose room” fill the front leg, which faces the street. The bi-nuclear plan successfully separates living and sleeping areas.
The roots of the home can be found in some of Jones & Emmons earlier plans for Eichler, including the JE- 15, JE-35, JE-51 and the JE-85.
Unlike earlier Eichlers the post and beam frame and fascia of ‘The House That HOME Built’ extended past the roof eaves to form a trellis-like overhead structure on the side terraces.
Two things Jones thought unusual were the location of the laundry between bedrooms, and a built-in dining table with two built-in burners and an oven at the end. Jones had recently designed a similar prototype kitchen for Frigidaire. A table cooktop was also included in Jones’ own steel house and the X-100 prototype steel house that he did for Eichler a year later.
The most notable refinement to the new plan was a sliding glass door between the kitchen and terrace. “This blew the whole center of the house open,” says Scott Lane, a Kansas City real estate broker and Drummond enthusiast. Other changes included the substitution of a carport for a garage and revised bathroom locations. Many builders went ahead and included a garage in this house that was already rather luxurious for the time.
Eichler and Drummond were masters of merchandising. It is no coincidence that the kitchen, baths and laundry were the focus of changes to the plan. This reflects the power women were gaining over such major decisions as buying a house.
Not relying solely on NBC’s ‘HOME’ to reach would-be buyers, Drummond had a local cooking show broadcast from the kitchen of his model home. The show promoted appliances that could be purchased with the home.
“There was a nice little profit to be made from the sale of these appliances with the house,” Drummond says.
Some of the builders who took on ‘The House that HOME Built’ challenge may have been nervous about the home’s modern touches. But not Drummond. Unlike most of the builders, who constructed only one home, Drummond was soon building several.
Drummond was unsure about one aspect of the house – the master bedroom’s sliding glass door. But he was overruled by his wife and business partner, Frances Drummond, who was responsible for Drummond’s career-making decision to hire a real architect to design his homes. “Francie thought it was a good idea, so we kept it. She thought it would appeal to the women.”
Cleveland builder, Peter Krutschnitt modified the plan, probably to deal with harsh winters. As seen in a 1955 advertisement for Fenestra Windows, the house was rotated so its entry faced the street, something Drummond did as well. The carport was replaced by a garage, and the roof overhangs were extended to provide protection for rafter ends. It appears that many builders placed the home on corner lots to allow the homes side entry to face the street.
By late spring the publicity for the homes was beginning to crescendo. The June 1 episode of ‘HOME’ featured a segment showing Thomas Church, one of the founders of modern landscape architecture, preparing planting designs for Eichler. And across the country, builders were hustling.
“My father had workmen working day and night the last two weeks of the project,” says Henry Schwier Jr., the son of New Jersey builder Henry Schwier.
On June 3, the day before the homes’ public opening, the entire show was devoted to ‘The House that HOME Built,’ beginning with a race between movers in San Francisco, Chicago, Kansas City, and Denver to outfit the homes with model furnishings. Afterwards, the builders were interviewed about their models.
Not every builder, however, crossed the finish line by June 4. Some builders blamed the delays on a late spring. Others had trouble getting FHA approval for loans. Eichler and Drummond finished their houses on time along with at least seven other participants.
Eleven builders were given a second deadline, Sept. 10, during National Home Week. All of the latecomers who finished for this deadline were from Northern States.
Most of the builders did well thanks to the program.
“Eleven sales consummated, $242,000 volume,” Drummond telegraphed ‘HOME’ in late June. “Thirty sales in process of being signed, at $720,000. Three weeks after ‘HOME’ promotion, sales response becoming stronger daily. Public thinks house is wonderful. It is affecting the desire to buy… Combined promotional effort is now snowballing. Market appears unlimited here. Will appreciate the opportunity to cooperate with ‘HOME’ in any way.”
Eichler Homes had similar news to report. “Sixteen houses sold in four locations,” a telegram from D.L. Stoffe read. “Total of 61 various houses sold within the four developments. Attendance in first twelve days approximately 10,000. Public response excellent. Sizable coverage of story in all San Francisco newspapers and many others in Northern California.”
As it turns out, ‘The House that HOME Built” was unable to ignite a nationwide desire to live in Eichler-style homes.
By October 1955, ‘HOME’ was planning new programming for 1956 with New York architect, Eldridge Snyder, designing three less modern models for builders to choose from, including ranch and split level homes. Drummond built one of the single level designs at 98th Place, but it is assumed that Eichler did not participate in the second program.
By the late ‘50s, romantic styles trickled into shelter magazines, crowding out the modern. For some builders, ‘HOME’ was their first and only foray into modern design. For Drummond, however, the program was just one step in a career largely devoted to modern home construction.
Today, although “Drummonds” have not achieved the mythical status of Eichler homes, they have a dedicated, cult-like following of artists, designers, realtors and architects who appreciate their open plans, post-and-beam structure, and expansive glass.
By Robert McLaughlin - originally written for the Eichler Network Newsletter
Arlene Francis displays a scale model of 'The House that HOME Built' on NBC-TV network show, 'HOME.' Image courtesy of NAHB Archive, NAHB Correlator, October 1955.
In Northern California, Eichler homes became as much a part of the landscape as chaparral and live oak trees. Except for a handful in upstate New York, and about 750 Eichler look-alikes in Oregon, Eichler homes never made much impact on the country as a whole. But for a brief time in the mid-1950s, it looked like they might when builders like Kansas City’s, Don Drummond began building their own authorized version of the Eichler home.
In 1955, thanks to a popular NBC television show ‘HOME,’ a design that California architects, Jones & Emmons originally created for builder, Joseph Eichler began popping up in 20 or more cities throughout the United States. Jones and Emmons Architects went on to design the X-100 and Case Study House #24 for Joe Eichler. Each house was built by local merchant builders attracted to the program by the free publicity provided by the popular show, sort of a mid-‘50s HGTV.
One builder who enthusiastically got behind the program was Donald Drummond, the nearest thing Kansas City had to a Joe Eichler.
‘HOME,’ hosted by Arlene Francis and correspondent Hugh Downs, aired weekdays following NBC’s Today show. It had 2 million viewers, mostly women. ‘The House That HOME Built’ segment, which ran regularly, tried to persuade America that glass-walled, low-gabled, modern homes would work anywhere in the country, not just sunny California.
NBC 'HOME' Logo, 1955. Image from HTHB Brochure courtesy of Scott Butterfield.
The ‘House That HOME Built’ was co-sponsored by NBC and the National Association of Home Builders. Housing expertise was supplied by C.W. Smith, director of the Southwest Research Institute’s Housing Research Foundation.
“We recognize that regional preferences exist,” Smith told House and Home magazine in an April 1955 story, “but we want to show people that steep roofs, small windows and basements in the northeastern part of the country are due entirely to prejudice and habit and are entirely unnecessary technically as well as undesirable from a performance standpoint.”
Rendered image of the 'HTHB' from Pacific Architect and Builder Magazine, April 1955. Courtesy of the A. Quincy Jones Archive and Elaine Jones.
Each builder paid $200 for the plans and agreed to build one model to be open to the public. A June 4, 1955 deadline was set to coincide with ‘HOME’s national publicity.
The program was likely the brainchild of Eichler, who hoped the buzz generated by the show would promote his own houses. According to the April 1955 article in House and Home, Eichler and Smith persuaded Quincy Jones and Frederick Emmons to design the house. In truth, Eichler had been building early versions of the Jones and Emmons design since 1953.
The producers mandate to Jones and Emmons was to design a house appropriate for any climate that could be constructed by builders anywhere in the United States. The program’s goal was to show “that an attractive, up-to date house, embodying principles of good design, can be built at a moderate cost.”
Promotion began when a model of Jones and Emmons’ design appeared on the show, which was broadcast from New York, on Feb. 28, 1955.
On the of the NBC set presenting a model of 'The House that HOME Built' with R.J. Caravan of the National Association of Home Builders; Arlene Francis, star of 'HOME'; C.W. Smith housing authority on 'HOME' and director of the Housing Research Foundation of the Southwest Research Institute; and A. Quincy Jones, architect of 'The House that HOME Built'. Image from Pacific Architect and Builder Magazine, April 1955. Courtesy of the A. Quincy Jones Archive and Elaine Jones.
Jones realized that what worked for buyers in California might face resistance elsewhere. “We are going to be criticized that it is extreme, but it’s not,” he said. “Almost everything that’s in here we’ve been doing for 10 years.”
Eichler appeared on the show with Illinois builder Bruce Blietz two days later, and Drummond appeared March 25. Commercial television was less than a decade old, but both builders understood its power. “I figured I had about five minutes to sell a thousand houses,” Drummond recalled in a recent interview.
NBC 'HOME' Studio in New York City, 1955. Image from HTHB Brochure courtesy of Scott Butterfield.
‘The House that HOME Built’ was a typical Jones H-plan, with two terraces defined by exterior walls. Kansas City Drummond owners call them “side atriums.”
One terrace is adjacent to the public entrance. The other is a private outdoor living area. An open kitchen-living area forms the center of the house, connecting the two legs of the H. Bedrooms fill the rear leg, while a carport and “all-purpose room” fill the front leg, which faces the street. The bi-nuclear plan successfully separates living and sleeping areas.
The roots of the home can be found in some of Jones & Emmons earlier plans for Eichler, including the JE- 15, JE-35, JE-51 and the JE-85.
'The House that HOME Built' Plan Courtesy of the A. Quincy Jones Archive and Elaine Jones.
Joseph Eichler's JE-85 on the cover of the House+Home Magazine, July 1955.
Unlike earlier Eichlers the post and beam frame and fascia of ‘The House That HOME Built’ extended past the roof eaves to form a trellis-like overhead structure on the side terraces.
Image announcing 'The House that HOME Built' program from House+Home Magazine, April 1955.
Two things Jones thought unusual were the location of the laundry between bedrooms, and a built-in dining table with two built-in burners and an oven at the end. Jones had recently designed a similar prototype kitchen for Frigidaire. A table cooktop was also included in Jones’ own steel house and the X-100 prototype steel house that he did for Eichler a year later.
Rendering of 'The House that HOME Built' kitchen. Image from HTHB Brochure courtesy of Scott Butterfield.
The most notable refinement to the new plan was a sliding glass door between the kitchen and terrace. “This blew the whole center of the house open,” says Scott Lane, a Kansas City real estate broker and Drummond enthusiast. Other changes included the substitution of a carport for a garage and revised bathroom locations. Many builders went ahead and included a garage in this house that was already rather luxurious for the time.
Eichler and Drummond were masters of merchandising. It is no coincidence that the kitchen, baths and laundry were the focus of changes to the plan. This reflects the power women were gaining over such major decisions as buying a house.
Not relying solely on NBC’s ‘HOME’ to reach would-be buyers, Drummond had a local cooking show broadcast from the kitchen of his model home. The show promoted appliances that could be purchased with the home.
“There was a nice little profit to be made from the sale of these appliances with the house,” Drummond says.
Some of the builders who took on ‘The House that HOME Built’ challenge may have been nervous about the home’s modern touches. But not Drummond. Unlike most of the builders, who constructed only one home, Drummond was soon building several.
Bruce Blietz of Illinois had clocked nearly 10,000 visitors to his "HTHB" and garnered new prestige for his firm. Image courtesy of NAHB Archive, NAHB Correlator, October 1955.
Drummond was unsure about one aspect of the house – the master bedroom’s sliding glass door. But he was overruled by his wife and business partner, Frances Drummond, who was responsible for Drummond’s career-making decision to hire a real architect to design his homes. “Francie thought it was a good idea, so we kept it. She thought it would appeal to the women.”
Don Drummond expected to net about forty sales from his showing of the house on Canterbury Street in Prairie Village, Kansas. Image courtesy of NAHB Archive, NAHB Correlator, October 1955.
Cleveland builder, Peter Krutschnitt modified the plan, probably to deal with harsh winters. As seen in a 1955 advertisement for Fenestra Windows, the house was rotated so its entry faced the street, something Drummond did as well. The carport was replaced by a garage, and the roof overhangs were extended to provide protection for rafter ends. It appears that many builders placed the home on corner lots to allow the homes side entry to face the street.
Peter Krutschnitt 'HTHB' in a Fenestra Window Advertising Image from House+Home Magazine, September 1955.
By late spring the publicity for the homes was beginning to crescendo. The June 1 episode of ‘HOME’ featured a segment showing Thomas Church, one of the founders of modern landscape architecture, preparing planting designs for Eichler. And across the country, builders were hustling.
“My father had workmen working day and night the last two weeks of the project,” says Henry Schwier Jr., the son of New Jersey builder Henry Schwier.
Henry Schwier of Sea Girt, New Jersey set his model on a 1/4 acre waterfront lot and kept it open for several months. Image courtesy of NAHB Archive, NAHB Correlator, October 1955.
On June 3, the day before the homes’ public opening, the entire show was devoted to ‘The House that HOME Built,’ beginning with a race between movers in San Francisco, Chicago, Kansas City, and Denver to outfit the homes with model furnishings. Afterwards, the builders were interviewed about their models.
In Flint, Michigan, Robert Gerholtz drew record crowds and wanted to participate again in 1956. Image courtesy of NAHB Archive, NAHB Correlator, October 1955.
Not every builder, however, crossed the finish line by June 4. Some builders blamed the delays on a late spring. Others had trouble getting FHA approval for loans. Eichler and Drummond finished their houses on time along with at least seven other participants.
Eleven builders were given a second deadline, Sept. 10, during National Home Week. All of the latecomers who finished for this deadline were from Northern States.
C.B. Rogers tallied 4500 visitors on opening day alone. Image courtesy of NAHB Archive , NAHB Correlator, October 1955.
Most of the builders did well thanks to the program.
“Eleven sales consummated, $242,000 volume,” Drummond telegraphed ‘HOME’ in late June. “Thirty sales in process of being signed, at $720,000. Three weeks after ‘HOME’ promotion, sales response becoming stronger daily. Public thinks house is wonderful. It is affecting the desire to buy… Combined promotional effort is now snowballing. Market appears unlimited here. Will appreciate the opportunity to cooperate with ‘HOME’ in any way.”
Eichler Homes had similar news to report. “Sixteen houses sold in four locations,” a telegram from D.L. Stoffe read. “Total of 61 various houses sold within the four developments. Attendance in first twelve days approximately 10,000. Public response excellent. Sizable coverage of story in all San Francisco newspapers and many others in Northern California.”
M.C. (Marcus) Bogue of Denver, Colorado greeted a few of the 22,000 people who turned out for his opening of the "HTHB". Image courtesy of NAHB Archive, NAHB Correlator, October 1955.
As it turns out, ‘The House that HOME Built” was unable to ignite a nationwide desire to live in Eichler-style homes.
By October 1955, ‘HOME’ was planning new programming for 1956 with New York architect, Eldridge Snyder, designing three less modern models for builders to choose from, including ranch and split level homes. Drummond built one of the single level designs at 98th Place, but it is assumed that Eichler did not participate in the second program.
Architect, Eldridge Snyder's Celebrity 1956 HTHB Model had 1325 sq.ft. with two bedrooms, three baths and fit on a 60' lot. This model was built by Don Drummond at 98th Place in Overland Park. Image from House+Home Magazine, October 1955.
New York Architect, Eldridge Snyder's 1956 "HTHB" Spacesetter split-level model had five bedrooms, three baths and a laundry.
By the late ‘50s, romantic styles trickled into shelter magazines, crowding out the modern. For some builders, ‘HOME’ was their first and only foray into modern design. For Drummond, however, the program was just one step in a career largely devoted to modern home construction.
Today, although “Drummonds” have not achieved the mythical status of Eichler homes, they have a dedicated, cult-like following of artists, designers, realtors and architects who appreciate their open plans, post-and-beam structure, and expansive glass.
Wednesday, March 24, 2010
Spring Modern Martini Event- Gould Residence
The Spring Martini Modern Event was a wonderful Sunday afternoon party...the weather was fair, the food was good with smooth martinis and most of all, wonderful hosts and great people in attendance. Over 50 people came to enjoy touring this unique house on a gray day just after a snowstorm, quite a testimonial for the interest people have in modern design and lifestyles.
Below: Bob and Karen Gould explaining some of the many ideas and concepts used in the house.
Once we acknowledged our hosts and the crowd moved toward the dining area to hear Bob and Karen speak, I couldn't get very good photos of them.
Everyone had a lot of fun meeting new people and seeing old friends, I know I did! Please make sure we have your email address by going to www.KCModern.com and contacting us so we can notify you of future events. We plan on another Martini Modern in the next few months and look forward to seeing you there.
Below: Bob and Karen Gould explaining some of the many ideas and concepts used in the house.
Once we acknowledged our hosts and the crowd moved toward the dining area to hear Bob and Karen speak, I couldn't get very good photos of them.
Everyone had a lot of fun meeting new people and seeing old friends, I know I did! Please make sure we have your email address by going to www.KCModern.com and contacting us so we can notify you of future events. We plan on another Martini Modern in the next few months and look forward to seeing you there.
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