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John Edward Lautner (July 16, 1911 – October 24, 1994) was an influential American architect whose work in Southern California combined progressive engineering with humane design and dramatic space-age flair. == Biography == Lautner was born in Marquette, Michigan, in 1911 and was of mixed Austrian and Irish descent. His father, John Edward Lautner, who migrated from Germany ca. 1870, was self-educated, but gained a place at the University of Michigan as an adult and then studied philosophy in Göttingen, Leipzig, Geneva and Paris. In 1901 he was appointed as head of French and German at the recently founded Marquette Northern State Normal School (now Northern Michigan University), where he later became a teacher.〔Nicholas Olsberg, "Idea of the Real" in ''Between Earth and Heaven: The Architecture of John Lautner'' (Rizzoli Publications/Hammer Museum, 2008), p.38-39〕 His mother, Vida Cathleen Gallagher, was an interior designer and an accomplished painter. The Lautners were keenly interested in art and architecture and in May 1918 their Marquette home "Keepsake", designed by Joy Wheeler Dow, was featured in the magazine ''The American Architect''.〔(John Crosse (2009), ''John Lautner: An Annotated Bibliography'', p.5. Retrieved July 27, 2010 )〕 A crucial early influence in Lautner's life was the construction of the family's idlyllic summer cabin, "Midgaard", sited on a rock shelf on a remote headland on the shore on Lake Superior. The Lautners designed and built the cabin themselves and his mother designed and painted all the interior details, based on her study of Norse houses. In 1929 Lautner enrolled in the Liberal Arts program at his father's college — now renamed Northern State Teachers College — where he studied philosophy, ethics, physics, literature, drafting, art and architectural history, read the work of Immanuel Kant and Henri Bergson, played woodwinds and piano, and developed an interest in jazz.〔Olsberg, op.cit., p.44〕 He furthered his studies in Boston, Massachusetts and New York City. In 1933 Lautner graduated with a degree in Liberal Arts. In April 1933, after reading the autobiography of Frank Lloyd Wright, Vida Lautner approached the architect, who had recently launched his apprenticeship program at Taliesin. Lautner was quickly admitted to the Fellowship, but he had recently become engaged to a neighbor, Mary Faustina ("MaryBud") Roberts and could not afford the fees, so Vida approached MaryBud's mother, who agreed to pay for the couple to join the program. John soon realized that he had little interest in formal drafting and avoided the Taliesin drafting room, preferring daily duties of "carpenter, plumber, farmer, cook and dishwasher, that is an apprentice, which I still believe is the real way to learn".〔Olsberg, 2008, p.44-45〕 From 1933 to 1939 he worked and studied under Wright at the studios in Wisconsin and Arizona, alongside other renowned artists and architects like E. Fay Jones and Santiago Martinez Delgado.〔("Responsibility, Infinity, Nature" — John Lautner interviewed by Marlene L. Laskey (interview transcript), Oral History Program, University of Los Angeles, California, 1986, p.vii )〕 Lautner progressed rapidly under Wright's mentorship. By 1934 — the year he and MaryBud married — he was preparing design details for a Wright house in Los Angeles for Alice Millard, working on the Playhouse and Studios at Taliesin,〔Olsberg, 2008, p.46〕 and he had the first of many articles (under the masthead "At Taliesin") published in the ''Wisconsin State Journal and Capital Times''.〔Crosse, 2009, p.6〕 The following year he was assigned to what became a two-year project supervising a Wright-designed house in Marquette for MaryBud's mother.〔 In 1937 he agreed to oversee the construction of the Johnson residence "Wingspread" (his personal favorite among the Wright projects he worked on〔John Lautner oral history excerpt, quoted in ''Infinite Space: The Architecture of John Lautner'', Googie Films, 1999〕) near Racine, Wisconsin and traveled with Wright to supervise photography of the Malcolm Willey House in Minneapolis, Minnesota, which became a key source for his own small houses.〔 He was also deeply involved in the construction of the Drafting Room at Taliesin West — which influenced the design of his Mauer House (1946) — collated photographs of Wright's work for a 1938 special issue of ''Architectural Forum'' and later briefly returned to Taliesin to help assemble models and materials for a 1940 Museum of Modern Art exhibition.〔Olsberg, 2008, p.47〕 Lautner left the Fellowship in early 1938 (primarily because MaryBud was pregnant) to establish his own architecture practice in Los Angeles, but he told his mentor that, while seeking an independent career, he remained "ready to do anything you or your Fellowship need". They worked together on around eleven Los Angeles projects over the next five years and their association continued sporadically.〔Olseberg, 2008, p.51〕 The Lautners arrived in Los Angeles in March 1938 and their first child Karol was born in May. Lautner's first independent project was a low-cost $2500 one-bedroom frame house for the Springer family, built with his contractor friend Paul Speer, but this was to be the only product of their brief collaboration.〔Olsberg, 2008, p.50〕 In September 1938 Wright contacted him and this led to Lautner's supervision of a series of Los Angeles domestic projects, the Sturges, Green, Lowe, Bell and Mauer houses. His first significant solo project was his own Los Angeles home, the Lautner House (1939), which helped to establish his name — it was the subject of Lautner's first article on his own work, published in the June–July edition of ''California Arts & Architecture'',〔Crosse, 2009, p.8〕 and it was featured in ''Home Beautiful'' where it was lauded by Henry-Russell Hitchcock as "the best house in the United States by an architect under thirty".〔(Lautner Laskey, 1986, p.140 )〕 During this period Lautner worked with Wright on the designs of the Sturges House in Brentwood Heights, California and on the unbuilt Jester House. Lautner supervised the building of the Sturges House for Wright, but during construction he ran into serious design, cost and construction problems which climaxed with the threat of legal action by the owners, forcing Wright to bring in students from Taliesin to complete repairs. In the meantime, the Bell and Green projects had both stalled due to rising costs. The Greens canceled, but Wright gave the Bell commission to Lautner. He was also engaged to supervise the Mauer house when the Mauers dismissed Wright for failing to deliver the working drawings in time. Although the Mauer House was not finished for another five years, the Bell House was quickly completed and it consolidated the earlier success of the Lautner House, earning him wide praise and recognition — the University of Chicago solicited plans and drawings for use as a teaching tool, and it was featured in numerous publications over the next few years including the ''Los Angeles Times'', a three-page spread in the June 1942 issue of ''Arts and Architecture'', the May 1944 issue ''House and Garden'' (which declared it "the model house for California living"), a ''California Designs'' feature centering on the Bell and Mauer houses, ''Architectural Forum'', and ''The Californian''.〔Olsberg. 2008, p.56〕 During 1941 Lautner was again brought in to oversee two more Wright projects that had run into trouble: the redesign of the Ennis House and an ill-fated project for a lavish Malibu residence ("Eaglefeather") for filmmaker Arch Oboler. This was beset by many problems (including the tragic drowning of Oboler's son in a water-filled excavation). A Lautner-designed retreat for Oboler's wife was eventually built. During 1942 he designed a caretaker's cottage for the Astor Farm (since demolished) and in 1943 he joined the Structon Company, where he worked on wartime military construction and engineering projects in California, giving him valuable exposure to current developments in construction technology. This also marked the end of his professional association with Frank Lloyd Wright.〔Crosse, 2009, p.9〕 In 1944 Lautner pursued joint ventures with architects Samuel Reisbord and Whitney R. Smith before becoming a design associate in the practice of Douglas Honnold. He collaborated with Honnold on several projects including Coffee Dan's restaurants on Vine St., Hollywood, and on Broadway downtown Los Angeles, and a remodel of the Beverly Hills Athletic Club (since demolished) as well as two solo projects, the Mauer House and the Eisele Guest House. Another significant landmark this year was the article "Three Western Homes" in the March edition of ''House & Garden'', which included floor plans of the Bell Residence and four (uncredited) photos of the house by Julius Shulman.〔Crosse, 2008, p.9〕 These photos marked the start of a lifelong association between architect and photographer; over the next fifty years Shulman logged some 75 assignments on various Lautner projects (for Lautner and other clients) and his photos of Lautner's architecture have appeared in at least 275 articles.〔 Lautner left the Honnold practice in 1947, primarily because he had begun a relationship with Honnold's wife Elizabeth Gilman (although the two men reportedly remained friends).〔(Triangle Modernist Houses — John Lautner )〕 He separated from MaryBud (they divorced later that year) and moved into the Honnold residence at 1818 El Cerrito Place, where he established his own design office. He embarked on a string of significant design projects including the Carling Residence, the Desert Hot Springs Motel, the Gantvoort Residence and Henry's Restaurant in Glendale.〔Crosse, 2008, p.10〕 Lautner soon established a high media profile and throughout the late 1940s and early 1950s his work featured regularly in both popular and professional publications, including ''Architectural Record'', ''Arts & Architecture'', ''House & Garden'', ''Ladies' Home Journal'' and the ''Los Angeles Times''.〔Crosse, pp.9-17〕 Lautner and Gilman married in 1948 and MaryBud returned to Marquette with their four children, daughters Karol Lautner (b. 1938), Mary Beecher Lautner (b. California, 1944), Judith Munroe Lautner (b. California, 1946) and son Michael John Lautner (b. Astor Farm, Indio, California, 1942 - d. California, 2005).〔(Pacific Coast Architecture Database )〕 Lautner's output that year included the Tower Motors Lincoln-Mercury Showroom in Glendale and the Sheats "L'Horizon" Apartments, but most of the other designs dating from that year were domestic commissions that were never built.〔Crosse, 2008, p.11〕 There were more important commissions in 1949–1950 including the Dahlstrom Residence, Googie's Coffee House and the UPA Studios in Burbank. During 1950 he was part of a group exhibition of sixteen California architects at Scripps College in Claremont, California, and in 1951 his work was included in Harris and Bonenberg's influential guidebook ''A Guide to Contemporary Architecture in Southern California'' (Watling, 1951).〔Crosse, pp.11-12〕 Lautner obtained his architectural license in 1952 and in February ''House and Home'' published the genre-defining Douglas Haskell article "Googie Architecture", which included two Shulman photographs of the Los Angeles restaurant〔Crosse, p.13〕 accompanied by an article on the Foster and Carling houses and L'Horizon apartments.〔Alan Hess and Alan Weintraub, "The Architecture of John Lautner" (Rizzoli, 1999), p.50〕 From the late 1940s until his death, Lautner worked primarily on designing domestic residences. His early work was on a relatively modest scale but in later years, as his reputation grew and his client base became more affluent, his design projects became increasingly grand, culminating in the palatial Arango residence in Acapulco, Mexico. This project, along with his appointment as Olympic Architect for the 1984 Summer Olympic Games in Los Angeles, were among the highlights of his later career. After many years of chronic illness Elizabeth Lautner died in 1978; in 1982 Lautner married her caretaker, Francesca. Lautner's last years were also marred by declining health and loss of mobility. In recent years Lautner's work has undergone a significant critical reappraisal with the 1999 publication of Alan Hess and Alan Weintraub's "The Architecture of John Lautner" (Rizzoli), and a 2008 exhibit at the Hammer Museum curated by architect Frank Escher and architectural historian Nicholas Olsberg. In 2009 Lautner was the subject of a documentary feature film direct by Murray Grigor, ''Infinite Space: The Architecture of John Lautner''. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「John Lautner」の詳細全文を読む スポンサード リンク
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