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Googie Redux: Ultramodern Roadside Architecture, by Alan Hess
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About the Author
Alan Hess is architecture critic of the San Jose Mercury News and the author of numerous books, including Palm Springs Weekend (0-8118-2804-2) and Rancho Deluxe (0-8118-2420-9). He divides his time between Northern California and Michigan.
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Product details
Paperback: 224 pages
Publisher: Chronicle Books; Revised ed. edition (October 7, 2004)
Language: English
ISBN-10: 081184272X
ISBN-13: 978-0811842723
Product Dimensions:
8.6 x 0.9 x 11.1 inches
Shipping Weight: 2 pounds
Average Customer Review:
4.6 out of 5 stars
28 customer reviews
Amazon Best Sellers Rank:
#1,247,873 in Books (See Top 100 in Books)
GOOGIE REDUX – Ultramodern Roadside Architecture by Alan Hess is a 224-page softcover book about futuristic architecture that was initiated in the 1950s and continues to be a predominant art form until the present day. Although “softcover†the cover is made of sturdy cardboard, about twice as thick as the cardboard in a manila folder and, in addition, the front and rear covers are folded over to provide extra padding for 50% of the area inside the front cover and for 50% of the area inside the rear cover. All of the pages are glossy white paper. The graphics are glitzy. For example, all of the text is printed on a light-colored background that is either peach-colored, dark yellow, light brown, or light green, or dark pink. The book’s dimensions are 8 ½ by 11 inches. There are about 145 color photos and about 80 black and white photos. Many of the photos were taken at night, and this provides extra-heavy-duty eye-candy power because of the colored neon lights that characterize Googie-style architecture at night. Some of the photos are full-page size or ½-page size. Many of the photos are quarter-page size or eighth-page size.SUBJECT MATTER. The emphasis is on googie-style architecture of restaurants, coffee shops, and restaurants, with an occasional residential home, a pharmacy, a U.S. Air Force chapel, and a civic auditorium. The next greatest emphasis is on googie-style automobiles from the 1950s, some of which were sold to the general public, and others which were designed and built by Ford, General Motors, or Chrysler, but were never sold to the public. Pages 134-143 concern googie-style automobile styles (this only concerns outside appearance, and does not concern any technologies of the engine or differential or whatever). The reader is treated to the futuristic-looking “MYSTERE DREAM CAR†of Ford, closeup of 1959 Cadillac fins, 1949 Studebaker with centrally-located airplane-wannabe nose cone, 1956 dream car with double airplane tail and also with a roof that raises just like in a jet plane cockpit, 1956 Pontiac Firebird with airplane fins, airplane tail, and glass bubble top.NEW TECHNOLOGIES. We learn of changes in aesthetic styles and of technological advances in the 1940s that led to (or made possible) various aspects of googie-style architecture and automotive design. The development of jet planes and rockets can be blamed for fins on automobiles, We read, “the war had produced jet planes, and the sound barrier was broken in 1947 . . . the Boeing 707 with its rakishly swept wings . . . gleaming metallic surface . . . dazzled the eye . . . the public’s interest in fantasy switched . . . to the power and wonder of atomic energy, television, and space travel . . . by the mid-fifties the synthetic plastics industry was the fourth-larges basis industry in the country after steel, lumber, and glass†(pages 46-47). Please remember that the first kind of plastic (Bakelite) was invented in 1907 by Leo Baekeland. Also note that the first issue of a magazine called, Plastics, was published in 1925. And so, the Formica table tops, and other types of plastics that are used in googie-style restaurant interiors and exteriors, result in part from the developing technology of plastics.NEW AESTHETIC MINDSET. Regarding architecture, we read about, “The wild forms, glinting surfaces, over-scaled hot dogs . . . neon neighborhoods rivaling the most garish sunsets showed heedless disregard for good taste.†Regarding neon signs that are mounted outside of restaurants and motels, we read that they are, “disjointed, hanging in midair, combining cursive script with print, its collage design threw together bubbling circles and out-of-whack squares and unexpected angles to pile on all the spontaneity, energy, and tension possible†(pages 62-63).Regarding Jack-in-the-Box, we learn that the 2-story, cube-shaped architecture that has been used in Jack-in-the-Box restaurants for decades and decades and decades, we learn that it was devised in order to provide a billboard-like façade, while avoiding municipal ordinances that prevented billboards (pages 156-157). In other words, Jack-in-the-Box was able to make its large billboards, because it they were incorporated into the structure of the building (the cube-shaped walls).ARCHITECTS. The book describes the careers of several architects and we see small photos of some of them. For each of the photos of a building with googie-style architecture, the architect is named, and these include Frank Lloyd Wright. Architects shown in photographs include the following. These include Wayne and Corrine McAllister, who designed Agua Caliente (means hot water in Spanish) resort, Bob’s Big Boy, Spreckels Theater, the Moderne Zebra Room in Wilshire’s Town House Hotel, and Van de Kamp’s Drive-In (see, pages 38-43, 86-87). There is a photo of Eldon Davis and Louis Armet, who designed Pann’s coffee shop in Westchester, The Which Stand coffee shop in L.A., Denny’s, Clock’s drive-in restaurant in Ingelwood, Norm’s restaurant in Long Beach, Huddle’s Cloverfield coffee ship. We read that architect Bruce Goff included strange things in his architectural designs, such as oil-derrick parts, and “irregular chunks of glass cullets†(dregs from a glass furnace) (pages 88-100, 121-127). Also, there is a photo of Martin Stern, who designed Ship’s Culver City (this coffee shop has a 20-foot wide neon light arrow, mounted on a tall pole above the coffee ship (see, pages 114-120). Moreover, there is a photo of Stanley Meston, who designed McDonald’s (see, pages 146-157). Stanley Meston was hired by Richard and Maurice McDonald (not by Ray Krok). The arches were the idea of Richard McDonald. We read that the McDonald brothers interviewed architect Douglas Honnold, who had designed other restaurants. But Mr. Honnold did NOT LIKE THE IDEA OF ARCHES!!!! And so, the McDonald brothers chose Stanley Meston, who already had experience in restaurant design through his work with architect Wayne McAllister (see above).SIMILAR BOOKS. At the time that I bought GOOGIE REDUX, I aIready bought some photo books with pictures that are exactly the some as some of the photos in GOOGIE REDUX. One of these books is WHITE TOWERS by Hirshorn and Izenour. GOOGIE REDUX has one photo of a White Tower restaurant. Another book that I bought is THE PHOTOGRAPHY OF MAX YAVNO by Maddow and Yavno. This book has a photo of the same hot dog stand, called Tail o’ the Pup that is found in GOOGIE REDUX. Also, I own a book called BORING POSTCARDS by renowned photographer, Martin Parr. BORING POSTCARDS has many photos of restaurant interiors that resemble the futuristic restaurant interiors depicted in GOOGIE REDUX. Conspicuous by its absence in GOOGIE REDUX, or at least in the chapter of automotive design in GOOGIE REDUX, are photos of custom automobiles by famed designers Ed Roth (Mysterion, The Outlaw, Beatnick Bandit), Dean Jeffries (Mantaray), and others. I have seen custom cars by Ed Roth and Dean Jeffries at Peterson Museum in Los Angeles, Oakland Roadster Show in Oakland, CA, a custom car show in Seattle, and a custom car show in New York City. Certainly, custom cars by these designers are equal or greater or much greater than the best of the futuristic automobiles that were designed during the 1950s and 1960s by employees of Ford, General Motors, or Chrysler.
Please do not be mislead by the one critical review by another customer in this section! The pictures are just fine, in fact there are numerous half & full-page photos...and I've seen double pages that were practically all illustration with almost no text. You don't even have to take my word - just click on the Amazon feature that says "Click To Look Inside!", & see for yourself! I did purchase a different(& much smaller) book by Mr. Hess entitled "Googie" which made use of a few pictures seen in this book, but they were only about a third the size of the illustrations in this book "Googie Redux". This book is a fairly large size paperback, excellent quality...thick, heavy paper cover(hinged to prevent creasing, & pages are printed on nice quality paper. The so-called "tech writing of this book is actually mostly a history of this building style as it took place in the greater Los Angeles area. But for some people, anything that is not written in a "comic book format" qualifies as tech! That one misleading review caused me to delay this purchase, but now that it's here, I have absolutely NO regrets!!
Googie was fading by the time I came along, but even in the remote area of the Midwest that I grew up in, its influence was felt. As a child, I didn't know what those slanted roofs and skewered-ball sign spires were called or where they came from, but I found their spacey, cartoonish vibe appealing (if increasingly worn and ill-maintained as the 70s wore on). This book, "Googie Redux," puts "ultramodern roadside architecture" in historical context and tells the stories of the commercial architects who invented Googie, primarily in Southern California. There's also an excellent section on automotive design of the postwar era, the ideas which inspired it, and its relation to Googie architecture. Fans of Americana, architecture, capitalism, and pop culture in general will adore this thick compendium of intelligent analysis and, in many cases, superb photographs documenting the glorious heyday and painful decline of this once-dominant style. Though Googie was shunned by the architectural establishment in its time, it is now given its due in this beautiful book. Buy it, read it, and catch a glimpse of an era in which roadside architecture was more than just the series of bland, inoffensive, lookalike boxes dispensing burgers, burritos, and coffee that we must suffer today. This book will feed your postwar fantasies and break your heart when you realize how homogenized commercial architecture has become.
Very comprehensive. Author is extremely thorough and very well known in the field. Great photos, too. Book arrived promptly, and in perfect condition, as advertised.
Great book that was fun to read. All about the Googie or Doo-Wop style of architecture that was popular on Main Street America during the 1950s.
How I love Googie, that unmistakeable architecture of the 50s. Totally American, futuristic for its time, Googie still exists in some large and small cities. Think boomerangs and Formica, large windows, big wings on cars...If you remember this style or are interested in 50s style, you'll get a lot of use out of this book.
I love late 50's early 60's architecture so this is a book that's easy for me to love. But, it's good for anyone who may be a baby boomer or grew up in this time period in America....well worth spending time reading and enjoying the great photos.
Fun, love it.
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