![]() DeRosa came through with the Covina Bowl in 1955 and the Anaheim Bowl in 1959.Ī three-story white sculpture of interlocking parabolas forms the entrance for the Anaheim Bowl. When the Brutocao brothers-Louis, Leonard and Angelo-decided to build a small string of bowling alleys with restaurants attached, they hired architect Pat DeRosa, took him to see Ship’s Westwood and told him to build them something similar. A lot of times people projected the future as being plastic. ![]() “It was replaced when we started updating Tomorrowland, and a lot of the things we had featured were becoming reality or outdated. “It was included because Tomorrowland was supposed to offer a glimpse into the future and showcase how things might be in the future,” said Disneyland spokesman Bob Roth. ![]() Like many other Googies, it has since been destroyed. It was complemented by push-button phones and microwave ovens capable of cooking three foods at once. That church, now used as a visitor’s center, literally stands in the shadow of its replacement, the Crystal Cathedral.īuilt in the late 1950s, Disneyland’s House of the Future was a Googie study: It was formed of four large modular shapes of molded plastic placed on a pedestal that was painted so the white house would appear to float above its Japanese garden. in the family car.”īy 1959, Schuller’s Garden Grove Community Church was built-a drive-in house of worship designed by Richard Neutra, with carillon pylons soaring into the heavens in an unerring Coffee Shop Modern thrust. On March 27, 1955, Schuller stepped onto the tar-paper roof of the concession stand at the Orange Drive-in Theater in Garden Grove to preach to his drive-in congregation, proclaimed: “Worship in the shadow of the rising mountains, surrounded by colorful orange groves and tall eucalyptus trees. Robert Schuller were two early Googie aficionados, helping to give a peculiarly Orange County slant to the already outrageous designs to the north. It was this second-generation Googie that populated most of Orange County. Haskell labeled the whole exuberant style Googie, a term picked up by author Tom Wolfe and others.Īnd it wasn’t long after Googie caught on in restaurant design that it began surfacing in churches, civic buildings, business and professional offices, sports centers, cars and furniture. and the whole building goes up with it like a rocket ramp.” The bright red roof of cellular steel decking suddenly tilts upward. The landmark Googie’s, located next to the since-deceased Schwab’s Pharmacy on Sunset Boulevard, “starts off on the level like any other building,” wrote critic Douglas Haskell in 1952. couldn’t possibly coincide or blend with anything else about them.” Geometric, zigzag roofs began to pop up, difficult not to notice, Langdon pointed out, because their “planes, angles, juttings, textures and colors. Spotlights-the Hollywood touch-were added. ![]() Glass walls (as opposed to single windows) were one eye-catching innovation in automobile-crazed Los Angeles. And they might just shell out a whole quarter, if only their trust could be won.Įating out was still a rare event-”I don’t think my family ate out once when I was growing up,” recalls Sterling Bogart, the president of Norm’s-partly because pre-war hamburger joints were often greasy spoons.īefore the eateries could capture the trust of the public, though, they had to get its attention. “In 1948, when my dad was building Biff’s, everyone told us that this town was too cheap to pay 25 cents for a hamburger,” Biff Naylor recalled.īut the entrepreneurs realized there were more potential diners than ever cruising about in Southern California. Selling hamburgers was the main design consideration of post-Depression, coffee-shop founders like Matt and Emmett Shipman (Ship’s), the late Norman Roybark (Norm’s), Robert Wian (Bob’s Big Boy), and the late William (Tiny) Naylor and his son, William (Biff) Naylor. In 1986, much of this architectural genre-also termed “Coffee Shop Modern”-is slowly succumbing to remodeling or has been relegated to the Googie graveyard, like Tiny Naylor’s on Sunset Boulevard with its wing-like canopy (the B-29 look) the various Biff’s with their narrow steel-and-glass frames and the Clock cafes with their triangular windows and giant timepieces. ![]() While struggling to join the present, the Space Age Lodge remains one of a dwindling number of examples of “Googie” architecture-named after a now-defunct West Hollywood cafe-which originated in Southern California as a chaotic blend of elements from the car culture and the Sputnik era. The only reason we get away with this now is because we’re at Disneyland.” “It’s old hat, and people are tired of it. “Now we don’t think it’s that appealing,” said Bill O’Connell, general manager of Stovall’s Hotels, which include the Apollo Inn, the Cosmic Age Lodge, the Galaxy and the Inn of Tomorrow. ![]()
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