The 2000s have also seen many new teen idols emerge from popular feature films such as the casts of the Harry Potter ( e. g. Daniel Radcliffe, Rupert Grint and Emma Watson ) and Twilight ( e. g. Robert Pattinson, Kristen Stewart and Taylor Lautner ) film franchises ; television series such as Glee have also developed stars who are popular among younger viewers.

Les Tontons flingueurs (, also known as Monsieur Gangster ) is a 1963 French-Italian-German film, made in the French language, directed by Georges Lautner.

Another key characteristic of Lautner's architecture is his heterogeneous approach, not only in his overall concepts — each Lautner building is a unique design solution — but also in his use of materials, as Jean-Louis Cohen notes in his essay " John Lautner's Luxuriant Tectonics ":

Although best known for his residential commissions, Lautner was also an important contributor to the commercial genre known as Googie architecture.

Lautner also designed a home on Malibu's Carbon Beach, at one time owned by David Arquette and Courteney Cox, which sold for US $ 33. 5 million.

Miley Cyrus had auditioned for the film with Lautner, and said it came down to her and another girl who was also auditioning, however Miley began production on Hannah Montana.

Une femme peut en cacher une autre, from Georges Lautner, with Miou-Miou, Roger Hanin and Eddy Mitchell, 1983

His father, John Edward Lautner, who migrated from Germany ca.

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.

Another key Lautner work in the Googie genre was Henry's Restaurant ( 1957 ) in Pomona ; its vaulted roof, resembling an inverted boat hull, arched over the interior booths and the large exposed beams ( made from glue-laminated timber ) carried through to the exterior, where they supported a slatted awning that shaded the drive-in area.

Lautner provided access from the driveway up the steep hillside by installing a funicular, which terminates at a short sloping gangway that leads up to the entrance.

Construction of the highly unusual project saw the initial $ 30, 000 budget blow out to over $ 100, 000, but fortunately Malin and Lautner were able to cover the shortfall by obtaining corporate sponsorship, including funding from the Southern California Gas Company and support from the Chemseal Corporation of America, who provided sealants, plastics and other materials, in return for use of the house for promotions and the right to name the house the " Chemosphere " for advertising purposes.

As his career developed Lautner increasingly explored the use of concrete and he designed a number of homes for his more affluent clients that featured major structural elements fabricated from reinforced concrete.

Bob and Dolores Hope interfered extensively in the second design, with the result that Lautner eventually distanced himself from the project.

Sadly, despite appeals from the Lautner Foundation, who tried to arrange for its purchase or relocation, negotiations with the Mannheim family failed and the house was destroyed in September 2010.

It features extensive contemporary and archival images of many of Lautner's key buildings ( most of which are not open to the public ), excerpts from Lautner's 1986 oral history recordings, interviews with Lautner's family, colleagues and clients, Lautner archivist Frank Escher and longtime Lautner fan Frank Gehry, as well as a moving on-site reunion of the three surviving principals who built the Chemosphere — Lautner's assistant Guy Zebert, original owner Leonard Malin, and builder John de la Vaux ( who was 95 years old at the time of filming ).

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 ".

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 & Architcture, 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 ".

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.

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.

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 accompanied by an article on the Foster and Carling houses and L ' Horizon apartments.

With a handful of exceptions ( e. g. the Arango Residence in Acapulco, the Turner House in Aspen, Colorado, the Harpel House # 2 in Anchorage, Alaska, the Ernest Lautner house in Pensacola, Florida ) nearly all of Lautner's extant buildings are in California, mostly in and around Los Angeles.

It is ironic that, although famous Lautner works like the Carling and Harpel houses, the Chemosphere and the Sheats Goldstein Residence have become inextricably linked with Los Angeles in the public imagination, Lautner repeatedly expressed his dislike of California.

Not surprisingly, the Los Angeles building inspector demanded a static load test to prove that it could take the weight of a car — a standoff that mirrored Lautner and Wright's earlier contretemps with skeptical building authorities who demanded load tests on Wright's famous " lotus pad " columns for the Johnson Wax Building.

* John Lautner Residence, 2007 Micheltorena Street, Los Angeles, California

* Ted Bergren Residence, 7316 Caverna Drive, Los Angeles, California ( burned down in late 1950s, rebuilt by Lautner with addition )

Several significant Lautner building have been destroyed or irrevocably altered since their construction, the latest as recently as 2010:

Lautner, for his part, `` belonged to the present-day race of small artists, who do not demand the utmost of themselves '', and the bitter description of the type includes such epithets as `` wretched little poseurs '', the devastating indictment `` they do not know how to be wretched decently and in order '', and the somewhat extreme prophecy, so far not fulfilled: `` They will be destroyed ''.

that is, he is suspect, guilty, punishable, as is anyone in Mann's stories who produces illusion, and this is true even though the constant elements of the artist-nature, technique, magic, guilt and suffering, are divided in this story between Jacoby and Lautner.

Taylor Lautner, who was going to star in the film, is no longer involved in the project.

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.

Fortuitously, the pair met through their wives, who knew each other socially — at the time, Lautner was having trouble finding contractors to work on his houses, and de la Vaux, a boat builder, was keen to move into housing construction.

It was then sold to Steve Lowe, who briefly ran it as the Lautner Motel.

Their efforts won the approval of the Lautner Foundation, who sanctioned its renaming as the Hotel Lautner, in honor of its designer.

* the Concannon Residence in Beverly Hills passed through several hands before being purchased by James Goldstein ( owner of the neighbouring Sheats-Goldstein Residence ), who demolished it in 2002 to build an office, nightclub, tennis court, sundeck, plexiglass-bottom infinity pool, and more, that were part of Lautner designed, but never built structures.

He creates two characters, the first one being Sharkboy ( Taylor Lautner ), a young boy who was raised by sharks after losing his Dad at sea.

** Taylor Lautner is now the first seventeen-year-old male celebrity to host SNL ( the other three 17-year-olds who have hosted — The Olsen twins and Lindsay Lohan — were female ).

The scenes in Jackie Treehorn's house were shot in the Sheats Goldstein Residence, designed by John Lautner and built in 1963 in the Hollywood Hills.

John Lautner designed over 200 architectural projects during his career, but many designs for larger buildings were never realised.

* 1965: Les Bons Vivants, directed by Gilles Grangier et Georges Lautner

Desert Hot Springs is the home of the Desert Hot Springs Hotel, designed by architect John Lautner.

The revival in the late 90s of mid-century modernism has given new cachet to his work, as with homes and public structures built by the architects John Lautner and Rudolf Schindler.

* 1971: Laisse aller ... c ' est une valse !, directed by Georges Lautner

* The Chemosphere, a house designed by American architect John Lautner, completed in the Hollywood Hills, California.

Category: Films directed by Georges Lautner

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.

As de La Vaux recounted in the 2009 Lautner documentary, the project was briefly halted by a rare snowstorm that dumped more than six inches of snow on the Hollywood area.

The steep hillside site had been given to Malin by his father-in-law, but was considered impossible to build on until Lautner devised his design:

Lautner ingeniously solved the problem of the 45-degree slope by siting the entire house off the ground atop a 50-foot ( 15 m ) concrete pillar that rests on a massive concrete pad 20 feet ( 6. 1 m ) in diameter and 3 feet ( 0. 91 m ) thick, buried into the rocky hillside.

The project had a long and difficult gestation — while it was still being built, original owner Kenneth Reiner ( with whom Lautner collaborated closely ) was bankrupted by the fraudulent dealings of his business partners and he was forced to sell the house.

Arguably the pinnacle of Lautner's career, the vast ( 25, 000 sq. ft ) " Marbrisa " in Acapulco was built for Mexican supermarket magnate Jeronimo Arango in 1973 and was jointly designed by Lautner and Helena Arahuete during her first year with the firm.

* the Nouard Gootgeld Residence, 1167 Summit Drive, Beverly Hills ( 1952 ) was jointly built by Lautner and Gootgeld.