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 ":

Lautner also faced opposition from the Los Angeles building certification authorities, who were dismayed by the radical design of the post-stressed concrete ramp, which cantilivers out from the base of the house without any columns supporting it from beneath, and is only four inches thick.

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.

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

During this period Lautner worked with Wright on the designs of the Sturges House in Brentwood Heights, California and on the unbuilt Jester House.

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.

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.

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.

At his wife's suggestion de la Vaux approached Lautner and offered to build the Carling House, and they sealed the deal with a handshake.

* Ernest S. and Mildred Lautner House ( aka the Round House ), 539 El Cerrito Place, Pensacola, Florida

* John Lautner – Desert Hot Springs Motel ( 1947 ); Arthur Elrod House ( 1968 )( interiors used in filming James Bond's Diamonds Are Forever ); Bob Hope's home ( 1973 )

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 ''.

The music which Lautner has composed for this episode is for the most part `` rather pretty and perfectly banal ''.

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.

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.

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

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

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.

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.

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.

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.

It featured interviews with Lautner filmed for the production.

* Responsibility, Infinity, Nature — transcript of 1986 oral history interview with Lautner by Marlene L. Laskey for the UCLA Oral History Program

" When I auditioned for the film, Robert Rodriguez, the director, didn ’ t know that I had my martial arts, and while we there in Austin, TX he saw a DVD of me and asked me to choreograph my own fight scenes ", said Lautner.

Architects such as Richard Neutra, Pierre Koenig, John Lautner and Frank Lloyd Wright all have important works in the city.

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.

The Greens canceled, but Wright gave the Bell commission to Lautner.

Throughout his life Lautner was a passionate admirer of his mentor ( to whom he typically referred as " Mr. Wright ") and he remained a dedicated practitioner of Organic Architecture.

Nevertheless, even during the time he worked under Wright, Lautner sought to established his own individual and distinctive style:

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.

Its construction was overseen by a young John Lautner.

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

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.

" He's very self-confident and sometimes his confidence gets him into trouble ', says Lautner about the character.

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.

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.

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:

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