When discussing the mosaic panels once at 7th and Figueroa, I thought of this image, of the Grasscrete parking surface once used at this location. (It also confirms the mosaic’s placement at that site, before removal.) A colleague at the L.A. Conservancy said this was her strongest memory of visiting this branch in the 1970s and 1980s.
As the caption from this 1977 calendar proclaims, “combining real grass with concrete patterns that support the weight of cars, GrassCrete brings much-needed green belts to the central city.”
First, the built: a delicately curving building at 1619–1621 Wilshire Boulevard in Santa Monica. The color logo tiles and the terrazzo floors being the best hints at this building’s Mid-Century Modern past — given that the inside spaces were long since gutted. Note also the alley-side view in the picture above: for a building not on a prominent corner, the marble siding stopped when the facade did.
Could such a logo have worked for a bank in the 1950s? This sketch, for an apparently unbuilt First Federal Savings and Loan (perhaps intended as a branch for the bank in the larger Dallas project where Sheets and Turner met) shows a bank design much like the Home Savings banks, but with such a logo instead of mosaics or the gold tiles. (It reminds me of I.Magnin store designs, and others on view here.)
These works show that, while the art and architecture being created for Home Savings was the most prominent and memorable of the Sheets Studio work, those other projects, designed by Sheets and Underwood and completed by others in the Studio, demonstrate the wider role of their architecture in shaping the Mid-Century Modern look of commercial spaces, in Los Angeles and beyond. We can hope these contributions will be included in the exhibits, lectures, and discussions around the Getty’s Los Angeles Architecture initiative next spring.
As discussed last week, S. David Underwood, the Sheets Studio’s principal architect, got his break working for a Glendale chum, Robert C. Wian, as he expanded Bob’s Big Boy into an iconic franchise.
The Bob’s Big Boy in Burbank is a Googie icon, designed by Wayne McAllister, is a historic landmark. But the Phoenix’s Bob’s restaurant, designed by Underwood — which had mosaic work designed by Millard Sheets — seems to have been destroyed.
Underwood’s extant drawings show the Phoenix franchise was conceptualized as a near-copy of the Burbank location, but that subsequent designs changed the elements, though still within the Mid-Century Modern/Googie/drive-in styles.
A large, billboard-like neon sign with the Bob’s name, arches flying over the driveway entrance, and alternating black and white panels mix the feel of Sheets Studio designs–and this was one–and the Bob’s Big Boy checkerboard pattern. Sketches and photographs show how the wall design and counter layout were all carefully planned, with the Sheets Studio sense of interior precision.
But what might surprise even the Bob’s aficionados is the Millard Sheets-designed mosaic of Navajo, Apache, and Pueblo (or Hopi?) “gods and legends,” known to us through this September 1955 article in TILE magazine.
Though we only have a black and white photograph, the TILE magazine caption sounds like classic Sheets Studio work: “Vivid white, black, red and green colors on a blue background provide a pattern in harmony with the surrounding western landscape.” Sheets himself is quoted in the article discussing the tile’s durability, suggesting such outdoor, artistic use was unfamiliar. As for the American Indian nations as the source of a theme, Sheets had designed the Thunderbird air fields in the California and Arizona deserts and utilized Native American imagery there as well.