Frank Sinatra: Mid-Century Modern Godfather

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One of the most iconic images of residential mid-century modernism was made possible by Frank Sinatra.  Though he only lived in it for 10 years, the home is forever associated with him, and still inspires retro fantasies.

As cover art for a CD EP we did earlier this year, I chose the shot above because it combined two things I love: Julius Shulman and Ole’ Blue Eyes.  Now, both of my 70-something parents didn’t care much for the music within, but when they saw the CD cover they both immediately identified it as Frank’s place.  How’s that for architectural staying power?

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The place is known as Twin Palms, and is now for rent as a Palm Springs party palace or the ultimate background for a photo shoot.  The official website has all the details, plus a great history of the home, which hipped me to something I did not know: Sinatra’s place was used as a location for the Joan Crawford film The Damned Don’t Cry.

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I’ll take every opportunity to wallow in Miss Crawford melodrama, but for those of you too busy or too butch to go there, the scenes featuring Sinatra’s pad are screen-capped here.

The story of how Frank Sinatra got this home is fairly well-known: upon deciding he wanted a permanent residence in the then-sleepy desert town of Palm Springs, Frank walked into the office of E. Stewart Williams and simply said, “I want a house.”  Sinatra was thinking traditional columns and bricks, but for his first residential commission, Williams went with modern design.

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Shortly before he died, Williams talked about presenting the drawings of the home in the film about Julius Shulman, Visual Acoustics.  Williams remembered that Sinatra was surprisingly open to such a radical departure from what he’d asked for, and the meeting was very brief because Sinatra had only one criteria to make his decision: Can you have it done by Christmas?

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Even though it was the Summer of 1947, Williams said “yes” to the seemingly impossible: design and build a house to completion in less than 5 months.  Incredibly, they missed the deadline by only a week; Sinatra didn’t do Christmas but was able to throw a New Year’s Eve Party.

According to the Twin Palms website, Sinatra repaid a favor he owed by letting the production of The Damned Don’t Cry film at his home in 1950.  But they were only allowed to film outside, so any scenes that take place within the interior of the home are Hollywood creations that have nothing to do with what the interior of the actual house looked like.

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We tend to see still pictures of the home shot from the same angles, so it’s a real treat to see it in this movie from different angles and functioning as someone’s home, rather than the icon it was rapidly becoming.

In the film, Twin Palms portrays the home of gangster Nick Prenta, who is in trouble with the New York Mob Boss.  Miss Crawford is the mistress of said Boss, and is sent by him to spy on Nick.  But because Nick is such a virile Italian stud (who is so secure in his manhood that he rocks op-art swim trunks), Crawford naturally falls in love with him (and his house!) and can’t bring herself to rat him out because that equals death.   (Spoiler Alert) Of course, Nick gets whacked, but the violence happens in Crawford’s apartment, so Twin Palm’s had no blood on its hands, real or reel.

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We’re not even going to comment on the irony of Sinatra’s house “belonging” to a gangster while he himself dodged Mob rumors for most of his career.  Instead, let’s marvel at these rare glimpses of the home in its infancy, and appreciate the people who have restored the place within the past 12 years.

And the place did need extensive restoration; Sinatra only lived in the house from 1947 – 1957, which left many new residents to muss its essence. By 1997, it was being sold as a tear down.  Scroll down 3/4 on this link to learn more.  Now it’s available to any of us with lots of disposable cash to live out Frank & Ava fantasies for a weekend, a wonderful gift suggestion to add to your Christmas wish list!

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Holiday Gift Suggestion

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In recognition of Black Friday and the holiday shopping season, may we suggest Frank Lloyd Wright’s Falling Water done up Lego-style? Because it’s plastic, you could suspend the finished product over running water and not face the water management issues the real-life version has.

The Guggenheim is also available, at a much cheaper price.   Lego also offers up the Empire State Building, the Space Needle and other architectural gems.  Very cool gift idea for building-minded folks of all ages.

An MCM Light Bulb Moment

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5230 Hampton Avenue, South St. Louis City, MO

While yet again photographing the former Buder branch of the St. Louis Public Library, I had a literal “light bulb went off over my head” cartoon moment of realization.  All of the original pole light fixtures of this 1961 building (which still work, courtesy of the great up-keep from the Record Exchange), look like the ones that are now missing from…

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…this 1959 church in Black Jack which I covered here, previously.  Checking my photo archives verified that, yes, it is the exact same light fixtures.  Vandals killed off the light poles in the church parking lot, so it’s a relief to have some representation of them still in existence.

I love how the same light fixture was used on two different ultra-modern mid-century buildings, and how diverse the two locations are.  One is South St. Louis City and the other is deep North St. Louis County.  And I wonder if the Buder Building architect (still unknown to me) may have seen the light poles at the Independent Congregational Church and did a direct copycat?  Or was this just a popular lighting choice for MCM architects during this 3-year period, thanks to the hustle of some lighting vendor?

Rock Star Architects

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I ran across this picture in a 1964 issue of LIFE magazine, and gasped with pleasure.  Click to enlarge it and see Harris Armstrong, George Kassabaum and Hari Van Hoefen floating above downtown St. Louis.  The swooning teenage-girl thrill I got from finding this photo reminded me of the first time I saw this:

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Here’s David Bowie, Iggy Pop and Lou Reed in a moment overloaded with rock power.  They have given the world some of its most awesome music.

The Rock Star Architects gave St. Louis some of its most awesome buildings.

A Hari Van Hoefen greatest hits package would include Northland Shopping Center.  The George Kassabaum best of  (on the HOK label) would include the Planetarium, and Harris Armstrong already has a box set highlighting his best known hits and B-side rarities.

The music of Bowie, Pop and Reed is treasured and re-mastered and re-released because it matters very much.  I hope that soon – very soon – St. Louis will learn to do the same with the works of Armstrong, Kassabaum and Van Hoefen.

Wild Safari in Jennings

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West Florissant Avenue between
Goodfellow Blvd. & Lucas and Hunt Rd.

The only place I’ve seen such exotic exterior cladding is in a finite section of North St. Louis County, inside the inner-ring suburbs of Flordell Hills and Jennings.   Most of them are on – or not too far away from – West Florissant Avenue, were built in 1940, and range from 850 – 950 square feet, so it’s a safe guess that it’s the work of the same designer/construction company.

The year they were built is of special interest, as it was that brief time period after the Great Depression but before World War 2.  Meaning, this part of the county was already experiencing westward migration a full 5-6 years before the official start of the post-war Baby Boom.

But as a toddler living in Ferguson in the late 1960s, the only thing that made these houses stick out in my mind is that they have giraffe skin!

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I first made the connection after seeing an episode of Marlin PerkinsWild Kingdom about giraffes, and then passing by these homes the next day.  Did the original builder take inspiration from dreams of a wild safari in Africa? Or was it an idea cadged from someplace else?  If anyone has any insight or information, please do share.

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It’s especially exciting when parts of the giraffe skin survive an exterior remodel.  Adds a bit of pizazz, don’t you think?

I encourage you to take a drive down this exact stretch of West Florissant and note the harmonious mingling of bungalow residential and mid-century modern commercial buildings.  It’s a compelling and easy-to-read chapter of the post-war development of our Metro St. Louis area, and makes a good case for a return to mixed-use zoning, which always brings variety and energy to any area that still allows such an old-fashioned way of living.

Touring Nine North

On November 5th, 2009,  City Affair took a tour of Nine North, the modern new condos on Euclid Avenue in the Central West End.

Rather than gush on about how much I truly loved the 4 models they graciously opened up for us to romp around in, I’ll share the video. This way, you can decide for yourself.

Because it was nighttime, I was not able to properly film the exterior aspects of Nine North.  Some of the balcony configurations create sublime spaces that I’m longing to see at different times of day and seasons.  And the way all of the condos face onto a swanky pool/hot tub outdoor courtyard is very Melrose Place, in the best possible way.

The Fall of Modernism

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As in the autumn season… or much of St. Louis mid-century modern residential architecture is in the autumn of its years.

Above is a post-Halloween autumnal tableau of a wonderful home at the corner of Berry Road and Big Bend, adiposity in Webster Groves, buy more about MO.

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The rest of these low-slung beauties that seem to have been designed with this time of year in mind are in the Ridgewood subdivision in Crestwood, MO.

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Learn more about Ridgewood at this marvelous site.

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These technicolor marvels of Mother Nature and Modern Man were all photographed within 5 minutes time within a 2-mile span.  No need to drool over MCM living in coffee table books and TV shows, just get in the car and drive around St. Louis.  And soon the leaves will be gone, which will make it even easier to spot the ones usually hidden under lush mounds of forestry, so keep an eye out.

fall-of-modernism-05RELATED
Craigwoods: A Kirkwood Mid-Century Subdivision
Berkeley MCM: Frostwood Subdivision
Jennings MCM: Darla Court
South City MCM: Marla Court

Most Enviable: The Clayton-Forsyth Bldg.

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8230 Forsyth Boulevard
Downtown Clayton, MO

If Downtown Clayton is like a jewelry box of full of mid-century modern architectural gems, the Clayton-Forsythe Building could very well be the most beloved piece.  It opened in 1954, and still broadcasts a clear Beverly Hills/West Hollywood glamour signal.

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The best way to experience the allure of this 3-story building is by driving up Forsyth toward Maryland, and deep in the curve this beauty extends a languid hand to pull you in for a shoulder hug and air kisses.   And the movie star buzz continues with a design that flows with the bend in the road, siting that sidles seductively into an incline, and adding an “e” to the last name it shares with the street it graces.

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When it first opened, the prow of the ship shown above, was Colony Children’s Clothing, and a stroll down its geometric promenade took you past the Lazy Susan Restaurant, the Clayshire House of Beauty (which remained until 1985) and Gold’s Pharmacy, among others.  All of these shops have a front, street-level entrance plus a back entrance accessed via a flight of stairs from the parking lot. Again, the designers were smart about the siting, putting the parking in the rear valley of the property, and as you drive down the ramp it feels like the building grows before your eyes.

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As seen from the Forsyth street-level, the lobby remains as it was when it opened 55 years ago: understated California cool.  It’s all about the blend of materials, sparse lines and abundant natural lighting, and that the public areas have remained unscathed for this long is a major miracle worthy of major gratitude.

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From 1955 – 1963, the basement and top floors were occupied by physicians and dentists, and an unusually large number of architects and artists, which makes sense when you consider the freewheelin’ vibe of the building.  By 1968, some intrigue entered the scene when all but one architect left and the Shane & Assoc. detective agency took over 3 rooms of the top floor.

Because of its location, the Clayton-Forsythe appears to have had no problems attracting tenants.  The 21st century has shown the highest rate of sustained vacancies, and I wonder if this might have something to do with owners more concerned with the financial potential of a new building on this site rather than maintaining the building they already have.

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There was talk in January 2008 of this building being torn down and replaced with a retail/condominium development, which was conveniently timed to the news of new office buildings going up in this block.  But preservation’s best friend – a crappy economy – came to town, and it looks like those plans are on hold for the moment.  In the meantime, even though the building’s management firm advertises it as an “enviable place to call home for your business,” they are doing as little as possible to protect their investment.  Minor water damage is starting to appear and regular maintenance is being deferred, which is a classic way to repel new tenants and make the case for demolition due to deterioration.

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I’m hoping the greed and laziness of a tear-down mentality is something that expires along with our country’s false prosperity.  Quantity (of assumed equity for massive square footage) over quality has brought economic trauma to our country (i.e., the mortgage crises), and it goes hand-in-hand with how we now view real estate and architecture.  It has resulted in the warped notion that buildings can never be as valuable as the land it stands on, so why bother with preserving or creating worthwhile architecture when one theoretically stands to gain by knocking down a building to optimize the worth of the land?  But with that house of cards taken out by a few stiff breezes, maybe there will be a more realistic appraisal on the value of tangible commodities that already exist, like the Clayton-Forsyth Building.

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From the late 1940s to the 70s, Downtown Clayton usurped Downtown St. Louis by creating a brand new urban density in the shortest time imaginable.  It is the classic example of mid-century modern architecture symbolizing the sleek new power structures.  Block after block, the Clayton business district epitomizes the strength, optimism and prosperity our country experienced after World War 2.  It is the historical text book of The Good Life Through Modern Living, and that seems worthy of preserving for future generations.  American cities finally saw their way clear to preserving previous high points of our evolution (in Missouri we call it the Historic Tax Credits), so there’s no reason to overlook our last best chapters, right?

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Downtown Clayton has enough fiscal options that it can seriously consider holding on to some of the finer examples of its mid-century history, and time has shown that concerted preservation brings tourism dollars because Americans love their history.  The Clayton History Society gets what I’m saying, as they include many important MCM buildings (both dead and alive) as an integral part of the Clayton story, so I’m not making this up, I’m just thinking ahead.

The Claytonian debate over short-sighted gain vs. long-term value could begin with the Clayton-Forsythe Building. It is too fine an example of the worth of this place and this type of architecture to be blithely dismissed.  Long live this most enviable building!

See more photos of this building here.

2024 UPDATE: This building was demolished in 2023. The site is currently under construction for 38 luxury condos slated to open in 2025. The design of the new building copies the former in following the curve of the road.

The Folly of a Tear Down

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A 1929, 51-room mansion by architect Addison Mizner is now dust and memory.  It is reported to be the last home designed by the man who is credited with shaping the lasting legacy of Palm Beach estate living, and it is definitely one of the few Mizner’s outside the state of Florida.

Here’s video and a slide show of the demolition in Bryn Mawr, PA.

And here’s Palm Beach news about the lengths everyone went to to avoid such a senseless demolition.

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Entry hall of La Ronda

In the mid-1990s, I came to know about Addison Mizner from the book Kiss Hollywood Good-by, by Anita Loos.  She had an unconsummated passion for Wilson Mizner, the ultimate raconteur rapscallion (my favorite quote from him:  “All of us are born with traits like optimism, faith and loyalty.  Just don’t deny them for the hollow pretense of being ‘smart.’ “), but her stories about brother Addison inspired me to research his work:

He made a fortune as an architect by providing the rich with fake Spanish haciendas.  He erected the most elaborate palazzi without any schooling in architecture.  On one job, Addison omitted a staircase and was forced to pretend it was intentional; a flight of steps running up the outside was more artistic. As a side line, Addison operated a factory in West Palm Beach where he manufactured “antiques.”

That led to the book Florida Architecture of Addison Mizner, a picture book that conclusively proves that one man’s fantasy is another man’s social prestige.

Mizner’s mansions were florid, overheated interpretations of Spanish villas, Hollywood drama tarted up as history for the newly rich who were craving instant heritage.  Revivalism was a popular form of American residential architecture, and Addison just pumped up the kitsch, the square footage and the selling price.  He was a self-taught architectural hustler who created a pretend Europe in Florida, something I love and admire.  Luckily, the folks who still covet his homes in Florida feel the same way, so his legacy is secure.

I guess the colder climes of Pennsylvania robbed Joseph Kestenbaum of the whimsy a Mizner inspires, and he’s been such an ass during this saga that I can imagine a Scrooge-like visitation of 3 ghosts to his bedside… and Addison would be the Ghost of Villas Past, eyes twinkling with happy disbelief that his greenback PA folly of long-ago has inspired such deep emotions in this day and age.