The origins of “Googie” design can be traced back to the actual coffee shop designed by architect John Lautner and by the works of his contemporaries. Appearing first in commercial buildings and used primarily in designing restaurants, coffee shops, motels, gas stations and bowling alleys, as well as schools, churches, shopping centers and airline terminals, this style of design was directed at the masses for commercial purposes. In Los Angeles, where Googie began, the 1930’s brought a large influx of the automobile and service industries. So the design aspects of Googie were heavily influenced by America’s new car culture.

Owning a car meant freedom for the old idea of a central “downtown” and the sprawling suburbs of L.A. grew in every direction. By the 1950’s everyone owned at least one car and fast food drive-ins were appearing in neighborhoods and on roadsides everywhere. Bold, dynamic architecture was used to attract customers whizzing by on roads and highways—to catch their eye—beckoning them off the street. Drive-ins (diners, movie theaters, gas stations) had advanced this car-oriented architectural design. They were essentially architectural billboards advertising the business to vehicles on the road. By using distinct styling, high energy silhouettes, large pylons with elevated signs, bold neon letters and circular parking lots the architecture worked to make the most of strip malls and other roadside location while allowing customers easy access from their cars.

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The recent exhibit of Deborah Aschheim’s drawings and architectural installations at Edward Cella A+A focused attention to the iconic modernist landmarks of Southern California that once represented the future. Aschheim’s works documented these structures, once the symbols of Southern California’s utopian dreams, which are now forlorn, crumbling commercial towers, buildings, and centers. Treated for the most part as “unacclaimed” monuments of a distant era, Ascheim described the buildings as a “visual gulf between then and now.”

“When I was growing up, the future was a limitless possibility, jet-aged, space-aged, techno-utopia. ‘Modern’ meant new. Now, modern means old, and the future I grew up with seems dated, irresponsible, and obsolete,” claimed Aschheim.

Aschheim made several visits to each site, and she created her unique works over time. Aschheim explained, “I have been urgently seeking out the buildings, flying and driving and taking trains to them before they are erased. I don’t want to go inside the buildings. I circle them, trying to understand them before they are removed or renovated into the present. It is a strange way to feel about architecture. I am drawing them and building them, somewhat inaccurately and not to scale, entombed in imaginary scaffolding. I am the same age as the buildings. It is a kind of self-portrait.”

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It was with reluctance that I took on Ultra Swank’s assignment of a segment on Googie design. I am not an expert. Art historians and critics can be a vicious group. One false move and I could be forever condemned to an underworld of Louis the XIV basement rec. rooms accented with a million velvet Elvis paintings! Oh well, maybe they’ve got some Pepsi in the fridge?

Googie is a sub-style suburban overpass of the great and mighty ‘Modern’ design and architecture highway. Simply stated – Googie is ‘Space-Age’ and George Jetson lived in a completely Googie world. The term comes from 1949 and a cute Los Angeles wife whose nickname was… you guessed it, Googie! (the style of which we speak is sometimes called ‘Doo-Wop’, but that’s not a good nickname for your wife). This nice lady’s husband commissioned, soon to be famous, architect John Lautner to design a coffee shop which he named in her honor (the coffee shop was torn down in the 1980′s — we aren’t sure about the nice lady).

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This is Los Angeles International Airport (Jetport), it was built in the late 1950s and was at the time one of the biggest airports in America. They first envisioned it to be even bigger in the anticipation of the “jet age” with lots of terminals and buildings connected through a huge steel-and-glass dome building but the plan was deemed unrealistic and scrapped. Instead the famous LAX landmark “Theme Building” was built. It was designed by architecture firm Pereira & Luckman who made it resemble a UFO that had landed in the middle of the parking lot. The building still stands there today and with its Googie designed look it should attract anyone with a interest in retro futuristic design. It also features a restaurant called “Encounter” which opened in 1997. At one time the roof of the building was open for spectators but it was closed due to security concerns after the 9/11 attacks. More postcards after the jump.

I wish there were more expositions like the one held in Seattle in 1962. Going under the name Century 21, it showcased the best, brightest and most future minded technology available at the time – including pagers, exciting cars that looked like they could fly, various satellites and the NASA Mercury project to name a few. The grounds of the fair were divided into different areas for easier navigation with names such as World of Science, World of Century 21, Show Street, Gayway, Boulevards of the World, Food and Favors and so on. I love how the photos below bring out the innocence and positive future thinking from that time, something that the world needs more of today I think. Additional Century 21 goodness after the jump.

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Whether you are redecorating your living room, planing on buying a mid-century modern flavored house or want to make your kitchen look more groovy, Bradbury & Bradbury Art Wallpaper has what you need. Their series of Atomic Age and Mod Generation wallpaper range from 1950s styled Googie patterns to exotic tropical Tiki to the revolutionary and psychedelic flower power look – perfect for any bachelor den, Tiki bar or weekend getaway house.