 And we're still in the cause of the Corona COVID virus, and for that, we've been looking into some literally and figuratively cool courtyards as to give us some leads. And if you can get the first slide up, please, we're broadcasting live again from three locations. I just came back down to the barrier from the city of Birthsport, which is close to the city of Shrineport. And that one we might remember, because Mead Thunderola was proposing a museum there in the early 60s that was pretty much a remake of what he had designed for Cuba and the Bacardi Headquaters, which was in the late 50s. And finally, it all came together and became sort of recycling the ideas for the last project, which we've been featuring in the last show, which is the new National Gallery in Berlin. And I've been suggesting some reading recommendations, just a fantastic book here about Mead Thunderola, and it's a cartoon, it's a manga, it's been written by a Spanish architect who illustrated this book. And it's very interesting if we can get back to the first slide here, that at the bottom left is the page that tells us about the rather strange love and hate relationship between many calls, blame, being the copycat of architecture or a little nice of the pavilion of architecture, who was Philip Johnson. And Philip Johnson bought Mead to America, and again, but they had kind of a stress relationship with each other. The magic year was 63 in the last show, and I've been sharing my days in the white planes of the prairie of the Midwest, where I happened to be coming to teach, and we were sharing, as we use automobiles, as we thought, my 93 Lincoln town car, only because it's of the same year as Larry Stricker's line. And here at the top left, you can see my 72 Plymouth Fury, which I bought at that time, 20 years younger, old, in 1990, when I came to Nebraska. Nebraska gave me, granted me the University of Nebraska scholarship, and I thank them for that. For the town car later, they gave me an interest-free loan for my family's promotion trip. Thank you for that, too. And this building, what we see here, was built in 63, and that is the Sheldon Gallery by Philip Johnson. And you might say again, if you're doing your sort of historical PI, you might say maybe he was speaking away some ideas. However, again, the Bacardi in all honesty and fairness, and both the Schaefer, Museum, and Schweinfurt didn't have courtyards, they only appeared at the very end at the National Gallery. But again, who knows, and we need to support other people, but this one here has, that's why it belongs to the shoulder courtyard, with a water feature in the middle, and I used to have my lunch break here. So, that thing said, we were promising you to go out west, be closer to us in Hawaii, but with us picked up here in the midwest, we're going to pick someone up, who's going to be our guest, and we know him very well by now, from many shows in the past. It's at the point where his business partner and friend, Juan Lindgren, Iron. Hello, how are you? I'm good, good to have you back on the show, and of course we have back in Hawaii, DeSoto with us again. Hi, DeSoto. Hello, everybody. So, Juan, while I picked you up where you actually originally come from, the midwest, we drive now out where you have settled, and let's get the next slide up, and you explain us what we've seen. You know, somewhat pertinent to the discussion we're having today about courtyards is the fact that I think my own home is a rather fine example of their residential use. The home wasn't designed by Ed Killingsworth, but the builder and contractor who put it together was very strongly influenced by Ed's early and influential house designs. So, when Ed's elder son, Greg, offered it to me through sale, I quickly picked it up. Both the front and the rear elevations of the house contain two-story glass walls that provided views and access to open-air garden courtyards, and then I even had a third linear walled court on the side of the house, and it provided some outdoor access between the two major gardens front and back, and that walk on the side was a shady walk through a dense, 20-foot-high bamboo grove. The other thing about the house relating it to courtyards is that easy breezy living without air conditioning was ensured because the contractor builder provided trellish shading and screened operable glass livers at every glass wall and window. So, all in all, the Lindgren House is a fairly fine and respectable contractor's approximation of what a Killingsworth Southern California mid-century modern house might have looked like. But I think now it's time to go to the next slide and look at some genuine Killingsworth architecture for more courtyard inspiration. And we have that slide up here of that consistent house, which is that house, right? That's right. We're looking at this here, some of the crates of the courtyard going in. Yes, it's forever family home. Utilize courtyards in almost in excess, in some respects. When I was at first a grassland employee and went a partner, without experience with it, I can show the viewers the sort of extensive and loving use of outdoor courtyards. They were absolutely essential to the success of this early modern architecture. Why would using courtyards make this the case? Well, just consider how multifaceted they were in terms of the humane functions that they took as courtyards. We'll look at this house and discuss it a little more fully. But first, for all of these courtyard houses, they provided outdoor living spaces for sure, just as important as interior rooms. That easy breezy living that Martin and DeSoto talk about so much, that indoor outdoor living was facilitated by blurring the distinction between interior and exterior rooms. Because the exterior and interior were separated only by newly invisible floor to ceiling window walls and sliding glass doors. And then courtyards were gardens, of course, bringing nature and natural light deep within a building. Also, courtyards are the lungs of architecture, bringing fresh air and natural ventilation deep within a building. In these perilous times of viral pandemic, courtyards are absolutely essential to health, as are lanayas and balconies that we talked about previously. And finally, at least in ed's architecture, courtyards provided memorable entry experiences from the sense of arrival to a very special place, the place we call home. Now, because of those sort of multifunctional courtyard living aspects to his houses, the quality of life, the quality of life experienced in killings was one in two-story homes and garden office buildings was among the richest that post-war modern mid-century architecture could provide. So let's look at ed's house for a moment. Ron, you just said that so beautifully. I'm in awe. Thank you. Well, I'm in awe of having the chance to see one of the people at ed's house, which I think is one of his most gracious creations. What you're looking at on the screen is ed's forever home, built in 1961 on a rather large suburban site of three-quarter rakers in Long Beach, California, where he had his architectural practice. He purposely located the house pretty tightly against one property line so as to create the largest adjacent garden possible. So he developed the land-staped area as a courtyard garden by enclosing it with solid 12-foot-high wooden walls. They happened to match the height of the home's interior ceilings, so those walls seemed to just flow from the exterior to the interior. So one memorably enters the house precinct through a pair of grand 12-foot-told doors into the outdoor garden, not into an interior room. So it's garden first, lands around, then enter into the home proper. And this particular photo shows how a fully-gurly corner seating room is provided broad views across that beautiful private garden. And typical of his residential architecture, there is hardly any visible demarcation between where indoors begins and where outdoor begins. And I can also say, too, just as a layperson who's never been there, it's very striking how that last roof creates this incredibly interesting sun and shade pattern in that interior space. It always did. It always did. Only the vegetation gives you a clue where it's outside and where it's inside, because these trees are truly outside trees. So they are the marks that give you a clue where outside is. But other than that, you're absolutely right. This is blurred to the best. Next slide. Yep. The 1962 frame house, we're looking at some images and photos of it, was case study house number 25. And it's another fine example of courtyard living, a single courtyard in this case, just as they had had a single large courtyard. This house was hemmed in tightly by neighboring homes on a very narrow site. So the house, in its adjacent two-story entry courtyard, were developed between solid sidewalls to ensure visual and oral privacy. And the unforgettable entry experience is through a monumental 17-foot tall door that accesses an outdoor room. This room is an open-air court. At the same time, surprisingly, it's a sort of museum space, because when you're in the court, you can actually see into all of the major rooms catch a glimpse of their occupants and find out what they're doing inside the house. That signature trellis courtyard ceiling provides that lively shadow play within the spare, crisp, and elegant home. Not so obvious in any of the pictures here is the fact that a lot of reflections also from shallow reflecting pools help to enliven the space by putting those reflections on the walls. Yeah, in the bottom picture, Ron, I see that's another carless and neat illustration that really shows how much of a surprise that courtyard is, because you don't have a clue that it's there unless you know it, and you guys, right? And the other thing we want to point out, and we have a little discussion, or we want to kick off a little discussion with our reference to a previous show about here at Kapalua Bay, which, unfortunately, in the tragic, he was torn down. And he said that, you know, while Ed had started out with this one, and then had been peaked out by Conrad Hilton and encouraged him to do resort architecture of much bigger scope and scale, the courtyard was sort of reintroduced until the very end by you and Mary, as we pointed out in the show. But while I was saying that Kahala, their first collaboration didn't have what you had to be corrected, me, right, and how to be corrected with what you tell when a jade is launching. Yeah, Ed's use of courtyards at the Kahala apartments, which is next to the Gala-Hilton Hotel, was really a masterful way to have buildings looking very close into each other, as far as resident to resident. But even though they were only 30-foot-wide courtyards, the tropical landscaping was so lush and forced to restore, but you did have privacy. So here was courtyards used in a very ingenious manner. Yeah, by great difficulty, that was residential. So actually, through the resort architecture, I have to say that Kahala, both the you and Mary, the community, fully reintroduced it, and not to speak about Kahala Kalami with us in the most breathtaking way, as we pointed out in three or four shows about your masterpiece. Let's move on to another case by the house, Ryan, to the other one. Yes. Agrily on the courtyard. John and Kenza, who was publisher of Arts and Architecture Magazine, selected Ed Kenzaworth to design three modern model homes built to advertise what was gonna be an 82-house development. This triad, which is now known as the case of the house 23, consisted of very glossy extroverted pavilion homes, and they were provided with magnificent ocean views from the coastal hillsides of La Jolla back in 1960. Now these all three homes were garden courtyard homes. In this case, they all utilized three different sorts of courtyards. For example, there were some fully interior courtyards surrounded by interior rooms. There were also some outdoor courtyards that were fronted on one side by the home, but on the other sides, they were enclosed with very ethereal translucent glass screens. And finally, there were also some courtyards that were open on only one side, surrounded by buildings elsewhere, so that views could be opened up directly to the ocean views. And as these photos so simply described, that arrangement of linked glass civilians in those open air courtyards really make it difficult to really figure out which are indoor and which are outdoor spaces. The image at the lower left is also one of the most persuasive depictions I've ever seen of how an enclosed outdoor garden courtyard is just as important a living space as any interior furnished room in a modern home. And I think we also have this. There's a hall going on. Oh, I was just gonna say that this is very much a part of the climate in which these houses are built. So in California, you have a lot more time of year when you can use the outdoors, as opposed to Lincoln, Nebraska, for example, that if you come out here where I live, you pretty much can do that 24 seven for all 365 days of the year, most of the time. Great point. You're right if these are human children taking pictures by photographs, right? Yes, both like this. Hey, if they look at the outdoor house, if you want. Yeah, if we look at the outdoor house, this home was photographed by the second major famous California architecture, photographer Marvin Rand. This is another exquisite courtyard within the 1953 Octol House in Long Beach, California. Now, within the domain created by, again, tall solid privacy walls on both sides, a lush two-story garden sanctuary you can see in one of the photos was created as part of the unforgettable entry experience at the front of the house. At the rear of the house, there was a single straight run of an open steel stair that takes that elegant twist that you see at the ground floor on one of the colored photos on screen. And just beyond the elegant stairway appears a second rear enclosed courtyard. And it was accessed by sliding glass doors from the open-plan kitchen and dining room. The American Institute of Architects gave this home a first honor award for design excellence as being the best of architecture done back in 1953. That is a very skinny lot that I'm looking at that plan and to create that on a very small piece of land is, I think, really notable. Well, now, what most owners and developers would be opposed to a qualified is how much look at the percentage of dedicated to the outdoor living room, which is stated in your front yard today, where people would say, well, make my house twice as big, and it is. It's just an outdoor living room, right? And for you, that's just, you know, fronting the house. It's beautiful. Again, for your point, no, not possible on Lincoln, Nebraska or Schwanford, Germany. No way. I must make a comment that I was born too late because this beautiful home, perfect for a bachelor like myself, but also it turned into a family home. Back then, fully furnished, only cost $17,000. Oh, yeah. Oh, well, those days are gone. Let's go on to the next slide, which gets us to a different typology that Adam was introducing in the courtyard as well. Yeah, here's where we get to connect the courtyards and the trope of using a courtyard in terms of humane architecture. You know, the title of your show is Human, Humane Architecture. And the competition jury at the sixth Sao Paulo Arts Biennial, which, by the way, included the master architect, Leica Bousier, selected this Cambridge office garden building to be the finest small office space in the entire world during the years of 1960 and 61. Once again, that calculated entry drama, a floor-to-ceiling glazing within a fully exposed structural frame, that stamps this indelibly as a mid-century modern feelings-worth building, elegant, crisp, and beautifully proportioned. Now, again, as in some of the houses we've just seen, there are solid walls provided at the side property lines to provide complete office privacy, while enclosing two-story linear side courtyards. It provided his very own landscape plans for all of his small houses in garden office buildings. In other words, there were one or two sheets in the construction drawings that were drawn personally by Ed as landscape plans. In some of the photos there, you can see that hotly-spaced wood, two-by-three trellis members were draped overhead a procession of some flying beads. They created those sort of strided open ceilings over the gardens. Now, the humanity comes in. And, Ron, do I remember correctly that the image at the top right of one of Ed's drawings, do you recall that? That's a perspective, that entrance perspective. Yes, that's correct. He drew beautifully, but he had one Achilles heel. He couldn't draw people for squat. So one way to determine if you see a drawing that might be by Ed is check and see if the people have pinheads. Populated beautiful buildings. I think it's really good that you mentioned that Ed was a stickler for the planting plans because in these enclosed little courtyards, it's actually very, very important what you plant. And you can't put in plants that are gonna get too big. You can't put in a giant tree, but you also wanna make sure that the proportions are right overall. So obviously, and I'm glad to hear this from you directly, that Ed was aware of that and tried to specify things that would fit in the space that would be part of that architectural view. He had so much landscape know-how, but he also was great at being able to plant things that were relatively easy to maintain. So it wasn't such a huge out-of-pocket expense. But at the same time, I've worked with landscape architects who perhaps didn't know Hawaii well. They would be planting things that didn't grow well there. But if Ed had the skill at us in knowing what would grow and what would grow in not an inexpensive manner, necessarily, gardens aren't cheap, but not to break the bank. Yeah. What I was gonna say, let's share the other office. And this is also very timely, right? Because where do we work these days? Home office, quarantine, or in offices like that? And you've been foreseen what's coming, almost visionary. Well, let's share the other office psychology in the region of courtyard. Yeah. We have to make sure that that's on. The other office is given exemplary of Ed's concern about providing a humane space to work and working for lawyers. And this was a lawyer's office. Sometimes involves long, long hours, 16 hours a day. And I must preface my comments here by saying that Ed was handed yet another AIA First Honor Award for design excellence. And what was the very first client workspace that he created in his students with independent practice? So right out of the, with his very first work, he wins the highest award that the AIA can give for an independent building. Now, the interior structure of the 1958 clock, Westman Clock Law Offices Reception Lobby was extended outdoors in clothes and entry walkway in open-air garden pavilions, which also delicately enclosed the magnificent olive trees. The site plan that you see on the screen shows how Ed desired to place all offices, whether they were private or communal offices, but to directly adjacent to what were shallow, linear outdoor walls, courtyard gardens. And the fully glazed walls provided a view of lush plantings and a flood of natural light to reach every employee's desk. Not only that, but you also got a glimpse of the sun, glimpse of the open sky, and you had a feeling of time passing you, what time, how many hours you had been working there. In fact, even clerks confined to that most tedious research in the law library, worked next to a tiny but bright amenity of an open-air atrium garden courtyard. It only measured three feet deep by 12 feet wide, but it again provided the fresh air and the humane relief of view of nature and the magnificent glimpse of open sky. Yeah. That is just... And I'm not sure our founding uncle Jay Fidel, having been a lawyer in his previous life, truly appreciate that contribution here as a professor. No, it's so important to have that connection, to be able to look up from your page when you're so involved in something, and just look at some plants and see the wind blowing and maybe even see some birds and insects because it takes you away from the drudgery of what could be otherwise just draining your soul. Yeah, and you just sort of make the observation that this looks like a contemporary picture and that maybe you're on share with us in which condition all these houses are then, all the projects are that you share with us, fine. Yeah, one of the heartiest things I can say is that everything we've seen and will see are still being used. The stewardship over the years has been gratifyingly, has been very gratifying. They look as new as the day they were opened and they're all used as homes and working offices today. That's a very good thing to hear. So we're running out of time, but let's stop by back home and the wife for a little bit to the next slide. What we're showing here is that my design partner and friend Larry Stricke had described the five-home Montelani Grove development on the big island of Hawaii. And they too have courtyard aspects. The entry court that you see in the upper left led to the front door of an entrance pavilion. And when you stepped in and were at the entry, if you look forward, there was a handsome view into a pool courtyard which had a jacuzzi and a linear swimming pool. And they also opened onto views of the ancient Hawaiian fish ponds and they opened ocean beyond beyond. So courtyards in residential Hawaii. Yeah. This is why that would have been which narrates rightly civil cost of Hawaii State Study which gets the close to the original idea, however, many decades later. And let's go to the final slide for today and tell us what we see wrong. Well, there's a beautiful little really pure example of a modern glass potion pavilion called the Robertson House. It was actually designed by its partner, Waslith. It was only 12 foot wild by 48 foot long, which is smaller in fact than my rear courtyard and my own home. But it had incredible broad ocean views from its hillside site, almost 800 feet above the city of Laguna Beach, California. And below that is one of Ed's favorite and unhappiest projects in the sense that it wasn't realized. You see a plan there. He developed a low cost plan for what would have been ranks of linked one-story garden courtyard houses meant to replace South American slums. Now, the client was an inventor and he also admired Ed's architecture. This inventor had come up with a lightweight concrete building system for home construction back in 1952. Mass produced wall, floor, and ceiling elements were made of pre-stressed, lightweight concrete slabs which in turn were cast around even lighter souring foam panels. And it's hard to believe really, but these slim roof panels could span 20 feet without requiring beams. And because of their lightness, the lightness of these elements that could make a home, workers, construction workers, could carry and lift all of the panels into place without having to use any heavy equipment. And unfortunately, the client's laudable aims to provide inexpensive, handsome, modern courtyard housing to South Americans, plus the creation of his own home as a test case for the building system, they just weren't realized. And I've never known why. And even when I asked Ed why, he deigned not to tell me. And again, how timely is that? Because you've been looking out for not so core areas for the rich, but for the many ones at the other end at the lowest end of the food chain, especially through the economic and viral crisis they're facing. So this is so timely. This is to be digged out, next building. And also you will see further down this volume here of courtyards in a lodge to that by traffic way, David Rockwood. And so until then, Ron, I think since you have experienced firsthand, you just have a terrible heat wave. And you survived it through and in your house and with your house. I think we want to know more about it. So hopefully we can twist your arm and walk us through your house more in detail next week. Can we do that? I look forward to that. Me too. Awesome. Let's do that. Okay, until then, they literally and figuratively cool easy, breezy and easy, breezy courtyards. Thank you guys. Bye. See you next week. Bye now.