View allAll Photos Tagged Googie
I need nourishment while out and about, walking and taking photos. Naturally, I will seek out the places with the googie signs! Norms is a chain of restaurants in the greater L.A. area, most have a sign like this, some of them have googie styled buildings as well. This one in Van Nuys is the only one in the San Fernando Valley.
Postcard from my collection.
Information on the back of card:
HI-HO Restaurants, Inc.
Salem, Oregon, Market St. Exit I-5
Portland, Oregon, Exit 12 I-205
Roseburg, Oregon, City Center Exit, I-5
CT-3104
Smith-Western Inc., 1133 N.W. Gilsan Street, Portland, OR 97209
This card is for a chain of restaurants in Oregon although I'm not sure if any of them are still there. We never ate at any of them but I would have loved to see the wonderful Googie style one in the top left.
Part of the Bowlero Lanes building in Lakewood, Washington
Bowlero Lanes
3852 Steilacoom Blvd S.W.
Lakewood, WA 98499
Phone: (253) 584-0212
The now defunct Southwest Bowl on Western Ave. in South LA is shuttered and for sale and this large bowl sign is all that's left of the cool googie signage that is at the place (the other signage is gone) And from the look of the neighborhood I'd doubt this place is coming back.............
Scenes from the Westlake District of Daly City, California. One of America's first master-planned postwar suburbs, Westlake was the "inspiration" for Malvina Reynolds' song "Little Boxes," which became a hit for folkie Pete Seeger in 1964.
Read more about Westlake at the blog: "America's Most Perfect Ticky-Tacky Suburb."
Googie-Style,
Built in 1964
Originally called The United Founders Life Tower
2nd building in the U.S. to have a revolving restaurant
Eugene, Lane County, OR
Listed: 06/01/2011
Car dealerships generally aren’t known for their great architecture, but the Lew Williams Chevrolet Dealership is an exception. With its character-defining “space age” display pavilion – influenced by the International building style – it has long served as an icon of modern design for the city of Eugene, Oregon. So much so, that the pavilion, considered “the strongest example of Googie in Eugene," is now listed in the National Register of Historic Places. Prior to becoming a car dealership, the c. 1949 building was actually home to a Coca-Cola bottling plant, but when the plant moved in the late 1950s, Lew Williams, who already had a dealership downtown, bought it for its prime location next to the newly widened Highway 99. The site needed a little sprucing up though, so he consulted with Balzhiser, Sedar, and Rhodes, a local architecture firm. The result was the c. 1960 attachment of a one-story, elliptical building with floor-to-ceiling windows and a “potato chip” style roof, which attracts admirers even today. The building was sold to Joseph Romania in 1969 and remained a Chevrolet dealership until 2005 when the University of Oregon purchased it. Considered significant for its association with the changing transportation infrastructure and automotive patterns, and as an outstanding example of post-war modern era commercial architecture, the dealership was listed in the register on June 1.
Semi-Googie
Richmond Heights, MO
I think an outdoor-furniture store used to occupy this sprawling showroom, built around an A-frame center. It was a nice, lower-key companion to the nearby Parkmoor, which for years was the St. Louis area's prime Googie landmark.
Sigels Liquor Store No.7 at Lemmon and Inwood in Dallas, Texas is scheduled to close by the end of April 2009. With it will go this landmark sign which has lit this busy corner since the 1950’s. A note, the sign is an example of the “Googie” style of architecture, named after a Los Angeles coffee shop
Coogie architecture . . . Googie architecture.
Googie architecture was named after Googie's Coffee Shop at the corner of Sunset Boulevard and Crescent Heights Boulevard in Los Angeles. Coogie's, on the other hand, is located 7.7 miles away at Santa Monica Boulevard and Yale Street in Santa Monica.
The Baltimore Sun ran an article, Go on a SoCal Hunt for Googie Architecture, on May 18, 2008.
Coogie's Cafe Santa Monica
2906 Santa Monica Blvd
Santa Monica, CA 90404
(310) 829-7871
This photo is geo-tagged.
20090325_0357a1_800x600
Steven Patrick Hatsman.
Between my Dad, my Mom, my brother Rich and I, we raised Stevie from about 9 months old to 14 years old. He's 18 now.
Did everything with him, changed diapers,helped with homework, took him to school, stayed up him when he was sick, taught him how to cook, etc. And he always helped me with the animals, no matter what was involved, including when my cat Cobby got impaled. He was right in there with me helping save her.
I love this "little man" as my own son.
His goal is to become a chef and own his own restaurant.
I love you Googie!
A very simple row of storefronts, each one angled out so they could be seen from the parking lot. At the back is the entrance to what was a basement bowling alley - today it's a church.
Bottom DETAIL of 1950s Atomic rocks glass for identification purposes.
Dims.: 3/8" x 3/8".
Can anyone identify this pattern?
Cruise night at Johnie's (now Big Boy) Broiler, a Googie coffee shop and drive-in restaurant in Downey. Built in 1958, demolished 2007, rebuilt 2009. 7447 Firestone Boulevard, Downey California.
From BobsBigBoyBroiler.com:
Downey's former Harvey's/Johnie's Broiler has made a major comeback from an utterly illegal Sunday afternoon demolition in 2007. Now a Bob's Big Boy, the restaurant has won the LA Conservancy's President's Award for preservation.
The Aztec Motel, located at 411 E Lavender Rd, was opened in 1960 by Maria J. Martinis. Initially, the motel’s facade did not reflect any Aztec-inspired design. When Adamo Pipitone Sr. purchased the property in 2001, he renovated the motel and its annex, formerly the Coral Sands Motel, to better align with the Aztec theme. The most notable addition was a striking vertical neon sign in red, yellow, and turquoise, which became a defining feature of the motel.
The Wildwoods Shore Resort Historic District, or Doo Wop Motel District, spans a two-mile stretch between Atlantic and Ocean Avenue, primarily across Wildwood Crest but extending into areas of Wildwood and North Wildwood. Known for its collection of over 300 motels from the 1950s and 1960s, the district features the unique space-age "doo-wop" architectural style, a term coined by Cape May’s Mid-Atlantic Center for the Arts in the early 1990s, also known as Googie or populuxe style. Doo-wop motels typically have U-shaped or L-shaped designs of two or three stories, asymmetric elements, swimming pools, adjacent parking or second story sun decks over parking spaces, angular walls or windows, flat overhanging roofs, prominent Vegas-like neon signs, plastic palm trees, bright colors, and contemporary or fantasy themes. While many motels have been demolished for new condominiums, the Wildwood Doo Wop Preservation League has successfully restored and preserved several of the remaining historic buildings.
Built between 1959 and 1962, this Modern Futurist and Googie building was designed by Eero Saarinen and Associates for Trans World Airlines to serve as a Flight Center, or Terminal headhouse, for their passenger services at John F. Kennedy International Airport in New York City. The building is an example of thin shell construction, with a parabolic and curved sculptural concrete roof and concrete columns, with many surfaces of the building's structure and exterior being tapered or curved. The building also appears to take inspiration from natural forms, with the roofs appearing like the wings of a bird or bat taking flight. The building served as a passenger terminal from 1962 until 2001, when it was closed.
The building's exterior is dominated by a thin shell concrete roof with parabolic curves, which is divided by ribs into four segments, with the larger, symmetrical north and south segments tapering towards the tallest points of the exterior walls, and soar over angled glass curtain walls underneath. At the ends of the four ribs are Y-shaped concrete columns that curve outwards towards the top and bottom, distributing the weight of the roof structure directly to the foundation. The east and west segments of the roof are smaller, with the west roof angling downwards and forming a canopy over the front entrance with a funnel-shaped sculptural concrete scupper that empties rainwater into a low grate over a drain on the west side of the driveway in front of the building, and the east roof angling slightly upwards, originally providing sweeping views of the tarmac and airfield beyond. The exterior walls of the building beneath the sculptural roof consist of glass curtain walls, with the western exterior wall sitting to the east of the columns and the eastern exterior wall being partially comprised of the eastern columns, with the curtain wall located in the openings between the columns. To the east and west of the taller central section are two half crescent-shaped wings with low-slope roofs, with a curved wall, integrated concrete canopy, tall walls at the ends, and regularly-spaced door openings. To the rear, two concrete tubes with elliptical profiles formerly linked the headhouse to the original concourses, and today link the historic building to the new Terminal 5 and Hotel Towers.
Inside, the building features a great hall with a central mezzanine, and features curved concrete walls and columns, complex staircases, aluminum railings, ticket counters in the two halls to either side of the front entrance, a clock at the center of the ceiling, and skylights below the ribs of the roof. The space features penny tile floors, concrete walls and built-in furniture, red carpeting, and opalescent glass signage. On the west side of the great hall, near the entrance, is a curved concrete counter in front of a large signboard housed in a sculptural concrete and metal shell that once displayed departing and arriving flights. On the north and south sides of this space are former ticket counters and baggage drops, which sit below a vaulted ceiling, with linear light fixtures suspended between curved sculptural concrete piers that terminate some ways below the ceiling. To the east of the entrance is a staircase with minimalist aluminum railings, beyond which is a cantilevered concrete bridge, with balconies and spaces with low ceilings to either side, off which are several shops, restrooms, and telephone booths. On the east side of the bridge is a large sunken lounge with red carpet and concrete benches with red upholstered cushions, surrounded by low concrete walls that feature red-cushioned benches on either side, sitting below a metal analog signboard mounted to the inside of the curtain wall. To the north and south of the lounge are the entrances to the concrete tubes that once provided access to the concourses, which are elliptical in shape, with red carpeted floors and white walls and a white ceiling. On the mezzanine are several former lounges and a restaurant, which feature historic mid-20th Century finishes and fixtures.
The complex includes two contemporary hotel towers, the Saarinen and Hughes wings, which were designed carefully to harmonize with the original building and match its character. The two wings feature concrete end walls, curved Miesian glass curtain walls, and interiors with red carpeting, wooden paneling, brass fittings and fixtures, and white walls and ceilings. The only substantial modification to the structure's significant interior spaces was the puncturing of the two concrete tubes to provide access to these towers. The former terminal also features several service areas that were not previously open to visitors, which today house a massive fitness center, a cavernous underground conference center, and various meeting rooms and ballrooms, with all of these spaces, except the fitness center, being redesigned to match the mid-20th Century modern aesthetics of the rest of the building, with new fixtures, furnishings, and finishes that are inspired directly by the time period in which the building was built, and are nearly seamless in appearance with the rest of the building.
The fantastic building was designated a New York City Landmark in 1994, and was listed on the National Register of Historic Places in 2005. Between 2005 and 2008, the new Terminal 5, occupied by JetBlue, was built, which wraps the structure to the east, and was designed by Gensler, and was carefully placed so as to avoid altering or damaging the character-defining features of the historic terminal. Between 2016 and 2019, the building was rehabilitated in an adaptive reuse project that converted it into the TWA Hotel, which was carried out under the direction of Beyer Blinder Belle, Lubrano Ciavarra Architects, Stonehill Taylor, INC Architecture and Design, as well as the Port Authority of New York and New Jersey and MCR/Morse Development. The hotel features 512 guest rooms, large event spaces, a rooftop pool at the top of the Hughes Wing, a large basement fitness center, and a Lockheed Constellation L-1649A "Connie" on a paved courtyard to the east of the building, which houses a cocktail lounge. The hotel is heavily themed around the 1960s, and was very carefully designed to preserve the character of this iconic landmark.
Norm's Restaurant, 1957
470 N La Cienega Blvd
Armet and Davis
__________
An icon in Los Angeles, Norm's has been serving up delicious, cheep meals for a half century. But that's not the only reason for making the pilgrimage -- the fabulous architecture is the other. The geometric shapes and colors of the building make it an eye catcher. Even on a dreary day, the building just makes breakfast more fun.
This is Googie Architecture at it's finest. Designed by the architecture team of Armet and Davis, the low broad eves and peaked glass windows contrast with the towering neon sign for a space-age masterpiece that Goerge Jettson would have been proud to eat at. Unfortunately, the inside has suffered the effects of time and remodling. The original stainless steel clock still hides behind the cashier, but light fixtures, booths, and chairs have been ungraciously updated, probably in the 1970's. An old 1970's era wood sign still points to way to the non-smoking section, although smoking in California restaruants has been outlawed for close to 20 years.
Why this building isn't designated a local historic landmark by the City of West Hollywood, or placed on the National Register of Historic Places, I can't imagine. It's well deserving of such status. It would be a shame to loose it.
Wikipedia (Norms Restaurants) - en.wikipedia.org/wiki/Norms_Restaurants
Wikipedia (Armet and Davis) - en.wikipedia.org/wiki/Armet_&_Davis
Wikipedia (Googie Architecture) - en.wikipedia.org/wiki/Googie_architecture
One of a handful of remaining shops in the arcade. There's also a nail salon and a restaurant (which takes up all of the spaces on the left, and has unceremoniously papered over all the windows).
Scenes from the Westlake District of Daly City, California. One of America's first master-planned postwar suburbs, Westlake was the "inspiration" for Malvina Reynolds' song "Little Boxes," which became a hit for folkie Pete Seeger in 1964.
Read more about Westlake at the blog: "America's Most Perfect Ticky-Tacky Suburb."
I love the way the old roadside buildings leaned up to meet you, trying to look larger than they were from the street.
This building is now in a big parking lot for a Mexican supermarket, kinda off to the side a bit. The sign, (that wonderful sign!), is obscured by trees.
Someone told me the atomic satellite / sputnik neon ball at the top used to spin, and that underneath that chicken with a gold tooth is still the original sign!
I really hope someone restores this place, as it's much more of a wreck now than when I took these photos a while back.
Pix Liquor Lounge boasts one of Tampa's few remaining Googie signs. I have a night shot in my photostream, but I plan on getting a better one.
Florida Avenue at Linebaugh, Tampa.
This "Earl's Home Cookin'" restaurant above is now closed and was originally built as a Denny's.
I'm lecturing on Googie Architecture at the March 26, 2009 meeting of the Orange Community Historical Society. The meeting will begin at 7pm, at Trinity Episcopal Church, 2400 N. Canal St.
More details on my blog at ochistorical.blogspot.com
Historic neon googie Mel's Bowl sign in Redwood City is in danger from developers building an apartment complex -- read more.
Mel's Bowl sign in Redwood City is a real 'Googie' and should remain, group says - San Jose Mercury.
I also got this one off the Malls Of America Site . Check out those nice cars . Wow ! Today, sad to say, only half of the old mall remains . Form the middle set of palm trees down to Rhodes Department Store was torn down for some boaring government building . The Lyons in front on the corner, that is not seen in this foto, also was torn down for a Wallmart gas station . Scroll down my fotos to see the Lyons Building . Enjoy !
When Tami and I saw this sign in Cache, we thought of Lynn...so here you go! This was an amusement park that I can find very little about on the internet. Apparently there is a steam locomotive that may or may not still be there and one of the rides was salvage by a guy at Tinker that restored some of the cars. Other than that...does anyone know anything else?
Eugene, Lane County, OR
Listed: 06/01/2011
Car dealerships generally aren’t known for their great architecture, but the Lew Williams Chevrolet Dealership is an exception. With its character-defining “space age” display pavilion – influenced by the International building style – it has long served as an icon of modern design for the city of Eugene, Oregon. So much so, that the pavilion, considered “the strongest example of Googie in Eugene," is now listed in the National Register of Historic Places. Prior to becoming a car dealership, the c. 1949 building was actually home to a Coca-Cola bottling plant, but when the plant moved in the late 1950s, Lew Williams, who already had a dealership downtown, bought it for its prime location next to the newly widened Highway 99. The site needed a little sprucing up though, so he consulted with Balzhiser, Sedar, and Rhodes, a local architecture firm. The result was the c. 1960 attachment of a one-story, elliptical building with floor-to-ceiling windows and a “potato chip” style roof, which attracts admirers even today. The building was sold to Joseph Romania in 1969 and remained a Chevrolet dealership until 2005 when the University of Oregon purchased it. Considered significant for its association with the changing transportation infrastructure and automotive patterns, and as an outstanding example of post-war modern era commercial architecture, the dealership was listed in the register on June 1.