View allAll Photos Tagged Googie
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.
Olympic Boulevard at La Cienega
Los Angeles, California
Ship's Coffee Shop is long gone, but two signs remain on the corners of the lot it used to occupy.
The iconic Flying Saucer restaurant in Niagara Falls, Ontario, has been serving “out-of-this-world food at down-to-earth prices” for more than 50 years. Originally opened as a carhop-style drive-in, waitresses would roll your order right out to your car on skates. The first structure was a single saucer, with the twin added later during expansion. Today, the restaurant and its updated yet retro-style sign stand as a playful example of Googie architecture.
I came of age in Niagara Falls, and back in the ’90s the Flying Saucer was the late-night spot. After the bars closed, everyone ended up there because it was the only place still serving food. The giant circular booths made it easy to cram in an entire crew, and when the dining saucer filled up by 3 a.m., the atmosphere was raucous. The food quality? Questionable at best. But the vibe? Unbeatable.
Places like this carry a kind of kitschy magic that’s hard to explain but I absolutely love. If you’ve ever been to the Peppermill in Las Vegas, you’ll understand exactly what I mean.
Have you ever visited the Flying Saucer? What do you remember?
Old googie sign for Granite Furniture Salt Lake City Utah. Building is coming down for redevelopment, don't know if sign will be saved.
Theme Building
The Theme Building is a landmark structure at Los Angeles International Airport within the Westchester neighborhood of the City of Los Angeles. It opened in 1961, and is an example of the Mid-Century modern influenced design school known as "Googie" or "Populuxe."
en.wikipedia.org/wiki/Theme_Building
www.wikimapia.org/#lat=33.9440141&lon=-118.4031075&am...
i090527 115
One of the great googie structures in Southen California is the Palm Springs Visitor Center on Hwy 111, Designed by Albert Frey & Robson C. Chambers the former Tramway gas station was built in 1965 and has a metal kite-shaped roof that appears to float above the building and it was used for the next twenty years as a gas station........... It sat empty for awhile after the gas station closed until it was re-furbished and used as a art gallery, when that business shut down the property and building was purchased by the City of Palm Springs and in 2003 became the official visitor center location for Palm Springs, Ca. and is also at the entrance to the Palm Springs Aerial Tramway
Open since the '40s. An ABQ institution.
Urbanspoon page:
www.urbanspoon.com/r/60/650632/restaurant/International-D...
In its own interpretation of man's evolution, the Ford exhibit takes Fair-goers on a tour - in open convertibles - of man's humble beginnings. In tableaux designed by Walt Disney, dinosaurs devour each other, followed by the light of erupting volcanoes. Then come the cavemen. They discover family life (right), develop tools (center) and try to pry a rock down onto a mammoth, which is out of sight in left background. The ride is climaxed with a trip through a city in space where passengers feel like real astronauts.
I remember seeing this sign when I was a little girl going to the mall with my mom. It reminded me of the Knott's parachute ride that I could see in the background.
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.
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.
Fujica ST705w on cross processed Kodak Elite Chrome 200 slide film.
Richmond Heights, MO
I was being treated at a physical-therapy facility right across the street from the Parkmoor was it was being demolished, and I could see--and hear, definitely--the workmen dismantling the beloved restaurant from a second-story window.
I'm fine, thanks, but the Parkmoor's gone.
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.
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.
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.
Auto World Auto Sales
2240 Northgate Blvd
Sacramento, California
One of several former locations of an Orbit gas station, now a used car dealer specializing in financing people with bad credit or no credit.
GONE BUT NOT FORGOTTEN - Simply amazing--unusual 50s "Googie"-style chair and crescent stool covered with hand-woven tribal fabric direct from Lombok. Our upholsterer used the edges of the pattern beautifully to finish the sides.
Great Googie style restaurant sign along route 66 in Kingman, AZ. Currently housing a chinese restaurant.
Googie neon sign for Star Cleaners in Hamilton, Ohio. Couldn't resist upgrading my previous photo with that blue sky.
Back reads:
THE CHATEAU
1921 So. Atlantic Ave.
Daytona Beach, Fla
Route A1A
Nicely Appointed apartments and hotel rooms. Opposite shopping center and excellent restaurants. All apartments with picture windows overlooking the ocean and the "World's Most Famous Beach". Telephones Clinton 2-8090 &
Raymond & Claribelle Held - owners-mgrs.
They seemed to lose their train of thought on the end of the caption, after "Telephones". (I type 'em in exactly as printed, folks) The boy in the cap there looks like he's about 10 seconds away from dying of sunstroke.
This place is now "Old Salty's Inn". I somehow think the old name sounded better.