View allAll Photos Tagged Googie
LDS (Mormon) Temple in Provo Utah. This building was built in the early 1970's and deviated markedly from the more traditional gothic look of most LDS Temples built prior to that time. The look has a Googie feel to it which was a bit contaversial at the time.
OMW love this and remember all these great style building - we had fun watching a comedy hour inside the bar Wow like old tacky Vegas :D
The Ballard neighborhood is known for its maritime heritage, its Nordic roots, and its former glory days as the west coast's shingle mill capitol. This Mid-century modern structure was a Manning's Restaurant and until recently a Denny's. Community groups in Ballard sought and obtained historic landmark status to avoid demolition for a multistory condominium development which they oppose. The neighborhood is undergoing rapid change. The building is an example of sorts of Googie architecture from the late 50s and early 60s, with its soaring and unusual roof lines, and was a predominant theme in west coast architecture during the science-influenced "space age" days. The dispute continues and the fate of the property is still being worked out.
for much more see my new post the abandoned Googieesque gas stations of East St. Louis, one of 3 new blog posts in 3 days (City of Destiny is back...I hope). I'll post more of those photos on Flickr eventually but for now this is the only one. it just now occurred to me maybe I could have said "Googie" instead of "Googieesque"--oh well, too late for the blog URL!
Formerly Harvey's Broiler, this classic Googie style restaurant was central to the 1950's Southern California car culture. It was recently restored by Bob's Big Boy and returned to its former glory.
Bob's Big Boy Broiler
7447 Firestone Blvd
Downey, CA
The X Lazer Tag part appears to be tacked on, and the original coffee shop, which was restored in 1989 as Johnie's Rock & Bowl Cafe & Pizzarama is gone (or at least I can't find it). Here's more what it might have looked like originally:
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.
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.
Old pinball machines adorn one wall of the Valley Relics Museum at the Van Nuys Airport in Van Nuys, California, on Jan. 25, 2020. The museum houses a collection of San Fernando Valley artifacts, including neon signs from the Googie era of Southern California architecture and movie props from the early days of Hollywood.
A frame chapel with touches of googie. This one is located at the Westminster Memorial Park in Westminster, CA at Bolsa and Beach.
On a building next to the King Cat Theater in Downtown Seattle.
The building is set to be demolished for the new Amazon campus HQ.
Man, I hope that someone salvages these groovy sconces. There are several of them and they look to be in good condition.
Holy Temple Baptist Church
OKC
Begrow & Brown, architects
Not sure of year
This is one of the best buildings ever -- a great googie church in NE OKC. I've been told that the same architects who designed the Cowboy Hall of Fame designed this church, but I'm not 100% sure of that. I've listed the firm as the architects above but will verify that shortly.
LDS (Mormon) Temple in Provo Utah. This building was built in the early 1970's and deviated markedly from the more traditional gothic look of most LDS Temples built prior to that time. The look has a Googie feel to it which was a bit contaversial at the time.
This is *really* big. You can't tell much from the photos, but it has some *size*!
Someone told me this satellite / sputnik neon ball used to spin!
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.
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.
Roy's Motel and Cafe on historic U.S. Route 66 in Amboy, California, as it appeared on April 7, 2007.