Harwell Hamilton Harris

Frampton, Kenneth; Zevi, Bruno; Harris, Harwell Hamilton

doi:10.1525/9780520925977

Cited by 4 publications

(2 citation statements)

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“…Harris drew on the lessons of his mentor Richard Neutra, from whom he had learned everything concerning publicity. This explains such features as the ironic references to the Josef von Sternberg House (1935) in the corrugated steel fascia of the carport (Germany 2000). To tie the modernity of the house with the modernity of the vehicle, the carport not only provided a solution for the car's movement on a steep slope, but it was an architectural gesture.…”

Section: Entenza's Setmentioning

confidence: 99%

“…While Harris was extremely sympathetic to his patrons' requests -although, unlike Alexander, he was not gay -there is little information about how his two clients communicated their needs and instructions to him. As Entenza's papers disappeared after the editor became romantically involved with a mysterious young man, few sources, other than Harris's own account, the investigation by Lisa Germany (2000) and perhaps the unreliable writings of Esther McCoy, shed light on Harris and Entenza's bumpy relationship. As regards sources for the history of the Havens House, Harris's wife, Jean Murray Bangs, became close friends with Havens, and their correspondence is a substantial one.…”

Section: Pre-war Houses and The Single Manmentioning

confidence: 99%

See 1 more Smart Citation

Queering California Modernism: Architectural Figurations and Media Exposure of Gay Domesticity in the Roosevelt Era

Parra-Martinez

Gutiérrez-Mozo

Gilsanz-Díaz

2020

Architectural Histories

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This paper examines three houses built for gay patrons on the California coast shortly before World War II. The first is the small structure that Harwell H. Harris designed for the future Arts & Architecture editor John Entenza in Santa Monica, completed in 1938; the second is this same architect's masterpiece in Berkeley, of 1941, which he created for his lifelong friend, Weston Havens; the third, by William Alexander, is in Laguna Beach, built in 1937 to accommodate the love triangle involving author-adventurer Richard Halliburton, Paul Mooney and Alexander himself. Notwithstanding their different requirements and scales, these dwellings can be understood as dramatic observatories which, protected from inquisitive gazes, strove to see without being seen. Although the care that went into ensuring their inhabitants' privacy might appear to conflict with the concern for making them objects of public seduction and media attention, both these strategies were inextricably intertwined. Yet, beyond the visual primacy in the organization of their interiors and the striking formal solutions to their exteriors, a comparative analysis of these houses and their physical and metaphorical modes of simulation, dissimulation and stimulation reveals the emergence of other spatial proposals, sensory invitations and symbolic registers which, as lines of flight of modernism, challenge normative ways of codifying identity, sexuality and queer affections.

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Section: Entenza's Setmentioning

confidence: 99%

Section: Pre-war Houses and The Single Manmentioning

confidence: 99%