The Castro Theatre, the Pacific Telephone and Telegraph Headquarters, 450 Sutter Medico-Dental Buildingthesemasterpieces of San Francisco's Art Deco heritage are the work of one man: Timothy Pflueger. An immigrant's sonwith only a grade-school education, Pflueger began practicing architecture after San Francisco's 1906 earthquake. While his contemporaries looked to Beaux-Arts traditions to rebuild the city, he brought exotic Mayan, Asian, and Egyptian forms to buildings ranging from simple cocktail lounges to the city's first skyscrapers. Pflueger was one of the city's most prolificarchitects during his 40-year career. He designed two major downtown skyscrapers, two stock exchanges, several neighborhood theaters, movie palaces for four smaller cities (including the beloved Paramount in Oakland), some ofthe city's biggest schools, and at least 50 homes. His works include the San Francisco Stock Exchange, the ever-popularTop of the Mark, the San Francisco-Oakland Bay Bridge, and the San Francisco World's Fair. It is a testament to his talentthat many of his buildings still stand and many have been named landmarks. Therese Poletti tells the fascinating story of Pflueger's life and work in Art Deco San Francisco. In lively detail, she relates how Pflueger built extravagant compositions in metal, concrete, and glass. She also tells the story behind the architecture: Pflueger's commissioning and support of muralist Diego Rivera, his association with photographer Ansel Adams and sculptor Ralph Stackpole, and his childhood friendship turned to adulthood sponsorship with San Francisco Mayor James "Sunny" Rolph Jr. Beautiful archival photography mixes with stunning new photography in this collection of a truly Californian, but ultimately American, story.

Auth: University of California, Berkeley, Includes 150 color photographs, 9 walking tours.

The famed period of architecture, design, and style known as Art Deco began in the mid1920s and lasted for a good 20 years. The movement left an indelible stamp all around the Bay Area but nowhere more so than in styleconscious San Francisco. The city's 1925 Diamond Jubilee, coinciding with the Exposition Internationale des Arts Decoratifs et Industriels Modernes in France, ushered in the Art Deco age to the city by the bay. The Roaring Twenties created a need for thousands of new commercial and residential buildings, and many of these, such as Timothy Pflueger's Pacific Telephone and Telegraph building, were Art Deco masterpieces that embodied the new "moderne" styling sweeping the country. Using a variety of building materials, including terracotta, Vitrolux, and neon, many of the city's graceful and dramatic buildings turned heads 70 years ago just as they do today.

Art Deco made its formal appearance in Paris at the 1925 L'Exposition Internationale des Arts Dâecoratifs et Industriels Modernes, a showcase for art, architecture, and design that promoted progress, modernity, and the present. The greatest export from this exhibition was a style that has since been recognized as one of the great design movements of the 20th century. Art Deco's growing recognition coincided with the growth of Los Angeles as the entertainment capital. Between the world wars, the city's architecture sprouted characteristic signs of Art Deco: the interplay of vertical and horizontal features, geometric shapes, use of exotic and modern materials, as well as simplified streamlined forms. This volume's collection of images celebrates Los Angeles's Art Deco heritage, showcasing such structures as Bullock's Wilshire, Sunset Tower, the Oviatt Penthouse, the Wiltern and Pantages Theatres, and many more.--From publisher description.

At 5:55 p.m. on March 10, 1933, Southern California was rocked by a massive earthquake. Wood-frame bungalows lost their chimneys, and engineered concrete buildings suffered minimal damage. But unreinforced masonry buildings near the epicenter failed catastrophically, and Long Beach was particularly hard hit. Nearly three-quarters of the school buildings, as well as many other structures, were rendered unusable until repaired or rebuilt. The Art Deco style, in addition to being fashionably modern in 1933, met the criteria of earthquake safety, and many new structures showed its influence. Both the Zigzag Moderne style of the 1920s, which boasted many structures that survived the earthquake, and the Streamline Moderne style that came into vogue in the 1930s relied on sleek lines with decoration incorporated into the design. This volume celebrates, in both word and image, the Long Beach that rose from the rubble to become a premier Art Deco city. At 5:55 p.m. on March 10, 1933, Southern California was rocked by a massive earthquake. Wood-frame bungalows lost their chimneys, and engineered concrete buildings suffered minimal damage. But unreinforced masonry buildings near the epicenter failed catastrophically, and Long Beach was particularly hard hit. Nearly three-quarters of the school buildings, as well as many other structures, were rendered unusable until repaired or rebuilt. The Art Deco style, in addition to being fashionably modern in 1933, met the criteria of earthquake safety, and many new structures showed its influence. Both the Zigzag Moderne style of the 1920s, which boasted many structures that survived the earthquake, and the Streamline Moderne style that came into vogue in the 1930s relied on sleek lines with decoration incorporated into the design. This volume celebrates, in both word and image, the Long Beach that rose from the rubble to become a premier Art Deco city.

An award-winning architect explores the history and engineering of a modern marvel with “easygoing prose [and] dozens of delightfully accessible sketches” (SFGate.com). Nine million people visit the Golden Gate Bridge each year, yet how many know why it’s painted that stunning shade of “international orange”? Or that ancient Mayan and Art Deco buildings influenced the design? Current bridge architect Donald MacDonald answers these questions and others in a friendly, informative look at the bridge’s engineering and seventy-year history. This accessible account is accompanied by seventy of MacDonald’s own charming color illustrations, making it easy to understand how the bridge was designed and constructed. A fascinating study for those interested in architecture, design, or anyone with a soft spot for San Francisco, Golden Gate Bridge is a fitting tribute to this timeless icon.

Published on the occasion of the expo's 75th anniversary, Into the Void Pacific is the first architectural history of the 1939 San Francisco WorldÕs Fair. While fairs of the 1930's turned to the future as a foil to the Great Depression, the Golden Gate International Exposition conjured up geographical conceits to explore the nature of the city's place in what organizers called "Pacific Civilization." Andrew Shanken adopts D.H. LawrenceÕs suggestive description of California as a way of thinking about the architecture of the Golden Gate International Exposition, using the phrase Òvoid PacificÓ to suggest the isolation and novelty of California and its habit of looking West rather than back over its shoulder to the institutions of the East Coast and Europe. The fair proposed this vision of the Pacific as an antidote to the troubled Atlantic world, then descending into chaos for the second time in a generation. Architects took up the theme and projected the regionalist sensibilities of Northern California onto Asian and Latin American architecture. Their eclectic, referential buildings drew widely on the cultural traditions of ancient Cambodia, China, and Mexico, as well as the International Style, Art Deco, and the Bay Region Tradition. The book explores how buildings supported the cultural and political work of the fair and fashioned a second, parallel world in a moment of economic depression and international turmoil. Yet it is also a tale of architectural compromise, contingency, and symbolism gone awry. With chapters organized around the creation of Treasure Island and the key areas and pavilions of the fair, this study takes a cut through the work of William Wurster, Bernard Maybeck, Timothy Pflueger, and Arthur Brown, Jr., among others. Shanken also looks closely at buildings as buildings, analyzing them in light of local circumstances, regionalist sensibilities, and national and international movements at that crucial moment when modernism and the Beaux-Arts intersected dynamically.