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living floor, intimacy and vitality are added to the grandeur of the great open space, and its tilted ceiling disappears.

In the late 1960s, Lautner began to speak both of “drawing in” the elemental forces of the site — the geology of rocks, the geometries of topology, the geography of views and skies — and of shaping the building so that it “radiates” toward these forces. Ever freer forms emerged from this dramatic conversation between space within and space without. For Arthur Elrod, on a rocky spur above Palm Springs in 1968, Lautner excavated the lot eight feet into the boulders and sand, and used the geology thus revealed as part of the structure. The main space is sheltered by a huge circular roof of tilted concrete whose great blades rest on a concrete ring supported on a few slender metal posts. The result, as Lautner described it, is a sky-lit dome “with light slots for freedom and panorama, leaving the ceiling as a precise reflection of the roof above it.” Lautner darkened the floor so that the view of the mountainside through the window wall, especially at dusk and dawn, would glow like a movie.

Perched high above the sea, the Marbrisa villa in Acapulco (1973) brilliantly expresses Lautner’s feeling for structural continuity and spatial flow, and his faith in the capacity of concrete to reconcile freedom and flux with a sense of solidity and repose. The villa is a small portion of an inverted cone, whose structural rings are anchored against the cliff, but the main living space is an open deck. Bordered by a swimming channel and spilling out at its ocean side to a molded edge, this platform takes on an increasingly irregular form as it stretches out toward the sea. A vast flying canopy curves upwards to draw the breezes, shield the tropical sun and meet the sky. Pathways Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52  |  Page 53  |  Page 54  |  Page 55  |  Page 56  |  Page 57  |  Page 58  |  Page 59  |  Page 60  |  Page 61  |  Page 62  |  Page 63  |  Page 64  |  Page 65  |  Page 66  |  Page 67  |  Page 68  |  Page 69  |  Page 70  |  Page 71  |  Page 72  |  Page 73  |  Page 74  |  Page 75  |  Page 76  |  Page 77  |  Page 78  |  Page 79  |  Page 80  |  Page 81  |  Page 82  |  Page 83  |  Page 84  |  Page 85  |  Page 86  |  Page 87  |  Page 88  |  Page 89  |  Page 90  |  Page 91  |  Page 92  |  Page 93  |  Page 94  |  Page 95  |  Page 96  |  Page 97  |  Page 98  |  Page 99  |  Page 100  |  Page 101  |  Page 102  |  Page 103  |  Page 104  |  Page 105  |  Page 106  |  Page 107  |  Page 108  |  Page 109  |  Page 110  |  Page 111  |  Page 112  |  Page 113  |  Page 114  |  Page 115  |  Page 116  |  Page 117
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