|
The Argyle Writes
Designed in 1929 by architect Leland A Bryant, the Sunset Tower was a landmark from the moment it opened. Its dramatic siting on the Sunset Strip and elegant Art Deco styling, together with its proximity to the famous restaurants and nightclubs of the 30's and 40's, contributed to its appeal.
West Hollywood has always been an area which has catered to celebrities, on their way up or down the ladder of success, but in either case, wishing to give the impression of achievement. The Sunset Tower embodied all that Hollywood aspired to. Former residents include Howard Hughes, John Wayne, Billie Burke, Joseph Schenck, Paulette Goddard, Zasu Pitts, and even gangster Bugsy Siegel.
To attract a demanding clientele, the building incorporated the latest in both technology and design. There were modern conveniences, such as outlets in every bathroom for an electric shaver. Windows were important, in order to take full advantage of the views.
Reviews of The Argyle
Hal Peat
Finding Hollywood’s original era of glamour still alive on legendary Sunset Blvd. may come as something of a surprise to many visitors, but for those in the know, the Argyle Hotel recreates the finest of an earlier period. In fact, even the history of the building is like a Hollywood mini-saga. Originally constructed as the Sunset Towers Apartments, it opened in 1931 as the first high-rise apartment house on the Sunset Strip. Built in the Zigzag Moderne style, the Towers became an instant L.A. classic. The building’s stepped high-rise exterior was softened by using faceted windows to accent the rounded corners. Above the street entrance and along the various setbacks, plaster friezes incorporate a tangle of plants, animals and other creatures. Sprouting from atop the tower are engaged pylons and a pineapple finial. Another witty exterior touch of the period: on the rear garage of the building, sculptured panels depict the radiator grills of a sleek 1920’s automobile.
Early tenants of the Towers included Howard Hughes, John Wayne, and even the gangster Bugsy Siegel. Inside, the suites were the first “all-electric” apartments, and the Towers became an elite residence of the entertainment and business elite. It was during the post-War period that the Sunset Towers first became a hotel; luminaries calling it home included Frank Sinatra, Zsa Zsa Gabor, Errol Flynn, and directors George Stevens and Preston Sturges. The property went through various changes of hands during the seventies and although a historical landmark, was on the verge of abandonment by the early Eighties. Fortunately, it was rescued by a group of British investors, headed by Peter de Savery of the St. James Club, Ltd., who undertook a major $43 million renovation of the building. The apartments were reconfigured to create suites, and furnished with made-to-order reproductions of original Art Deco and Beaux Arts pieces. The public rooms also feature superb copies of French Deco furnishings and object d'art, as well as a few original period pieces. Carpets were woven to order in Europe. Even the cornice in the main public rooms was re-cast to original specification.
In 1987, the "Zig Zag Moderne" cool white beauty of the Sunset Strip reopened her doors as The St. James Club/L.A. There were 74 bedrooms, suites, and penthouses with panoramic views of the city below; two fine restaurants; private dining rooms; a health club and swimming pool. During the Nineties, the the St. James Club was an eye-catching backdrop for such movies as “Pretty Woman” with Julia Roberts and Richard Gere, while actor Tim Robbins was pitched a story idea at the hotel’s poolside in “The Player”. Among the many celebrities who belonged to the Club were Joan Collins, Sharon Stone, Quincy Jones, David Bowie, Elizabeth Taylor, Michael Caine, and Aaron Spelling. Operating since 1994 as The Argyle Hotel, a stay at the 13 story Art Deco tower is still like a step back in time. The use of blacks, grays, and of course many shades of white, rich wooden hues, metallic sheens and marble suggest all the sophistication and opulence of the Thirties, while every amenity of the new millennium is at the present-day guest’s fingertips, from dataports to fax machines, VCRs to stereo/CD players. Here you don’t have the physical vastness of many a recently constructed hotel room; instead, intimacy and human scale have been kept intact and become an integral part of the ambience. It’s art deco revival you can immerse yourself in and feel and touch, rather than the detached museum-like experience that cavernous spaces too often create. This livable dimension continues in the public areas; for instance, the split-level Fenix restaurant where the composition is all about soft lighting, well-spaced tables appointed with fine silver and thin stemmed wineglasses, and a shimmering view of the city—all minimalist elegance and absence of bombast. The Argyle is a quite fascinating fusion of past and present; there is minute attention to detail in the recreation of a period and its stylistic high points, an equal attention to the comforts of modern day travel, and last but not least just the hint of a clever reflection on a city and industry founded on dreams and the myth of limitless possibilities.
argylehotel.com
Film Set
The building has appeared in a number of films, including Wayne's World Part II, Get Shorty, The Player, and Strange Days. Recently, it was the setting for interviews with Ringo Starr for the Beatles Reunion TV special. Its first literary mention was in Raymond Chandler's Farewell My Lovely. In the first film version of that novel, Murder, My Sweet (1944), the line from the book is used as dialogue, making it the first screen reference to the Sunset Tower.
Leland Bryant specialized in luxury apartment buildings, but the Sunset Tower was his crowning achievement. His work is predominantly Period Revival styles, but with this structure he proved that he was equally adept with modern idioms.
Art Deco involved the use of geometric forms, of combinations of horizontal and vertical elements. Devoid of philosophy or ideology, unencumbered by precedents or expectations, Art Deco was pure style. Artists, architects, and designers were free to experiment with design vocabulary, iconography, and ornamentation. Also called Jazz Style or l"Art Moderne, its only statement was about joyous rebellion and prosperity. The Sunset Tower captured that spirit and added a few touches which were typically "L.A."
Details Described
Most of the exterior surface is smooth concrete, the windows forming a pattern of vertical bands which draw the eye upward and emphasize the height of the structure. Faceted windows accent the corners of the building. Above the street entrance and along the building's set-backs, plaster friezes express a tangle of images, some typical of Deco design, others the product of Bryant's creativity. Flora and Fauna, mythological creatures, zeppelins, and even Adam and Eve share the space comfortably. Atop the tower are engaged pylons and a pineapple finial. In a playful reference to its use, sculptured panels depict the radiator grille of a 20's automobile over the entrance to the garage at the rear.
Architecturally, the Sunset Tower represents the moment when Los Angeles, Art Deco, and Hollywood came together, their combined qualities produced elegance, sophistication, and fantasy. It is considered to be one of the most important Art Deco structures in Los Angeles and is listed on the National Register of Historic Places.
After several attempts to demolish the building in the Late 70's and early 80's, the building sat derelict for several years. In 1986 it was purchased by the St. James Club of Great Britain. They completed an extensive renovation and restoration, including a sensitive addition which provided space for a pool area and a full service restaurant.
The apartments were reconfigured to create suites, and furnished with made-to-order reproductions of original Art Deco pieces. The public rooms also feature exquisite copies of French Deco furnishings and object d'art, as well as a few special pieces original to the period. Carpets were woven to order in Europe. The cornice in the main public rooms was re-cast to original specification, based on "scars" left where the original had been scraped away years before.
|
