in Pomona; its vaulted roof, resembling an inverted boat hull, arched over the interior booths and the large exposed beams (made from glue-laminated timber) carried through to the exterior, where they supported a slatted awning that shaded the drive-in area. Other architects spread the Modern aesthetic of the coffee shop/drive-in in such as Tiny Naylor's (Lautner employer Douglas Honnold), Ship's (Martin Stern, Jr.), and Norm's and Clock's (Armet and Davis.) Googie became part of the American postwar Zeitgeist, but was ridiculed by the established architectural community of the 1950s as superficial and vulgar. "Googie was used as a synonym for undisciplined design and sloppy workmanship," reported historian Esther McCoy. Not until Robert Venturi's 1972 book "Learning from Las Vegas" did the architectural mainstream even come close to validating Lautner's logic. The style was denigrated by East Coast critics and Lautner's reputation suffered; as a result he became wary of talking to the press and it is notable that his 1986 UCLA oral history interviews include no references at all to these early projects. Harpel Residence () This elegant hillside house was designed and sited to take advantage of the panoramic views of Los Angeles. Unfortunately, it was extensively altered by later owners, including an unsympathetic second-story addition and the planting of a large hedge beside the pool, which completely obscured the views it was meant to frame, but it was faithfully restored in 2014 by the present owner, Marc Haddawy, at a cost of over US$500,000. The Chemosphere () Lautner's reputation was considerably restored by his groundbreaking design for the Leonard J. Malin Residence, also known as the "Chemosphere" (1960), which has become one of his best-known and most influential creations. Located at 776 Torreyson Drive, Los Angeles, the house was designed for young aerospace engineer Leonard Malin in 1960 and built by John de la Vaux. The steep hillside site had been given to Malin by his father-in-law, but was considered impossible to build on until Lautner devised his design: Lautner ingeniously solved the problem of the 45-degree slope by siting the entire house off the ground atop a 50-foot (15 m) concrete pillar that rests on a massive concrete pad 20 feet (6.1 m) in diameter and 3 feet (0.91 m) thick, buried into the rocky hillside. Halfway up the pillar, eight angled steel "spokes" – bolted onto bosses formed onto the surface of the column – splay