"Carport, breezeway, house. Carport, breezeway, house."
By that point, 90 minutes into our three-hour tour, I'd heard the phrase so many times that my brain was turning it into a sing-song-y lyric, not unlike the one that sets up camp in your cortex following a trip through "It's a Small World" at Disneyland. Except this tune made complete sense.
We were driving through Twin Palms, a neighborhood of 1950s-era tract houses in such uniformly pristine condition that every street looked like a "Brady Bunch" backlot. At each address, tour guide Robert Imber would recite the mantra.
His point? To demonstrate that while each home appeared strikingly different -- thanks to playful variations in rooflines, window placements and ornamental concrete block or stone -- they all followed an identical pattern, that of a carport attached to a breezeway attached to a house. Turns out the houses were all built by the Alexander Brothers, a local developer that found a way to bring the area's iconic modernist design to the masses, a bricks-and-mortar legacy of the United States' cocky postwar confidence.
Although I'd been to Palm Springs, Calif., several times, I never really saw past its obvious attributes: the snow-capped San Jacinto mountains, the eternal sunshine, the desert's flat color palette, punctuated by stretches of grass and gardens. But the rest of the landscape seemed a carbon copy of Southern California's freeway culture: endless strip malls and anonymous gated communities. Yawn.
It took Imber and his three-hour tour to open my eyes to the area's treasure trove of postwar architecture. Despite his minivan's packed-like-anchovies quarters -- and its on-again, off-again air conditioning -- I have never enjoyed a tour as much. Six of us sat, enraptured, as Imber turned the city's streets into a maze and talked, literally nonstop. A good driver? No. An encyclopedic and entertaining advocate for architectural preservation? Absolutely.
L.A. makes its mark
The buildings flew by, with Imber's breathless play-by-play filling in all possible blanks. An elegantly curvy bank, accented with azure tile and a geometric gold screen, would make Le Corbusier do a double take. Another bank, fronted by a reflecting pool and finished with a gleaming bronze facade, seemed plucked off a plaza in Brasilia. Even the familiar sang with mid-century panache. A former gas station, with a thrusting triangular roof acting like a calling card to passing drivers, is now a visitor center.