The result was a fanciful building that centered around a roofline reminiscent of the launch trajectory of a rocket.īelow the sweeping prow were swooping curved walls and a colorful facade. One notable example is Johnson’s design for the Stanley’s Mannia cafe, commissioned by the restaurateur Stanley Hong. But rather than construct a series of staid churches, Johnson often used his work during the period to explore the futuristic Googie style, which sprung from a collective fascination with the technological advancements of the sixties. Modern Googie Style Experimentationįrom his office on West Grand, Johnson quickly developed a large roster of clients, in particular church congregations looking to build new places of worship. But after a few years in the ranks of draftsmen, Johnson struck out on his own when White & Griffin ceased operations in order to work on projects in Liberia. Williams, the support and mentorship at White & Griffin was formative. For Johnson, who noted that he found inspiration in the career of Black architects like Paul R. The firm’s partners made a point of mentoring young Black architects in an industry where racism was rampant. The firm was one of the first Black-owned architecture firms in the country, and it was a major force in Detroit’s design scene until it closed in 1954. For the Detroit architect Nathan Johnson, the influx of building projects in the 1960s and 1970s fueled by the golden age of the automobile industry were an opportunity to introduce the city to his uniquely forward-looking style.īorn in Kansas City, Johnson began working for White & Griffin in Detroit in 1950 after meeting founder Don White at a convention for their fraternity, Kappa Alpha Psi.
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