2/1/2024 0 Comments Disney animation deskHe created a showcase of the new design aesthetic that was emerging during the mid-Twentieth Century. Looking back, Weber more than delivered on the studio plant that Walt Disney had envisioned for his burgeoning company in 1939. His regular home furniture pieces are very collectable, as are his designs for the specialty animation furniture for the Disney studios, and command hefty prices. Kem Weber passed away four months later on Januat the age of 73.Īlthough Weber was largely forgotten by the time of his death, he left a legacy of iconic designs that have, in the last decade or so, been rediscovered as well as his importance in the mid-century design period. His family put him in a retirement home in the fall of 1962. In 1959, Weber began displaying signs of Alzheimer’s disease that progress quickly. His children had grown and he spent more time with his grandchildren, sailing off the coast of Santa Barbara and painting in his studio. But by 1957, Weber was looking to slow down. He worked on homes, retail stores, hotels and gas station designs in Southern California and around the continental United States. Regardless, Weber continued to design furnishings and structures after WWII ended and into the 1950s. It’s possible that his German heritage and accent may have hobbled his opportunities as he had experienced “fervent anti-Germanism during the First World War” when he first arrived in the United States in 1914. ![]() Once again showing that he was on the leading edge of new manufacturing methods and building techniques.Ī perspective sketch of the Kem Weber System House, his prefabricated housing unit pencil and watercolor on board by Kem Weber, 1942 ©UCSBĭuring the war years, Weber tried numerous times to get traction on his prefab home designs but was only met with empty promises, delays and frustration. Weber embraced the use of plywood for furniture and home construction. With the country gearing up for eventual entry into WWII, the Federal Housing Administration was looking for proposals on prefabricated homes to house workers near defense plants. He also worked on a design and prototype for a prefab house in association with the Douglas Fir Plywood Association in Tacoma, Washington, for the US Government. Weber also organized an exhibition of his drawings, paintings and photographs of the Disney Studio project at the then new University of Santa Barbara campus, where he would eventually leave his archives.Īfter Weber completed his work for Disney he went onto do a redesign of the Bismarck Hotel in Chicago where he continued to push forward his version of the Streamline modern aesthetic. It was typical of designers and architects to get beauty shots of their design handiwork to update portfolios with recent accomplishments to show perspective new clients. Walt Disney granted Kem Weber permission to bring a photographer named Baskerville into the newly completed studio complex to shoot photos of his designs, often while in use by the artists and other employees. Also, Grant is resting one foot on the ubiquitous chrome pipe footrest under the center of the desk. Note the drawer details and open cubby on the right side. Joe Grant (seated in a fabric covered Air Line chair in the foreground) at a large director’s desk opposite Dick Huemer (with pipe) with character designer James Bodrero standing and Dunbar “Dun” Roman seated to the left looking at camera during production of Fantasia (1940). ![]() The homey ramshackle environment of the Hyperion studio was gone forever and a new era dawned for the Disney empire. But, just a few years into the new studio in May 1941 there was the pivotal animation strike that left Walt emotionally wounded and bitter towards certain individuals who he blamed for the walkout. Whether the move to the new studio exacerbated already simmering labor unrest at the studio is up for debate. ![]() It was also indicative of a growing enterprise and the unintended consequences that often accompany growth and great accomplishments. It was cold, you didn’t know who the boss was….” This was clearly a reaction to the changes that were happening at the studio after the massive success of Snow White and the Seven Dwarfs. Animator Jack Bradbury recalled, “when we went to the new studio, we went from a room that we had worked in with several guys to rooms all by ourselves, with drapes on the windows, carpeting all over the floor, a nice easy chair to sit in…. Other employees felt marginalized and distant from the boss, Walt Disney. Weber designed Animation Desk, Lower UNIT No.1 with upper UNIT No.2 illustration ©MBP
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