![]() 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. 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. 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. ![]() 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. Photo- 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. Some of the artists complained that it was too sterile and that it lacked the ramshackle quality they were used to at Hyperion. The modern facility was at the opposite end of the spectrum in space and comfort to the old Hyperion Avenue studio in Silver Lake. Once The Walt Disney Studios project in Burbank, California, was completed and the artists had moved into their offices there was a period of adjustment to the new digs. ![]()
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