The Company That Defined the Aesthetic of Mid-Century Pottery
Architectural Pottery redefined pottery design in the mid-century era
Architectural Pottery was a key player in shaping mid-century design, yet its story remains largely untold. While names like Herman Miller and Vitra are synonymous with mid-century modern furniture, few realize the significant role that Architectural Pottery played in defining the aesthetics of modern interiors and landscapes.
Today, we’re sharing the conversation I had with the authors of the new book “Architectural Pottery: Ceramics for a Modern Landscape”, published by Phaidon Monacelli. The book explores the company’s pioneering work and its lasting impact.
The book’s authors—Jo Lauria, Jeffrey Head, and photographer Daniel Chavkin—shared what made Architectural Pottery special and why its influence endures.
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(Marco Guagliardo - Mid-Century Home’s Editor in Chief)
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Redefining Outdoor Design
At a time when mid-century modern homes were embracing seamless indoor-outdoor living, Architectural Pottery provided a solution for curating exterior spaces. "For the first time, people were able to curate their gardens in the same way they did their interiors," Lauria explains. In places like Southern California, where outdoor living is a way of life, these ceramics became as essential as Eames furniture inside the home.
Their sculptural quality made them particularly well-suited to modernist architecture, as Chavkin points out: "They were functional planters, but they also had a craft element to them. Because they were fresh and innovative, they set the standard for what modern outdoor pottery could be."
Lauria also notes that prominent modernist photographers, including Julius Shulman, frequently included Architectural Pottery in their iconic images of mid-century homes. "The pottery was not placed in these photos by accident," Chavkin adds. "It was a deliberate design choice that reinforced the aesthetic of the time."
Why Architectural Pottery and Mid-Century Architecture Work So Well Together
Mid-century modern design is known for its clean lines, structural clarity, and connection to nature. Architectural Pottery echoed these principles in ceramic form. "The scale, size, and simple unadorned shapes of these pieces were new and fresh compared to other pottery available at the time," says Head. "Their minimalism complemented the emerging architectural style, which emphasized exposed materials and honest structural forms."
Lauria describes it as a holistic relationship: "The radical shift in pottery aligned with the radical shift in architecture. Architects specifying these pieces wanted a cohesive, modern aesthetic that extended from the home into the landscape."
These ceramics were not just functional planters; many were sculptural statements. "Some of the designs, especially Legardo Tackett’s, were architectural in themselves," Head points out. "His stacked forms had a structural quality, much like the buildings they accompanied."
The Designers Behind Architectural Pottery
Unlike furniture designers of the era, many of Architectural Pottery’s designers remained relatively unknown. "Most of them were fresh out of college and still building their reputations," Head explains. The company founders, Max and Rita Lawrence, provided a platform for young talent, but the designers’ names were not heavily marketed.
"Back then, the focus was on the product rather than individual branding," Lauria says. "Many designers worked on a freelance basis, pitching designs that the Lawrences would decide to produce. Only David Cressy and Marilyn K. Austin were ever employed full-time by the company."
One of the most prolific designers was Legardo Tackett, who created over 50 different designs. His hourglass-shaped planters, produced in multiple sizes and colors, became some of the most recognizable pieces of the collection.
However, not all designers received proper credit. Head points out the case of Al Eggleston’s “Bolletier“ planter, which became one of Architectural Pottery’s most copied designs. "Because the company never copyrighted its designs, Eggleston’s credit was lost over time," he says. "His bullet planter is now ubiquitous, but its origin has been largely forgotten. Through this book, we hope to restore recognition to designers like him."
The Role of Photography in Preserving Architectural Pottery’s Legacy
While furniture and architecture are well-documented through photography, ceramics often don’t receive the same attention. Chavkin’s images in the book aim to change that. "I see my role as keeping these designs relevant," he says. "Julius Shulman’s iconic architectural photography often included Architectural Pottery, reinforcing its importance in the mid-century aesthetic. I hope my photographs continue that legacy."
Head adds that Chavkin’s approach doesn’t just document history but presents it in a contemporary context. "His photography keeps these pieces from feeling like relics of the past. They remain vital and current, fitting seamlessly into modern spaces."
Lauria highlights how Chavkin’s work extends beyond the book. "For an exhibition on Architectural Pottery, he was commissioned to photograph the entire collection. His images were used not only in the book but also as large-scale displays within the exhibition space, helping people see these pieces in a new light."
Why Architectural Pottery Still Resonates Today
Even after decades, Architectural Pottery continues to appeal to collectors and designers. Lauria believes its timelessness comes from the simplicity and clarity of the designs. "They work in both historical and contemporary contexts. A piece that looked fresh in 1955 still looks fresh today."
Chavkin adds that the pottery fulfilled a vision of modern living that remains aspirational. "It wasn’t about following trends—it was about a larger idea of how design integrates into daily life. That’s why these pieces are still sought after."
Head notes that today’s designers and manufacturers could learn a lot from Architectural Pottery’s approach. "They were open to new ideas. The Lawrences weren’t designers themselves, but they listened to the talent they worked with. They prioritized innovation over what was currently popular, which allowed them to create something lasting."
Lauria agrees: "Collaboration was key. They understood that the best designs come from creative freedom. Today, companies should remember that rather than chasing short-term trends."
Looking Ahead
Architectural Pottery’s legacy is far from forgotten. With renewed interest in mid-century design, its influence is more visible than ever. The book “Architectural Pottery: Ceramics for a Modern Landscape“ brings long-overdue recognition to the designers and craftspeople who shaped this movement.
"These pieces weren’t just part of a passing trend," Chavkin says. "They are still in use, still relevant, and still defining spaces today."
For Head, the book is about ensuring that Architectural Pottery’s story is told and its designers receive the credit they deserve. "Through research and documentation, we hope to place these works in their rightful historical context and highlight their lasting impact on modern design."
Lauria sums it up: "Modernism was about designing for the future. Architectural Pottery did that beautifully. And even today, it continues to shape the way we think about design."
