This conversation has been edited for length and clarity.
What sets Desert Modernism apart from other midcentury architectural styles?
It’s as though the architects were creating site-specific laboratories in the desert. The use of steel and glass and seamless movement between indoor and outdoor spaces created an ambient, organic style that would be defined as Desert Modernism. It refers to a small group of midcentury architects who were working in the Palm Springs region.
How do Desert Modern designs respond to climate and landscape?
Definitely through the use of shade and natural light. We have an exceptional opportunity to capitalize on the sun’s natural warming features in the winter and the naturally shaded northern sides of our buildings. The way shade, light, and air circulate through the homes creates a beautiful symmetry with the mild climate here in Palm Springs. While we endure wind and dust and heat in the summertime, we have almost nine months of near-perfect weather.
How do the structures engage with light and shadow?
Clerestory windows, as one example, take advantage of mountaintop views without intruding on neighbors. They bring in natural light, which is particularly nice in the morning hours when you want to warm the house in winter. Creating outdoor colonnades, shaded patios, and areas where people could enjoy the outdoors but maintain privacy became very desirable during the midcentury period — and remains so today. Now we call them outdoor living rooms, and they’ve become a major feature of contemporary architecture.
![LVS Formal Shot 2020 LR cc[73]](https://assets.palmspringslife.com/wp-content/uploads/2025/01/27163751/LVS-Formal-Shot-2020-LR-cc73.jpg)
Lisa Vossler Smith
Photo courtesy LISA VOSSLER SMITH
Why were materials like glass, steel, and concrete so common?
They were less expensive and could be mass-produced. Many midcentury homes were designed as affordable weekend getaways, not necessarily for year-round family residents. That’s why the adaptation of these homes is often of such interest, particularly during Modernism Week.
Steel and concrete became core structural forms. With modernism’s emphasis on form following function, the materials also defined the aesthetic of the exterior architecture. Elements like shadow block and brise soleil created shaded environments and kept the buildings cooler in warmer months. And while the buildings were not heavily adorned on the outside, these shade structures became iconic design elements.
What role does color play in Desert Modern design?
That evolves — as it should. Color changes not only with trends but also with availability, styles, and painting methods. Color is so important in Desert Modernism. It’s often interpreted as glossy and white. But many of the buildings in the 1950s and ’60s had quite a bit of color inside and out. Forensic research on some of the older buildings shows they were using desert-inspired colors, inspired by plants, mountains, the landscape, and the colors of the sunrise and sunset. You see a variety of palettes when we talk about Desert Modernism: neutrals that blend into the landscape alongside fresh, floral palettes that reflect in the vibrancy of the Palm Springs region.
How did global design movements shape the aesthetic?
The working architects of the time were all influenced by each other, not only through the materials available and the sites they were working on, but through the International Style that Frey, Lautner, and others brought to the desert. It’s well suited to the desert environment.
Did Hollywood’s Golden Age boost the popularity of modernism in Palm Springs?
If nothing else, it helped romanticize the architecture by associating it with a luxury, leisure lifestyle. I think all the beautiful photography from Hollywood’s Golden Era — showing celebrities in Palm Springs relaxing, playing, and owning homes — gave the leisure life of Palm Springs some panache.
Over the years, through the ’70s, ’80s, and ’90s, as development in the desert continued to grow and expand, that lifestyle became more accessible to new generations. Today, we see younger residents moving to the Coachella Valley because they want to buy a cool house in Palm Springs, live on a golf course, and play where Sinatra played. It’s still a desirable way of life.
In many ways, it feels like the future vision of Palm Springs, because there will always be a need for leisure and wellness in our lives. Modernism and the principles of modernist design embrace a holistic picture of mental and physical wellness.
What does Desert Modernism reveal about the values and aspirations of postwar America?
It reminds us of a simpler time, when life — and our expectations of it — felt more straightforward. That minimalism brings a sense of peace and simplicity that can make people feel happier, less encumbered by the distractions we face today.
I think it’s something we still aspire to, whether we’re seeking balance or a Zen place in our lives. Midcentury modern architecture has a nostalgia to its aesthetic, but at times, it can also feel very futuristic because of its minimalism. There’s a timelessness to the design. It suggests that, maybe, this is all we really need. Smaller footprints, smaller spaces. It’s a stark contrast to the abundance we see in contemporary life that wasn’t part of midcentury modern design.
How has Palm Springs advocated to preserve its architectural heritage?
The city has been instrumental in protecting these significant properties. Through their actions — forming committees like the Historic Site Preservation Board — they’ve made major commitments to understanding Palm Springs’ architectural assets. I think they’ve set an example for other desert cities on how to work with property owners to preserve what’s best. That requires a broad spectrum of understanding and collaboration.
What has propelled the interest in Desert Modernism?
A few early markers, particularly the restoration of the Kaufmann House, brought about a renewed interest in Palm Springs’ modernist structures. But it’s really the community that has brought the attention to Palm Springs. The people who buy and invest in these properties, then open them during Modernism Week to share them with the public are the reason for that renewed interest. People take inspiration from that and go home with a new view of their own home environments.
The community has been incredibly supportive of Modernism Week. We wouldn’t exist if it weren’t for this community. The homeowners are the heart and soul of what we do. They’re the ones volunteering and greeting all the visitors. We’re nothing without Palm Springs.
What influence has Desert Modernism had on contemporary design?
New generations of architects to experience and study the midcentury modern designs. But there are also designers here in Palm Springs who are informed by the architects of that time; many of them knew those architects personally. There’s a real influence — not just in style, but in the use of materials. I think about the relationship between Don Wexler and Lance O’Donnell, for example. Lance is doing great work here in the city now and has a whole chapter ahead of him. His style is very influenced by his time working with Wexler.
I think this influence will only grow, especially with the release of The Palm Springs School: Desert Modernism 1934–1975. The book positions our midcentury modern architects as innovators on a global scale. It’s the first academic study of this period of architecture, and it beautifully illustrates why Desert Modernism deserves its own unique chapter in the story of modernist design. It places Palm Springs architecture into a context that can be studied and analyzed for years to come.
What’s the biggest threat to its preservation?
Neglect. We see this so often, and it really becomes a case of demolition by neglect — properties that sit untouched for years, ultimately become blighted and at risk of fire damage. In some cases, they end up being demolished due to public safety concerns. There’s only so much a city can do — or is willing to do — to intervene.
There are certainly ways to motivate or work with owners to improve their properties, but the process is often long, drawn out, and complicated. In the meantime, the damage to the property can become irreparable.
What sparked the creation of Modernism Week?
Modernism Week was inspired by the great attendance of the Palm Springs Modernism Show, which existed for five years before Modernism Week started. Visitors came from Southern California and beyond to attend the show, and while they were here, they naturally became curious about Palm Springs — the architecture, the restaurants, the hotels, and everything that makes the city so special.
Several organizations were already hosting home tours and fundraising events throughout the year, including the Palm Springs Art Museum, the Palm Springs Historical Society, the Palm Springs Preservation Foundation, and the Palm Springs Modern Committee. Members from these groups formed the original committee for Modernism Week. They realized that by pooling their efforts and resources, they could build synergy — combining home tours, parties, and events around the Modernism Show to raise more awareness of midcentury modern architecture, particularly here in Palm Springs.
It really started with a group of friends coming together and realizing they should do something in between the Modernism Show and the museum’s Architecture and Design Symposium the following weekend — coming up with programming that could occur during the week and making it both entertaining and educational.
How does Modernism Week balance entertainment, education, and advocacy?
They’re all equally important. We know our guests have limited entertainment dollars to spend each year, and the fact that they choose to come to Palm Springs to experience our incredible midcentury modern architecture means something. We want to give them a first-class experience.
We plan entertaining experiences that help you learn why a building is significant. You may be learning about it with a cocktail in hand, listening to a charming historian. The experience becomes immersive because it surrounds you. Whether you’re in the building learning about it or having a martini at a poolside café, it’s about making memories.
How are homes selected for the tours?
It’s more of a curation process than a decision-making one. We’re dependent on the residents and homeowners who offer their homes for tours. We work with more than 20 neighborhood organizations to put together tours that include anywhere from four to 10 residential properties. It’s a collaborative effort — we’re reliant on the community’s willingness to participate each year.
How did you first get involved with Modernism Week?
I was lucky enough to be working at Palm Springs Art Museum when Modernism Week began, and so my husband and I volunteered from the very first year. Because the museum was one of the founding partners, I was very involved in those early discussions about the growth of Modernism Week from the museum’s perspective. We used the Annenberg Theater for Modernism Week events and still do today. We have a very close partnership with the museum.
I was involved as a fan, and now I’ve been with Modernism Week almost 13 years. It’s grown tremendously in that time. When they hired me in 2013, I was the first full-time employee — they were finally ready for a full-time executive director. They had the wonderful leadership of Nickie McLaughlin, the founding director (now executive director of PS ModCom), but it was only a part-time gig for her.
For my first five years, I was still the only employee. We relied on a handful of consultants, many of whom have been working with us for almost 20 years. But now, our team has grown to nine year-round employees.
Where does your passion for midcentury architecture come from?
I grew up in La Quinta, and Desert Modernism always inspired me. My recollection of it from childhood had more to do with the poolside environments, being at my friend’s houses, and growing up around these amazing homes. My first experience with modernism outside of Palm Springs was during my time attending UC Irvine. The campus has iconic midcentury buildings by William Pereira and others. Pereira & Luckman was one of the major firms behind UC Irvine, and the futuristic architecture was featured in movies like Planet of the Apes. I was heavily influenced by modern architecture in Southern California.
I studied urban planning and have always had a love for architecture and design. But before joining Palm Springs Art Museum, I got into event production. That put my favorite things together: my love of entertaining and hospitality with architecture and design. My background at the museum in nonprofit management really helped prepare me to run and help grow this festival.
What has been your most rewarding Modernism Week experience?
For me, the most rewarding experience has been giving scholarships to local Coachella Valley students pursuing architecture and design in college. It’s especially meaningful because I was once one of those students. I went on to pursue urban planning and eventually returned to the desert with a dream of living and working here. That’s what we hope to inspire in the students we support — that they’ll go to college and come back to the desert and contribute by creating great architecture and design here at home.
We started the scholarship program in 2009 when we became a nonprofit organization, and since then, we’ve given away close to $400,000. The funds are raised through ticket sales and sponsorships, and each year we’ve grown the program. Last year, we gave away 14 scholarships (a new record for the organization), including students attending College of the Desert, for the first time expanding beyond university students to the community college level.
How might a midcentury character react to Modernism Week today?
I think they would be thoroughly entertained by the energy and devotion people have toward the era of design. It’s funny — I’ve had conversations with friends who lived here during the midcentury era. It was a simpler time, and the building materials were often considered cheap and not built to last. I think true midcentury modernists would be pleasantly surprised at how well the buildings have endured and how lovingly they’ve been protected and restored.
I had the pleasure of meeting William Krisel, Don Wexler, and E. Stewart Williams, and they were all so incredibly humble about their work. They were very surprised by the attention paid to projects they didn’t necessarily deem significant.
What’s next for Modernism Week?
Well, we’re starting to approach the midcentury again. As we move into the ’30s, we’ll be talking about 100-year anniversaries. We’ve already celebrated some with buildings from the 1920s reaching their centennial here, like the Cavanagh Adobe in Indian Wells.
We intend to continue a global conversation about modernism by inviting speakers, architects, and historians from all over the world to come to Palm Springs during our October and February events to inform us about global design and the ways they’re inspired by or incorporating modernist principles and lessons of preservation learned in Palm Springs. We’ve started taking our brand of modernism to other places. We’ve held events in Beverly Hills and taken modernist groups on trips to Cuba and to Europe. During those trips, we network with other preservation-minded organizations and exchange ideas.
The future of Modernism Week, I believe, extends beyond festival production. But the festivals we produce here in Palm Springs will always be the mainstay. We love sharing all the special and unique elements of architecture and design in Palm Springs.