“What’s so amazing is that the house is completely ethereal,” architect Leo Marmol said in an interview with LaFetra in 2007. Contemporary design pieces such as furniture, lamps, floor coverings, and decorative objects created a context for everyday living. Although the Stahl House was vacant, Shulman did not bring in his own furniture. Rediger Furniture Company, which also provided the kitchen appliances. We set up lights, and I set up my camera and created this composition in which I assembled a statement. Can I use this?’ and Julius said, ‘Sure.’ [Banham] used it in one of his articles and it took off, it just caught on like crazy.” The photograph resurfaced in Banham’s essential 1971 book, Los Angeles: The Architecture of Four Ecologies. 22), benannt nach dem Bauherrn, ist ein moderner Bau in den Hollywood Hills in Los Angeles. Shulman reinforces the open but private space by minimizing the separation of indoor and outdoor. “I can remember one of the engineers saying, ‘Why are you going to all this trouble? The Stahl House (also known as Case Study House #22) is a modernist-styled house designed by architect Pierre Koenig in the Hollywood Hills section of Los Angeles, California, which is known as a frequent set location in American films., which is known as a frequent set location in American films. One of the expatriates Salerno meets in Hollywood is a woman, played by Annie Girardot, who is conflicted by her independence. She said Ellwood and the unidentified architect “came to the lot [and] said we were crazy. However, as he said in the New York Times, “My gripe is the movies use [houses] as props but never list the architect in the credits.” He added, “Architects, of course, get no residuals from it. Today the family offers tours and rents the house for events and media activities. The Stahl House is a 2,200-square-foot home with two bedrooms and two bathrooms, built on an approximately 12,000-square-foot lot. The budget for the house was revised to $34,000, but Koenig’s fee of $2,500 did not change. Mr. Entenza is shouting for photos so he can print the next issue. Casa Stahl / Case Study House nº22 es una obra de Pierre Koenig construdia en 1635 Woods Drive, Los Ángeles, California, Estados Unidos en el año 1960. Along with Judge’s appearance in a party scene, the error perpetuates the misidentification of the Stahl House in the film. The central architectural feature of the model was a butterfly roof combined with flat-roofed areas. The challenges of building were known, and they primarily related to the lot. By agreeing to make their house CSH No. And suddenly I perceived a composition. By 1959, Bethlehem Steel saw how quickly the market was changing and started a Pacific Coast Steel Division in Los Angeles to work specifically with architects. That’s why I never have steel fabricated especially to my design. At the end of their meeting, Buck gave Beha $100 as payment to make the agreement binding. As they completed their final monthly payments, Buck finished a scale model of their dream home, and the couple began to look for an architect. There is to be a press conference this week-end. Deep dives on cities, architecture, design, real estate, and urban planning. In 1957, Koenig approached Bethlehem Steel about the development of a program for architects using light-steel framing in home construction. None of the houses spurred duplicates or widespread construction of like-designed homes. The purpose of the program was to promote new ways of living based on advances in design, construction, building methods, and materials. Shulman recalled how the image came about in an interview with Taina Rikala De Noriega for the Archives of American Art: So we worked, and it got dark and the lights came on and I think somebody had brought sandwiches. Additionally, he had approval of the furnishings. The residents leave these via a skylight, which is Residential use of steel, while known, was still very uncommon. To create a larger buildable area he laid the edge of the foundation with broken concrete, which was readily available at no cost from construction sites and provided Buck with flexibility for his layout. The Stahl House is renowned for its unique, stunning architecture and is easily one of the most famous early-modern style houses standing today. Brady gained industry experience running a construction business in Ojai, California, where he was a school teacher. Construction began in … The kitchen cabinets, which were originally dark mahogany, were replaced with matched-grain white-oak cabinets due to fading caused by heavy exposure to sunlight. Van Keppel placed the high-fidelity audio player in the dining area. This will give you some idea of the pressure being put on.”. Hillside, the new luxury residence designed by SAOTA in Los Angeles, is designed to be a self-contained oasis rather than a conventional home. She stands tall at a height of 5 ft. 6 in. Keppel-Green’s popular outdoor furniture, made with anodized metal frames and wrapped with nylon marine cord, are seen around the pool of the Stahl House. 29-jul-2020 - Explora el tablero "Stahl House" de José María, que 442 personas siguen en Pinterest. Although VKG sold “architectural pottery” in their design gallery, many of the large white planters both inside and outside the house were Koenig’s, which he brought over from his own house along with several outdoor pieces. With a little color change or different furniture, you can modify its emotional content, which you can’t do in houses with a fixed mood and image.”. He failed me. Although they felt emotionally and psychically drawn to the promontory, they did not have the financial means to buy the lot, even if it were available. “[Entenza’s] talent was to promulgate ideas that many architects had at that time.”, In conjunction with the magazine, Entenza sponsored open houses at recently completed Case Study houses, giving visitors the opportunity to experience the modern aesthetic. After nearly four years of mortgage payments to Beha, Buck prepared the lot for construction. The architect is invisible by design. Scott Whyte was born on January 8, 1978 in Manhattan Beach, California, USA as Scott William Whyte. Its first commercial use was in 1962, when the Stahls made the house available for the Italian film Smog not long after they moved in. Understandably, Koenig was very pleased to see the frequent and varied use of the Stahl House. 21) and the Stahl House both appeared in the booklet. During its lifetime, the Stahl House has had very few modifications. Homes were generally built with a flat roof, which helped define a horizontal feel. With the exception of one apartment building, they were all single-family residences completed between 1945 and 1966. “They don’t say the Pierre Koenig house. They had a written agreement in November of 1957. Koenig later told interviewer Michael LaFetra about a conversation with his instructor: “He said ‘No, you cannot use steel as an industrial material for domestic architecture. 22 and appear in Arts & Architecture magazine. The result is a profound demonstration of Koenig’s technical and aesthetic expertise with rigid-frame construction. After more searching, Buck found a lender for the pool construction so both projects could proceed. However, delays with completing interior details almost prevented Shulman from photographing the house and meeting his publication deadline, even after he negotiated with his editor to change it several times. Introduction The singing beams and the width of sheet metal siding that characterized the minimal structure of the Seidel House are incorporated again to the house that Koenig designed for Carlotta and C. H. ‘Buck’ Stahl in 1960. The developer, Larkin, showed Buck how to lay out and stack the concrete, Buck recalled to Ethington. (He included an option for the Stahls to buy any or all of the furnishings at a discount.). As Buck explained to Ethington, “Pierre [kept] looking [for financing] and he had his rounds of contacts.” Koenig was finally able to arrange financing for the Stahls through Broadway Federal Savings and Loan Association, an African-American-owned bank in Los Angeles. From 2019 she celebrated her 78th birthday. The house it could handle. Its appearances in print advertisements number in the hundreds. Pierre Koenig's 1958 2 bed dream house Interior of Stahl House / Case Study House # 22 Pierre Koenig's 1958 2 bed dream house A native of Russia, Porush emigrated to the U.S. in 1922 and graduated with a degree in civil engineering from the California Institute of Technology in 1926. What had been the underlying layer for a man-made structure became the underlying layer for a new man-made structure—Buck’s layers of broken concrete added another facet to the topography of the house and the city, and this hands-on development of the lot connected the Stahls to the land and house. The final cost was over $15 per square foot—notably more than the average cost per square foot of $10 to $12 in Southern California at the time. Perhaps most importantly, he considered the architectural style that would ideally highlight these qualities. The program gave architects exposure and in many cases brought them credibility and a new clientele—although it was not a wealth-generating endeavor for the architects. “The steel house is out of the pioneering stage, but radically new technologies are long past due,” Koenig explained in an interview with Esther McCoy. The use of exposed glass, steel, and concrete was a functional and economic decision that defined the aesthetics of the house. When Pierre Koenig began work on the Stahl House, he was 32 years old and had built seven of the more than 40 projects he would design in his career. Cross-bracing was not required, which opened greater possibilities: Aesthetically, it offered a streamlined look and allowed him to design a large open framework for unobstructed glass walls. In a rare explanation of the mechanics of his photography published in Los Angeles Magazine, Shulman described how he created the photograph: a double-exposure with two images captured on one negative with his Sinar 4x5 camera. But when he looked at the post-and-beam architecture then considered the standard of modern architecture, he felt the wood structures looked thin and fragile, and should be made of steel instead. The elimination of load-bearing walls on this scale represented the most advanced use of technology and materials for residential architecture ever. [7], This article is about the historic house in Los Angeles, California. But in fact, he was neither. As noted by Elizabeth Smith, art historian and museum curator, all 36 of the Case Study houses were featured in the magazine, although only 24 were built. The photograph was a pragmatic solution. Her body build is average. ... He’ll be there tonight. 22 as home", "Case Study Houses finally added to National Register", Silver Lake, Angelino Heights and Echo Park, https://en.wikipedia.org/w/index.php?title=Stahl_House&oldid=988575530, Houses on the National Register of Historic Places in Los Angeles, Short description with empty Wikidata description, Official website different in Wikidata and Wikipedia, Creative Commons Attribution-ShareAlike License, This page was last edited on 14 November 2020, at 00:30. This leads through an old barn. The unconventional design of the house and its hillside construction made it difficult to secure a traditional home loan; banks repeatedly turned down Buck because it was considered too risky. Since they had not seen many plans for the extensive use of steel in home construction, the building officials asked him, “Why steel?”, In his interview with LaFetra, Koenig explained that he thought steel would last longer than wood and knew “building departments were not used to the ideas of modern architecture.” They would frown on “doing away with hip roof, shingles, you had to have a picket fence, window shutters.”. The Stahl House has served as the setting for dozens of films, television shows, music videos, and commercials. This was the only time Brady and Koenig worked together, as Koenig was dissatisfied, he later wrote, with Brady’s management of the Stahl House, as indicated in a letter to Brady himself in the Pierre Koenig papers at the Getty Research Institute. You can make anything beautiful given an unlimited amount of money. “There’s very little land situated on this eagle nest high above Sunset Boulevard,” Koenig explained in the documentary film about the Case Study House Program. After the photograph first appeared as the cover for the Los Angeles Examiner Pictorial Living section, it virtually disappeared. Koenig’s intention, as captured in James Steel’s biography Pierre Koenig, “was to be part of a mechanism that could produce billions of homes, like sausages or cars in a factory.”, “The basic problem is whether the product is well designed in the first place,” Koenig further explained in a 1957 Los Angeles Times article by architectural historian Esther McCoy. He constructed a concrete wall and terracing with broken pieces of concrete. For a short time, AstroTurf surrounded the pool area to serve as a lawn and make the area less slippery for the Stahls’ three children. They had had a yard in mind, but a pool would increase the overall cost of the home—for the bank, it added value to the property and made the loan less risky. “People request the photograph, or an editor or publisher writing to me or calling me says, ‘I want the picture of the two girls,’” Shulman explains. Once it is undertaken, the steel house will cost less than the wood house.”. The absence of traditional details became part of the new aesthetic. The Stahl House is the best known and is considered his masterwork, although Koenig considered the Gantert House (1981) in the Hollywood Hills the most challenging house he built. He finally received approval in January 1959. Koenig explained its attraction in the New York Times: “The relationship of the house to the city below is very photogenic … the house is open and has simple lines, so it foregrounds the action. When Koenig visited the site with the Stahls, he and Buck “just clicked right away,” according to Carlotta. For the kitchen, Van Keppel arranged a set of Scandinavian pieces: Herbert Krenchel’s Krenit bowls made by Normann Copenhagen, Kobenstyle cookware by Jens Quistgaard for Dansk, and Descoware pans from Belgium. 21), Entenza told Koenig if he had another house for the program, to let him know. As with much of Shulman’s signature work, horizontal and vertical lines and corners appear in the frame to create depth and direct the viewer’s eye, creating a dimensional perspective instead of a flat, straightforward position. The article about the house, “Milestone on a Hilltop,” also included additional Shulman photographs. That is the challenge—to take these common everyday parts and work them into an aesthetically pleasing concept.”, Although Koenig completed a plot plan for the Stahl House in January 1958, he did not submit blueprints to the city of Los Angeles Department of Building and Safety until that July. Two dreamers, an architect, a photographer, and the making of America’s most famous house. For the interior, Van Keppel selected a different line of metal VKG pieces to parallel the thin lines of Koenig’s architecture. In 1953 a mutual friend introduced Clarence Stahl, better known as Buck, to Carlotta Gates. In April 1959, months before construction started, Entenza and the Stahls signed an exclusive agreement indicating the house would become known as Case Study House No. Construction began in May 1959 and was completed a year later, in May 1960. There have been minor kitchen remodels with necessary updates to appliances. Instead, designer Hendrik Van Keppel of the firm Van Keppel-Green furnished the interiors in keeping with Koenig’s feeling that “everything in the house should be designed consistently with the same design throughout.”. Curiously, the film credits an entirely different residence—the Geodesic Dome House designed by Bernard Judge—and that property’s owner, industrial designer Hendrik de Kanter. Broadway Federal’s loan is ironic and extraordinary. “The Building Department thought I was crazy,” Koenig said. Its countless media appearances since then continue to convey the ideals and lifestyle represented by the house. To introduce Bethlehem’s new marketing effort, they published a booklet in 1960, “The Steel-Framed House: A Bethlehem Steel Report Showing How Architects and Designers Are Making Imaginative Use of Light-Steel Framing In Houses.” Koenig’s Bailey House (CSH No. 22 in the most informal way. The motivation from the building industry to apply the program’s new approaches was short-lived and not widely adopted. Koenig flattened the roof and removed the curves from Buck’s design, so the house consisted of two rectangular boxes that formed an L. When he sited the house and drew his preliminary plans, Koenig aligned the house so that the roof and structural cantilever mirrored the grid-like arrangement of the streets below the lot. Das Stahl House (auch Case Study House Nr. The potential of missing an opportunity to promote the house frustrated Koenig. With the success of Koenig’s Bailey House (CSH No. “As you know we were supposed to shoot Monday [April 18, 1960],” he wrote to his general contractor, Robert Brady: “The deadline has been changed once but it is impossible to change it again. Buck Stahl had envisioned a modernist glass and steel constructed house that offered panoramic views of Los Angeles when he originally purchased the land for the house in 1954 for $13,500. For months they looked intently across the ridge. As McCoy reported, “The popularity of the Case Studies exceeded all expectations. Then, as now, the photograph with the two girls is more often associated with its photographer than with the architect. Broadway Federal loaned the Stahls $34,000. Bethlehem promoted Koenig’s architecture with Shulman photographs and accompanying text: “What could be more sensible than to make this magnificent view of Los Angeles a part of the house—to ‘paper the walls’ with it?” and “Problem Sites? The postwar availability of industrial and previously restricted materials, especially glass, steel, and cement, offered architects freedom to pursue new ideas. On evenings and weekends he managed to pick up discarded concrete from construction sites around Los Angeles, asking the foremen if he could haul the debris away. A catwalk along the outside of the living room, on the west side, was added to make it easier to wash the windows. After Brady completed the finishing work, and months after it was originally scheduled, Shulman photographed the house over the course of a week. How tall is Lesley Stahl? The Stahl House photograph, taken Monday, May 9, 1960, has the feel of a Saturday night, projecting enjoyment and life in a modern home. Buck was 41 and Carlotta 24. You would never have gone out wearing jeans or pants.”. And it’s malleable. I use only stock parts. Lesley Rene Stahl (born December 16, 1941) is an American journalist. Carlotta remembers, “One of the officials … said [there’ll] never be another house built like this ’cause they didn’t like the big windows. The height of the front of a feed trough may be determined by the clearance needed for the discharge chute for the feeding wagon (TMR mixer). Generally for a residential purpose they go for 10 feet roof height. Combined with year-round mild weather, these new houses afforded a growing sense of independence and freedom of expression. The ‘128’ denotes its position at the top of the hillside, commanding a dramatic view over Stuttgart; the Teutonic equivalent of Pierre Koenig’s 1960 Stahl House. Arts & Architecture presented works-in-progress and completed homes throughout its pages, devoting more space in the magazine to the modern movement than other publications. So the house is on the precarious edge.”. But he was told by architects and others that his effort would not improve the buildability of the property. The color image of the two women sitting in the house with the city lights at night first appeared on the cover of the July 17, 1960, Los Angeles Examiner Pictorial Living section, a pull-out section in the Sunday edition of the newspaper. For manufacturers and suppliers, it was a convenient way to receive publicity since people could see their products or services in use. As Carlotta explained during an interview with USC history professor Philip Ethington, this is how the dream of building their own home started: simply and incidentally. Neither the Stahls, their home, nor Koenig are acknowledged. “The representative from Bethlehem Steel was at the house. You cannot mix them up. Her place of birth is in Lynn, Massachusetts, USA. We bought the lot and he agreed to carry the mortgage.” They settled on a price of $13,500. It was not an architectural quote-unquote “photograph.” It was a picture of a mood. The second lender financed the pool at a cost of approximately $3,800. From the beginning, Buck and Carlotta envisioned a glass house without walls blocking the panoramic view. The housewife won’t like [steel houses].’ The more he said I couldn’t do it, the more I wanted to do it. He commented years later that that was not the way to do it—he learned how to design for steel by taking an entirely new approach. A stone planter was also added to match the base. We must accept mass production but we must insist on well-designed products.”. Shulman then captured the second exposure, triggering the flash bulbs as the girls posed. Due to its minimalist structural design and reduced number of building components compared to traditional wood construction, framing of the house was simplified. Trends with finishes, built-ins, and low-cost materials spread across homes in Southern California after publication in Arts & Architecture. The thin lines of the steel looked incidental compared to their strength. The unit was from the A.E. The house consists of two buildings, the main house and a smaller chauffeur's apartment/garage, separated by a paved courtyard. Emotionally, Smog is an Italian story transplanted to Los Angeles, where the characters’ psychological landscape parallels the topography of the city, incorporating the city’s air pollution as a character. Rarely has a combination of client and architect, minimal use of materials, and uncomplicated design created such lasting dramatic impact. Speaking of both his and his father’s experience working with Koenig in 2012, Ted said, “Koenig was quite devoted and always had something in mind all the time without being unreasonable or obstinate, really an artist perhaps,” and added that he and his father “welcomed Koenig’s engineering challenges—whether related to innovations, materials, or budget constraints.”. Shulman liked to include people in his photographs and intuitively felt the girls’ presence would offer more options. It was not a completely new concept, as photographer Julius Shulman, whose photograph of the Stahl House would later become internationally recognized, used broken concrete in the landscaping on his property. In Los Angeles magazine, years later, Carlotta recalled the production: “One of the days they were shooting, the view was too clear, so they got spray and smogged the windows.” The Stahls grew to accept such requests, and the result has been decades of commercial use. Stahl House Nobody famous ever lived in this house; it was owned by Buck and Carlotta Stahl, average, blue-collar parents who just wanted a beautiful view from every room in the house. The house was featured in Arts & Architecture four times between May 1959 and May 1960, in articles documenting its progress and completion. The massive spans of glass and the cantilevering of the structure, essential aspects of the design to Koenig, precluded traditional wood-frame house construction. Casa Stahl / Case Study House nº22 - Ficha, Fotos y Planos - WikiArquitectura The symmetry enhanced the connection between the house and the land. Read about Visiting the Stahls at the Stahl House at Campus Circle. To ensure the open floorplan, uninterrupted views, and the structure required to create those features, steel became inevitable. We ate in the kitchen, coffee, and we had a nice pleasant time. A crew of five men completed the job in one day. [2] In 2013 it was listed on the National Register of Historic Places.[3]. After working for a number of firms in Los Angeles and later with the LA Department of Building and Safety during World War II, Porush opened his own office in 1946 and eventually designed his own post-and-beam house in Pasadena in 1956. There was still construction material in the carport, and the master bathroom was not complete. Not with steel framing!” The brochure showed multiple views of the Stahl House. If u provide false ceiling u can go for 10.5 or 11 feet high. An elevated feed alley acts as a feed barrier. "That is such a misleading question," Trump said after Stahl asked why he appeared to beg suburban women to like him. See what Katrina Stahl (stahlka) found on Pinterest, the home of the world's best ideas. By then he’d appreciate it if you would know if Stahl could put off moving in until pictures are shot.”. It is a way of life.”, From then on, Koenig continued to develop his architectural vision—both pragmatic and philosophical. In 1999, the house was declared a Los Angeles Historic-Cultural Monument. Like an architect, Buck studied the composition of the land, the shape of the lot, the direction of light, and the best way to ensure the views. The showings were well attended, and the shorter schedule meant the Stahls could move into the house sooner. In nearly all appearances, the Stahl House conveys a sense of livability that is aspirational while remaining accessible. Smog, the first Italian film produced in the United States, as noted by the New York Times, was shot entirely in Los Angeles. John Entenza assumed the Case Study House No. This story is part of a group of stories called. I was motivated by some subconscious thing.” Koenig reduced the living room cantilever by 10 feet and removed the walkway around the house in order to move the plans forward. Reducing the number of parts and avoiding small parts were ways to reduce costs and streamline construction. Broadway Federal had one unusual condition for the construction loan: The Stahls were required to secure a second loan for the construction of a pool and would need another bank to finance it. “We had been working all day photographing the house,” Shulman explained. The footage shows Stahl, a veteran journalist who has interviewed Trump twice before, asking direct questions and refuting some of Trump's answers on topics including healthcare and the government's response to the COVID-19 pandemic. Koenig kept the spirit of Buck’s model, but removed a key aspect: the butterfly roof. Not to mention Mr. Stahl. In the 1989 documentary The Case Study House Program, 1945-1966: An Anecdotal History & Commentary, Koenig recalled how Buck “wanted a 270-degree panorama view unobstructed by any exterior wall or sheer wall or anything at all, and I could do it.” The Stahls appreciated Koenig’s enthusiasm and willingness to work with them. In combination, these industrial materials were not then common choices in home construction, though they were materials Koenig used frequently. By the time Shulman photographed the Stahl House he was an internationally recognized photographer. “John Entenza’s idea was that people would not really understand modern architecture unless they saw it, and they weren’t going to see it unless it was built,” Koenig said in James Steel’s monograph. It was a steel, glass, and cement structure. Call him at 6 p.m. and make arrangements for tonite. Pierre Koenig entwarf das Haus für den früheren American-Football-Spieler C. H. „Buck“ Stahl 1959. This photograph creates its own mystique around the man’s identity: perhaps a bachelor in repose, or homeowner Buck Stahl. His first house was originally designed as a wood building, but redesigned for steel construction. He begins a 24-hour odyssey that involves meeting several Italians making new lives for themselves, having left Italy and its postwar political and economic struggles. This picture is now the most widely published architectural picture in the world since it was taken in 1960.”. Koenig's original steel design, comprehending potential earthquake risk, remains superior to traditional building materials. There was little precedent to support his efforts: Such discoveries were an education for him, and he worked to resolve issues on his own. We’d already claimed it even though we’d never been here,” Carlotta told Ethington, adding, “And when we came up that day George Beha [the owner of the lot] was in from La Jolla. This makes special demands - both in terms of security and access. Once completed, the house visually extended into the Los Angeles cityscape. For architects, having work published during this time led to recognition and often translated to future projects. Come over sit down on those chairs, the sofa in the background there.” And I planted them there, and I said, “You sit down and talk. There were no houses along the hillside near the site that would become the Stahl House on Woods Drive, although the land was getting graded in anticipation of development. Carlotta told Ethington they decided to meet with three architects whose work they had seen in different publications: Craig Ellwood, Pierre Koenig, and one more whom she did not remember. A … The result was a solid form that remains intact and stable today, almost 60 years later. I'm going outside and look at the view.” And I called my assistant and I said, “Hey, let's set some lights.” Because we used flash in those days. 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