In 1999, the house was declared a Los Angeles Historic-Cultural Monument. Films include Smog (1962); The First Power (1990); The Marrying Man (1991); Corrina, Corrina (1994); Playing by Heart (1998), where it was used as the home of Jon Stewart’s character; Why Do Fools Fall In Love (1998); Galaxy Quest (1999), as the home of Tim Allen's character; The Thirteenth Floor (1999); Nurse Betty (2000); and Where the Truth Lies (2005). Not with steel framing!” The brochure showed multiple views of the Stahl House. Pierre [Koenig] suggested we photograph the representative in the house, but the man from Bethlehem Steel could not be photographed as an employee of the company, so he stood in the doorway with his back to the camera.”, Shulman routinely staged interiors using furniture from his own home, particularly when a house was just completed or vacant. From the beginning, Buck and Carlotta envisioned a glass house without walls blocking the panoramic view. 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. Speaking many years later, Koenig stated in Steel’s monograph that “in the end the program failed because it addressed clients and architects, rather than contractors, who do 95 percent of all housing.” Instead, the known, accepted, and traditional design, methods of construction, and materials continued to prevail. For months they looked intently across the ridge. 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. This ordinary call logged in Koenig’s office journal eventually led to the creation of one of the most iconic photographs of the postwar modern era. 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. 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. Shulman liked to include people in his photographs and intuitively felt the girls’ presence would offer more options. The die is set. General contractor Robert J. Brady was the other key member of Koenig’s Stahl House crew. The magazine’s modern aesthetic extended across the country, where architects developed new solutions based on what they had seen in its pages. You would never have gone out wearing jeans or pants.”. Construction began in … “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. The furniture and other household goods made of steel and aluminum reflected the materials used in the construction. Equipment and material suppliers sold at cost in exchange for advertising space in the magazine. She said Ellwood and the unidentified architect “came to the lot [and] said we were crazy. Built in 1959 as part of the Case Study Houses program, the house is considered an iconic representation of modern architecture in Los Angeles during the twentieth century. Starting in 2019, she praised her 78th birthday celebration. 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. Koenig kept the spirit of Buck’s model, but removed a key aspect: the butterfly roof. At the time, Bethlehem Steel did not see a market or need to formalize a program. 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. The Case Study House Program provided a point of focus. At Shulman’s suggestion, Koenig told his assistant Jim Jennings, a USC architecture student, and his friend, fellow architecture student Don Murphy, to bring their girlfriends to the house. He believed realistic settings created warmth and helped viewers imagine scale. The president of Bethlehem is supposed to visit the finished house this Friday [April 22]. The pre-construction built estimate was $25,000, with Koenig to receive his usual 10 percent architect’s fee. Stones were applied to the fireplace, which was originally white-painted gypsum board with a stone base. Bethlehem Steel provided the steel, and he was there to select certain areas they wanted to show for advertising. As for where the video footage came from, the White House told 60 Minutes that they were taping the interview for archival purposes only, per a CBS insider. It’s two people. With the success of Koenig’s Bailey House (CSH No. 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. At times, the house has played a leading role. The symmetry enhanced the connection between the house and the land. 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. The Stahl House has served as the setting for dozens of films, television shows, music videos, and commercials. 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. Combined with year-round mild weather, these new houses afforded a growing sense of independence and freedom of expression. With the exception of the steel-frame fireplace (chimney and flue were prefabricated and brought to the site), Koenig used only two types of standard structural steel components: 12-inch beams and 4-inch H columns. 22 as home", "Case Study Houses finally added to National Register", Silver Lake, Angelino Heights and Echo Park,, 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. The developer, Larkin, showed Buck how to lay out and stack the concrete, Buck recalled to Ethington. 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. Then, as now, the photograph with the two girls is more often associated with its photographer than with the architect. A look-alike was also included in the 2004 video game Grand Theft Auto: San Andreas as one of the safehouses players can buy. I’ve been living and working in Los Angeles for the past 17 years. His agreement with the Stahls additionally provided him 10 percent of any savings he secured on construction materials. As for their white dresses, Tindle explains, “… in 1960, you didn't go out without wearing a dress. After Brady completed the finishing work, and months after it was originally scheduled, Shulman photographed the house over the course of a week. Along with Judge’s appearance in a party scene, the error perpetuates the misidentification of the Stahl House in the film. It reflects Koenig’s skillful architectural purpose. [2] In 2013 it was listed on the National Register of Historic Places.[3]. 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 composite image belies Shulman’s technical and aesthetic achievement. 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.