“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. Call him at 6 p.m. and make arrangements for tonite. 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. 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. 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. Nick Stahl Biography, know personal life, childhood, born, age, birthplace. It was made famous by a Julius Shulman photograph showing two women leisurely sitting in a corner of the house with an eventide panoramic view of the city through floor-to-ceiling glass walls. By physically, visually, and psychologically integrating the indoors and outdoors, it offered a new, casual way of life that more actively connected people to their environment. From the beginning, Buck and Carlotta envisioned a glass house without walls blocking the panoramic view. You would never have gone out wearing jeans or pants.”. Compare notes with other obsessives in our private Facebook group. He could also lift and move the pieces without heavy equipment. 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. 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. 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. To ensure the open floorplan, uninterrupted views, and the structure required to create those features, steel became inevitable. The open houses took on a realistic dimension that generated a range of responses: “Oh, steel, glass and cement are cold.” “This is not homey.” “Could I live here?” “How would I live here?”. 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. Van Keppel placed the high-fidelity audio player in the dining area. Its influence is cross-generational and international: Instead of perpetuating an architectural cliche of residential living, the house is symbolic and inspirational; its identity and feeling are unmistakable. 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. Mr. Entenza is shouting for photos so he can print the next issue. For the historic house in Bayamón, Puerto Rico, see, Show map of the Los Angeles metropolitan area, U.S. National Register of Historic Places, Los Angeles Historic-Cultural Monuments in Hollywood, National Register of Historic Places Nomination, "Koenig's Case Study House No. After Brady completed the finishing work, and months after it was originally scheduled, Shulman photographed the house over the course of a week. And suddenly I perceived a composition. Here are the elements. 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.”. 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. The Stahl House has served as the setting for dozens of films, television shows, music videos, and commercials. The Case Study House Program provided a point of focus. The potential of missing an opportunity to promote the house frustrated Koenig. He spent several months explaining his design and material specifications to the city. 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. Buyers still largely preferred conventional homes—a fact reinforced by the standard type of construction taught in many architecture schools during the postwar years. 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. 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. 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. Buck used decomposed granite from the lot and surrounding area, instead of fresh cement, to fill in the gaps between the concrete pieces. 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