By Barbara Thornburg Case Study House No. 22 may be one of the most photographed homes in the world. Julius Shulman took this iconic shot of the house on the warm evening of May 9, 1960. The two young women seen chatting, Cynthia Tindle and Ann Lightbody, were not the owners but students whom Shulman recruited to be models. All the furnishings were staged for the shoot, supplied by furniture firm Van Keppel-Green but only temporarily. My mom told me she wished they would have left the furniture, says Shari Stahl Gronwald, who grew up in the home. It was all part of the editor of Art & Architecture magazines Case Study House program to promote modernism. Many of the owners received cost breaks on building materials in exchange for allowing photos to run in the magazine. They were also required to open their doors to the public for a month. Read the full story on growing up in Case Study House No. 22. Back to L.A. at Home (J. Paul Getty Trust) J. Paul Getty Trust "I am thinking, of course, of the heroic night-time view of Pierre Koenig's Case Study House #22 which seems so memorably to capture the whole spirit of late twentieth-century architecture. There, hovering almost weightlessly above the bright lights of Los Angeles. spread out like a carpet below essay on great depression, is an elegant writing a 5 paragraph essay, light do we have too much homework, economical and transparent enclosure whose apparent simplicity belies the rigorous process of investigation that made it possible. If I had to choose one snapshot essays about life lessons, one architectural moment, of which I would like to have been the author, this is surely it. ". Arriving in Southern California I found a similar inspiration in the new architecture of the Case Study House Program, and the work of Charles and Ray Eames. Craig Ellwood and Pierre Koenig. Koenig's architecture especially left an indelible impression. "Industry has not learned the difference between what is beautiful in its simplicity and what is ugly although equally simple. " "The pressure is so great that the architect is a captive. He functions best as a free agent." Photograph by Donavan Freberg Shari: It was fate that on the day my mom and dad decided to drive up the owner of the lot was there and that they were able to make a deal on a handshake. Today that would never happen. Bruce: We have so many different players in the story. Julius couldn’t have taken the pictures if Koenig couldn’t have built it. And Koenig couldn’t have built it if my dad hadn’t shared his vision. Another view of the Stahl House pool How many times did Shulman shoot here? How did architect Pierre Koenig get on board? Having grown up here research paper on mental health, what does the Stahl House mean to you? The official agenda of Entenza’s Case Study House program was to reimagine the typical family dwelling using postwar materials and technology. They were meant to be affordable, and replicable, houses for a confident democratic society. But the irony is that almost all of the case study houses were one-offs, modernist gems that were never replicated. Instead of using the best of postwar technology, the building industry used the booming market to cover America in suburban tract housing built by a deunionised and deskilled workforce. Wooden frames proved cheaper than steel scope of project, and required less skill to manage. The Stahl House represents an alternative history, a custom built precision architecture that everyone wanted but few ended up getting. The Stahl house itself was a classic American story write me an essay for free, a house built as much by sheer force of will as from the application of contemporary technology. The site was believed to be too steep to build upon, so the owner, C H “Buck“ Stahl, a retired professional football player, heaped up the terraces supporting the structure more or less by hand, and made models of a curving, glass walled home over a year before finding an architect with the courage to take the commission. Pierre Koenig rationalized Stahl’s original plans, but recently rediscovered photographs of the early models suggest that this is one of those cases where the client deserves credit as a co-designer. Shulman’s photograph of general topic essay writing, or rather through tips to creative writing, Stahl House made plate glass and steel girders how to write essays for poems, materials normally too industrial to be accepted by home owners, seem glamorous. It was magazine genius: a vouyeristic image of two women in a glass lined room, suspended above the lights of Los Angeles. seen from outside the glass, the ambiguous perspective of either a guest leaving late, or an intruder arriving unannounced—whatever you wanted it to be. Shulman’s notorious photo is more subtle than it first appears. The architecture is not so much shown as hinted at by the geometric underside of the roof, and the city is brought closer by the careful double exposure and the reflected image of the ceiling lamp that appears like a double moon inside and outside the house. Shulman’s genius was that he understood architectural photography first and foremost in terms of film, and not least Hollywood, the dream factory down the road. Where other photographers took static descriptive images of entire houses, Shulman made film stills, frozen moments from places you wished you lived in. When printed in John Entenza’s influential Californian magazine Arts and Architecture. Shulman’s photographs worked like an intoxicant on a generation of post-war architects. Courtesy of Archilogic Paradoxically essay domestic abuse, for the most glamorous house in America, it’s all about family. From the street, there’s almost nothing visible. The house presents a blank wall. The schism between privacy and view could not be more extreme. The 3D model from Archilogic shows the strong shift in atmosphere between the photogenic public spaces and the rarely photographed bedrooms, which are clearly designed to offer a feeling of enclosure, and security, in spite of the steep drop only a short distance away.
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