case study 22 tour

Stahl House (Case Study House #22)

Pierre Koenig | Website | 1960 | Visitor Information

1635 Woods Drive , West Hollywood 90069, United States of America

The Stahl House by Pierre Koenig (also known as Case Study House #22) was part of the Case Study House Program, which produced some of the most iconic architectural projects of the 20th Century. The modern residence overlooks Los Angeles from the Hollywood Hills. It was completed in 1959 for Buck Stahl and his family. Stahl 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. When excavation began, he originally took on the duties of both architect and contractor. It was not until 1957 that Stahl hired Pierre Koenig to take over the design of the family’s residence. The two-bedroom, 2,200 square foot residence is a true testament to modernist architecture and the Case Study House Program. The program was set in place by John Entenza and sponsored by the Arts & Architecture magazine. The aim of the program was to introduce modernist principles into residential architecture, not only to advance the aesthetic but to introduce new ways of life, both stylistically and as a representation of modern lifestyle. Koenig was able to hone in on the vision of Buck Stahl and transform that vision into a modernist icon. The glass and steel construction is the most identifiable trait of the house’s architectural modernism, however, way in which Koenig organized the spatial layout of the house, taking both public and private aspects into great consideration, is also notable. As much as architectural modernism is associated with the materials and methods of construction, the juxtaposition of program and organization are important design principles that evoke utilitarian characteristics. The house is “L”-shaped, completely separating the public and private sections except for a single hallway connecting them. The adjacent swimming pool, which must be crossed to enter the house, is not only a spatial division of public and private but it serves as the interstitial space in which visitors can best experience the panoramic views. The living space of the house is behind the pool and is the only part of the house that has a solid wall, which backs up to the carport and the street. The entire house is one large viewing box, capturing amazing perspectives of the house, the landscape, and Los Angeles. Oddly enough, the Stahl house was fairly unknown and unrecognized for its advancement of modern American residential architecture until 1960 when photographer Julius Shulman captured the pure architectural essence of the house in a shot of two women sitting in the living room overlooking the bright lights of the city of Los Angeles. That photo put the Stahl House on the architectural radar as an architectural gem hidden in the Hollywood Hills. The Stahl House is still one of the most visited and admired buildings today. It has undergone many interior transformations. Today, you will not find the same iconic 1960s furniture inside, but the architecture, the view, and the experience still remain.

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A Virtual Look Into Pierre Koenig's Case Study House #22, The Stahl House

• Written by Madlaina Kalunder and David Tran, Archilogic
• Published on November 30, 2015

Without a doubt, it’s among the most famous houses in Los Angeles . The house is easy to describe: a steel framed L-plan, divided into bedrooms and the communal living spaces, all wrapped around a turquoise pool seemingly impossibly poised above the city. But words don’t do it justice. Julius Shulman ’s 1960 photograph of Pierre Koenig ’s Case Study House 22, perhaps better known as Stahl House, changed the fantasies of a generation.

Shulman’s photograph of, or rather through, Stahl House made plate glass and steel girders, 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.

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, 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, 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.

Paradoxically, 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.

Although on July 24, 2013, a half a century after completion, the Stahl House was listed in the National Register of Historic Places, finally affording it the recognition it deserved, there’s still a strange split between the postwar houses of figures like Mies van der Rohe and Philip Johnson , and the case study houses of the Eameses , or Pierre Koenig . Whereas Mies and Johnson were drawing on an architecture that went back as far as ancient Greece, and they knew it, the Eameses breezily rejected the weight of tradition. Koenig is a more ambiguous figure. He built, and he taught, for most of his life. He was fascinated by the properties of steel, and he did idealistically motivated work—notably with the Chemehuevi indians when he taught at USC—but nothing ever brought him the fame and recognition of the magazine friendly pieces from early in his career.

So how much does it cost to live in a modernist masterpiece?

Well, Buck Stahl paid the outrageous sum (for the 1950s) of $13,500 for the land, and another $37,651 for the house and pool. At the time of writing, Zillow estimates the value of the house as $2,531,800 (or between 2.23 million and 3.11 million), Trulia’s algorithms estimate its value slightly lower than average for a Hollywood property, at $2,237,000, and Realtor guesses $2,042,328. The real value of the house is almost certainly higher, much higher. A story in the Los Angeles Times (June 27, 2009) reported that Stahl’s widow, Carlotta, and their three children turned down offers as high as $15 million for the house since Buck passed away, but whatever the offer was, the family didn’t sell, so the house is effectively priceless. That’s quite a premium for great architecture.

Don't miss Archilogic's previous models shared on ArchDaily, including Pierre Koenig's other Case Study House #21 , The Eames Case Study House #8 and Mies van der Rohe's Farnsworth House and Barcelona Pavilion .

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Pierre Koenig虚拟现实住宅研究22号，Stahl住宅

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The Case Study houses that made Los Angeles a modernist mecca

Mapping the homes that helped to define an era

Los Angeles is full of fantastic residential architecture styles, from Spanish Colonial Revival to Streamline Moderne. But the modernist Case Study Houses , sponsored by Arts & Architecture and designed between the 1940s and 1960s, are both native to Southern California and particularly emblematic of the region.

The Case Study series showcased homes commissioned by the magazine and designed by some of the most influential designers and architects of the era, including Charles and Ray Eames, Richard Neutra, and Pierre Koenig. The residences were intended to be relatively affordable, replicable houses for post-World War II family living, with an emphasis on “new materials and new techniques in house construction,” as the magazine’s program intro put it.

Technological innovation and practical, economical design features were emphasized—though the homes’ scintillating locations, on roomy lots in neighborhoods like Pacific Palisades and the Hollywood Hills , gave them a luxurious allure.

With the help of photographer Julius Shulman , who shot most of the homes, the most impressive of the homes came to represent not only new styles of home design, but the postwar lifestyle of the booming Southern California region.

A total of 36 houses and apartment buildings were commissioned; a couple dozen were built, and about 20 still stand in the greater Los Angeles area (there’s also one in Northern California, a set near San Diego, and a small apartment complex in Phoenix). Some have been remodeled, but others have been well preserved. Eleven were added to the National Register of Historic Places in 2013.

Here’s a guide to all the houses left to see—but keep in mind that, true to LA form, most are still private residences. The Eames and Stahl houses, two of the most famous Case Study Houses, are regularly open to visitors.

As for the unconventional house numbering, post-1962 A&A publisher David Travers writes that the explanation is “inexplicable, locked in the past.”

Case Study House No. 1

J.R. Davidson (with Greta Davidson) designed this house in 1948 (it was actually his second go at Case Study House No. 1). It was intended for “a hypothetical family" with two working parents and was designed to require "minimum maintenance.”

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Case Study House No. 2

Case Study House No. 2 was designed in 1947 by Sumner Spaulding and John Rex. Arts & Architecture wrote that the home’s layout “achieves a sense of spaciousness and flexibility,” with an open living area and glass doors that lead out to adjoining terraces.

View this post on Instagram A post shared by Samuel Dematraz (@samueldematraz) on Oct 28, 2018 at 1:07am PDT

Case Study House No. 7

Case Study House No. 7 was designed in 1948 by Thornton M. Abell. It has a “three-zone living area,” with space for study, activity, and relaxation/conversation; the areas can be separated by sliding panels or combined.

Eames House (Case Study House No. 8)

Legendary designer couple Charles and Ray Eames designed the Eames House in 1949 and even Arts & Architecture seemed kind of blown away by it. The home is built into a hillside behind a row of Eucalyptus trees on a bluff above Pacific Palisades. It's recognizable by its bright blue, red, and yellow panels. The Eameses lived in the house until their deaths. It’s now open to visitors five days per week, though reservations are required.

Entenza House (Case Study House No. 9)

The Entenza House was built in 1949 and designed by Charles Eames and Eero Saarinen for Arts & Architecture editor John Entenza. According to the magazine, “In general, the purpose was to enclose as much space as possible within a reasonably simple construction.”

Case Study House No. 10

Case Study House No. 10 was designed in 1947 by Kemper Nomland. The house is built on several levels to mold into its sloping site. Recently restored, the home sold to Kristen Wiig in 2017.

Case Study House No. 15

Designed by J.R. Davidson in 1947, Case Study House No. 15 has south walls made of huge glass panels. Its flagstone patio and indoor floor are at the same level for that seamless indoor-outdoor feel. According to the magazine, the floorplan “is basically that of another Davidson house, Case Study House No. 11,” which has been demolished.

View this post on Instagram A post shared by Samuel Dematraz (@samueldematraz) on Nov 15, 2018 at 6:13am PST

Case Study House for 1953

Craig Ellwood’s Case Study House for 1953 is usually numbered as 16 in the Case Study series . It has a modular steel structure and “the basic plan is a four-foot modular rectangle.” But the interior walls stick out past the exterior walls to bring the indoors out and the outdoors in. The Bel Air house hit the market in November with a $3 million price tag.

Case Study House No. 17 (A)

Case Study House No. 17 (A) was designed by Rodney Walker in 1947. A tight budget kept the house at just 1,560 square feet, “but more space was gained through the use of many glass areas.” The house also has a large front terrace with a fireplace that connects the indoor living room fireplace. The house has been remodeled .

View this post on Instagram A post shared by Case Study House #17, 1947 (@casestudy17) on Jun 11, 2016 at 2:20pm PDT

Case Study House No. 17 (B)

Case Study House No. 17 (B) was designed in 1956 by Craig Ellwood, but “governed by a specific program set forth by the client.” Ellwood took into account the clients' collection of contemporary paintings and made the living room “purposely undersized” to work best for small gatherings. The house was extensively remodeled in the sixties by Hollywood Regency architect John Elgin Woolf and his partner, interior designer Robert Koch Woolf.

View this post on Instagram A post shared by BAUKUNST™ El Arte de Construir (@i_volante) on Aug 13, 2017 at 4:42pm PDT

West House (Case Study House No. 18 [A])

Case Study House No. 18 (A) was designed by Rodney Walker in 1948. The house is oriented toward the ocean, but set back from the cliff edge it sits on to avoid noise issues. As A&A says, "High above the ocean, the privacy of the open south and east exposures of Case Study House No. 18 can be threatened only by an occasional sea-gull." The house features a "bricked garden room" separated from the living room by a two-sided fireplace.

View this post on Instagram A post shared by CaseStudyHouse18A (@casestudyhouse18a) on Oct 6, 2018 at 8:44pm PDT

Fields House (Case Study House No. 18 [B])

Case Study House No. 18 (B) was designed by Craig Ellwood in 1958. Ellwood didn’t attempt to hide that the house was prefabricated (the magazine explains that he believed “that the increasing cost of labor and the decline of the craftsman will within not too many years force a complete mechanization of residential construction methods”). The components of the house, however, are “strongly defined with color: ceiling and panels are off-white and the steel framework is blue.” According to A&A' s website, the house has been remodeled.

View this post on Instagram A post shared by MCM Daily (@dc_hillier) on Oct 29, 2018 at 8:32pm PDT

Case Study House No. 20 [A])

This two-bedroom house was meant “to serve young parents who find they can afford just that much,” according to architect Richard Neutra’s description. He also wrote that he used several different kinds of natural wood in the house.

Bass House (Case Study House No. 20 [B])

The Bass House was designed in 1958 by Buff, Straub, and Hensman for famed graphic designer Saul Bass. It's “unique in that it was based upon the experimental use of several prefabricated Douglas fir plywood products as part of the structural concept,” including hollow-core plywood vaults that covered the central part of the house.

Case Study House No. 21

Pierre Koenig designed Case Study House No. 21 in 1958. It was originally completely surrounded by water, with a walkway and driveway spanning the moat at the front door and carport, respectively. The house was severely messed with over the years, but restored in the ’90s with help from Koenig.

Stahl House (Case Study House No. 22)

Pierre Koenig's Stahl House , designed in 1960, is probably the most famous house in Los Angeles, thanks to an iconic photo by Julius Shulman . The house isn't much to look at from the street, but its backside is mostly glass surrounding a cliff's-edge pool. Tours are available Mondays, Wednesdays, and Friday—but book well ahead of time, as they sell out quickly.

Case Study House for 1950

The unnumbered Case Study House for 1950 was designed by Raphael Soriano. It's rectangular, with living room and bedrooms facing out to the view. However, in the kitchen and eating areas, the house “turns upon itself and living develops around a large kitchen-dining plan opening upon a terrace which leads directly into the living room interrupted only by the mass of two fireplaces.” According to A&A 's website, the house has been remodeled.

Frank House (Case Study House No. 25)

The two-story Frank House was designed by Killingsworth, Brady, and Smith and Associates in 1962 and it sits on a canal in Long Beach. A reflecting pool with stepping stones leads to its huge front door and inside to an 18-foot high courtyard. The house sold in 2015 with some unfortunate remodeling .

Case Study House No. 28

Case Study House No. 28 was designed in 1966 by Conrad Buff and Donald Hensman. According to the magazine, “the architects were asked to design a house that incorporated face brick as the primary structural material to demonstrate its particular advantages.” They came up with a plan for two symmetrical wings joined by glass galleries.

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Case Study House No. 22

• California Modernism

Site overview

Primary classification, terms of protection, designations, how to visit, case study house no. 21, lorem ipsum dolor, designer(s).

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Nationality, other designers, related news, related chapter, southern california.

C.H. Stahl and Charlotta Stahl/ Completed in 1960

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Julius Shulman’s Case Study House #22

The Greatest American Architectural Photographer of the 20th Century

Julius Shulman is often considered the greatest American architectural photographer of the 20th century. His photography shaped the image of South Californian lifestyle of midcentury America. For 70 years, he created on of the most comprehensive visual archives of modern architecture, especially focusing on the development of the Los Angeles region. The designs of some of the world’s most noted architectures including Richard Neutra, Ray Eames and Frank Lloyd Wright came to life though his photographs. To this day, it is through Shulman’s photography that we witness the beauty of modern architecture and the allure of Californian living.

Neutra and Beyond

Born in 1910 in Brooklyn, Julius Shulman grew up in a small farm in Connecticut before his family moved to Los Angeles at the age of ten. While in Los Angeles, Shulman was introduced to Boy Scouts and often went hiking in Mount Wilson. This allowed him to organically study light and shadow, and be immersed in the outdoors. While in college between UCLA and Berkeley, he was offered to photograph the newly designed Kun House by Richard Neutra. Upon photographing, Shulman sent the six images to the draftsman who then showed them to Neutra. Impressed, Richard Neutra asked Shulman to photograph his other houses and went on to introduce him to other architectures.

The Case Study Houses

Julius Shulman’s photographs revealed the true essence of the architect’s vision. He did not merely document the structures, but interpreted them in his unique way which presented the casual residential elegance of the West Coast. The buildings became studies of light and shadow set against breathtaking vistas. One of the most significant series in Shulman’s portfolio is without a doubt his documentation of the Case Study Houses. The Case Study House Program was established under the patronage of the Arts & Architectue magazine in 1945 in an effort to produce model houses for efficient and affordable living during the housing boom generated after the Second World War. Southern California was used as the location for the prototypes and the program commissioned top architects of the day to design the houses. Julius Shulman was chosen to document the designs and throughout the course of the program he photographed the majority of the 36 houses. Shulman’s photography gave new meaning to the structures, elevating them to a status of international recognition in the realm of architecture and design. His way of composition rendered the structures as inviting places for modern living, reflecting a sense of optimism of modern living.

Case Study House #22

Case Study House #22, also known as the Stahl House was one of the designs Julius Shulman photographed which later become one of the most iconic of his images. Designed by architect Pierre Koenig in 1959, the Stahl House was the residential home of American football player C.H Buck Stahl located in the Hollywood Hills. The property was initially regarded as undevelopable due to its hillside location, but became an icon of modern Californian architecture. Regarded as one of the most interesting masterpieces of contemporary architecture, Pierre Koenig preferred merging unconventional materials for its time such as steel with a simple, ethereal, indoor-outdoor feel. Julius’s dramatic image, taking in a warm evening in the May of 1960, shows two young ladies dressed in white party dresses lounging and chatting. The lights of the city shimmer in the distant horizon matching the grid of the city, while the ladies sit above the distant bustle and chaos. Pierre Koenig further explains in the documentary titled Case Study Houses 1945-1966 saying;

“When you look out along the beam it carries your eye right along the city streets, and the (horizontal) decking disappears into the vanishing point and takes your eye out and the house becomes one with the city below.”

The Los Angeles Good Life

The image presents a fantasy and is a true embodiment of the Los Angeles good life. By situating two models in the scene, Shulman creates warmth, helping the viewer to imagine scale as well as how life would be like living in this very house. In an interview with Taina Rikala De Noriega for the Archives of American Art Shulman recalls the making of the photograph;

“ So we worked, and it got dark and the lights came on and I think somebody had brought sandwiches. We ate in the kitchen, coffee, and we had a nice pleasant time. My assistant and I were setting up lights and taking pictures all along. I was outside looking at the view. And suddenly I perceived a composition. Here are the elements. I set up the furniture and I called the girls. I said, ‘Girls. 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. 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. We didn’t use floodlights. We set up lights, and I set up my camera and created this composition in which I assembled a statement. It was not an architectural quote-unquote “photograph.” It was a picture of a mood.”

Purity in Line and Design to Perfection

Shulman’s preference to shoot in black and white reduces the subject to its geometrical essence allowing the viewer to observe the reflections, shadows and forms. A Shulman signature, horizontal and vertical lines appear throughout the image to create depth and dimensional perspective. A mastery in composition, the photograph catches purity in line and design to perfection.

A Lifetime of Achievements

Julius Shulman retired from active architectural work in 1989, leaving behind an incredibly rich archive chronicling the development of modern living in Southern California. A large part of his archive resides at the Getty Museum in California. For the next twenty years he participated in major museum and gallery exhibitions around the world, and created numerous books by publishers such as Taschen and Nazraeli Press. Among his honors, Shulman is the only photographer to have been granted honorary lifetime membership in the American Institute of Architects. In 1998 he was given a lifetime achievement award by ICP. Julius passed away in 2009 in his home in Los Angeles.

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The Stahl House: Case Study House ú22: The Making of a Modernist Icon (Case Study House, 22) Hardcover – November 2, 2021

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• Print length 208 pages
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See what it was like to grow up in one of America's most iconic homes

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“Bruce Stahl and Shari Stahl Gronwald offer an intimate biography of ‘one of the great architectural wonders of Los Angeles’: the Stahl House, designed by Pierre Koenig and completed in 1960, and the house they grew up in…. Those with an interest in the human side of design and architecture will be captivated.” ― Publishers Weekly

“Sumptuous… a startlingly intimate document, chockablock with family snapshots, that goes beyond steel decking, glass walls, concrete caissons, and the geometry of H columns and I beams. It’s a love song to a global icon that was, for the residents themselves, no museum.” ― Vanity Fair

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• Item Weight ‏ : ‎ 2.31 pounds
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Home » Event » Koenig’s Case Study House 22 Home Tours

Koenig’s Case Study House 22 Home Tours

Pierre Koenig’s Case Study House #22

The Stahl house, designed by architect Pierre Koening in 1960 will be open to visitors for a limited time. The house was built part of the Case Study House experiments for residential housing sponsored by Arts & Architecture magazine, which hired major architects including Charles and Ray Eames, Pierre Koenig and Eero Saarinen, to design and build inexpensive model homes for the housing boom caused by the end of World War II.

There were in total over 30 houses built and no. 22 is without a doubt the most stylish and famous one. Located on a hill in West Hollywood, overlooking downtown LA it features large windows, a pool and design to die for. For anyone who is in or near Los Angeles, don’t miss out on this opportunity to travel back in time to a iconic architectural landmark.

For information about the tours and prices, follow the link below.

The Stahl family offers monthly tours of the house. The next ones are scheduled for July 3, 4 and 5; tickets are $25 to $40. For reservations and more information go to www.stahlhouse.com . Each visit is limited to 20 people, and guests will have about 60 minutes at the home to speak with the family member, take the tour and experience personally this very important piece of residential architecture. Photography will be allowed ONLY for non-commercial / personal use. Before entering the home, all attendees are required to sign a Photography Release and Indemnity Release.

Above: Pierre Koenig’s Case Study House #22

Christopher

A Swedish expatriate and founder of Ultra Swank. Chris loves showcasing his passion for mid-century design, defunct airlines, Disneyland and modernist architecture. He's also renowned as a connoisseur of easy-listening music from the 60s and 70s.

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Case Study Houses

The Case Study Houses served as a blueprint and inspiration for Mid-Century homes in Southern California.

In 2013, ten Case Study House program residences were added to the National Register of Historic Places.

Relevant Places

Bass House (Case Study House #20B)

Case Study House #1

Case Study House #10

Case Study House #16

Case Study House #28

Entenza House (Case Study House #9)

Stahl House (Case Study House #22)

Triad (Case Study House #23A)

Triad (Case Study House #23C)

West House (Case Study House #18)

Launched in 1945 by John Entenza’s  Arts + Architecture  magazine, the Case Study House program commissioned architects to study, plan, design, and ultimately construct houses in anticipation of renewed building in the postwar years.

While the Case Study House program did not achieve its initial goals for mass production and affordability, it was responsible for some of Los Angeles’ most iconic and internationally recognized modern residences, such as the  Eames House (Case Study House #8)  by Charles and Ray Eames and the Pierre Koenig-designed  Stahl House (Case Study House #22) , famously photographed by Julius Shulman.

After a decade-long effort, L.A. Conservancy’s Modern Committee succeeded in listing ten Case Study residences on the National Register of Historic Places.

About This Issue

With an emphasis on experimentation, and a goal of promoting good, modern, affordable design for single-family homes, the program helped to disseminate the midcentury modern aesthetic through its thirty-five published plans. Of these, twenty-five houses and one apartment building were built in California and Arizona.

The program offered an unparalleled opportunity for commissions and publicity for established architects including Richard Neutra, J. R. Davidson, Sumner Spaulding, and William Wurster. It helped raise the profile of then-lesser-known designers including Craig Ellwood, A. Quincy Jones, Edward Killingsworth, Ralph Rapson, Eero Saarinen, and Raphael Soriano.

Our Position

On November 21, 2013, the  Los Angeles Conservancy Modern Committee was awarded a Governor’s Historic Preservation Award to recognize its work in nominating eleven Case Study Houses to the National Register of Historic Places.

Through the efforts of the Los Angeles Conservancy Modern Committee, eleven Case Study House residences in Los Angeles, San Diego, and Ventura counties are now recognized as nationally historic. Ten are officially listed in the National Register of Historic Places, and an eleventh was deemed eligible for listing.

Few of the Case Study Houses currently have preservation protections, and some have been demolished or significantly altered. This proactive step recognizes the eleven nominated homes and raises greater awareness about the Case Study House program while providing a historic context for future designation of the remaining eligible properties.

On May 1, 2013, the State Historical Resources Commission voted to recommend listing of ten Case Study Houses in the National Register of Historic Places.  These ten residences with certifying recommendations were submitted to the National Park Service for final review and listing by the Keeper of the National Trust.  They were formally listed on July 24, 2013.

An eleventh nominated residence, Case Study House #23A, was not formally listed because of owner objection, but it received a determination of eligibility for listing in the National Register. All eleven residences will be considered historic resources and will enjoy the same protections under the California Environmental Quality Act (CEQA).

Several Case Study Houses were not included in the nomination — if they’ve been altered or demolished, or for other reasons — but with this platform in place, it will be easier for other CSH homes to be nominated in the future.

Likewise, a few CSH houses, such as the  Eames House  (CSH #8), weren’t included because they’re already individually listed.

Case Study House residences included in nomination:

Los Angeles County

• Case Study House #1 , 10152 Toluca Lake Ave., Los Angeles
• Case Study House #9 , 205 Chautauqua Blvd., Los Angeles
• Case Study House #10 , 711 S. San Rafael Ave., Pasadena
• Case Study House #16 , 1811 Bel Air Rd., Los Angeles
• Case Study House #18 , 199 Chautauqua Blvd., Los Angeles
• Case Study House #20 , 2275 N. Santa Rosa Ave., Altadena
• Case Study House #21 , 9038 Wonderland Park Ave., Los Angeles
• Case Study House #22 , 1635 Woods Dr., Los Angeles

San Diego County 

• Case Study House #23A , 2342 Rue de Anne, La Jolla, San Diego (determined eligible)
• Case Study House #23C , 2339 Rue de Anne, La Jolla, San Diego

Ventura County

• Case Study House #28 , 91 Inverness Rd., Thousand Oaks

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Explore two stunning Case Study Houses Case Study House #8 -- The Eames House (exterior only with interior visable through large open doorways) Designed, built and lived in by the world renowned mid-century designers, Charles and Ray Eames. Case Study House #22 -- The Stahl House (interior & exterior) The iconic family home featured in countless films, television shows and advertisements. Mid-century modern enthusiasts travel from all over the world to view just one of these houses. This is your opportunity to experience both homes with a uniquely qualified guide. Andrew Edelstein has been a docent for the Eames Foundation for the past three years and is the only person to give tours at The Stahl House (that is not a member of the Stahl family). With Andrew as your guide, you will delve into the fascinating stories of living in a Case Study House as well as hearing about the history of the Case Study House Program. Includes transportation and refreshments. …

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The view alone is worth the visit... The house wraps around the pool in an L shape...the layout accentuates the million dollar views from both bedrooms and living space You will feel like you are in a Dwell magazine photo shoot as soon as you step into the property (Written by husband)

Views from the pool

View of LA from the house

My three friends and I booked this tour as part of a birthday surprise outing for one of our friends. I had often seen this house in photos and was thrilled that we were able to see this lovely home in person. We booked a sunset tour on a spectacularly clear day in Los Angeles. The views were wonderful as well as the ability to walk around, throughout the property as the changing light from sunset to evening transpired. It was magical to watch the city lights appear and to imagine what life what like for the family who lived here. I highly recommend this fun tour and would further recommend taking the evening time to do this tour. Andrew was our tour guide. We enjoyed all the interesting inside stories he shared. I have shared a post on my blog about the visit for anyone interested in seeing some photos of the changing light on the day we visited the Stahl house. Giving this tour a thumbs up. Lots of fun to see the home. http://followbarbsbliss.blogspot.com/2012/03/stahl-case-study-house-22.html

I was given the Case Study House Tour as a birthday gift. What a great gift! I had walked through the mock-up of the Stahl house created for the show on mid-city modern aesthetics at the Temporary Contemporary several years ago. I thought I had pretty much experienced the real thing. Not so! The key to this house is the location. The glass walls makes the airliner view of the L.A. basin part of the design. The experience of being there is almost as dramatic as the different experiences of looking at architectural renderings--floor plans and elevations--and then of walking into the built structure. I enjoyed the mock-up. I was stunned by the real house. Having Mrs. Stahl and the youngest son there made it even more real. Visiting the Eames home and studio was impressive in a different way. I was disappointed we didn't get to go inside, BUT, again, the big surprise was the relationship of the house to the site. I don't think that any photo or book or video conveys how incredibly appropriate these two kinda Mondrian-abstract-appearing structures are to this Pacific-overlooking site. I had never really thought of this as anyone's HOME. The tour changed my opinion. My first surprise was the startling juxtaposition of the homey decor (think FLW's comments about the hearth, enclosure) to the austere glass and siding. Then, even from outside, it was clear the glass walls served as huge, barely framed landscape "paintings." But, of course, the "paintings aren't naturmort; the site makes it clear that this is raw nature just outside. The minimal landscaping accentuates this reaction. So, just as at the Stahl house, the big revelation was experiencing the site, the house as part of the place. The guide told several interesting anecdotes about Ray and Charles Eames that, again, made the experience of being there even more vivid.. What was it like to LIVE in these incredible homes, to be the people for whom these home were built? Want to experience these homes intimately, directly? Take the tour and find out!

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Case Study House #22

Janey got the weekend before my birthday off we decided to do something special just in case she had to work during my birthday. We decided to take a tour of the most famous of the Case Study houses, #22 the Stahl House. Unlike most of the other Case Study houses the Stahl House was made famous by this Julius Shulman photograph , which depicts two women sitting and talking while appearing to hang in midair over the LA skyline. Among the Case Study houses the Stahl House has by far the best story.

In 1954 “Buck” Stahl was driving through the hills above Hollywood when he saw the site which was being used as a dumping ground for dirt and concrete. He saw the developer who owned the plot and bought the land on the spot for $13,500, about the price of a small house at the time. Over the next two years Buck and his wife Carlotta hauled dirt and concrete to the spot and an idea for a house began to form. Buck made a small model  and began to show it various architects who all told him it couldn’t be built.

Finally in 1957 Buck found Pierre Koenig, who was designing the glass and steel Case Study House #21  and took on the task of turning Buck’s dream into a reality. In early 1959 Koenig suggested the Stahls submit the house to the Case Study program. The story goes that they crumpled up the application and threw it away only to pull it out of the trash and smooth it back out again. Later in 1959 just before groundbreaking the house was accepted into the program, but not because it was affordable (it cost $37,500 to build) or easily reproducible (the house is incredibly specific to the site) but because it pushed Modernist architecture to its limits and showed what was truly possible with the best materials and design of the day.

The house is all glass on three sides and every room has a sweeping view of LA below, every architectural design decision has been made to increase the view as much as possible to the exclusion of everything else. Nothing is load bearing except for the posts between the enormous panes of glass which were the largest available at the time of building. Koenig was also extremely clever with the designs, maximizing morning sun to warm the house and providing long eves on specific sides to keep in cool through the afternoon.

In 1960 Julius Shulman’s photos of the house appeared in Arts & Architechure as a part of the Case Study House program and launched the house into the spotlight. In 1962 an article appeared in Life, “Way Up Way of Living on California Cliffs” that featured several photographs of the house including one of Buck Stahl dangling off the edge of the cliff with a rope around his waist  planting ivy to reenforce the hillside. The house has been used in dozens of movies, tv shows, commercials, and photo shoots since then.

In some ways I think the Stahl house captures something uniquely American, that Buck Stahl, a sign painter and graphic artist could devote 6 years to an idea and create it from literally the ground up. His famous quote “Nobody famous ever lived here” really sums up something about the classic American dream.

• Tours of the Stahl House
• Stahl House Wikipedia Article
• Original 1960 Article
• Wikipedia list of Case Study homes
• List of original articles
• Original introduction article

The Stahl House is open for tours on a regular basis  and is one of only 2 that you can take a tour of. I really recommend the evening tour if you can make it, since you get to see the house in daylight, sunset and night. They let you take photographs only with cell phones and photos are for personal use only.

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9 comments on “Case Study House #22”

It’s absolutely stunning, there’s such a beauty in the simplicity and cleanliness of the design.

This one is by far my favorite.<3 I'd love to live in a home like that!

Vegetarian Courtesy

this place is so amazing … For sure we know it from several movies …

Growing up in the 60s, I was fascinated by the photos of houses like this one in Life magazine. All the modern “ranch” houses in my neighborhood looked quaint by comparison.

That house is just so amazing. Although I don’t see myself as an LA person, the thought of living in a house like this in a 60s, enjoying the California sunshine and that stunning view, could almost make me change my mind.

This is GORGEOUS! I’m not often a fan of 50s-60s houses with very modernist lines, but this one has given me a change of heart! It’s so open, I love the long, low silhouette. And I’d love so many windows… as long as neighbors are far away!

That is amazing!!!

That view, oh my word! It’s absolutely spellbinding. What a stunning abode, pool, and vista!

Mid-century architecture is not really my favorite, but this is pretty amazing. But as a Northern California girl, I can’t help but wonder about earthquakes, with so few load bearing walls, and being on a cliff!

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Stahl Residence, Case Study House #22 by Pierre Koenig

During the holidays slow home will be re-running archived content,  we will return in 2010 with new episodes..

Wonderful! Thanks so much for this segment.

Fantastic tour and commentary on a great house. Thanks John!

John, if you compare the photograph above with the recent photographs that you took it appears that a small deck has been added around the living room. Is that correct?

As an aside, there are a couple of good articles in the Globe Real Estate section today. One details the plight of another famous LA residence – the Frank Lloyd Wright Ennis House. The other talks about the trend in high-end real estate towards smaller smarter design – Good things, small packages.

Of note with the Ennis house – this is another in a line of homes by FLW brilliant in design but poor in execution. No doubt ahead the construction and engineering practice of the day.

In the Good things, small packages article note the influence of the Stahl residence and other iconic mid-century residential designs on the current homes shown. It is not just the form of the house but the philosophy behind the design which is common.

Gorgeous house! Thanks for showing these pictures. Interesting to learn about the lights outside the house. One thing that came to mind was I wouldn’t want to change the light bulbs here!

Great segment John. I thoroughly enjoyed it!

Thanks for the walk-through tour of this iconic home, John. Very interesting! I’ve found that learning about the layout and how the home’s elements interplay has usurped the amazing photos of its unique location above LA.

Fascinating house. Very unassuming from the street side and spectacular from the cliff side. It opens up interesting possibilities when you can use the outdoors as a functional part of the house. Hey John — maybe with global warming your successors will eventually be able to do this sort of thing here in Calgary!

I completely understand why they increased the size of the carport wall and put a locking door in it, as it would nice to be able to leave the sliding doors unlocked at night so that the children would be able to head to the kitchen for a midnight snack without either cutting through the master bedroom or having to take a key with them. However, if they aren’t fully awake when they try to negotiate that bridge they just might end up very awake and very wet!

Interesting that they chose to put the master bedroom in the middle and the children’s bedroom at the end. From a privacy perspective I would have expected it to be the other way around, but I guess they felt that the corner of the “L” was the best place to put the master ensuite and wanted to give the master bedroom a direct link to the rest of the house.

John — any chance that you could post a PDF or JPEG of the floorplan so that we could look at it more closely without having to pause the video?

Doug, Here is the plan.

I agree with your thoughts about the order of the bedrooms. Add to that the fact that there were two boys and one girl growing up in the house and it is wonder that there was any privacy at all. (We learned on the tour that the kid’s bedroom had been subdivided with a wall that lined up with the center mullion. The boy’s in bunk beds on one side and the girl on the other).

I think that the placement of the master bathroom (which is actually quite generous given the times and the size of the house) is inspired in terms of using up the outside corner of the L shaped plan.

Also a good point about falling into the pool. Several people on the tour almost did. Also, there are no handrails anywhere and it is quite easy to just walk off the edge of the cliff. Again, it seems like an unnerving place to raise a small family.

[img]cs22-3.jpg[/img]

Brad, Any chance you could share the link to the Ennis Brown House story?

I have been taking my students there for tours for fifteen years until it was closed because of the collapsing retaining walls. I actually had the opportunity to meet Mr. Brown (no relation unfortunately) several times before he passed away.

Good things, small packages: Vancouver architect D’Arcy Jones is tapping into a new dynamic

The Perfect House: Buyer needed to rescue a Wright masterpiece

Let’s try again…

Good things, small packages: Vancouver architect D’Arcy Jones is tapping into a new dynamic http://www.theglobeandmail.com/real-estate/good-things-small-packages/article1204232/

The Perfect House: Buyer needed to rescue a Wright masterpiece http://www.theglobeandmail.com/real-estate/buyer-needed-to-rescue-a-wright-masterpiece/article1204530/

Thank you for the little presentation. I think Pierre Koenig has done some outstanding houses – simple, spacious layouts. It seems to me he really liked to work with big sliding doors and water – perhaps not the perfect idea of families with small children but looking at those original picture it makes you understand the original idea behind that, behind this era of CA-Architecture. I guess Doug is right, perhaps those global changes will make it possible to do that kind of houses in other parts of the world too but on the other hand I’d like to know how this building is working in CA as well – guess you can not consider that to be a GREEN BUILDING but wouldn’t it be interesting to find ways to keep the idea and make this design work in the 21.century? The layout is never outdated but the contruction needs a good new makeover (without losing its obvious quality!) I love those case study houses – a very important piece of architectural history!

John, I’ve wanted so much to be “on the inside” of that iconic photo for so many years! Thank you so much for the tour and commentary. What a joyful, optimistic, modern house. Such a contrast with one of the more stifling ethos of our times: “the children must be (over)protected at all times!” I would think everyone would thrill to walk the edges of the pool and the cliff. But don’t leave us hanging… did all survive?

Another modern case study home. And one shaped like a box with floor to ceiling windows. How unique.

I disagree that the utter lack of privacy for the children’s rooms and the arduous trip from the carport to the kitchen with the grocery bags, constitute good design. I guess I just don’t get it.

FYI – According to the son of the homes owner, the house was designed in mid 1956 by his father, C.H. Stahl. Pierre Koenig was hired to fine tune the house design and make it buildable.

Robert, you are right there are many homes shaped like a box with floor to ceiling windows. But not in 1956. Also, very few houses presented a windowless, doorless response to the front.

The house does pose some practical problems for a family living in it, but the way it responds to its site and the social commentary it makes sets it apart as a very dynamic and influential piece of architecture.

I can’t emote how exciting this property is. Similar to other masterpieces such as The Philip Johnson Glass House it may not hold a sense of practicality for most of us but boy it really revs up the mental engine.

I appreciate more and more when such unique ideas becomes reality. If more people would be so bold.

It is said that most of our greatest ideas go with us to the grave. At least a few make it out alive.

Robert – Not to create a debate but it would be interesting to see a few examples of what you and others consider an ideal living environment. For myself the influences are varied and seem to evolve as I become more familiar with other styles.

Here is a reference to the LA Times article which discusses the Stahl residence as viewed by the family and the controversy regarding its design.

http://www.latimes.com/features/home/la-hm-stahl27-2009jun27,0,504751.story

Hi john, Could you please email me a readible copy of the Stahl house blue print?

John, Stumbled on your site yesterday and I love what I see. Looking forward to what you have to offer in the New Year.

As for this home – I love to see the use of sliders and pocket doors. (On a side note I think designers should incorporate them more). In relation to how the space feels and functions – these were a necessity. Their usage in the master kept it clean, sight lines intact, and saved precious space.

Does anyone know where I can find plan views of the house? Preferably with measurements. Thanks.

i need the analysis of this house as soon as possible …. that’s my email [email protected] plz help me

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Americans willing to go into debt for travel and entertainment, study finds

Credit card balances have ballooned 32% in the last two years.

(InvestigateTV) — A recent Bankrate survey revealed that 27% of Americans would be willing to go into debt to travel, eat out, or see live entertainment.

Ted Rossman with Bankrate said this was concerning considering the current high interest rates.

“I don’t want to tell anyone they can’t have fun, but I do worry about this in light of credit card rates being at record highs,” Rossman noted. “The average is 20.75%. So, I think a better option for people would be to set a good budget ahead of time.”

Rossman said there’s going to be a lot of temptation to spend this summer and that’s not a bad thing, just make sure to plan for it.

He suggested setting money aside from every paycheck and have it transferred into a savings account.

“We know young adults are very driven by experiences and social things, and again that’s not a bad thing, as long as you’ve accounted for it,” Rossman explained. “I think sometimes also people fall into this trap, ‘Oh, I didn’t know the concert invite was coming’ or ‘the wedding invite was coming.’ You may not know exactly what the invite is, but you do want to put together a good entertainment budget.”

Rossman said a lot of people make the mistake of either not budgeting or if they do, they only account for the necessities. It’s important to put together a fun budget as well.

He said if a trip is budgeted, try to offset the cost with rewards points and miles.

Travelers could also pool resources with friends and share an Airbnb.

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Free Cyber Services #protect2024 Secure Our World Shields Up Report A Cyber Issue

A Plan to Protect Critical Infrastructure from 21st Century Threats

By Jen Easterly, Director, Cybersecurity and Infrastructure Security Agency

On April 30 th , the White House released  National Security Memorandum-22 (NSM) on Critical Infrastructure Security and Resilience , which updates national policy on how the U.S. government protects and secures critical infrastructure from cyber and all-hazard threats. NSM-22 recognizes the changed risk landscape over the past decade and leverages the enhanced authorities of federal departments and agencies to implement a new risk management cycle that prioritizes collaborating with partners to identify and mitigate sector, cross-sector, and nationally significant risk. The culmination of this cycle is the creation of the 2025 National Infrastructure Risk Management Plan (National Plan)—updating and replacing the  2013 National Infrastructure Protection Plan —and will guide federal efforts to secure and protect critical infrastructure over the coming years. 

As the National Coordinator for critical infrastructure security and resilience, the Cybersecurity and Infrastructure Security Agency (CISA) will develop this National Plan to be forward-looking and employ all available federal tools, resources, and authorities to manage and reduce national-level risks, including those cascading across critical infrastructure sectors. CISA will look to its partners to help us and the other Sector Risk Management Agencies (SRMAs) over the course of the year as we develop this foundational document. 

The National Plan Must Account for the Evolution of Threats, Vulnerabilities, and Consequences 

Building off the priorities of NSM-22, the 2025 National Plan will articulate how the U.S. government will collaborate with partners to identify and manage national risk. This will be an evolution from the 2013 National Plan which described risk management as “the cornerstone” to strengthening critical infrastructure security and resilience. Eleven years later, the spirit of this concept holds true; yet it must evolve due to pervasive vulnerabilities and an elevated threat landscape, which could lead to cascading regional and national consequences. Fortunately, over that same decade, Congress and successive administrations have established new agencies, authorities, and collaborative partnerships that empower a whole-of-society approach to national risk management. As the National Coordinator, CISA will be the primary driver for operationalizing this approach through the National Plan. 

The National Plan will be Informed by a New Risk Management Cycle

NSM-22 details a new risk management cycle that requires SRMAs to identify, assess, and prioritize risk within their respective sectors and develop sector risk management plans to address those risks. With these risk assessments and risk management plans, CISA will identify and prioritize systemic, cross-sector, and nationally significant risk through a cross-sector risk assessment. This assessment will enable CISA to prioritize systemic risk reduction efforts—detailed in the National Plan—that the U.S. government will take in collaboration with relevant federal, state and local, private, and international partners. Most importantly, the National Plan will recognize that the U.S. government cannot make all critical infrastructure immune from all threats and hazards. Rather, it will detail U.S. government efforts to make critical infrastructure resilient against prioritized risks based on the 16 sector’s risk assessments and CISA’s cross-sector risk assessments. All the while, CISA and other federal partners will work closely with SRMAs to manage their unique sector risks.  

We Need You for Us to be Successful 

This will be a fundamentally new approach to U.S. government risk management. In this era of technological advancements and dynamic global volatility, the security and resilience of our critical infrastructure are of paramount importance. Essential systems, including energy grids, water systems, transportation networks, healthcare facilities, and communication systems, are vital for public safety, economic stability, and national security. The increasing interconnectivity of critical infrastructure systems, reliance upon global technologies and supply chains, and geopolitical tensions make these systems susceptible to a myriad of threats. Addressing these risks will require a coordinated national effort by federal agencies; State, Local, Tribal, and Territorial (SLTT) governments, infrastructure owners and operators, and other stakeholders across the critical infrastructure community. 

As those responsible for the security and resilience of U.S. critical infrastructure, we must collectively address emergent risks and an uncertain future while remaining vigilant against longstanding threats like terrorism, natural disasters, and targeted violence. Indeed, trusted, sustained, and effective partnerships between the federal government and private-sector and SLTT partners is the foundation of our collective effort to protect the nation’s critical infrastructure. 

Put simply, the 2025 National Plan will not succeed unless our partners collaborate with us to inform its development and its eventual implementation. We ask that you work with your respective SRMAs through the development of your sector risk assessments and sector risk management plans, as these will be core inputs into the National Plan. You can also contact us at  [email protected] for any of your ideas. These inputs will be invaluable as we develop a plan that allows the U.S. government to better prioritize our risk mitigation efforts and reduce risk for the critical infrastructure that underpin American society. 

For more information on the NSM-22 and CISA’s role as National Coordinator, visit CISA National Security Memorandum on Critical Infrastructure Security and Resilience | CISA .

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