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Daily picture show, julius shulman: 98 and still photographing.

Claire O'Neill

Read Susan Stamberg's Story on Shulman, Photographer Captures L.A.'s Vintage Homes

In 1960, Julius Shulman took a photograph that to this day remains the paragon of architectural photography. Case Study House #22 (below) shows the dreamlike, cinematic Los Angeles that has been etched into our collective conscious. Even at the age of 98, Shulman continues to take photographs with the help of his working partner Juergen Nogai. The two met about 10 years ago, and Shulman came out of retirement to work with the like-minded Nogai.

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If you have an idea of what California looked like in the 1960s and '70s, Shulman is probably partially responsible for it. He has set the industry standard on many levels — for both architects and photographers alike.

Despite a lifetime behind the lens, however, Shulman and Nogai both eschew the term photo shoot. "Shoot?" says Shulman, laughing. "Look at me. Do I have a gun? I'm a photographer." Nogai explains: "People are not thinking anymore; they're just shooting." Some would agree that the digital age has enabled a decrease in deliberation. If you can fill up a memory card with 1,000 images until you get the perfect one, after all, why stop to carefully compose?

But what most typifies a Shulman/Nogai photograph is meticulous composition that will guide your eye endlessly, if you allow it. These photographers are notorious for the amount of careful consideration that formulates each frame. They've spent up to nine hours on assignment to leave with a mere 11 frames. Eleven perfect frames, that is.

When describing their photographic process, Nogai explained his affinity for film, as well as his concerns about changes to the medium in general. "We're living in a world where everything is 'good enough.' It's not good anymore. And for me that means a reduction in quality." He has a digital Nikon D3x and rents digital backs for his film cameras. "I'm not saying digital photography is bad," he clarified, "but that it has a place."

There's a real concern among photographers who have long been in the industry — even among those who haven't — that their art is dying. They long to turn off their computer monitors and hold their prints in hand. Nogai's advice to aspiring photographers is to study, create a vision and tell a story. He and Shulman have been doing so for decades, and their photographs are a testament to that.

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Time Magazine names Stahl House photo one of the most influential in history

The Julius Shulman shot of an LA house helped reshape ideas of architecture and the American Dream

Time Magazine has trained its editorial eye on the millions of images produced in the nearly 200-year-old history of the photographic medium and come up with 100 that it deems the most influential in the history of the world. Appearing on that prestigious list is Julius Shulman’s iconic image of one of the most famous homes in Los Angeles: the Stahl House.

Also known as Case Study House No. 22, the home was designed by Pierre Koenig as part of the Case Study program sponsored by Arts & Architecture that showcased the works of some of California’s greatest modern architects. Perched in the Hollywood Hills, the glass-walled home seems to float above the lights of the city in Shulman’s brilliant photos—smartly taken both at night and during the day, when views from the pool deck are equally impressive.

The two women Shulman enlisted to pose within the glass-walled home look a little out of place among the burnt bodies and war-torn cities depicted in many of the other photos on the list, but it’s certainly true that Shulman’s photo significantly impacted contemporary attitudes toward modern architecture, Los Angeles, and even the American Dream.

At a time when a two-story home fronted by a green lawn and a white picket fence still embodied success for many Americans, Shulman’s shot presented a starkly different alternative: a dramatic, glassy box that seems to defy gravity—and yet still looks like home.

As Time argues, the picture “perfected the art of aspirational staging, turning a house into the embodiment of the Good Life, of stardusted Hollywood, of California as the Promised Land.”

• The Most Influential Images of All Time [Time Magazine]
• Mapped: The Case Study Houses That Made Los Angeles a Modernist Mecca [Curbed LA]
• LA's Most Famous House Finally Makes the National Register [Curbed LA]
• LA's Most Iconic House is at the Center of an Ugly Legal Battle [Curbed LA]

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A Hidden History of Los Angeles's Famed Stahl House

Review: 'the stahl house: case study house #22: the making of a modernist icon,' by bruce stahl and shari stahl gronwald with kim cross.

The Stahl House: Case Study House #22: The Making of a Modernist Icon , by Bruce Stahl and Shari Stahl Gronwald with Kim Cross. Chronicle Books, 208 pages, $24.95 .

Julius Shulman’s iconic nighttime photo of Case Study House #22—with its cantilevered glass-walled living room hovering above the city lights of sprawling Los Angeles—is arguably the most famous image of residential architecture . Yet the story behind this remarkable building—how it came into being and the experience of living there—is far less known. And that’s what this book reveals. A deep and detailed account with abundant images, it’s a biography of a house and its owners—and the book’s first half, in particular, is a great read.

Shari Stahl Gronwald and Bruce Stahl, along with their late brother, grew up in Case Study House #22 and still own it. As they write in the foreword, touring visitors often ask about the family behind it. “We knew there was an untold story,” Bruce recently said, “and we set out to tell it.” In the dozen chapters that follow, Kim Cross, an Idaho-based author and journalist, weaves a narrative that portrays the family in intimate detail while placing the house within the cultural, historic, and technological-architectural contexts that made it possible. The project came at a pivotal moment and through the convergence of five key players: Buck and Carlotta Stahl, determined clients with a vision and an extraordinary piece of land; Pierre Koenig, a young architect with a background in experimental prefabricated-steel construction and a willingness to tackle a site widely deemed unbuildable; John Entenza, the inspirational editor/owner of Arts & Architecture magazine, who’d launched the Case Study Houses program in 1945; and Shulman, the photographer who portrayed the house, sparking public imagination. Completed in 1960, the project emerged from the post–World War II era, when materials and innovations previously channeled into the war effort became fodder for cutting-edge design. The Case Study program—addressing a burgeoning middle class and rising housing shortage—aspired to create affordable, easily buildable prototypes for modestly scaled yet inventive Modernist houses. (It’s ironic that many of the 20 surviving Case Study Houses have become privileged commodities.)

The Stahl kids dove from the roof into the pool. Photo courtesy Chronicle Books

Buck and Carlotta Stahl were indeed a middle-class couple of limited means. A graphic designer turned aerospace purchasing agent and a homemaker, they had, as Koenig later said, “champagne tastes and a beer budget.” Despite their artistic sensibilities, they couldn’t afford, even with discounts, the Mid-century Modern furnishings from Arts & Architecture’s shoot; and, after happily occupying the house for nearly a decade, the family had to move in with relatives to weather a severe economic downturn. But, six years later, they returned, with “the Stahl kids” resuming “ordinary childhoods in an extraordinary house.” No Case Study project was more quintessentially Modernist than the two-bedroom #22, perched on a Hollywood Hills promontory, with steep drop-offs and a 270-degree panorama.

Cross’s research for the book was clearly profound and extensive—delving into family snapshots and archives, consulting with lead architects and engineers, and logging 125-plus interview hours. Then she deftly wove together the myriad threads, including unexpected, relevant background details for each key player. The book is full of striking revelations.

For example, the only bank willing to finance this unconventionally cantilevered glass-and-steel house, on such an implausible site, was the African-American-owned Broadway Federal, where Paul R. Williams, the Black architect with Modernist leanings, served on the board. For unknown reasons, the bank required a swimming pool (not previously in the design), which became compositionally important, with the entry sequence crossing the pool patio, perceptually amplifying the house’s rectilinear transparency.

Another surprise: one of “the girls”—the two women in summer dresses, casually chatting in the living room in Shulman’s famous photo—was the fiancée of well-known San Francisco architect Jim Jennings, then an architectural apprentice, assisting with the shoot.

Cross also tells how the Stahl offspring have regularly jumped off the roof into the pool. And she reveals that the house’s original GE kitchen appliances (long gone) were pink!

Among the book’s many engaging images are stunning professional photos, family snapshots, artwork featuring the house (by David Hockney and others), and original letters, contracts, and receipts, for what now seem quaint sums.

The volume’s second half, however, is not as compelling as the first. Sections describing movie, TV, and ad shoots at the house could have been reduced, perhaps more effectively, to an amazing list accompanying the visuals (among them, a Simpsons poolside scene). Captions for all images would have been welcome. And the prose—which is generally clear and engaging—occasionally gets effusive or metaphor-heavy. But these are minor quibbles.

The house, now operated as a family business, hosts over 6,000 paid visits a year. With interior staging courtesy of Design Within Reach, the original design remains largely intact—and some modified elements, such as kitchen counters, will eventually be restored.

Through the lens of one important building, the book offers a compelling model for examining history and social change. And Bruce Stahl is right: it’s a story well worth telling.

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Julius Shulman

Julius Shulman was an American architectural photographer best known for his photograph “Case Study House #22[1], Los Angeles, 1960. Pierre Koenig, Architect.” The house is also known as The Stahl House. Shulman’s photography spread California Mid-century modern around the world. Through his many books, exhibits and personal appearances his work ushered in a new appreciation for the movement beginning in the 1990s.

His vast library of images currently reside at the Getty Center in Los Angeles. His contemporaries include Ezra Stoller and Hedrich Blessing Photographers. In 1947, Julius Shulman asked architect Raphael Soriano to build a mid-century steel home and studio in the Hollywood Hills.[2]

Some of his architectural photographs, like the iconic shots of Frank Lloyd Wright’s or Pierre Koenig’s remarkable structures, have been published countless times. The brilliance of buildings like those by Charles Eames, as well as those of his close friend, Richard Neutra, was first brought to light by Shulman’s photography. The clarity of his work demanded that architectural photography had to be considered as an independent art form. Each Shulman image unites perception and understanding for the buildings and their place in the landscape. The precise compositions reveal not just the architectural ideas behind a building’s surface, but also the visions and hopes of an entire age. A sense of humanity is always present in his work, even when the human figure is absent from the actual photographs.

Today, a great many of the buildings documented by Shulman have disappeared or been crudely converted, but the thirst for his pioneering images is stronger than ever.

www.en.wikipedia.org/wiki/Julius_Shulman

Image courtesy of Jim McHugh

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Trailing a Master Photographer in Los Angeles

By Sam Lubell

• April 20, 2012

THE photographer Julius Shulman captured Los Angeles and its surroundings in the middle of the 20th century as the city was shedding its small-town roots and becoming an international capital. In a career that started with a shoot for Richard Neutra in 1936 and ended with his death in 2009, Shulman photographed virtually every important midcentury modernist architect’s work — especially those on the West Coast — not to mention taking on an almost daily stream of jobs for businesses, cities and publications.

After having chronicled his native city for over a decade, Shulman signed on to shoot Case Study Houses, experimental residences commissioned by Arts & Architecture magazine in the ’40s, ’50s and ’60s, created by masters like Neutra, Raphael Soriano, Craig Ellwood and Pierre Koenig. These photographs helped make Shulman the most famous architectural photographer of his generation.

The structures that Shulman captured have been fixed in the popular imagination as living museum pieces. But a few, detailed below, are open to visitors, who can experience the homes and landmarks by appointment. Visiting them not only allows a close-up view of the architecture, it also allows you to experience the spaces as Shulman photographed them. He was able to distill the character of a building’s surroundings, bringing the outside in and extending the inside out with his bold, wide angles, striking perspectives and diagonals that, as his gallerist Craig Krull once told me, “suck you in.”

Unlike the monuments of other cities, those of Los Angeles require you to work for them. Many are not even open to the public. Some that are, are off the beaten path. As a result, when you arrive at some of the city’s greatest architectural masterpieces — many of them that Shulman himself made famous —   you’re often all alone, or touring with a few other people, communing with the building and reliving a photograph.

​Case Study House 22

The most famous piece of architecture that Shulman captured is Case Study House 22, by Pierre Koenig, in the Hollywood Hills neighborhood. It is open for both day and night tours. Shulman’s shot of two women staring down at the lights of Los Angeles from this steel house jutting over the side of a cliff is arguably one of the most famous architectural photographs of all time.

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Singulart Magazine > Spotlight on... > Artists > Exploring Case Study House #22 by Julius Shulman

Exploring Case Study House #22 by Julius Shulman

This article pays tribute to Julius Shulman , the godfather of architectural photography, who passed away at 98. Shulman didn’t just document buildings; he captured modernism’s essence with precision. Case Study House #22 stands out among his designs, an architectural vision in the Hollywood Hills. Perched on cliffs, this house became Shulman’s iconic subject. Join us as we uncover the story behind this famous picture and explore Shulman’s captivating journey.

Who was Julius Shulman?

Julius Shulman, the man behind the camera was not only a photographer but an architect’s narrator. Shulman, born in 1910, did not merely photograph buildings, he documented the spirit of modernism.

FUN FACT: Julius Shulman often used unconventional methods to capture his iconic shots. In one instance, he reportedly climbed onto a neighbor’s roof to photograph a house, showcasing his determination and creativity in getting the perfect angle.

Shulman’s story started in the architectural capital of the world, Los Angeles. His lens swayed in the creations of architectural legends such as Richard Neutra, Pierre Koenig, and Charles Eames. The recognizable pictures turned into the vision of the mid-century American spirit and became the symbol of post-war optimism.

What is Happening in Case Study House #22?

Welcome to Case Study House No. 22, which could be considered Shulman’s masterpiece. This architectural masterpiece is indeed a perfect example of the fusion of aesthetics and utility as it stands gracefully on the cliff of Hollywood Hills. Designed and built in 1960, this house was one of the examples of the Case Study Houses program by John Entenza’s Arts & Architecture magazine which was an attempt at popularizing affordable and efficient living spaces.

What’s So Special About Case Study House #22?

The Case Study House number 22 is a significant example of post-war modernist architecture: the house is characterized by a narrow elongated silhouette and a focus on minimalism. Nested on the Hollywood Hills’ cliff, it has become an emblem of California dreaming and style, with its silhouette etched against the endless Los Angeles cityscape. This work of art has been captured in the timeless photograph by Julius Shulman that has put it among the most famous buildings in architectural history.

Looking at the architecture of Case Study House #22 one can say that it is an example of how art and architecture are intertwined with cultural values. Thanks to its unique design and location, it has become an example of a contemporary lifestyle, and its depiction in films and television series has turned it into a cultural reference. This architectural marvel stands as a timeless reminder of the mid-century modern movement and an explanation of why visionary design remains a powerful force to this very day.

Interesting Facts About Case Study House #22

The Perfect Frame: Shulman’s photograph of Case Study House #22 is not merely a snapshot but a carefully composed masterpiece. The interplay of light and shadow, the juxtaposition of sleek lines against the sprawling cityscape, all within the confines of a single frame, is a testament to Shulman’s mastery.

A Star-Studded Icon: Case Study House #22 didn’t just capture the essence of modern architecture; it became an icon itself. Its appearance in countless films, television shows, and advertisements cemented its status as a cultural touchstone.

Behind the Scenes: The photograph’s perfection belies the chaos behind the scenes. Shulman’s assistant, who was responsible for switching on the lights inside the house, got stuck in traffic. With moments to spare, Shulman improvised, capturing the image with the house’s natural glow, elevating it to legendary status.

Timeless Appeal: Despite being over six decades old, Shulman’s photograph continues to captivate audiences worldwide. Its timeless appeal lies in its ability to transcend the boundaries of time and space, offering viewers a glimpse into a world where architecture and art merge seamlessly.

Artwork Spotlight: Architectural Study – Interior

Shulman’s Architectural Study – Interior is available on Singulart. This artwork is a stunning piece that brings the viewer into the world of the modernist style, captured through the details and play of light and shadow and the spirit of the mid-century styles in one image.

Are you looking for a piece of artwork from Julius Shulman ?

Singulart has limited edition prints of Julius Shulman. If you are looking for a piece of Shulman‘s artwork for sale, simply click on the artwork or the button below to discover more!

Frequently Asked Questions

What is julius shulman known for.

Most people agree that Julius Shulman is the most significant architectural photographer in history. In the course of a 70-year career, Shulman not only captured the architectural designs of many of the greatest 20th-century architects, but he also turned commercial architectural photography into a beautiful art.

What techniques did Julius Shulman use?

He rendered features that would otherwise be difficult or impossible to see by using infrared film to highlight the sky against the building’s edge. To express a more dynamic space, he would place tree branches to the outside of the frame in his shots. He also used a distinct sense of art direction. 

In the world of architectural photography, Julius Shulman is a giant, his camera capturing not only structures but the essence of an epoch. And in Case Study House #22, his legacy is at its finest, a perfect example of how art transcends the barriers of time and space.

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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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Julius Shulman

Julius Shulman is widely regarded as the most important architectural photographer in history. Over a seventy year career Shulman not only documented the work of many of the great architects of the 20th century, but he elevated the genre of commercial architectural photography to a fine art form. It is illuminating to recognize the simple fact that the work of architects such as Neutra, Koenig, and Lautner are virtually known all over the world through the images and perspective of Julius Shulman. As Neutra astutely observed, “His work will survive me. Film is stronger and good glossy prints are easier to ship than brute concrete, stainless steel, or even ideas.”

Born in 1910, Shulman and his family moved to California from a small farm in Connecticut at the age of 10. In the mid-thirties, Shulman attended UCLA and Berkeley, never formally registering at either school, but merely auditing classes that appealed to him. In 1936, having just returned to L.A. from Berkeley, he accompanied an acquaintance (one of Richard Neutra’s draftsman) on a visit to Neutra’s Kun Residence which was under construction. Shulman made six photographs on this trip which Neutra liked and subsequently bought. Soon after Neutra introduced Shulman to other architects and urged him to build his career as a photographer. 

After making over 260,000 images, Shulman announced his “retirement” in 1989, but the next twenty years were filled with major museum and gallery exhibitions around the world, numerous books by publishers such as Taschen and Nazraeli Press, and a growing list of clients seeking his photographic services. In 2000 he met the German industrial/architectural photographer Juergen Nogai who had come up to Shulman’s studio to meet the legendary man. The two have been collaborating photographically ever since, revisiting locations previously photographed by Shulman and building a client list of new contemporary architects. In 2005, the Getty Research Institute acquired Shulman’s vast archive, but he continued to work until the age of 98. Shulman passed on Wednesday July 15th, 2009 in his home in Los Angeles.

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Julius Shulman’s Case Study House #22

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Dynamic L.A.: Images from the Julius Shulman Photography Archive Now Available

Laura Schroffel | November 25, 2013 | 4 min read

Browse 6,500 images by the photographer who captured Los Angeles in the making. Co-published with Artstor .

Kaufmann House by architect Richard Neutra, Palm Springs, CA, 1947. Julius Shulman photography archive. The Getty Research Institute, 2004.R.10

The Getty Research Institute recently collaborated with the Artstor Digital Library to digitize and share approximately 6,500 images from the Julius Shulman photography archive, series II and III. The work of American architectural photographer Julius Shulman (1910–2009) comprises the most comprehensive visual chronology of modern architecture in the Americas, with a detailed focus on the development of the Los Angeles region. Spanning 70 years, it is a critical visual record of the metropolis’s evolution. The images are available now both on Artstor , a subscription database for research and teaching, and in the Getty Research Institute’s digital collections .

Within Artstor, Julius Shulman’s iconic imagery can be explored alongside photographs by his contemporaries, such as Ezra Stoller, and Wayne Andrews. Shulman’s images can also be leveraged for study and teaching together with images offered by SAHARA, the Society of Architectural Historians Architecture Resources Archive .

Shulman’s Series II and III are of particular importance to the archive, and include some of his most renowned work. Series II contains photographs of architects who commissioned Shulman on a regular basis. It is also the set of images that Shulman drew from most often for publishing or research; he separated the materials from the rest of his collection for easier access. Series II includes work by midcentury modern architects Richard Neutra, John Lautner, Paul Laszlo, Albert Frey, Rudolph Schindler, and William Cody, documenting most of their iconic buildings. Shulman’s relationship with these architects was often mutually beneficial: he was able to promote their work through his stunning representations of their spaces, and their superlative architecture in turn promoted Shulman’s skill, helping him acquire more commissions. In his book Architecture and Its Photography (1998), Shulman spoke of his images’ promotional capabilities:

Photography can enhance a building’s image by producing a graphic impact. It can address the development of an architect’s personal influence and an organization’s role in the creation of a statement that echoes the designs as well as the marketing values built into the organization of spaces, product displays, the standards of comfort enjoyed by an occupant of the facility.

Julius Shulman photographing Case Study House no. 22, West Hollywood, 1960. Julius Shulman photography archive. The Getty Research Institute, 2004.R.10

A deep respect for the artistic fields of photography, architecture, and design is evident in Shulman’s pictures. The results of his collaborations with such masterful architects are a grand display elevating architectural art history. It’s no wonder that this group of architects turned to Shulman to represent their work again and again.

Case Study House #8: Charles and Ray Eames in their living room, Pacific Palisades, 1968. Julius Shulman photography archive. The Getty Research Institute, 2004.R.10

Case Study House #8 exterior, Pacific Palisades, 1968. Julius Shulman photography archive. The Getty Research Institute, 2004.R.10

The second project in series III is the illustrative photography Shulman created for a book by Stephanos Polyzoides, Roger Sherwood, and James Tice titled Courtyard Housing in Los Angeles . Courtyard housing grew in popularity during the 1920s and ‘30s, and the style is still very much a part of contemporary Los Angeles architecture. The photographs capture the simplicity and charm of courtyard buildings as explored by Shulman and the book authors in the Los Angeles landscape.

The remaining project in series III is Shulman’s survey of sites from the Los Angeles Cultural Heritage Board covering a range of landmarks including historic trees, a funicular railway, public art, and the ornately detailed structures from the late 1800s and early 1900s that L.A.’s founders built to emulate the strength and status of influential American cities to the east. This series is of particular value both because Shulman captured many structures in their original contexts, and because many of these buildings have been destroyed, relocated, or are now surrounded by more highly developed business or residential areas. His photographs serve as a record of time, showing a moment in the midst of a rapidly developing cityscape.

Angels’ Flight railway, Los Angeles, 1964. Julius Shulman photography archive. The Getty Research Institute, 2004.R.10

Bullock’s Wilshire, Los Angeles, 1969. Julius Shulman photography archive. The Getty Research Institute, 2004.R.10

Simon Rodia’s Watts Towers, Los Angeles, 1967. Julius Shulman photography archive. The Getty Research Institute, 2004.R.10

Union Station, Los Angeles, 1973. Julius Shulman photography archive. The Getty Research Institute, 2004.R.10

Taken together, Shulman’s series II and III give a focused look at Southern California architecture and the important architects who shaped its landscape. Easy access to the images via the GRI’s digital collections will provide expansive research opportunities for this large body of work.

Find all newly digitized Shulman images for study, teaching, and personal use on the Getty Research Institute’s digital collections here , and on ARTStor here . Most images are also part of ARTStor’s Images for Academic Publishing , which makes high-resolution images freely available for use in academic publications. To request high-resolution images for use in other publications, contact the Getty Research Institute . Due to the inclusion of artworks not in the public domain, privacy and publicity concerns, and/or contractual requirements, the images are not available for unrestricted use via the Open Content Program .

• architecture
• built heritage
• Getty Research Institute (GRI)
• Getty Research Institute collection
• Julius Shulman
• Los Angeles
• modern architecture
• photography

About The Author

Laura schroffel.

As a library assistant in special collections cataloging at the Getty Research Institute since 2005, I process archival collections and write finding aids for the Research Library. Recent finding aids I've authored include the William Hemmerdinger papers , the Hal Glicksman papers , the Rolf Nelson Gallery records , and the Julius Shulman photography archive . I hold a BA in art history from Vassar College and a master’s in library science from California State University, San Jose. My current research interests are in digital preservation and access issues, archive and research-based contemporary art practices, and midcentury modern architecture in Los Angeles.

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WAS THERE A USUAL EDITION SIZE OF THE SHULMAN PHOTOGRAPHS ? I WAS SHOWN A PRINT RECENTLY IN AN EDITION SIZE OF 250 & WONDER IF THAT’S A USUAL NUMBER.

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October 11, 2005–January 22, 2006 at the Getty Center

Case Study House No. 22: The story behind L.A.’s dream home

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The house has appeared in more than 1,200 newspaper and magazine articles, journals and books, not to mention a slew of films, TV shows and commercials. It is arguably the symbol of midcentury L.A. But to Bruce and Shari Stahl, shown here with dad Buck, Case Study House No. 22 was just home.

‘When you’re a kid, you don’t think of the house you live in as being anything unusual,’ says Mark Stahl, 42, whose family still owns the home. Read the story behind Case Study House No. 22 and the intriguing possibility that C.H. ‘Buck’ Stahl played an important role in the home’s design, long attributed to architect Pierre Koenig. And click here for the Stahl family’s photos of growing up in one of L.A.’s most iconic houses.

-- Barbara Thornburg

• BUILDING MATERIALS
• BOOKS & RESOURCES
• HISTORICAL TIMELINE
• INFLUENTIAL ARCHITECTS
• RANDOM INSPIRATION

The Stahl House by Pierre Koenig | Case Study House #22

Perched on the Hollywood Hills with a commanding view of Los Angeles, the Stahl House, also known as Case Study House #22, is a paragon of mid-century modern architecture. Designed by Pierre Koenig and completed in 1960, this residence is an architectural masterpiece and a symbol of a particular era in Los Angeles, characterized by a burgeoning optimism and a new approach to residential design.

The Stahl House Technical Information

• Architects 1 : Pierre Koenig
• Location: 1636 Woods Drive, Los Angeles , California , United States
• Topics: Mid-Century Modern Houses
• Area: 210 m 2 | 2,300 ft 2
• Project Year: 1959-1960
• Photographs: Various, See Caption Details

If you don’t know the Stahl House, then you don’t know mid-century modern architecture. – Julius Shulman 3

The Stahl House Photographs

A Vision of Glass and Steel

The journey of the Stahl House began in 1954 when Buck Stahl purchased a lot that was considered unbuildable. His vision was clear—a home that embraced its surroundings with vast expanses of glass to capture the sprawling cityscape. In 1957, Koenig, known for his proficiency with industrial materials, was commissioned to realize this vision. The result was a structure of steel and glass that was both minimalistic and expressive.

Design and Layout

Koenig’s design was a masterclass in the use of industrial materials in residential architecture. The house is distinguished by its “L” shaped plan, separating public and private spaces through a simple yet effective layout. Large, 20-foot-wide panes of glass form the majority of the walls facing the view, offering unobstructed panoramas of Los Angeles.

The design also cleverly incorporates the landscape into the living experience. The swimming pool, positioned between the wings of the house, not only serves as a physical buffer separating the living spaces but also as a visual corridor to the city beyond.

I design for the present, with an awareness of the past, for a future which is essentially unknown. – Pierre Koenig 2

Iconic Status and Architectural Significance

Julius Shulman’s photography cemented the Stahl House’s iconic status. In a series of images that have become synonymous with mid-century modern architecture, Shulman captured the essence of the house. These photographs highlight the house’s integration with its surroundings and open, transparent design.

The Stahl House was included in the Case Study House program, which aimed to reimagine residential architecture post-World War II. Case Study House #22 became an influential model showcasing the possibilities of modernist aesthetics in suburban settings.

Cultural Impact and Legacy

Over the years, the Stahl House has transcended its role as a private residence to become a cultural landmark. It has been featured in numerous films, commercials, and fashion shoots, each time underscoring its timeless appeal and architectural significance.

Despite its fame, the house remains a family-owned property, preserved as the Stahls left it. The family offers tours, allowing architecture enthusiasts to experience the space and its spectacular views firsthand.

The Stahl House Plans

The Stahl House Image Gallery

About Pierre Koenig

Pierre Koenig was a pioneering American architect, born on October 17, 1925, in San Francisco. Renowned for his influential contributions to mid-century modern architecture, Koenig is best known for his work in the Case Study House program, particularly the iconic Case Study House #22, or Stahl House. His designs emphasized industrial materials like steel and glass, integrating buildings seamlessly into their environments while promoting sustainability through the use of prefabricated materials. A long-time professor at the University of Southern California, Koenig’s legacy continues to influence architectural practices and education. He passed away on April 4, 2004, leaving behind a significant impact on the landscape of Southern California architecture.

Notes & Additional Credits

• Client: Buck Stahl
• Case Study Houses by Elizabeth A. T. Smith
• Modernism Rediscovered by Julius Shulman
• Pierre Koenig: Living with Steel by Neil Jackson

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

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Case Study House #22

Gift of Yancey Richardson Gallery, New York and Craig Kroll Gallery, Los Angeles, 2001