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After meeting and rejecting several architects he met Pierre Koenig who built the house in 1959. He constructed it mostly of steel with glass floor-to-ceiling windows. Although considered radical at the time of its construction, the iconic Stahl House continues to represent the glass-and-steel modernist aesthetic and the mindset of 1960s modern Los Angeles. Koenig’s preference for glass and steel aligned with the Stahl’s budget constraints and also appealed to their progressive taste in modernist architecture and materials.
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And in an interesting twist of roles, the house seems to become a backdrop for the scenery, giving the impression that it has been there all along. Buck and Carlotta Stahl were indeed a middle-class couple of limited means. The Stahl family offers tours of the house for a fee that helps support its preservation.
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It’s a glimpse into a quiet moment and an excellent vantage point for admiring the city. Here’s the photo, taken by midcentury architectural photographer, Julius Shulman. I was excited to find out that you can visit this home and see this famous view yourself.
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Everyone took turns sitting in the coveted spots along the edge of the patio, on the chaise lounges by the pool, and in the chair in the living room corner where Shulman’s famous photo was immortalized. The living space of the house is set back 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 understood to be one large viewing box that captures amazing perspectives of the house, the landscape, and Los Angeles. The house, now operated as a family business, hosts over 6,000 paid visits a year.
About two months after their dash to Las Vegas, the Stahls decided to drive up to this mystery spot and have a look around. They found themselves gawping at the entirety of Los Angeles spread out below in a grid that went on for an eternity or two. In the kismet-filled conversation that followed, Buck agreed to buy the barren one-eighth-acre lot for $13,500, with $100 down and the seller maintaining the mortgage until the Stahls paid it off. On that site, they would construct Case Study House #22, designed by Pierre Koenig, arguably the most famous of all the houses in the famous Case Study program that Arts & Architecture magazine initiated in 1945. For generations of pilgrims, gawkers, architecture students, and midcentury-modern aficionados, it would be known simply as the Stahl House.
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With two Republican senators already supporting repeal, Democrats say they believe they will prevail. Gov. Katie Hobbs, a Democrat and a vocal supporter of abortion rights, has been urging lawmakers to repeal the 1864 law and is expected to sign a repeal if it reaches her desk. Oddly enough, the Stahl house was fairly unknown and unrecognized for its advancement of modern American residential architecture, until 1960 when Julius Shulman captured the pure architectural essence of the house. It was the night shot of two women sitting in the living room overlooking the bright lights of the city of Los Angeles.
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What Buck and Carlotta Stahl got when they drove up to Woods Drive in 1954 was more than they ever envisioned. Shulman’s famous seven-minute exposure captures the house and its sprawling city backdrop. And I tell them, moms are the most important signature here, because they understand what this issue is, and what pregnancy does to the body, what pregnancy does to your life,” Susan Anthony, who has been gathering signatures in Arizona, told the Guardian. Many abortion providers in the state had vowed to continue providing the procedure until the ban went into effect. In neighboring California, providers were gearing up to treat Arizona patients seeking abortion care. The office of the Arizona attorney general, Kris Mayes, on Tuesday had asked the state supreme court to reconsider its decision, the Arizona Republic reported.
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After the house was completed in 1960, architectural photographer Julius Shulman captured its essence with an iconic black-and-white photo of two young women conversing in the living room, the lights of Los Angeles twinkling in the distant evening sky. Shulman’s photo has become more recognizable than the house itself, an image representing an era – or representing what we may think of when that era comes to mind. Every room in the 2,200-square-foot house is walled in glass and opens onto the patio and the city views beyond. There are two bedrooms, two-and-a-half baths, a kitchen, dining area and living room. A large stone fireplace separates the living room and dining/kitchen spaces, foreshadowing the “great room” concept of the late 20th century and today’s popular “open concept” home designs. The two-bedroom, 2,200 square foot residence is a true testament to modernist architecture and the Case Study House Program.
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“I want to stand in one place and see the whole view just by turning my head,” he said. His island in the sky provided a 270-degree panorama, and he didn’t want to waste any bit of it. That sum was well out of reach for the Stahls, who could not even afford the median $19,300 price tag of a new home and a lot at the time. Buck Stahl and George Beha negotiated the terms of the sale on the spot.
Trump, who has warned that the issue could lead to Republican losses, has avoided endorsing a national abortion ban but said he’s proud to have appointed the Supreme Court justices who allowed states to outlaw it. On the inside, except the closed dressing room, there is only one wall, between the two bedrooms. From anywhere in the house, collecting the horizon, and that the few facilities that were required were arranged so that no interruption of the views. The difference between this house and Case Study House No. 21 is that the architects did not have to be concerned with both the potential of prefabrication and the use of standardized components. While the steel porches of the previous Case Study House are located at a distance of 3 meters from each other, here is a plot of 6 square meters, doubling the extension, but not arriving at the dimensions of the Seidel House. 300 millimeter L-Section Beams are used, like at Seidel House, but in this case with thinner metal panels of 125 mm, and the usual 100 mm H-section pillars.
The Stahl house was designed as part of the Case Study Houses, which is why it is also sometimes referred to as Case Study House #22. The Stahl house was designed by Pierre Koenig in 1959 and can be seen in the Hollywood Hills of Los Angeles, California. The house was included in a list of all-time top 10 houses in Los Angeles in a Los Angeles Times survey of experts in December 2008.
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Some Republicans were critical of their colleagues’ move to side with Democrats in repealing the ban. The move follows weeks of effort by Democrats in the state legislature to undo the law, while the issue increasingly put Republicans on the defensive in a key battleground state. The motion will now go to the state Senate, which is also Republican-led and is working on its own repeal bill, and the earliest it could be voted on there is May 1, the Washington Post reported. Meanwhile, the state Senate has a busy calendar with non-abortion bills queued up for a vote.
The smallest of the lots carved out on the ridge, it was a 5,500-square-foot blip of real estate, barely one-eighth of an acre, shaped like a slice of pie. Its value lay not in its size but in a view that could never be impeded. Beha was actually hoping to sell two parcels—“their” lot, plus an adjacent one to the east, larger and slightly lower. One gorgeous day in May 1954, not quite two months after the wedding, Buck and Carlotta felt the urge to explore it in person. Although they had spent long hours staring up at their place in the sky, they had never dared to set foot there.
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Three Republicans joined in with all 29 Democrats Wednesday to repeal a law that predated Arizona’s statehood and provides no exceptions for rape or incest. If the Senate approves as expected, Arizona would allow abortions up to 15 weeks. In 1960, Julius Shulman took that iconic photograph of two women sitting inside, at the corner of the home that hangs over the edge of the mountain it sits upon. The shot was something out of a surreal dreamscape—two women poised, smiling, calm, in a home that appeared to be floating there over a rocky ledge. But it was real, and it would become the ultimate representation of 20th century architecture in Los Angeles, where nothing seems real anyway.
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