Arch Journey

Stahl House (Case Study House #22)

Pierre Koenig | Website | 1960 | Visitor Information

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

case study houses 22

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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Singulart Magazine > Art History > Artworks under the lens > Exploring Case Study House #22 by Julius Shulman

Exploring Case Study House #22 by Julius Shulman

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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?

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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?

case study houses 22

Julius Shulman
Architectural Photography
Mid-Century Modernism
Private collections, museums, and galleries worldwide

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

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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

The Case Study Houses Program: Pierre Koenig’s Stahl House

Probably one of the most famous and photographed Case Study Houses , the no. 22 was  designed by  Pierre Koenig  in 1960.

The Case Study house 22 was built on a promontory overlooking the city of Los Angeles and has an L-shaped plan with a structure made of steel and glass. Its minimal design, made this house one of the most iconic Case Study Houses and an example of experimental construction methods .

Koenig designed the Case Study House 22 with all the rooms facing the swimming pool spanned by a concrete footbridge that easily links the car parking space with the entrance. The architect created a pavilion made of steel, framing 20-foot wide elements of glass that defined the inner space: a minimal and elegant design.

The wide overhanging roof shelters the interior from the afternoon sun light and sky glare, also covering the outside living area.

Koenig prevented possible erosive actions and seismic events that might damage the structure of the Case Study House 22, encasing the beams with twelve inches of concrete and setting the piers back from five to seven feet from them . The walls, all made of glass except on the street side,  also contributed to make the house resistant to all kind of horizontal forces.

Also, Koenig took full advantage of the site. Since the house is located on a promontory with a 240 degree view of the city, he designed an open plan that the owners could enjoy as much as possible and which expanded to the outside.

Photos by Flickr user  James Vaughan , Pixelsonic  and Sandraespinet

The Case Study Houses Program: Richard Neutra’s Bailey House

The case study houses program: craig ellwood’s case study house 18.

Iconic Photos

Famous, Infamous, and Iconic Images

Case Study House No. 22, 1960

case study houses 22

Between 1945 and 1966, Californian magazine Arts & Architecture asked major architects of the day to design model homes. The magazine was responding to the postwar building boom with prototype modern homes that could be both easily replicated and readily affordable to the average American. Among many criteria given to the architects was to use “as far as is practicable, many war-born techniques and materials best suited to the expression of man’s life in the modern world.”

Thirty-six model homes were commissioned from major architects of the day, including Richard Neutra, Raphael Soriano, Craig Ellwood, Charles and Ray Eames, Pierre Koenig, Eero Saarinen, A. Quincy Jones, and Ralph Rapson. Not all of them were built but some thirty of them were, mostly around the Greater Los Angeles area.

The magazine also engaged an architectural photographer named Julius Shulman to dutifully record this experiment in residential architecture. Fittingly for Shulman, one of the first architectural photographers to include the inhabitants of homes in the pictures, his most famous image was the 1960 view of Pierre Koenig’s Case Study House No. 22 (also the Stahl House), which showed two well-dressed women conversing casually inside.

In the photo, the cantilevered living room appears to float diaphanously above Los Angeles. “The vertiginous point of view contrasts sharply with the relaxed atmosphere of the house’s interior, testifying to the ability of the Modernist architect to transcend the limits of the natural world,” praised the New York Times . Yet this view was created as meticulously as the house itself. Wide-angle photography belied the actual smallness of the house; furniture and furnishings were staged, and as were the women. Although they were not models (but rather girlfriends of architectural students), they were asked to sit still in the dark as Shulman exposed the film seven minutes to capture lights from LA streets. Then, lights inside were quickly switched on to capture two posing women.

Case Study House No.22 as it appeared in Arts and Architecture . Shulman’s photo with inhabitants did not appear here.

See other Case Study Houses here:

Result was the photo Sir Norman Foster termed his favorite “architectural moment”. Indeed, the photo captured excitement and promises the house held, and propelled Case Study No. 22 into the forefront of national consciousness. Some called it the most iconic building in LA. It appeared as backdrop in many movies, TV series and advertisements. Tim Allen was abducted by aliens here in Galaxy Quest ; Greg Kinnear would make it his bachelor pad in Nurse Betty , and Columbo opened its pilot episode here. Italian models in slicked-back hair would frolic poolside in Valentino ads. It was even replicated in the 2004 video game Grand Theft Auto: San Andreas. According to Koenig, Case Study No. 22. was featured in more than 1,200 books — more often than Frank Lloyd Wright’s Fallingwater.

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Designed in 1959, the Stahl House is located in the hills around Los Angeles and is one of the most interesting masterpieces of contemporary architecture. Constructively, it is made through the use of a steel structure resting on a reinforced concrete base with some parts overhanging the valley below. The privileged position of the house is decisive for the L-shaped development of the system, which opens towards the landscape and the swimming pool, and closes towards the road behind it. The L not only allows you to look towards the city but also to divide the rooms into two areas, private and representative.

The house is simple, modern, with a structure almost entirely in iron and glass, light and transparent, just to look away, without barriers and without brakes.

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CASE STUDY HOUSE #22 Architect: Pierre Koenig Photo: Julius Shulman

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Julius Shulman’s Case Study House #22

Holden Luntz Gallery

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.

Julius Shulman, Case Study House #22, Pierre Koenig, Los Angeles, California, 1960, Silver gelatin photograph

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)

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Shari Stahl Gronwald

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

  • Interior decorators and designers
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  • Midcentury modern design enthusiasts; fans of modern Japanese, California, and Palm-Springs-style architecture
  • Readers of architecture books such as Atlas of Mid-Century Modern Houses , Case Study Houses , and photography books by Annie Liebowitz
  • Anyone interested in the history and culture of Los Angeles and the Hollywood Hills
  • Anyone looking for a distinctive, design-conscious gift for any occasion
  • Print length 208 pages
  • Language English
  • Publisher Chronicle Chroma
  • Publication date November 2, 2021
  • Dimensions 7.55 x 1 x 9.35 inches
  • ISBN-10 1797209434
  • ISBN-13 978-1797209432
  • See all details

From the Publisher

The Stahl House at night

See what it was like to grow up in one of America's most iconic homes

The Stahl House kitchen

Editorial Reviews

“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

About the Author

Product details.

  • Publisher ‏ : ‎ Chronicle Chroma (November 2, 2021)
  • Language ‏ : ‎ English
  • Hardcover ‏ : ‎ 208 pages
  • ISBN-10 ‏ : ‎ 1797209434
  • ISBN-13 ‏ : ‎ 978-1797209432
  • Item Weight ‏ : ‎ 2.31 pounds
  • Dimensions ‏ : ‎ 7.55 x 1 x 9.35 inches
  • #85 in House & Hotel Photography
  • #581 in Residential Architecture
  • #720 in Architectural History

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Kim Cross is a New York Times best-selling author and journalist known for meticulously reported narrative nonfiction. Her work has been recognized in “Best of” lists by the the New York Times, the Columbia Journalism Review, The Sunday Longread, Longform, Apple News Audio, and Best American Sports Writing. She teaches Feature Writing for Harvard Extension School. Reach her at

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case study houses 22

Stahl House – Case Study House #22


Learning about Stahl House – Case Study House #22

Buck Stahl, who worked for Hughes Aviation as a purchasing agent, bought the 12,000-square-foot plot of land for $13,500 in 1954 and initially planned on creating and building the house himself before hiring Koenig in 1957. Stahl started out with a vision that the home would have a modernist vibe, including tall glass windows and steel beams strategically scattered throughout the house. He also envisioned a 270-degree panoramic view of the surrounding area, which Koenig decided he could make into reality.

case study houses 22

The Stahl House, or Case Study House #22, is one of the homes commissioned by Arts & Architecture Magazine for its architectural research project that was carried out between 1945 until 1966. Built in 1959, this home was designed by renowned architect Pierre Koenig specifically for one of his clients, Buck Stahl.

Best views in town: Stahl House – Case Study House #22

The home is located on Woods Drive in the Hollywood Hills and provides an excellent overlooking view of the iconic city of Los Angeles, California. Getting approval from the city to build the home was not easy, as the location was risky. Stahl and Koenig also had a hard time finding loans for this reason, but eventually they got the funding and were given the green light, and the frame was built in just one day.

Despite only having two bedrooms, the Stahl House is an incredible 2,200 square foot piece of real estate. Visitors know they have arrived at the Stahl House because of its unique “L-shape” design, which is not commonly found in the area. The roof is flat and the residence also has prominent deep overhangs to protect from the unforgiving California sun.

Living in a glass box: indoor-outdoor home

The house makes good use of the space and although most of the walls are glass, the home promotes privacy as a hallway separates the private side with the “public” living side. Unlike the rest of the home, the living side has a solid wall against the garage and the street for privacy reasons. The remaining walls are glass and give a full panoramic view of the surrounding hills and the city of Los Angeles. Visitors report being able to see from the mountains to the vast Pacific Ocean due to the expansive views provided by the home’s layout.

Twenty-foot modules in the living space hold huge glass sheets looking out at a swimming pool with a basic diving board. The pool sits adjacent to the hallway and gives off an even better view of the city below. After the home was finished, Koenig stated in a documentary that, “When you look out along the beams it carries your eye out 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.”

Little known until a famous photographer comes calling

Despite being one of the Case Study Houses, the Stahl House did not become well-known until May 9th of 1960, when renowned architectural photographer Julius Shulman visited the home and took an iconic photo of two women in the living room illuminated by the Los Angeles lights down below. The photo has become one of the most popular images of the “City of Angels” from that era.

The headline for the photo simply stated “A Milestone in Steel,” indicating that it was one of the first homes to be recognized for the use of numerous steel beams and a steel frame. Koenig had built his own home in 1950 based on the modernist glass and steel design, but until the period of time the Stahl House was built, steel was mainly only used for industrial and commercial buildings instead of residences. Most homes were built with wooden frames, but seeing as Buck Stahl wanted panoramic views, wood would not have been sufficient and steel was required.

Stahl House – Case Study House #22 : a Hollywood pedigree

The Stahl House has been used in several films, television shows, music videos, and advertisements. These include Galaxy Quest, Columbo, The Simpsons, and Scott Weiland’s music video for his song “Missing Cleveland.” Video game designers also recreated the home and included it in the 2004 release of Grand Theft Auto: San Andreas.

Even though the house is famous and awe-inspiring today, building it was not easy. Koenig himself even gave interviews where he stated “the site was terrible” and “the client had champagne tastes and a beer budget.” Since it was built, the Stahl House has been well-kept by the Stahl family and has been updated regularly but maintains its modernist and minimalist charm. The free-standing fireplace still sits in the middle of the living room and aside from the kitchen being renovated, most of the house’s design remains the same.

The house is simple yet extraordinary and has been deemed one of the most popular homes in the area, as it gained a spot on the National Register of Historic Places in 2013.

How to tour Stahl house: Architecture tours in Los Angeles

We are currently building tours of modern homes and architecture in Los Angeles.  To inquire, please click here .

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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”

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

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

Vegetarian Courtesy

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

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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.

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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.

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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!

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That is amazing!!!

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

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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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[Building]Case Study House 22, by Pierre Koenig. Los Angeles, 1960.


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Case Study House #22 by Julius Shulman



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Trump Picks His Running Mate, and Political Heir

Former president donald j. trump chose the 39-year-old senator j.d. vance of ohio as his vice-presidential nominee..

This transcript was created using speech recognition software. While it has been reviewed by human transcribers, it may contain errors. Please review the episode audio before quoting from this transcript and email [email protected] with any questions.

From “The New York Times,” I’m Michael Barbaro. This is “The Daily.” Today, on the first day of the Republican National Convention, Donald Trump makes his choice of a running mate. We watched it unfold in real time from Milwaukee.


It’s Tuesday, July 16.

Are you OK?

I’m getting phone interference.

Oh no, maybe that’s from your phone. There’s like 16 phones in this car.

I’ll start it.

OK. It is 9:35 AM on Monday morning, and we are driving into downtown Milwaukee to the headquarters of the Republican National Convention. And it’s day 1, the opening hours of what will be the Republican Party’s crowning of their nominee, former President Donald Trump. And the singular event that hangs over this entire convention is the one that none of us expected, which is the attempted assassination of the presumptive Republican nominee.

And the news is just flying at us this morning. We just got word that he’s going to be announcing his running mate today, his choice of a VP. So this is a pretty extraordinary day already before 10:00 AM, and we’re going to try to make sense of it all.

We just went through the first round of secret service asking to see our badges. We are now stopped at a giant metal pop-up wall. And in front of us, cars are being slowly and very thoroughly inspected by bomb-sniffing dogs and security teams.

Hi. You guys are good. You just have to get screened through the checkpoint.

Perfect. OK, thank you. Thanks.

Secret Service? Should I open the trunk?

— turn the engine off and pop the hood for me, please?

Oh, the front hood? How do I do that? We’re in a rental car. Here we go.

She’s got it. Look at her.

And also, don’t run into my barricade. People keep doing that even though it says stop on it, you know? Keep your eyes open, all righty? Let’s be safe, everybody.

Great. Thank you so much.

So we’re headed into deeper security.

— take off your sunglasses. Can you back up for me real quick?

Good. Good to go. Carlos?

Good to go. And —

Good to go. Thank you.

There wasn’t a single package inside that bag that they didn’t search. Hi.

Check in over here. Thank you guys for coming.

Hi, I can take whoever’s next.

Once we made it through all that security, we walked into the first official event of the day, a briefing for reporters from the Trump campaign about what this first day of the convention would look like.

So we’re inside a very big ballroom that has a podium and two flags set up next to it. Wisconsin, United States, there’s about 200 journalists in here, filling a quarter of the room and a lot of red-shirted RNC staffers and volunteers who are kind of corralling us. And we’re going to wait and see what they have to say.

But just as this briefing was about to begin, we were told that it was for planning purposes only and that we couldn’t use any of the audio from it.

I just want to summarize what we heard in this news conference. Essentially, what senior advisors to the Trump campaign just told us is that this day is going to be very action-packed. It is going to begin in the early afternoon with the official technical nomination by delegates of Trump as the Republican nominee. And then in the early afternoon, around 3 o’clock or so, the nomination of a vice presidential candidate will occur.

What that means is that sometime between now, 10:30 AM or so, and 3:00 PM, we will know the identity of who Trump’s running mate will be. And finally, we are going to lay eyes on Donald Trump himself at around 9:00 PM in the evening. And the crowd is going to go wild because it’s the first time many of them, many of us will have seen him since the assassination attempt. So it’s a really packed schedule filled with a giant piece of news in the middle, which is who Trump picked as his running mate.

Mike Bender.

To get inside Trump’s decision making, we turn to our colleague Mike Bender, a politics reporter at “The Times,” who’s been on the VP beat for the past few months.

OK, we just want to bug you for a minute about what is the status of the VP choice. Last time we talked to you, you told us that there were three top contenders — Doug Burgum, governor of North Dakota, Florida Senator Marco Rubio, and Ohio Senator JD Vance. So where do things sit here at 11:00 at noon on Monday?

Just hours before he’s actually supposed to make the announcement and nominate the running mate? I mean, I literally ran into a couple of sources who are with other VP contenders who are telling me that they haven’t received word one way or the other yet. I don’t think he’s told the person yet. I mean, we’re three hours from a nomination. I seriously do not think that Trump has actually made the formal offer yet.

We have to go — I think we have to just, like, explain that to people. We’re three hours from the necessary public disclosure of this information, and it’s not clear the decision’s been made.

Yeah, no, it’s amazing. I mean, Trump is known to vacillate over big decisions. He did almost the same thing back in 2016 when he picked Mike Pence. He decided to pick Mike Pence and then spent the night before their first news conference together, complaining to aides that he had made the wrong choice, wondering if he could pick someone differently. My reporting over the last week has been that he’s been going through similar iterations on this decision.

So we’re going to lightly stalk you until we get the news. And hopefully, when we get the news, you can break it to us. Or it will be broken over our heads, and then we’ll talk about it. And we’ll make sense of it.

Yeah, definitely. I am also hoping to be the first to know. And if I’m the first to know, you guys will be the second to know.

OK thank you, Michael.


Just as we finished talking to Mike, he made a phone call.

Hey. You don’t think — why don’t you think it’s Marco? He called? Like, just now? OK, I just saw some folks outside for another contender who haven’t heard anything yet. So I mean, and that was 30 minutes ago. So I’m wondering if it’s happening now. No, I didn’t see that. OK. OK. OK. Thanks, bye.

So can you just tell us about that phone call you had?

Yeah, yeah, definitely. This was someone who is very close with one of the VP contenders, one of the final three. This contender just received a call from Trump’s team saying he’s not the pick.

Soon enough, Mike confirmed that Marco Rubio had been crossed off the VP list, and that Rubio wasn’t the only VP contender to receive that call.

So it’s 1:30 PM, and this is a little orthodox, but I’m peeking over the shoulder of my colleague Mike Bender. And I can see that he’s writing the following. Both Doug Burgum and Marco Rubio have been told that they are not Trump’s VP choice. So in real time, assuming that this is right, we’re left thinking that the choice is either JD Vance or some wildcard person who we haven’t even thought of.

Ladies and gentlemen, we are about to begin a very important part of our program. I would like to ask that the aisles be cleared and the delegates please take their seats. Thank you.

In the meantime, the official business of this convention began. The nomination of Trump as the Republican nominee.

Michael, tell me what’s happening.

OK. So at this point, 2:00 PM, the roll call of delegates is underway on the floor of the Convention Hall.

West Virginia, 32 delegates.

So what’s happening right now is that the delegates from each state are publicly pledging their support to Donald Trump. And the delegates from each state represent the outcome of the primary vote that happened many, many months ago. So like right now, West Virginia’s designated speaker with a red hard hat on, is saying, from the great state of West Virginia —

And to cast those 32 votes for our former and future president, Donald J. Trump!

— we are pledging our 32 delegates to Donald Trump, and on and on and on it will go. And so this is a formality, adding up all the delegates from all the states. But it’s actually a technically required component of Donald Trump becoming and accepting his party’s nomination. And Trump will become the official nominee when 1,215 delegates in this room have pledged their support to him, which will probably be in about 30 minutes.

I stand before you today on behalf of the great state of New Hampshire.

And after Trump is nominated, this entire exercise happens all over again for his running mate whose identity we still don’t know. So that’s where a lot of the suspense of this moment is, not in the obvious fact that Donald Trump is about to be nominated, but that everyone in this room is about to nominate a running mate that they don’t know the identity of, that we don’t know the identity of. And we have to know the identity of it before it happens.

And all of a sudden, after not knowing how or when we would learn Trump’s choice, we finally do. And it’s delivered in classic Trump fashion.

So I’ve just seen on Truth Social that Trump has announced his VP pick, and it is JD Vance of Ohio.

OK. “Daily” editor Rachel Quester breaking the news that it’s Vance, which we kind of thought it would be, but now we know.

After the break, Vance’s nomination and why Trump picked him.

We’ll be right back.

OK, so we’re walking to the Convention Hall. It’s a bit of a trek. It’s very hot outside and blazingly bright. And we are now entering the media doorway.

Hi. How are you? Thank you.

Where are you all trying to get?

To the floor.

To the floor? To the floor?

OK. Just right out there and then somebody on the direction.

Around 3:30 or so, we walked out onto the convention floor just as Vance was being nominated as Trump’s running mate.


All right, time for a little convention business here. The question is on the motion that Senator JD Vance be nominated by acclamation —

This room is about to complete the nomination of Vance as VP.

All those opposed signify by saying no. In the opinion of the chair, the “ayes” have it, and the motion is adopted. Without objection, the motion to reconsider is laid upon the table.

And just to give you a little bit of a sense of the feel of the room, JD Vance is smiling really widely. He’s leaning back. He’s laughing. Crowd is chanting JD, JD. And he seems a little in awe of the moment.

I am proud to announce that Senator JD Vance has the overwhelming support of this convention to be the next vice president of the United states.

And that’s that. JD Vance, the vice presidential nominee. We got to get out of here.

The chair is pleased —

When that was over, we headed back to where Mike Bender was working to talk to him about Trump’s choice.

So welcome to “The Daily” studio here in Milwaukee.

Can you close this door?

You can shut that, yeah. [MUSIC PLAYING]

Mike, you’re ready?

So if you believe that Donald Trump made this decision, as we think he did kind of the last minute, even if he’d been thinking about it for a long time, what’s your understanding of why he chose JD Vance?

I think Trump is making this pick on who he thinks gives him the best chance to win in November. He announced this decision in a Truth Social post and mentioned a couple of key states in that statement, essentially saying that he thinks Vance can help him win in Pennsylvania, in Michigan, Wisconsin. These are essential states for victory in November, both for Trump and President Biden. Trump won them in 2016 but lost to Biden in those same states in 2020.

Hm! He’s very openly saying, I have made a strategic choice. What’s interesting about that, Mike, is that in our conversation a couple of weeks ago when we talked about who Trump was looking at closely, you had said that he wasn’t thinking about these traditional questions of, Does my VP win me X state, Y state? You know, he was engaging in questions of personal rapport. And he got along really well with Doug Burgum.

So clearly, the strategic question became front of mind for Trump. And I just want to understand, Was there something in the race that changed that made him suddenly think about this or what?

Well, well, well, look at “The Daily” fact-checking its reporters here on air. Well, you’re not wrong either, Michael. There has been a shift in the last few weeks with Trump. He’s gone from talking about finding a running mate who could help him govern, to finding a running mate who can help him govern and someone who can help him win.

And when he ran the analysis here, when he looked at the different set of candidates he has, his ultimate decision was that JD Vance is the one who can do that. Vance will take him deeper into the states where he needs to win in the Midwest and appeal directly to the working-class, blue-collar voters he needs to capture these battlegrounds.

Explain exactly why he thinks JD Vance helps him win those three or so key states? What is it about Vance’s story that maps on to that strategy?

The answer is both biographical and rooted in policy. Vance is a child of Appalachia. He grew up in a poor, working-class neighborhood in Ohio. He served in the military. And when he decided to run for his first elected office in 2022, he was very far right on a lot of issues. He is one of the most staunch anti-abortion voices in the Senate right now. He’s an economic populist, the sort of anti-trade isolationist.

He was one of the first voices urging the Senate to vote against aid for Ukraine at a time where his party leaders were supporting that. So for Trump, when it comes to selling the idea of Trumpism and MAGA-ism, JD Vance is a very effective communicator for him, particularly in a crucial area of the country, that if Trump wins some of these Midwestern states could mean the end of Biden as president.

Got it. So we should see this decision as Trump picking someone who is ideologically extremely aligned with him, perhaps even a little further to the right than Trump, an issue like abortion, and from and of the place in the country that Trump needs to win, the Midwest, Appalachia. And that combination means, for Trump, Vance.

Yeah, exactly. I think it’s also helpful to put this in the context of the other contenders.

Vance is not bringing a new piece of the puzzle to Trumpism. Marco Rubio, the senator from Florida, would have been a Spanish-speaking advocate who may appeal more to Latinos. Governor Doug Burgum, from North Dakota, could have helped settle down that pro-business Republicans who are nervous about Trump’s unpredictability. Trump is sort of signaling here that he’s not interested in adding to the party. He doesn’t want to make the tent bigger. He’s doubling down on this sort of white working-class, pro-MAGA piece of the party that he sees not just as a way to win in November, but very clearly the path for the party in the future.

Of all the candidates Trump was thinking about for VP — and we’ve talked about this with you — they went on a journey, right, from Trump skeptic to Trump supporter. But JD Vance’s journey stood out because he was so unstinting in his criticism of Trump. When Trump first entered the political scene back in 2016, I remember interviewing Vance and talking to him about this stuff. I mean, he compared Trump to Hitler. He called Trump the opioid of the masses. He suggested Trump was a con man. That’s a lot to overcome, but he did.

But he did. I mean, this is the most stunning 180 degree political flip-flop of our time. To go from saying the sort of things that you just brought up to now being chosen as his most trusted advisor, a running mate, a number 2, who will serve as president if something should happen to him, is extraordinary. I mean, you may have to go back to post-revolutionary times when we used to pick vice presidents by who came in second place to find a vice president who has said such searing criticisms of a president.

Fascinating. And ultimately, what’s your understanding of why Trump could get past that, somebody who is not very good at accepting criticism?

No, that’s true. But as much as Trump hates criticism for his own actions and deeds, he loves the redemption narrative. And he loves being asked for forgiveness. And JD Vance has spent several years seeking Trump’s approval by going on television, making nice with all of the right-wing websites and media in order to show how much he has changed his mind on Trump, and maybe most effectively, blame the media.

That point has been proven by Vance himself, who has explained his new thinking, his evolution on Trump by saying he was lied to by a media narrative about Trump. And now that he’s gotten to know Trump and now that he’s seen him, Trump in action as president, he has changed his mind.

Right. And it sounds like he never really needed to change his mind about some of the fundamental ideas of Trumpism. He had to change his mind about Trump. He seems always to have been fundamentally aligned with the ideas that Trump embraces — economic populism, some pretty far-right social positions. He needed to change his mind on the man, not the message.

Yeah, it was very personal, I think, for both Trump and Vance in this instance. Again, Vance is someone who grew up in rural Ohio, whose family is from Appalachia, saw some of the things that Trump has railed against when it comes to manufacturing jobs that are being shipped overseas, you know, these sort of pillars and institutions of society that have failed to uphold their end of the bargain when it comes to working-class, blue-collar, small-town Americans like Vance is.

If you are the Democrats right now, Mike, and you’re absorbing this news, where do you see the greatest vulnerabilities are going to lie for Trump now picking Vance?

Democrats are definitely going to use Vance’s old words against him, this sort of library of video clips and audio interviews of Vance going after Trump. But Democrats will also seize on Vance as an extremist, whether that’s his ardent abortion view and support for a national ban and his willingness to do what his predecessor, Mike Pence, wouldn’t. Vance has been on record already saying that he would have blocked the certification of the 2020 result, and that would have helped overturn that election.

Right. So you’re saying one simple way that the Biden ticket can go after Vance is by saying that you will enable Trump to break the law, overturn the election. We should expect that.

Yeah, I think so. I mean, looking back on what happened after 2020, the system worked because there was a lot of people around Trump who maybe they weren’t guardrails, but maybe more speed bumps. And there’s no indication that Vance has any willingness to play that role in the next Trump administration.

In that vein, it was pretty widely noted that in the hours after the attempted assassination of Donald Trump, we saw JD Vance come out with a statement. It was the most strongly worded of anyone seeking to be his VP. And it had some factual problems. Here’s what he said. He said, “Today, the attempted assassination is not just some isolated incident. The central premise of the Biden campaign is that President Donald Trump is an authoritarian fascist who must be stopped at all costs. That rhetoric led directly to President Trump’s attempted assassination.” We should say. There’s no evidence that that’s true. We don’t know the motivations of the shooter. We don’t know that he consumed any of that rhetoric or that Vance is even characterizing it correctly. So what should we make of the fact that Trump chose that running mate who made that statement in this moment?

I think Vance in a lot of ways kind of embodies the id of Trump and that instinct to fight. And even though these sort of manufactured statements from the campaign are calling for unity and calling for peace, what Trump really wants —

Since the attempted assassination, right.

That’s right. What Trump really wants is someone who is going to keep fighting. You know, factual or not, I think this shows the passion and the energy Trump was looking in at running mate, valuing that interest in fighting more than —

Interest in unity and peace.

Yeah, or facts on the ground.

Right. I want to end, Mike, with something you hinted at earlier, which is when you said that Trump is looking to Vance to set a path for the future of the Republican Party. What is that path with Vance as number 2?

Vance is only 39 years old. He’s barely old enough to be president.

Right, 35 is the requirement.

Exactly. So he’s obviously going to be viewed very much as the heir apparent for Trumpism. Trump knows this. And the signal it’s sending to everyone, not just in the party but the rest of the country, is that any remnants of a debate about whether this party snaps back to its sort of pro-business establishment culture —

Pre-Trump era.

— the pre-Trump era is exactly that. It’s a pre-Trump era. It’s over for Republicans. And when it’s not Trump, it’s going to be JD Vance or someone exactly like him.

Right. In other words, Trumpism is here to stay. It is the Republican Party now that I’ve chosen JD Vance.

There’s no going back anymore, Michael.

Thank you, Mike. This is really helpful. I really appreciate it.

Thank you for having me. [MUSIC PLAYING]

Are you guys from — are you guys from Michigan?

We make “The Daily” podcast.

Back at the Convention Hall.

We wanted to ask folks from all the big swing states about the selection of JD Vance about an hour ago and what you make of that decision, and if you think it’s going to help Trump win this state.

Absolutely. Look, I think the key thing in the platform is that it is dedicated to the forgotten men and women, and that is the blue-collar workers in the flyover states. JD Vance gets that.

It was clear that Republican delegates saw JD Vance as helping Trump win those key Midwestern states that will be essential to Trump winning in November.

So if Donald Trump wins Pennsylvania, which we’re going to make damn sure he does, we’re going to work our asses off.

You think that Vance helps them do that?

And just to make sure — I want to understand why.

Because JD Vance is like the common man. He’s like the common guy.

And that like Trump, they do see Vance as the future of Trumpism.

And the other nice thing is he’s young. He’s 39 years old

Why’s that matter?

It’s good to have somebody young with somebody that’s old in case, God forbid, something ever happens to Trump.

In other words, you already see him as the successor, the inheritor of Trump’s message and the party in MAGA?

Well, yeah, he’s going to have to carry the mantle. That’s probably what’s going to end up happening. Trump is only there for four years. You need somebody afterwards for the next eight. You need somebody for the next eight after that.


And you’re from Wisconsin. You’re a delegate from Wisconsin. This is important. Trump mentioned Wisconsin in announcing Vance. Why was Vance your number one choice?

I think he brings youth to the field, to the vice president. And I looked at the upcoming years in ‘28, what’ll happen. And I think he was the man that can do it in ‘28 for the Republican Party.

You’re already looking forward to the next race?

Yes, very much so.

Here’s what else you need to know today. In a stunning decision, the judge overseeing Trump’s classified documents case threw out all the charges against him. In the process, she rejected what was widely seen as the strongest federal charges against the former president. Judge Aileen Cannon, a Trump appointee, ruled that the special counsel who filed the charges had been given his job in violation of the Constitution.

That finding flew in the face of previous court decisions reaching back decades. In response, the Department of Justice said that it plans to appeal Cannon’s ruling.

Today’s episode was produced by Carlos Prieto, Clare Toeniskoetter, Jessica Cheung, Mooj Zadie, Eric Krupke, and Rikki Novetsky. It was edited by Brendan Klinkenberg and Rachel Quester, with help from Paige Cowan.

Contains original music by Dan Powell, Elisheba Ittoop and Marion Lozano, and was engineered by Alyssa Moxley. Our theme music is by Jim Brunberg and Ben Landsverk of Wonderly.

That’s it for “The Daily.” I’m Michael Barbaro. See you tomorrow.

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Hosted by Michael Barbaro

Featuring Michael C. Bender

Produced by Carlos Prieto ,  Clare Toeniskoetter ,  Jessica Cheung ,  Mooj Zadie ,  Eric Krupke and Rikki Novetsky

Edited by Brendan Klinkenberg and Rachel Quester

With Paige Cowett

Original music by Dan Powell ,  Elisheba Ittoop ,  Marion Lozano and Corey Schreppel

Engineered by Alyssa Moxley

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On the first day of the Republican National Convention, Donald J. Trump chose his running mate: Senator J.D. Vance of Ohio.

We watched the process unfold in real time in Milwaukee.

Michael C. Bender, who covers Mr. Trump and his movement for The Times, takes us through the day.

On today’s episode

case study houses 22

Michael C. Bender , a political correspondent covering Donald J. Trump and his Make America Great Again movement for The New York Times.

J.D. Vance is standing in a crowd of people with a big smile on his face and a pale blue tie. The crowd are holding up Trump-signs.

Background reading

What to know about J.D. Vance , Mr. Trump’s running mate.

Mr. Trump’s decision to pick Mr. Vance signals concern for the future of his MAGA movement.

There are a lot of ways to listen to The Daily. Here’s how.

We aim to make transcripts available the next workday after an episode’s publication. You can find them at the top of the page.

The Daily is made by Rachel Quester, Lynsea Garrison, Clare Toeniskoetter, Paige Cowett, Michael Simon Johnson, Brad Fisher, Chris Wood, Jessica Cheung, Stella Tan, Alexandra Leigh Young, Lisa Chow, Eric Krupke, Marc Georges, Luke Vander Ploeg, M.J. Davis Lin, Dan Powell, Sydney Harper, Michael Benoist, Liz O. Baylen, Asthaa Chaturvedi, Rachelle Bonja, Diana Nguyen, Marion Lozano, Corey Schreppel, Rob Szypko, Elisheba Ittoop, Mooj Zadie, Patricia Willens, Rowan Niemisto, Jody Becker, Rikki Novetsky, Nina Feldman, Will Reid, Carlos Prieto, Ben Calhoun, Susan Lee, Lexie Diao, Mary Wilson, Alex Stern, Sophia Lanman, Shannon Lin, Diane Wong, Devon Taylor, Alyssa Moxley, Olivia Natt, Daniel Ramirez and Brendan Klinkenberg.

Our theme music is by Jim Brunberg and Ben Landsverk of Wonderly. Special thanks to Sam Dolnick, Paula Szuchman, Lisa Tobin, Larissa Anderson, Julia Simon, Sofia Milan, Mahima Chablani, Elizabeth Davis-Moorer, Jeffrey Miranda, Maddy Masiello, Isabella Anderson, Nina Lassam and Nick Pitman.

Michael C. Bender is a Times political correspondent covering Donald J. Trump, the Make America Great Again movement and other federal and state elections. More about Michael C. Bender



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    case study houses 22

  4. PODCAST: Inside LA’s Most Iconic Modernist Home, Case Study House #22

    case study houses 22

  5. Pierre Koenig's Case Study House #22

    case study houses 22

  6. Case Study House No. 22, Los Angeles, CA. 1960, Architect Pierre Koenig

    case study houses 22


  1. Case Study House #26 Video


  3. Case Study 9

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  6. AD Classics: Stahl House


  1. Stahl House (Case Study House #22)

    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.

  2. A Virtual Look Into Pierre Koenig's Case Study House #22 ...

    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 ...

  3. Case Study Houses

    The Stahl House, Case Study House #22. The Case Study Houses were experiments in American residential architecture sponsored by Arts & Architecture magazine, which commissioned major architects of the day, including Richard Neutra, Raphael Soriano, Craig Ellwood, Charles and Ray Eames, Pierre Koenig, Eero Saarinen, A. Quincy Jones, Edward Killingsworth, Rodney Walker, and Ralph Rapson to ...

  4. Stahl House

    The Stahl House (also known as Case Study House #22) is a modernist-styled house designed by architect Pierre Koenig in the Hollywood Hills section of Los Angeles, California, which is known as a frequent set location in American films.Photographic and anecdotal evidence shows that the architect's client, Buck Stahl, provided the inspiration for the overall cantilevered structure.

  5. AD Classics: Stahl House / Pierre Koenig

    Completed in 1959 in Los Angeles, United States. The Case Study House Program produced some of the most iconic architectural projects of the 20th Century, but none more iconic than or as famous as...

  6. Stahl House / Case Study House nº22

    The Case Study House No. 22 was planned this way and for these reasons." Concept. 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 ...

  7. Exploring Case Study House #22 by Julius Shulman

    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.

  8. Case Study House 22

    5. The Case Study House Program. In 1959 the Stahl House was inducted into the Case Study House program by The Arts and Architecture Magazine, headed by John Entenza. The house was given the number 22 in the Case Study Program. The Case Study House Program was intended to create well-designed homes for the typical post-World War family.

  9. Stahl House

    Built by Pierre Koenig in 1960, the Stahl House, or Case Study House #22 represents mid century minimalism in the Los Angeles hills. Built as part of the Case Study House program, the home has become an icon of architecture through its form and photography.

  10. Case Study House No. 22

    The Stahl House, Case Study House #22, was designed by Pierre Koenig and built between 1959 and 1960. It is one of the most iconic and revered of the residential dwellings constructed under the auspices of Arts & Architecture magazine's Case Study House Program, which ran from 1945 until 1966.

  11. Gallery of A Virtual Look Into Pierre Koenig's Case Study House #22

    Check on Architonic. Image 1 of 4 from gallery of A Virtual Look Into Pierre Koenig's Case Study House #22, The Stahl House. Courtesy of Archilogic.

  12. The Case Study Houses Program: Pierre Koenig's Stahl House

    The Case Study house 22 was built on a promontory overlooking the city of Los Angeles and has an L-shaped plan with a structure made of steel and glass. Its minimal design, made this house one of the most iconic Case Study Houses and an example of experimental construction methods. Koenig designed the Case Study House 22 with all the rooms ...

  13. Case Study House No. 22, 1960

    Case Study House No. 22, 1960. February 27, 2011October 26, 2023 by Iconic Photos. Between 1945 and 1966, Californian magazine Arts & Architecture asked major architects of the day to design model homes. The magazine was responding to the postwar building boom with prototype modern homes that could be both easily replicated and readily ...

  14. Case Study House #22

    Case Study House #22. Erin Mitchell. May 25, 2017 · 3 min read. If you want to know anything at all about Case Study Houses you must get Taschen's reissue of Arts & Architecture 1945-1949 ...

  15. Stahl House (Case Study House #22)

    Stahl House (Case Study House #22) /. November 2, 2020. Location: Los Angeles, California, USA. Architect: Pierre Koenig. Completed: 1959. 13 Photographs. Los Angeles is an enigma. I have only really seen parts of it, despite driving up and down, across the bridges and back along the overpasses.


    Julius Shulman's 1960 photographs of Pierre Koenig's Case Study House #22, better known as the Stahl House, changed the fantasies of a generation. The "Case Study" program was one of the first and most interesting experiments on residential architecture. John Entenza, director of Arts & Architecture magazine, had commissioned some of ...

  17. Julius Shulman's 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 ...

  18. The Stahl House: Case Study House ú22: The Making of a Modernist Icon

    Bringing together extensive research and interviews, never-before-seen sketches, blueprints, and plans, as well as photos from the Stahl family's personal collection, The Stahl House: Case Study House #22 provides the ultimate insider's view into a pioneering feat of architecture.

  19. Ten Things You Should Know About the Case Study House Program

    Without the Case Study House Program, many of these homes would not exist today. Some of the more well-known homes include Case Study House #22 (Stahl House), Case Study House #21 (Bailey House), and the Eames House (Case Study House #8). These homes helped California develop an architectural identity and allowed Los Angeles to make a ...

  20. Stahl House

    The Stahl House, or Case Study House #22, is one of the homes commissioned by Arts & Architecture Magazine for its architectural research project that was carried out between 1945 until 1966. Built in 1959, this home was designed by renowned architect Pierre Koenig specifically for one of his clients, Buck Stahl.

  21. Case Study House #22

    May 13, 2015, 9 Comments. 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 ...

  22. [Building]Case Study House 22, by Pierre Koenig. Los Angeles, 1960

    Los Angeles, 1960. : r/architecture. [Building]Case Study House 22, by Pierre Koenig. Los Angeles, 1960. I love these case study homes. This is called the Stahl House & It's located in Los Angeles I went to the home for the architectural tour. Highly recommend.

  23. Case Study House #22 by Julius Shulman

    Case Study House #22 by Julius Shulman. Home Home. Artists Artists . Artists Artists Contemporary Contemporary Modern Modern. Work Work Exhibitions Exhibitions AI AI Media Media Press Press About About Contact Contact. JOIN. Search by keyword, artist name, artwork title or exhibition. SEARCH. Home. Artists.

  24. Why Britain Just Ended 14 Years of Conservative Rule

    The Daily is made by Rachel Quester, Lynsea Garrison, Clare Toeniskoetter, Paige Cowett, Michael Simon Johnson, Brad Fisher, Chris Wood, Jessica Cheung, Stella Tan ...

  25. Trump Picks His Running Mate, and Political Heir

    transcript. Trump Picks His Running Mate, and Political Heir Former President Donald J. Trump chose the 39-year-old Senator J.D. Vance of Ohio as his vice-presidential nominee.