case study house 2

10 Iconic Case Study Houses in Southern California

Architectural photographer Julius Shulman’s iconic image of Pierre Koenig’s 1960 modernist masterpiece, the Stahl House—also known as Case Study House #22—shows the Hollywood Hills residence overlooking the sprawling City of Angels. It turned the photogenic Stahl House into the virtual "poster child" for a series of homes centered around the greater Los Angeles area known as the Case Study Houses.

The homes in the Case Study House Program were built between 1945 and 1966 when Arts & Architecture magazine commissioned the major architects of the day to create inexpensive and replicable model homes to accommodate the housing boom in the United States caused by the flood of returning soldiers at the end of World War II. The resulting experiment in American home design involved many of the great architects of the day, such as Richard Neutra, Charles and Ray Eames, and Eero Saarinen—and had a major impact on modern residential architecture. 

Of the 36 houses and apartment buildings that were commissioned, only a couple dozen were built, with around 20 still standing today. Ten  were added to the National Register  in 2013. While most of the homes are still private residences, some—like the Eames and Stahl Houses—are open to the public for tours. Here are some of our favorite Case Study Houses, in no particular order.

Renowned architectural photographer Julius Shulman’s famous photos of Pierre Koenig’s Stahl House helped make it one of the most famous designs from the Case Study House program.

The Stahl House (Case Study House #22)

Pierre Koenig’s Stahl House remains one of the most famous Case Study Houses, and one of L.A.’s best-known midcentury residences. In the years since it was completed in 1960, the Hollywood Hills home been featured in numerous films , fashion shoots, and advertising campaigns. (Renowned architectural photographer Julius Shulman’s iconic photos of the glass-and-steel house  are credited with helping to immortalize it.)

Pierre Koenig also designed the midcentury-modern Bailey House for the Case Study House program.

The Bailey House (Case Study House #21)

Lesser known than Stahl House, but equally representative of the Case Study House program vision, is Koenig’s Bailey House, also in the Hollywood Hills. Completed in 1959, the simple, flat-roofed, one-story box is built mostly of steel and glass. Koenig oriented it on a north/south axis to trap the sun’s warmth in the winter and screen it out during summer. 

Charles and Ray Eames built the 1949 Eames House as their home and studio.

The Eames House (Case Study House #8)

Located in L.A.’s Pacific Palisades neighborhood, the Eames House is a landmark of midcentury-modern architecture. Constructed in 1949 by husband-and-wife team Charles and Ray Eames , the modular house consists of two glass-and-steel rectangular boxes: one served as their longtime residence, while the other was their studio. The facades are comprised of black-painted grids with different-sized glass inserts (clear, translucent, or wired), Cemesto panels , stucco, aluminum, and specially treated panels, some painted white or in primary colors that lend a Mondrian-style touch to the exterior.

Saul and Dr. Ruth Bass pictured poolside at Case Study House #20B in Altadena, California.

The Bass House (Case Study House #20B)

The 1958 Bass House in Altadena, California, differs from other Case Study Houses of the late ’50s in that it was built primarily out of wood, instead of steel. Architectural firm Buff, Straub, and Hensman worked closely with the owners, renowned graphic illustrator Saul Bass and his wife, biochemist Dr. Ruth Bass, for the design of the post-and-beam construction. The architects were interested in the possibilities of wood as it pertained to mass production in home building.

Case Study House #1 by Julius Ralph Davidson was not actually the first home completed for the program. 

Case Study House #1

Despite its numbering, this 1948 home designed by Julius Ralph Davidson was not the first to be completed as part the Case Study House program. (Davidson’s Case Study House #11, completed in 1946, actually won that distinction, but was later also unfortunately the first to be demolished.) The 2,000-square-foot residence, constructed on a gently sloping lot in L.A.’s Toluca Lake neighborhood, incorporates architectural elements that came to characterize the program, including floor-to-ceiling glass, a flat roof, an open floor plan, and multipurpose rooms.

Craig Ellwood’s Case Study House #16 sits in the hills of L.A.’s Bel Air neighborhood.

Case Study House #16

This one-story, flat-roofed home was the first of three Case Study Houses designed by Craig Ellwood. The steel, glass, and concrete residence was completed in 1952 in L.A.’s Bel Air neighborhood. Today, it’s the only surviving, intact example of Ellwood’s designs for the program.

Charles Eames and Eero Saarinen designed the Entenza House adjacent to the Eames House.

The Entenza House (Case Study House #9)

Designed by Charles Eames and Eero Saarinen and completed in 1949, the Entenza House is situated on a flat bluff in the Pacific Palisades overlooking the Pacific Ocean (adjacent to the Eames House). The modular home features a steel frame construction concealed with wood-paneled cladding.

The West House by Rodney Walker marks the first of four adjacent Case Study Houses on Pacific Palisades’s Chautauqua Boulevard.

The West House (Case Study House #18)

Rodney Walker’s West House, completed in 1948, was the first of four adjacent Case Study Houses on Chautauqua Boulevard in Pacific Palisades. The neighboring Case Study Houses #8, #9, and #20 were completed within the next two years. The 1,600-square-foot home takes full advantage of panoramic ocean views with floor-to-ceiling glass panels. 

Richard Neutra’s only built Case Study House design is the Bailey House in Pacific Palisades.

The Bailey House (Case Study House #20)

Built in 1948, the two-bedroom Bailey House marks the only Case Study House designed by Richard Neutra that was actually built. Working with limited square footage and a low budget, the architect employed a classic midcentury layout: open, with flexible living areas, and large, floor-to-ceiling glass sliding doors.

Case Study House #23A, completed in 1960, marks the largest of three adjacent single-family homes intended to be a pilot project for a large tract of houses in San Diego’s La Jolla area.

Triad (Case Study House #23A)

Case Study House #23A is the largest of three adjacent single-family residences that form the Triad in San Diego’s La Jolla neighborhood, completed in 1960. The three homes, designed by the architectural firm of Edward Killingsworth, Jules Brady, and Waugh Smith, were planned to be the pilot project for a large tract of houses, but only the Triad was ever built. The goal for the three homes was to design in a manner that created a close relationship between the houses, while still maintaining privacy.

Top photo of the Stahl House by @christineevi

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Case Study House nº2

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About this building

Case Study House nº2, designed by Sumner Spaulding , John Rex , is located at Chapman Woods, Pasadena, California, United States. It was designed in 1945 and built in 1946-1947.

It has a total built-up area of 185 m2

If you want to learn more about the Case Study House nº2, don't hesitate to check the full article ! Were you'll find a lot more information about it, including historical context, concept development, type of structure and materials used, and more.

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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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The case study houses forever changed american architecture.

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Scenes from the new showroom of Herman Miller which shows classic designs by Charles and Ray Eames, ... [+] in Culver City, Ca., Oct. 1, 2009. (Photo by Jay L. Clendenin/Los Angeles Times via Getty Images)

The Case Study House Program’s vision belonged to Los Angeles-based Arts & Architecture magazine Editor John Entenza.

Entenza sponsored and publicized some design competitions in the magazine and emphasized modern, affordable, easily built houses.

He announced the Case Study House Program's launch in the January 1945 issue of Arts & Architecture magazine . He envisioned the program to solve the problem of housing shortages and anticipated the coming building boom that would follow War World II and the Depression.

The front side of the Eames House Case Study #8 designed by architects Charles and Ray Eames in ... [+] Pacific Palisades. June 30, 2005. (Photo by Mark Boster/Los Angeles Times via Getty Images)

A 1937 Harwell Harris house has a Streamline Moderne exterior with a white curved porte cochere in ... [+] front (wide enough for the original owner, powerful architecture magazine editor John Entenza s 1925 Ford) and a round bedroom wall in back overlooking Santa Monica Canyon. Peter Rabitz, a co–worker visiting from Germany, enjoys the view into the canyon on a recent visit. (Photo by Gina Ferazzi/Los Angeles Times via Getty Images)

A 1937 Harwell Harris house has the porte cochere at left and entrance to house at right. (Photo by ... [+] Gina Ferazzi/Los Angeles Times via Getty Images)

The goal of the program was for each architect to create a home "capable of duplication and in no sense being an individual performance," Entenza said in his announcement.

"It is important that the best materials available be used in the best possible way in order to arrive at a good solution of each problem, which in the overall program will be general enough to be of practical assistance to the average American in search of a home in which he can afford to live in," he noted.

Architect Pierre Koenig designed two of the iconic Modernist houses in Los Angeles in the 1950s ... [+] known as Case Study House 21 and 22. Drawing of one of Koenig's designs. (Photo by Anacleto Rapping/Los Angeles Times via Getty Images)

The Case Study House Program served as a model for post-war living, providing the public and the building industry an opportunity to access affordable, mid-century modernism and simple designs.

Floor-to-ceiling glass, steel frames, horizontal lines, modular components, open-floor plans and multi-purpose rooms were all elements of the Case Study’s take on modernism. The furnished projects provided places for owners to enjoy a family-friendly home with public and private spaces to relax, watch TV, listen to music and entertain, merging indoor and outdoor worlds with walls of steel and glass to allow ample light.

Initially, Entenza invited Richard Neutra, Charles Eames, Eero Saarinen and five other architects to submit prototypes and planned that all eight houses would be open to the public until they were occupied. The project was ambitious. The Eames and Entenza houses were designed in 1945 but not completed until 1949. Still, the Case Study program was so successful that it ran until 1966 and saw 350,000 visitors tour the open homes before clients took up residence.

Architect Pierre Koenig designed two of the iconic Modernist houses in Los Angeles in the 1950s ... [+] known as Case Study House 21 and 22. Photos of Pierre and Gloria Koenig main living room inside their West Los Angeles home which Pierre designed. (Photo by Anacleto Rapping/Los Angeles Times via Getty Images)

Twenty homes remain today, but 36 experimental prototypes, many unbuilt, documenting new ideas and residential designs, appeared in the magazine.

The majority of the homes were built in Southern California; some are located in San Diego and Northern California; a group of Case Study apartments was built in Phoenix.

Many architects such as Ray and Charles Eames, Saarinen, Craig Ellwood and Pierre Koenig became icons of modernism and earned international followings. The Case Study Houses launched the reputations of local architects such as Thornton Bell, Whitney R. Smith and Rodney Walker.

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Case Study House 2 - Spaulding & Rex

by MidCentArc

A Virtual Look Inside the Case Study House #2 by Sumner Spaulding and John Rex

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ARTS AND ARCHITECTURE. ANÁLISIS DEL CASE STUDY HOUSE 2

26/02/2021 Por Sara Resa

En el artículo anterior, se expuso en qué consistió el programa Case Study House llevado a acabo por a revista californiana Arts and Architecture. En esta ocasión, vamos a dar un paseo por… la segunda vivienda unifamiliar desarrollada para este programa, analizando sus características más relevantes y los medios materiales con los que se llevó a cabo su construcción.

CASE STUDY HOUSE 2 VERSIÓN 1

Al igual que sucedió con la primera vivienda del programa, la segunda Case Study House se vio afectada por numerosas modificaciones . La primera versión fue realizada por el arquitecto Sumner Spaulding y se publicó en 1945.

El caso proponía el diseño de una vivienda unifamiliar de aproximadamente 185 metros cuadrados para una familia tipo estadounidense de cuatro miembros, los progenitores y dos niños. La vivienda se ubicaría cerca de las montañas y debería disponer de un diseño modernista y requerir de escaso mantenimiento, ya que no se contaría con servicio doméstico. Además, se debería aprovechar al máximo la vida al aire libre.

Spaulding diseñó una vivienda de una única planta de líneas sencillas conformada por una L cortada en diagonal. El acceso peatonal y rodado se realiza a través de un porche que ocupaba esta diagonal. Todas las piezas de la vivienda cuentan con iluminación y ventilación natural al exterior. El arquitecto además, se impuso una serie de condicionantes o postulados que solucionó de la forma que relataremos a continuación.

• LA VIDA AL AIRE LIBRE Y FLEXIBILIDAD

La necesidad de contar con espacios exteriores que permitan disfrutar de la vida al aire libre fue resuelto ingeniosamente en el salón y el comedor mediante una concatenación de espacios flexibles exteriores e interiores que se integran mediante la apertura de cristaleras correderas. Si nos fijamos en la planta vemos cómo el salón (2) y el comedor (3) comparten espacio. Abriendo la cristalera del salón, la terraza (1) puede integrase al mismo incorporando las fantásticas vistas de las montañas nevadas, y abriendo la cristalera del comedor, el patio-comedor (4) se puede integrar como comedor exterior. Cuatro espacios consecutivos que pueden fusionarse en un espacio único y que presentan enriquecedoras relaciones espaciales. Además, la inclinación del techo permite visualizar las montañas desde el comedor lo que favorece la integración de los espacios consecutivos.

Por otro lado, entre el garaje y la cocina, junto al patio-comedor, existe un paso cubierto circulatorio flexible que puede convertirse en una zona de juego para los niños (11) abierta a un pequeño jardín de servicio (12). Nuevamente el espacio exterior aparece como protagonista para dar servicio a la actividades diarias de la familia. Los niños podían disfrutar de esta forma de una zona de juegos interior y exterior sin interrumpir otras actividades.

Además, todos los dormitorios (6) cuentan con un ventanal corrido que da a un pequeña terraza privada abierta al jardín trasero, tal como apreciamos en la siguiente perspectiva. El límite entre exterior e interior queda completamente desdibujado sin perder la privacidad de cada pieza.

• MANTENIMIENTO FÁCIL Y ECONÓMICO

El caso recalca la necesidad de disponer de una vivienda en la que el mantenimiento de la misma sea fácil, cómodo y suponga economía de esfuerzo para la familia. Esto es debido a que no se contará con personal de servicio .

Es importante en este punto señalar la importancia que tuvo el paulatino abandono del servicio doméstico en el modelo familiar estadounidense. Esta desaparición estaba prácticamente completada a mediados de siglo y supuso un cambio fundamental en el modo de habitar . Las tareas domésticas, anteriormente más dispersas, se concentraron como norma general en torno a la dueña de la casa. El diseño de las nuevas viviendas debía adaptarse a estos cambios, generando nuevos espacios y nuevas circulaciones internas. El desarrollo industrial y tecnológico favoreció el fin del servicio doméstico, introduciendo toda una serie de electrodomésticos, equipamiento e instalaciones que hacían más fácil y cómoda la ejecución de las tareas del hogar. Todo ello se aunó alzando a la vivienda unifamiliar como estandarte del triunfo estadounidense .

Para ilustrar aquello que acabamos de exponer, presentamos el anuncio de la empresa de gas Western-Holly que se publicó en el mismo número que la Case Study House 2. Dejando al margen los discursos de género, los cuales podrían ocupar un artículo entero, el anuncio refleja perfectamente la implicación que tuvo el abandono del servicio doméstico para el modelo familiar estadounidense. De esta forma las empresas vendían un producto que más allá de facilitar las tareas domésticas, proporcionaban la felicidad familiar.

Este paréntesis abierto en el análisis de la vivienda es fundamental sin embargo para comprender la dinámica de su diseño y del resto de las Case Study House, tal como afirma la revista “la era de los sirvientes ya ha acabado”, y los diseños deben ajustarse a ello.

Los espacios destinados al personal desaparecen, y las circulaciones de la vivienda varían para ajustarlas al uso exclusivo de la familia, la cual absorbe las competencias del servicio . Como primera medida, Spaulding une el garaje (5) con la lavandería (8) y cocina (7) mediante un paso cubierto que permite el abastecimiento de la misma cómodamente sin interferir en las circulaciones habituales de la vivienda. Así mismo, al fondo del garaje el arquitecto diseña un mueble de almacenaje que permite descargar el coche para posteriormente, cuando sea necesario, llevarlo a la casa.

La cocina está perfectamente amueblada y equipada para facilitar las tareas diarias de la casa. Una puerta plegable permite abrir o cerrar dicho espacio al comedor interior. De la misma forma, se comunica con el comedor-patio mediante un ventanal. El amueblamiento permite flexibilizar las tareas de la cocina, estando perfectamente razonada la ubicación de la totalidad del equipamiento de la misma.

• LA IMPORTANCIA DEL GARAJE EN LA VIVIENDA

Otro factor determinante en la evolución de la vivienda estadounidense fue la integración del automóvil de manera masiva . Si bien a comienzos de siglo el automóvil se podía considerar un objeto de lujo, a mediados de siglo era sin embargo una herramienta imprescindible. El crecimiento urbano norteamericano de barrios periféricos de baja densidad , obligaba al uso del automóvil a diario para prácticamente cualquier desplazamiento.

La vivienda unifamiliar estadounidense de mediados del siglo XX incluyó el espacio destinado al automóvil como una pieza fundamental del programa habitacional. El garaje californiano se caracterizó por ser un porche abierto que se integraba con la estructura general de la vivienda. Las circulaciones estaban condicionadas a su ubicación tal como ejemplifican las viviendas del programa Case Study House.

Tanto en el alzado Oeste como en el Este podemos observar cómo el porche de la vivienda recoge tanto la zona de acceso peatonal como el espacio destinado a la guarda del automóvil. Éste no se oculta, sino que se muestra como un elemento más de la vivienda, elemento claramente representativo de la familia estadounidense.

• BAÑOS CONFORTABLES Y GENEROSOS EN ESPACIO

Spaulding no dio prioridad a un espacio concreto, sino que todas las piezas de la vivienda eran tomadas por él en la misma consideración. Los baños debían de ser tan espaciosos y confortables como cualquier otro espacio habitable. Por ello, aplica los mismos criterios de vida exterior y flexibilidad que aplicó al resto de la vivienda.

Con este planteamiento, dota a uno de los baños de la vivienda de un espacio exterior destinado a solarium (10) al que se puede acceder por un ventanal corredero. El voladizo ayuda a generar permeabilidad entre interior y el exterior.

Vistos los condicionantes principales de la vivienda, nos resta mencionar los materiales que seleccionó el arquitecto para su construcción. Los paramentos verticales se revestirían de madera contrachapada. Los tabiques móviles se realizan mediante vidrio corrugado traslúcido o grandes ventanales de vidrio, así como materiales plásticos en la cocina. Además, los techos se aislaban acústicamente en su totalidad.

CASE STUDY HOUSE 2 VERSIÓN 2

En el número de Octubre y Noviembre de 1946, Sumner Spaulding anunció que la Case Study House 2 se había reestudiado en colaboración con el arquitecto John Rex . Ambos argumentaban que los problemas de suministro de materiales agudizados por la inflacción del momento no les permitían realizar la vivienda con los materiales y diseño empleados en la versiónprimera, por lo que se veían obligados a reestudiar el proyecto. Con respecto al programa y las necesidades del proyecto no se menciona nada, por lo que entendemos que se mantuvo vigente aquel de la primera versión. El nuevo proyecto se ubica en un solar de 4.000 m2 que presenta varias plataformas aterrazadas. La vivienda se ubica en el centro de la parcela y al sur de la misma, los arquitectos proyectaron una piscina y una pista de bádminton.

Condicionados por la problemática de los materiales, los arquitectos buscaron un módulo o medida común que permitiese aprovecharlos al máximo, generando el mínimo desecho. Este módulo resultó del cubicaje de 15 pies cuadrados y 10 pies de altura, obteniendo el número de unidades necesarias para cada estancia. Tras ello, se dedicaron a buscar las relaciones entre las distintas piezas de tal forma que se aprovechara el espacio al máximo, resultando la planta que vemos en la imagen siguiente.

La entrada a la vivienda se realiza acompañado de un muro de ladrillo serpenteante que sirve para dividir los espacios vivideros, del garaje (9) y los locales de servicio (10,8 y 7). El garaje, al igual que en la primera versión, cuenta con acceso directo a la cocina (4) a través de la lavandería (5), lo que permite abastecerla sin interferir en las circulaciones diarias del resto de la vivienda.

El muro de ladrillo serpenteante penetra en el salón integrando el interior y el exterior. Esta integración se acentúa mediante los voladizos de la cubierta y las grandes superficies vidriadas que generan una fuerte permeabilidad.

El salón y la zona de estar (2 y 3) son el corazón de la vivienda , organizando el espacio entorno a ellos. A un lado del salón se ubican las zonas de servicio como el garaje y la cocina, mientras que al otro se sitúan los dormitorios (11 y 13). El dormitorio principal comparte fachada con el salón y posee baño propio. El otro baño de la vivienda se ubica entre los dormitorios de los niños y da servicio al resto de la vivienda.

Los alzados , al igual que la planta, presentan formas y líneas sencillas , combinado la madera contrachapada con el vidrio. Así aquellas zonas que se quieren expandir y comunicar con el jardín se dotan de grandes ventanales, revistiendo el resto del cerramiento con láminas de contrachapado. Al igual que en la primera versión, todas las estancias tienen comunicación directa con el exterior lo que permite iluminar y ventilar adecuadamente.

El empleo de un módulo para el aprovechamiento de material anteriormente mencionado, es evidente en las fachadas de la vivienda. Los arquitectos queriendo aprovechar la luz y el buen clima californiano dotan a todas las estancias de grandes ventanales que van de suelo a techo, pero en vez de realizar grandes placas de vidrio, las cuales son muy costosas, utilizan placas de 5,4 por 8,5 pulgadas, la más común de las medidas comerciales , que se adaptaba perfectamente a todas las estancias. De esta forma disfrutaban de las magníficas vistas de las montañas a un bajo costo.

En línea con la sencillez formal de la planta, los arquitectos proponen un uso unitario y sencillo de los materiales . De esta forma, los cerramientos y tabiques se revisten en su totalidad mediante paneles de madera contrachapada. Nuevamente, se empleará la dimensión de panel que resulte más óptimo económicamente , generando el menor desperdicio. En la imagen siguiente podemos observar el juego de volúmenes de madera con grandes superficies de vidrio.

Al interior, los techos se aíslan acústicamente y se pintan de color gris, mientras que el pavimento de la totalidad de la vivienda se realiza mediante baldosas asfálticas en color oscuro que permite además al exterior evitar deslumbramientos . Según los arquitectos, esta homogeneidad en los materiales pretende resaltar el paisaje presente en el entorno de la vivienda, además de otorgar protagonismo al mobiliario.

La iluminación se realiza mediante luminarias empotradas en techo , tanto al interior como al exterior. Las luminarias de los voladizos exteriores previenen los indeseados reflejos nocturnos de las grandes superficies vidriadas. Durante el día sin embargo, es el propio voladizo el que protege el interior del fuerte impacto solar californiano .

Pese a mantener varios aspectos en común, podemos afirmar que la primera y la segunda versión son muy diferentes. La flexibilidad del espacio está mucho más estudiada en la primera versión, existiendo espacios que comparten varias funciones o espacios que se reconvertían al accionar sus ventanales correderos. Por otro lado, la vida al exterior es ampliamente solventada an ambas versiones, aunque la segunda versión ofrece un tratamiento más pormenorizado del espacio exterior con la integración de la piscina, los jardines, los robles y sicomoros y la pista de bádminton. El garaje en ambas versiones se resuelve de forma similar, sin embargo los baños de la segunda versión pierden la riqueza espacial de la primera versión, en la que el baño principal se abre mediante una cristalera al espacio exterior generando un solarium privado.

En definitiva, podemos afirmar que la segunda versión adolece la presencia de un espacio representativo que fundamente la idea del proyecto, tal como sucede en la primera versión con el espacio concatenado de salón y comedor exterior e interior que sigue la única diagonal del proyecto. Sin embargo, hace un brillante estudio del empleo del módulo como elemento distributivo de las piezas del proyecto y elemento procurador de la economía en obra mediante el ahorro de material. Y este aspecto no es baladí, ya que un requisito fundamental del programa Case Study House es la realización de una arquitectura accesible para el estadounidense medio.

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46. Julius Shulman

Case Study House #20

Photographs, Including Works from the Collection of Ernesto Esposito

Property from the Collection of Ernesto Esposito

Julius Shulman

November 16, 10:46 AM GMT

4,000 - 6,000 EUR

Lot Details

Description

1910 - 2009

chromogenic print, signed and dated in ink on the reverse, framed, 1958, printed later 

image: 40.1 by 51 cm (16 by 20⅛ in.)

frame: 57.4 by 67.3 cm (22⅝ by 26⅙ in.)

Condition report

Elizabeth A T Smith, Julius Shulman and Peter Goessel, Case Study Houses: The Complete CSH Program: 1945-1966 (Cologne, 2002), p. 273

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Case Study House #2 Redux (modern base-game no-CC house)

Front.JPG - width=1141 height=279

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Overview.JPG - width=1144 height=674

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Install Instructions

• You may want to use the Sims2Pack Clean Installer instead of the game's installer, which will let you install sims and pets which may otherwise give errors about needing expansion packs. It also lets you choose what included content to install. Do NOT use Clean Installer to get around this error with lots and houses as that can cause your game to crash when attempting to use that lot. Get S2PCI here: Clean Installer Official Site .
• For a full, complete guide to downloading complete with pictures and more information, see: Game Help: Downloading for Fracking Idiots .
• Custom content not showing up in the game? See: Game Help: Getting Custom Content to Show Up .

# case study , # contemporary , # modern , # modernist , # post-war , # base game , # no custom content , # one story , # single story , # flat roof

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Netflix’s Sector 36 | Real Vs Reel: Who sent Bassi aka Moninder Singh Pandher’s obnoxious CD recordings?

Vikrant Massey starrer Netflix’s Sector 36 end explained. But does it reveal the true face of Moninder Singh Pandher, the rich businessman in whose house all the crimes were committed which included killing, rape and cannibalisms. read more

The plot of the Netflix original movie,  Sector 36 , inspired from Nithari Killings case in Noida, Uttar Pradesh, which shook the soul of the nation in 2006. Both Vikrant Massey and Deepak Dobriyal revisit this real-life horror with their deeply intense performances.

The character of Prem aka Surender Koli, played by the Vikrant Massey was accused on cannibalism, rape and murder. Koli and Moninder Singh Pandher, the co-accused in the Nithari killings case were supposed to be hanged. But due to lack of evidence, Pandher was let free where as Koli is still serving his life sentence. Some of the story is fictionalised especially the organ trafficking bit.

  How much of Sector 36 was fictionalised?

 According to reports published in dmtalkines. com, in real life, the claims of Surinder Koli and Pandher running an illegal organ racket were unsubstantiated by the authorities. Actually, the rumor that Koli and Pandher were involved in organ trafficking came because a doctor named Navin Chaudhary, living in the vicinity, was suspected of being involved in organ trafficking, though the law enforcement authorities did not find any sort of evidence against him to support their claims.

The narco-analysis/brain mapping test that was conducted, after which the authorities pinned all the blame on Surinder Koli, and they didn’t find Pandher guilty of committing any crime. Unlike the film, in real life, Surinder Koli, together with Moninder Singh Pandher, was acquitted of all the charges in 2023 by the Allahabad High Court.

The   Nithari killings case

In Nithari village which is situated right in the middle of Noida city in Uttar Pradesh about 20km from Delhi this heinous crime happened. But what was surprising being that what took so long to deliver justice to the families whose children and some women went missing mysteriously? Didn’t cries of these families reach the ears of the police or was it just ignored because these people came from poor, migrant labourer families?

**Why Prem ( Surinder Koli ) did Bassi’s (** Pandher) recording of his relationships with several call girls?

 According to the Netflix’s film Sector 36, Prem (Surinder Koli) knew that since he is poor and his master Bassi ( Pandher ) being a rich man, he might pin all the blame on him. In the end we understand from the Netflix’s film that he was made a scapegoat by Bassi (Pandher) which we assume is actually not the truth.

At the end of the film we see police inspector played by Pandey (Deepak Dobriyal) going to Koli’s village to collect the CD, but he was sadly killed by Bassi’s men. Prem lost his only ally in the case and Bassi was being acquitted of all charges while Prem was given death sentence. Prem sensed that this might happen. Hence he made several copies of the CD and sent another one to Bishnoi’s residence so that people get to know the real monster Bassi (Pandher).

WATCH the trailer of   Vikrant Massey starrer Netflix’s starrer   Sector 36   here:

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