Living with Steel Final

K O E N I G

L I V I N G W I T H S T E E L

P I E R R E K O E N I G

N E I L J A C K S O N / T A S C H E N / L A C A

p g

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t o s t a y i n f o r m e d a b o u t u p c o m i n g t a s c h e n

t i t l e s , p l e a s e r e Q u e s t o u r m a g a Z i n e a t

w w w . t a s c h e n . c o m / m a g a Z i n e o r w r i t e t o

t a s c h e n a m e r i c a , 6 6 7 1 s u n s e t b o u l e v a r d ,

s u i t e 1 5 0 8 , u s a - l o s a n g e l e s , c a 9 0 0 2 8 ,

c o n t a c t - u s @ t a s c h e n . c o m , f a x : + 1 - 3 2 3 -

4 6 3 . 4 4 4 2 . w e w i l l b e h a p p y t o s e n d y o u a

f r e e c o p y o f o u r m a g a Z i n e w h i c h i s f i l l e d

w i t h i n f o r m a t i o n a b o u t a l l o f o u r b o o k s .

Dedicated to my teacher Kidwell, who will probably think this is funny.

6 .…………….…………………………………………………………………… Inroduction

16 …………..……………………………………………………………….. Keong House #1

20 .………………………………………………………………………………..Lamel House

26 ………….………………………………………. Bailey House (Case Study House #21)

34 ...................….………………………………………………………………..Seidel House

42 ……………..…………………………………….. stahl House (Case Study House #22)

50 ….................……………………………………………………………… Johnson House

56 .……………………………………………………………………………Oberman House

62 .……………………………………………………………………………….. Iwata House

66 .…………….……………………………………………………………….. Beagles House

70 ……………..………………………………. Chemehuevi Prefabricated Housing Tract

74 .……………………………………………………………………….. Burton Pole-House

76 ………………………………………………………………………………Gantert House

80 ……………………………………………………………………………Koenig HOuse #2

86 ....………………………………………………………………………..…Schwartz HouseLife and Work………………..……………………92

Map…………...……………………………………95

Bibliography….……………………………………96

The Author…...……………………………………96

Credits………..……………………………………96

C O N T E N T S

I N T R O D U C T I O N

t h e s e v e n - m i n u t e e x p o s u r e • l u l i u s s r u l m a n ’ s p h o t o g r a p h o f c a s e s t u d y • h o u s e # 2 2

started with so much hope but ended in so much chaos.

Perhaps that is the lasting signiicance of this house; it

will be an enduring statement of hope and expectation.

Pierre Koenig was born in San Francisco on 17 Oc-

tober 1925; his parents were both second-generation

immigrants, his mother of French descent and his fa-

ther of Cerman, the European name. In 1939, while still

at high school, he moved while his family to Los Ange-

les, to the San Gabriel valley just south of Pasadena,

where he found everything, in contrast to San Francis-

co, to be "warm, sunny and colorful ... new and bright

and clean, especially the architecture." 1 Soon after, in

1941, the United States entered the War and Koenig,

then aged just seventeen, enlisted in the US Army Ad-

vanced Special Training Program, which promised an

accelerated college education. But in 1943, after just

a few months at the University of Utah, the program

was cancelled and Koenig was sent to Infantry School

at Fort Benning, Georgia. Active service in France and

Germany—as a lash ranging observer with the duty to

spot enemy gunire and calculate, through triangula-

tion, their position—kept him in Europe until well after

Few images of twentieth-century architecture are

more iconic than the nighttime view of Pierre Koenig's

Case Study House #22 set on its eagle's-nest site high

above the lights of Los Angeles. Yet neither the house,

nor the photograph which captured it, were in fact

as they appear. The house was uninished and full of

plaster dust, the furniture, including Koenig's own ar-

chitectural pottery, was borrowed for the day, and the

landscaping was contrived, consisting of cut branches

held by clamps or by hand. The photograph was also

a construct, a seven-minute exposure to bring out the

city lights and the pop of a lash-bulb to catch the two

young women, one a ucla undergraduate and the oth-

er a senior at Pasadena High School, poised in conver-

sation inside; in fact, the city lights can actually be read

through their white evening dresses. But the picture,

which irst appeared on the front cover of the ‘Sunday

Pictorial’ section of the Los Angeles Examiner on 17

July 1960, was symbolic. Like so much popular music, it

caught the spirit of the moment, the Zeitgeist: Los An-

geles, the city of angels at the dawn of the 1960s and

the Kennedy era. It was a decade which, for America,

1 Pierre Koenig, quoted

in James Steele and

David jenkins, Pierre

Koenig, Phaidon Press,

London,1998, p. 9

10

VE Day, and it was not until 1946 that he was shipped

back to the United States on the Cunard Liner Queen

Mary. On that journey he shunned the squalor of the

troops' quarters below decks for a bedroll in a lifeboat.

The Gl Bill granted Koenig the i nancial support

to undertake college training and, after two years at

Pasadena City College, he i nally gained admittance to

the architecture program at the University of Southern

California. Although progressive in many ways, the pro-

gram's adherence to timber framing frustrated Koenig,

and as a third-year student he proceeded to build his

i rst house using the industrial material steel. "It oc-

curred to me," he later recalled, "that houses that were

very slender were meant to be in steel, not wood."2 It

was not surprising then, that rather than seeking work

with Richard Neutra, at that time probably the doyen of

southern California architects, Koenig should turn in-

stead to another USC graduate, Raphael Soriano. As he

later said, "I needed a summer job so I naturally went

to him. And because I had something to of er him and

he to me, I worked for him for that summer."3 It was a

mutually benei cial arrangement.

in Chicago, used the magazine Arts & Architecture, of

which he was both proprietor and editor, to promote a

modern, afordable architecture for the post-war years.

By publishing selected houses month by month, as

they were being designed and then built, he provided

publicity for the architect and advertising for the con-

tractors and manufacturers. The beneit to the client

was that the materials were supplied at a substantial-

ly reduced cost but, in return, the clients had to open

their houses to the public for viewing. The houses

were not commissioned by the magazine, but selected

by Entenza. As Koenig later said, "John Entenza asked

me to come in one day and he said to me, 'Pierre, if you

ever have a pool house with some good clients tell me

and we'll make it a Case Study House'. Well I did and

that was Case Study House 21."4

With his two Case Study Houses, Koenig com-

pleted the run of eight steel-framed buildings which,

in a period of just over ten years, gave the Case Study

House Program its reputation. First was the Eames

House (CSH#8), by Charles and Ray Eames, and then

its neighbor, the Entenza House (CSH#9) by Charles

In that summer of 1950, while Koenig was build-

ing his own house in Glendale, Soriano had four light-

weight steel-framed houses underway on site or in

the design stage: the Shulman House and the Curtis

House were almost complete, and the Olds House and

the Krause House were in process. Here Koenig recog-

nized a rational, industrial architecture which relected

his own beliefs and thus conirmed, for him, the cor-

rectness of his direction. Soriano's drawings, often in

crayon and pencil, rarely caught the crispness which

so characterized these buildings, so Koenig prepared

for him the perspective drawings of the Olds House

which were published in John Entenza's magazine Arts

& Architecture that August as the Case Study House

for 1950. Even at this early stage, Koenig's drawings are

instantly recognizable. Constructed in black line and

two-point perspective, they are as spare and brittle as

the houses they portrayed.

The Case Study House Program was the single

most signiicant initiative in post- war Californian ar-

chitecture and had world wide inluence. John Entenza,

who later became director of the Graham Foundation

12

Eames and Eero Saarinen. They were both complet-

ed in 1549. Soriano's Olds House was the Case Study

House for 1950- The next three were by Craig Ellwood:

the Saizman House (CSH #6) in 1953, the Hofman

House (CSH#7) in 1956,and the Fields House (CSH# 8)

in 1958. Case Study House #21 .was opened to the pub-

lic is January of the following year and then, as Koenig

recalled, "John said we'll do another one. We did Case

Study House #22, which is on a eagle's-nest site in the

Hollywood hills."5

The Case Study House Program promised so

much but ultimately it delivered so little: it was, as Pe-

ter Reyner Banham wrote in Los Angeles, The Archi-

tecture of Four Ecologies, The Style That Nearly ...' But

Koenig was not interested in style. That his architec-

ture is seen as having a recognizable style was the re-

sult of his rational single- mindedness and the product

of later critical readings. When he built his irst house

in Glendale, he was simply following what he thought

was a logical course. As he later said, "This was the

same time Charles Eames was doing his building in the

Palisades and the same time, so far as I know, Mies was


4 Pierre Koenig interviewed

by Neil Jackson, 13 July 1988

5 Ibid.

t h e a x i a l e n t r a n c e w a y s e p a r a t e s t h e c a r p o r t f r o m t h e w e i m m i n g p o o l .

9 1 2 S U M M I T P L A C E , M O N T E R E Y P A R K , C A L I F O R N I A

1 9 6 3 I W A T A H O U S E

The house which Koenig built for Richard and Vicki

Iwata and their ice children suggests, at irst appear-

ance, a major departure from the transparent steel box

which, by 1963, had become almost a trade mark. But

what it actually shows is the Koenig was not bound to

such limitations and that every design was adjusted to

meet the client's requirements. Now here were clients

with very diferent demands and so a noticebly difer-

ent solution emerged.

The site in Monterey Park, an inland community

on the edge of the San Gabriel Mountains, was wedge-

shaped, narrowest by the access road and vroadest at

the far end where the land fell away steeply. Koenig's

options, therefore were either to build a long, thin

house on the narrow, lat land nearest the road, or to

take up the width of the site and perch his building on

the sloe. It was the latter which he chose, for to build

on a slope allowed him to design in cross-section as

well as in plan.

The entry to the house was processional, a long

straight pathway which lanked the pool and passed

throuhng the entry pavilion, which contained the

changing rooms and the carport, before crossing a

slender bridge into the house, where it terminated at

the central point of the stars. Here the living spaces

spread out to either side, the dining room, kitchen and

family room to the left and the living room to the right,

with the music room and den beyond. This whole area,

excluding the valconies at either end, measured about

70 × 20 feet, proportions which leave the space seem-

ing pinched and in need of the fully glazed walls which

are denied. Instead, ins are added to the long external

wall which, while controllling solar gain, obscure cross-

views of the landscape beyond.

From this central level, the stairs went up to the

bedroom loor, where there was also a library, study,

sewing room and radio room, and down to the chil-

dren's play loor which included a workshop. A sense

of hierachy ran through the levels, from the most lex-

ible spaces at the bottom to the most cellular at the

top. This was relected across the rear elevation in the

16

f i n s c o m b a t s o l a r g a i n a s w e l l a s s u g g e s t i n g t h e r e l a t i v e p r i v a c y o f t h e s p a c e s w i t h i n .

f l o o r p l a n : b e d r o o m l e v e l

f l o o r p l a n : f a m i l y l e v e l w i t h e n t r a n c e b r i d g e s

f l o o r p l a n : b a s e m e n t l e v e l w i t h p l a y r o o m a n d w o r k s h o p

f l o o r p l a n : c a r p o r t a n d p o o l - h o u s e

17

t h e p e r s p e c t i v e d r a w i n g e m p h a s i s e s t h e s t r u c t u r a l

18

repetition of ins at each level, the greatest number

at the top and the least at the bottom. Thus while the

speciic function of each level, and of certain elements,

could be recognised from the outside, the relatice need

for privacy was retained. This was most noticeable, for

example, at the top level, where the multitude of ins

made it diicult to distinguish one bedroom from the

next, although the blank panels in two of the bays do

suggest a diferent function. Other features, such as

the stair shaft, stand out clearly as does the protrud-

ing bay to one side, bvut only a knowledge of the plan

would allow this to be identiied as the pantry.

The Carious contemporary descriptions of the

building refer to 'a tree-like, cantilevered steel frame

with a secondary wood system integrated". This, no

doubt, was Koenig's termin ology in a way, but it was

not a helful description, for this tree would have six

trunks. The steel frame, in fact, was arranged in the

same way as that at the Oberman HOuse, the princi-

pal structural beams running in parallel for the length,

rather than the width, of the house. Set about 14 feet

from the other, each beam was supported by three

8 × 8-inch square section columns at 35-foot centres.

The top loor, which demanded the largest cantilever,

was supported on 27-inch deep I-sections; the middle

loor on 21-inch I-sections, spanning the long beams

and expressed externally, further supported the top

loor, thus adding to the sense of compartmentalisa-

tion which the layered design suggested. In reality, the

separation between the loors provided a cral space

for electrical and mechanical servives and enhanced

acoustic separation.

The lexibility of the lower loors was in stark

contrast to the cellular arrangement of the top loor,

where the rear elevation was divided into nine equal

bays, six for bedrooms and the other three for the

a l c o n c e p t b e h i n d t h e d e s i g n .

19

library, the radio room and the patio which merged with

the stair shaft. Only the library and the master bed-

room extended the full depth of the loor plate, each

accommodating, in an almost symmetrical manner,

storage for books and clothes respectively. A spine cor-

ridore, set of-centre, linked them. All the other rooms,

which were essentially identical, had a shallower plan

and opened of one side of the corridor, on the other

side of which were three bathrooms, the study and the

sewing room. It was a tight, almost institutional plan

but, within the conines of a framed structure, must

have worked.

The deining feature of the building is the ins.

There function, as has been suggested, was to combat

solar gain. With the rear of the building is the ins. There

function, as has been suggested, was to combat solar

gain. With the rear of the building facing south-east,

their positioning would have welcomed morning sun

but the more the sun moved to the south, the more the

ins would have excluded summer sun late in the day,

by which time the building would require no more heat-

ing. The locationh of the ins was determined by tests

of a model on a heliodon, where the poition of the sun

at any time on any day of the year could be simulated

and the shadows measured. Koenig therefore placed

the ins close together on the bedroom level, where the

rooms were narrow, while on the lower levels, where

the rooms were larger, the ins were positoned futher

apart. Thus the permitted solar gain was in proportion

to the spaces which it heated.

The house, nevertheless, was itted ready for

the installation of air-conditioning. It might have been

of this house that Christopher Reed, writing Koenig's

obituary, described how at one client's request, Koe-

nig had installed the ducts, though not the machines,

for air-conditioning. He had asked the client to depend

upon natural ventilation for just one year but, "In less

than a year," he is quoted as saying, "the client phoned

to say he didn't need air-conditioning."

a p e r s p e c t i v e d r a w i n g o f a n e a r l i e r v e r s i o n o f t h e s c h e m e , w i t h t h e s w i m m i n g p o o l a n d c a r p o r t r e m o v e d a n d t h e u p p e r s t o r e y o

20

o n e b a y l o n g e r .

21

Attended School of Engineering. University of Utah

Flash Ranger Observer, US Army

Attended Pasadena City College

Attended Department of Architecture, University of Southern California

Worked for Raphael Soriano.

Graduated as Bachelor of Architecture, University of Southern California

Set up private practice

Worked for Jones and Emmons

Assed California State Board of Examiners Licensing Exams in Architecture

Elected member of the American Institute of Architects (AIA) Brazil

AIA-House and Home magazine Award

Architectural League of New York Award

AIA-Sunset magazine Honor Award Western Construction magazine Honor Award


AIA-Sunset magazine Award


Bethlehem Steel Company Traveling Exhibition Pavilion

AIA-House and Home magazine Award American Institute of Iron and Steel award

best Exhibition Building Award, Portland, Oregon

Electronic Enclosures Incorporated Factory and Showroom

AIA southern California Chapter Architectural Grand Prix for 36 Best Buildings in Los Angeles since 1947

Appointed Associate Professor, Department of Architecture, University of southern California, Los Angeles, California, and granted tenure

Elected to College of Fellows of Fellows of the AIA

AIA 200/2000 Award

Los Angeles Department of Cultural A�airs Award.

AIA California Council 25 Year Award AIA California Council

Maybeck Award for Lifetime Achievement

Appointed Professor, Department of Architecture, University

of Southern California

Distinguished Alumni Award, Department of Architecture,

University of Southern California, Los Angeles, California

AIA Los Angeles Chapter Gold Medal Star of Design for Lifetime Achievement in Architecture, Paci�c Design Center, Los Angeles, California

Distinguished Professor of Architecture, University of Southern California

Elected Honorary Fellow of the Royal Institute of British Architects

City of Los Angeles Historic Preservation Award 2000

Pasadena City College Distinguished Alumni Award

Gold Medal Lifetime Achievement Award, Tau Sigma Delta Society of Architects and Landscape Architects

National Design Award, Architecture design Finalist, Smithsonian/Cooper-Hewitt National Design Museum

AIA California Council 25 Year Award

Ressner Modular addition, Brentwood, California
























AIA 200/2000 Award

















1925

1939

1943

1943-1946

1946-1948

1948-1952

1950

1952

1953

1956

1957

1958

1959

1960

1961

1961-1962

1962

1963

1964

1966

1967

1968

1970

1971

1971-1976

1973

1975

1979

1981

1983

1984

1985

1989

1989-1900

1994

1995

1996

1998

1999

2000

2001

2002

2003

2004

Born

Married Merry �ompson; one child Randall Francis Koenig

Divorced Merry �ompson

Married Gaile Carson

Gaile gave birth to their one child, Jean Pierre Koenig

Divorced Gaile CarsonDivorced Gaile Carson

e Koenig

e Carson

e Koenigerre Ko

Married Gloria Kaufman gained two stepsons, �omas and Barry Kaufman

Died

23
















































in James Steele and



London,1998, p. 9

26



































































28










Hollywood hills."5
















5 Ibid.



1 9 6 3 I W A T A H O U S E



















well as in plan.



















dren's play loor which included a workshop. A sense of

hierachy ran through the levels, from the most lexible

spaces at the bottom to the most cellular at the top.

This was relected across the rear elevation in the

32






33


34






































35












have worked.





























36


37
























AIA 200/2000 Award








































AIA 200/2000 Award

















1925

1939

1943

1943-1946

1946-1948

1948-1952

1950

1952

1953

1956

1957

1958

1959

1960

1961

1961-1962

1962

1963

1964

1966

1967

1968

1970

1971

1971-1976

1973

1975

1979

1981

1983

1984

1985

1989

1989-1900

1994

1995

1996

1998

1999

2000

2001

2002

2003

2004

Born






e Koenig

e Carson

e Koenigerre Ko


Died

39
















































in James Steele and



London,1998, p. 9

42



































































44










Hollywood hills."5
















5 Ibid.



1 9 6 3 I W A T A H O U S E



















well as in plan.























48






49


50






































51












have worked.





























52


53
























AIA 200/2000 Award








































AIA 200/2000 Award

















1925

1939

1943

1943-1946

1946-1948

1948-1952

1950

1952

1953

1956

1957

1958

1959

1960

1961

1961-1962

1962

1963

1964

1966

1967

1968

1970

1971

1971-1976

1973

1975

1979

1981

1983

1984

1985

1989

1989-1900

1994

1995

1996

1998

1999

2000

2001

2002

2003

2004

Born






e Koenig

e Carson

e Koenigerre Ko


Died

55
















































in James Steele and



London,1998, p. 9

58



































































60










Hollywood hills."5
















5 Ibid.



1 9 6 3 I W A T A H O U S E



















well as in plan.























64






65


66






































67












have worked.





























68


69



1 9 6 3 I W A T A H O U S E















































in James Steele and



London,1998, p. 9

72














































AIA 200/2000 Award








































AIA 200/2000 Award

















1925

1939

1943

1943-1946

1946-1948

1948-1952

1950

1952

1953

1956

1957

1958

1959

1960

1961

1961-1962

1962

1963

1964

1966

1967

1968

1970

1971

1971-1976

1973

1975

1979

1981

1983

1984

1985

1989

1989-1900

1994

1995

1996

1998

1999

2000

2001

2002

2003

2004

Born






e Koenig

e Carson

e Koenigerre Ko


Died

75

Anon, 'Small House by Pierre Koenig, Designer', Arts & Ar-

chitecture, January 1954

Anon, 'Steel Frame House', Arts & Architecture, June

1955

Anon, 'An Econimical House Results from an Adventurous

Spirit', Living For Young Homemakers, February 1956

Anon, 'Jeunes architectes dans le monde', L'Architecture

d'aujourd'hue, September 1957

Anon, 'Framed and roofed… in 2 days', Sunset, the

B I B L I O G R A P H Y76

Magazine of Western Living, April 1959

Alison Arief and Bryan Burkhart, Pre Fab, Gibbs Smith,

Utah, 2000

Eryn Brown, 'A Case Study in Stewardship,' Los Angeles

Times, 4 August 2005

Peggy Cochran, Koenig, St. James Press, Andover/De-

troit, 1988

Barbara East, 'There May Be a Steel House… In Your Very

Near Future', San Francisco Examiner, Modern Living, 18

September 1955

David Hay, 'Returning to the Scene', House Beautiful, Oc-

tober 1998

Pierre Koenig, Johnson House, written description, un-

published mss., no date

Pierre Koenig, 'Low-Cost production House', Arts & Archi-

tecture, March 1957

Pierre Koenig, 'Modern Production House', Arts & Archi-

tecture, January 1961

Brandon LaBelle and Steve Roden, Site of Sound: of Archi-

tecture & the Ear, Errant Bodies Press, Los Angeles, 1999

Esther McCoy, 'Steel around the Paciic', Los Angeles Ex-

aminer, Pictorial Living, 25 February 1956

Esther McCoy, 'What I Believe… A statment of architectur-

al principles by Pierre Koenig', Los Angeles Times Home

Magazine, 21 July 1957

National Steel Corporation, 'I built this house of steel for

many reasons…', Time, 9 April 1956, and Newsweek, 16

April 1956

Christopher Reed, 'pierre Koenig', The Independent, 2004

Elizabeth Smith A. T., Case Study Houses, Taschen, Co-

logne 2006

Elizabeth Smith A. T., Case Study Houses. The Complete

CSH Program 1945-1966, Taschen, Cologne, 2002

James Steele and David Jenkins, Pierre Koenig, Phaaidon

Press, Longon, 1998

Margaret Stovall, 'Home of the Week', Independent Star-

News, 31 August 1958

77

Magazine Arts & Architecture. All illustrations courtesy

of David Travers: 8 both

Peter Gossel, Bremen: 87

Gossel und Partner, Bremen: 95

Neil Jackson: 14 both

Pierre Koenig estate: 4, 10,11 both, 12, 13, 17 left, 18 bot-

tom, 22 bottom, 24, 27 bottom, 28 bottom, 29 bot-

tom, 30 left, 34 (photo Richard Fish), 35 (photo Rich-

ard Fish), 36 top (photo Richard Fish), 36 bottom, 37

(photo Richard Fish), 38 bottom, 43 bottom, 44 bot-

tom, 46 bottom, 56 (photo Leiand Lee), 58 bottom, 59

(photo Leland Lee), 60 (Photo Leland Lee), 61 (photo

Leland Lee), 63, 64, 65, left, 67 middle, 67 bgottom, 68

bottom, 70 both, 71, 72, 73, 74, 75, 77, 79 top left, 79

bottom, 81, 82 both, 84, 85 bottom, 91 all, 92, 93 both, I am particularly grateful for the guidance and assis-

tance given to me by Gloria Koenig and by Jan Ipach,

and to all those owners of a Koenig house who, over

the years, have shown me their homes or talked so en-

thusiastically about them. Without their help, this book

could not have been written.

A C K N O W L E D G E M E N T S

C R E D I T S

78

94 both

John Edward Linden/arcaid.com.uk: 33 both

Photography Juergen Nogai, Santa Monica, CA: 38 top,

39, 40 both, 41, 66, 67 top, 68 top, 69 both

Juergen Nogai/Julius Shulman: 50, 52 top, 53 both, 54,

55 top

© J. Paul Getty Trust. Used with permission. Julius

Shulman Photography Archive, Reserch Library at the

Getty Reserch Instutute: 2, 6, 16, 17 top, 18 top, 19 both,

20, 22 top, 23, 25, 26, 27 top, 28 top, 29 top, 30 right,

31 both, 32, 42, 43 top, 44 top, 45, 46 top, 47, 48, 49

top, 58 top, 62, 65 top, 76, 78, 79 top right, 80, 83, 85

top, 86, 88, 89, 90, 92

James Steele and David Jenkins: Pierre Koenig, Phaid-

on, London, 1998: 52 bottom, 55 bottom

Neil Jackson is a british architect and architectural his-

torian who has written extensively on modern archi-

tecture in California, where he taught between 1985

and 1990. His 2002 book Graig Ellwood won the Sir

Banister Fletcher Award in 2003. This study of Pierre

Koenig is the result of a long freindship and a mark of

respect for a great architect. Professor Jackson cur-

rently teaches at the University of Liverpool.

T H E A U T H O R

79

80

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Living with Steel Final

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