case study house 4

Sunday, August 30, 2009

Case study house no. 4, greenbelt house by architect, ralph rapson.

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A Virtual Look Inside Case Study House #4, Ralph Rapson’s "Greenbelt House"

Cranbrook Archives Finding Aids

Case Study House #4, undated

Collection scope.

The Biographical series (1937-1980) is very small and does not contain much material relative to Rapson’s early life, however, materials relative to his education are contained here. The Teaching series (1941-1954) contains correspondence, coursework materials and publications relevant to Rapson’s experiences in Boston and Chicago. They are arranged alphabetically, then chronologically. Competitions (1935-1954) is a series which primarily contains materials about the various competitions that Rapson entered from 1935-1954. The bulk of this series is secondary source materials – pre-competition announcements and post-competition publications. The series is arranged chronologically. The Projects (1938-1955) series includes residences, institutional projects and embassies. It is also alphabetically and covers 1938-1954. Of note is the correspondence with various clients, especially for projects that were not built and are heretofore unknown. The Research (1935-1954) series has been artificially arranged alphabetically by subject. While most of these secondary source materials can be found in original publications in research/university libraries (including Cranbrook Academy of Art Library), they remain part of this collection as they reflect Rapson’s interests and thought processes regarding architecture, materials use, and design. The researcher will find distinct connections by utilizing this series in conjunction with project files, photographs, and architectural drawings. Photographs (undated) includes reproduction photographs of architectural drawings – most of which are in the collection; some of which were retained by family members. The bulk of the Negatives (undated) series are copy negatives which were made by Rapson and others, in large part to illustrate the publication Ralph Rapson: Sixty Years of Modern Design. The Oversize (undated) series contains a copy of arts and architecture from August 1945, comprising the pages relating to the Case Study House #4 project, and oversize prints of drawings. The Architectural Drawing series (1939-1954) contains drawings related to embassies, competitions, and residential projects.

Access to the collection is, for the most part, unrestricted. However, there are restrictions for access of the U.S. Embassy materials. This includes specifications, interior photographs, and architectural drawings, particularly floor plans and mechanical/electrical drawings. Permission must be obtained from the U.S. Government to allow access to these materials.

From the Collection: 20.3 Linear Feet (8 MS, 1 OS, 84 OS folders)

Language of Materials

From the Collection: English

Related Names

• From the Collection: Rapson, Ralph, 1914-2008 (Person)

Physical Storage Information

• Container: Box 6, Folder: 1 (Still Images)

Repository Details

Part of the Cranbrook Archives, Cranbrook Center for Collections and Research Repository

Collection organization

Case Study House #4, undated, Container: Box 6, Folder: 1. Ralph Rapson Papers, 2012-01. Cranbrook Archives, Cranbrook Center for Collections and Research.

Cite Item Description

Case Study House #4, undated, Container: Box 6, Folder: 1. Ralph Rapson Papers, 2012-01. Cranbrook Archives, Cranbrook Center for Collections and Research. https://archives.cranbrook.edu/repositories/2/archival_objects/1376 Accessed April 08, 2024.

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The Case Study houses that made Los Angeles a modernist mecca

Mapping the homes that helped to define an era

Los Angeles is full of fantastic residential architecture styles, from Spanish Colonial Revival to Streamline Moderne. But the modernist Case Study Houses , sponsored by Arts & Architecture and designed between the 1940s and 1960s, are both native to Southern California and particularly emblematic of the region.

The Case Study series showcased homes commissioned by the magazine and designed by some of the most influential designers and architects of the era, including Charles and Ray Eames, Richard Neutra, and Pierre Koenig. The residences were intended to be relatively affordable, replicable houses for post-World War II family living, with an emphasis on “new materials and new techniques in house construction,” as the magazine’s program intro put it.

Technological innovation and practical, economical design features were emphasized—though the homes’ scintillating locations, on roomy lots in neighborhoods like Pacific Palisades and the Hollywood Hills , gave them a luxurious allure.

With the help of photographer Julius Shulman , who shot most of the homes, the most impressive of the homes came to represent not only new styles of home design, but the postwar lifestyle of the booming Southern California region.

A total of 36 houses and apartment buildings were commissioned; a couple dozen were built, and about 20 still stand in the greater Los Angeles area (there’s also one in Northern California, a set near San Diego, and a small apartment complex in Phoenix). Some have been remodeled, but others have been well preserved. Eleven were added to the National Register of Historic Places in 2013.

Here’s a guide to all the houses left to see—but keep in mind that, true to LA form, most are still private residences. The Eames and Stahl houses, two of the most famous Case Study Houses, are regularly open to visitors.

As for the unconventional house numbering, post-1962 A&A publisher David Travers writes that the explanation is “inexplicable, locked in the past.”

Case Study House No. 1

J.R. Davidson (with Greta Davidson) designed this house in 1948 (it was actually his second go at Case Study House No. 1). It was intended for “a hypothetical family" with two working parents and was designed to require "minimum maintenance.”

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Case Study House No. 2

Case Study House No. 2 was designed in 1947 by Sumner Spaulding and John Rex. Arts & Architecture wrote that the home’s layout “achieves a sense of spaciousness and flexibility,” with an open living area and glass doors that lead out to adjoining terraces.

View this post on Instagram A post shared by Samuel Dematraz (@samueldematraz) on Oct 28, 2018 at 1:07am PDT

Case Study House No. 7

Case Study House No. 7 was designed in 1948 by Thornton M. Abell. It has a “three-zone living area,” with space for study, activity, and relaxation/conversation; the areas can be separated by sliding panels or combined.

Eames House (Case Study House No. 8)

Legendary designer couple Charles and Ray Eames designed the Eames House in 1949 and even Arts & Architecture seemed kind of blown away by it. The home is built into a hillside behind a row of Eucalyptus trees on a bluff above Pacific Palisades. It's recognizable by its bright blue, red, and yellow panels. The Eameses lived in the house until their deaths. It’s now open to visitors five days per week, though reservations are required.

Entenza House (Case Study House No. 9)

The Entenza House was built in 1949 and designed by Charles Eames and Eero Saarinen for Arts & Architecture editor John Entenza. According to the magazine, “In general, the purpose was to enclose as much space as possible within a reasonably simple construction.”

Case Study House No. 10

Case Study House No. 10 was designed in 1947 by Kemper Nomland. The house is built on several levels to mold into its sloping site. Recently restored, the home sold to Kristen Wiig in 2017.

Case Study House No. 15

Designed by J.R. Davidson in 1947, Case Study House No. 15 has south walls made of huge glass panels. Its flagstone patio and indoor floor are at the same level for that seamless indoor-outdoor feel. According to the magazine, the floorplan “is basically that of another Davidson house, Case Study House No. 11,” which has been demolished.

View this post on Instagram A post shared by Samuel Dematraz (@samueldematraz) on Nov 15, 2018 at 6:13am PST

Case Study House for 1953

Craig Ellwood’s Case Study House for 1953 is usually numbered as 16 in the Case Study series . It has a modular steel structure and “the basic plan is a four-foot modular rectangle.” But the interior walls stick out past the exterior walls to bring the indoors out and the outdoors in. The Bel Air house hit the market in November with a $3 million price tag.

Case Study House No. 17 (A)

Case Study House No. 17 (A) was designed by Rodney Walker in 1947. A tight budget kept the house at just 1,560 square feet, “but more space was gained through the use of many glass areas.” The house also has a large front terrace with a fireplace that connects the indoor living room fireplace. The house has been remodeled .

View this post on Instagram A post shared by Case Study House #17, 1947 (@casestudy17) on Jun 11, 2016 at 2:20pm PDT

Case Study House No. 17 (B)

Case Study House No. 17 (B) was designed in 1956 by Craig Ellwood, but “governed by a specific program set forth by the client.” Ellwood took into account the clients' collection of contemporary paintings and made the living room “purposely undersized” to work best for small gatherings. The house was extensively remodeled in the sixties by Hollywood Regency architect John Elgin Woolf and his partner, interior designer Robert Koch Woolf.

View this post on Instagram A post shared by BAUKUNST™ El Arte de Construir (@i_volante) on Aug 13, 2017 at 4:42pm PDT

West House (Case Study House No. 18 [A])

Case Study House No. 18 (A) was designed by Rodney Walker in 1948. The house is oriented toward the ocean, but set back from the cliff edge it sits on to avoid noise issues. As A&A says, "High above the ocean, the privacy of the open south and east exposures of Case Study House No. 18 can be threatened only by an occasional sea-gull." The house features a "bricked garden room" separated from the living room by a two-sided fireplace.

View this post on Instagram A post shared by CaseStudyHouse18A (@casestudyhouse18a) on Oct 6, 2018 at 8:44pm PDT

Fields House (Case Study House No. 18 [B])

Case Study House No. 18 (B) was designed by Craig Ellwood in 1958. Ellwood didn’t attempt to hide that the house was prefabricated (the magazine explains that he believed “that the increasing cost of labor and the decline of the craftsman will within not too many years force a complete mechanization of residential construction methods”). The components of the house, however, are “strongly defined with color: ceiling and panels are off-white and the steel framework is blue.” According to A&A' s website, the house has been remodeled.

View this post on Instagram A post shared by MCM Daily (@dc_hillier) on Oct 29, 2018 at 8:32pm PDT

Case Study House No. 20 [A])

This two-bedroom house was meant “to serve young parents who find they can afford just that much,” according to architect Richard Neutra’s description. He also wrote that he used several different kinds of natural wood in the house.

Bass House (Case Study House No. 20 [B])

The Bass House was designed in 1958 by Buff, Straub, and Hensman for famed graphic designer Saul Bass. It's “unique in that it was based upon the experimental use of several prefabricated Douglas fir plywood products as part of the structural concept,” including hollow-core plywood vaults that covered the central part of the house.

Case Study House No. 21

Pierre Koenig designed Case Study House No. 21 in 1958. It was originally completely surrounded by water, with a walkway and driveway spanning the moat at the front door and carport, respectively. The house was severely messed with over the years, but restored in the ’90s with help from Koenig.

Stahl House (Case Study House No. 22)

Pierre Koenig's Stahl House , designed in 1960, is probably the most famous house in Los Angeles, thanks to an iconic photo by Julius Shulman . The house isn't much to look at from the street, but its backside is mostly glass surrounding a cliff's-edge pool. Tours are available Mondays, Wednesdays, and Friday—but book well ahead of time, as they sell out quickly.

Case Study House for 1950

The unnumbered Case Study House for 1950 was designed by Raphael Soriano. It's rectangular, with living room and bedrooms facing out to the view. However, in the kitchen and eating areas, the house “turns upon itself and living develops around a large kitchen-dining plan opening upon a terrace which leads directly into the living room interrupted only by the mass of two fireplaces.” According to A&A 's website, the house has been remodeled.

Frank House (Case Study House No. 25)

The two-story Frank House was designed by Killingsworth, Brady, and Smith and Associates in 1962 and it sits on a canal in Long Beach. A reflecting pool with stepping stones leads to its huge front door and inside to an 18-foot high courtyard. The house sold in 2015 with some unfortunate remodeling .

Case Study House No. 28

Case Study House No. 28 was designed in 1966 by Conrad Buff and Donald Hensman. According to the magazine, “the architects were asked to design a house that incorporated face brick as the primary structural material to demonstrate its particular advantages.” They came up with a plan for two symmetrical wings joined by glass galleries.

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Wieler's Rapson Greenbelt Houses were originally designed by Ralph Rapson , the influential Modernist architect. His design of Case Study House #4 was called the "Greenbelt House" due to a unique glass atrium which divided the home into public and private spaces. The Greenbelt House was, and continues to be, an influential model for architects around the world. The Greenbelt Houses, through a partnership with Ralph Rapson & Associates , are available to homebuyers across the United States, exclusively from Wieler.

The Greenbelt 1 is a 3-bedroom house with 1,560 ft 2 of interior space.

The Greenbelt has been designed to fit into a variety of lifestyle needs. First-time homebuyers may be interested in the Starter , which can also serve as a detached office or guest house. Larger families will find the Greenbelt 2 , with its 5 bedrooms, to be suitable for their needs. Greenbelt floor plans range from 576 to 2,660 square feet, and also include townhouse designs. Browse our selection of Greenbelt designs to pick out the home that's just right for you or contact Wieler to customize a Greenbelt House to meet your needs.

• Up to 4 bedrooms
• From 10 foot ceilings in the Greenbelt Starter to 20 foot ceilings in the Greenbelt 2's Atrium
• 8-foot tall aluminum sliding windows with insulated double-pane low-e glazing
• Fiber-cement siding and trim
• >R-30 roof insulation, R-19 wall insulation
• Fully-adhered EPDM membrane roof
• Wood floors, with carpet in the bedrooms and tile in the kitchen and bathrooms. Other options are available.
• Fully wired for phones, computers, and home entertainment
• 200 Amp electrical service

A Greenbelt 2 in Sag Harbor, Long Island, NY

Interior rendering of the Greenbelt 1

all content © 2003-2024 WIELER unless otherwise noted.

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Difundir el Arte

Descripción de difundir el arte

ARTS AND ARCHITECTURE. CASE STUDY HOUSE 4. CASA GREENBELT

26/03/2021 Por Sara Resa

Continuamos con la serie de artículos sobre el programa Case Study House de la revista californiana Arts and Architecture. En esta ocasión, daremos un paseo por… Case Study House 4, también denominada “Greenbelt House”. Analizaremos y exploraremos este original ejemplo de arquitectura modernista que lamentablemente no llegó a construirse.

En el número de Agosto de 1945 se presentó la propuesta del arquitecto estadounidense Ralph Rapson. El artículo que recoge dicha propuesta no ofrece información alguna sobre los condicionantes del caso, disponiéndose directamente a presentar la solución.

IDEA GENERADORA

Rapson diseña una casa entendida no como solución individual, sino como solución tipo para la construcción de viviendas en el interior de la ciudad , lo que se adecúa perfectamente a las exigencias del programa. La casa Greenbelt se basa en la premisa de que la propia vivienda debe generar su propio entorno , mirando hacia el interior y no hacia el exterior. Para ello, genera un espacio central con cubierta acristalada lleno de vegetación que introduce el exterior en la vivienda, un espacio en el que el hombre puede asociarse con la naturaleza desde el corazón de su hogar. Puede decirse que Rapson lleva hasta sus últimas consecuencias la idea de unidad filtro que Wruster-Benardi-Emmons proponen en el porche de su Case Study House 3.

Esta es la idea generadora del proyecto, cuya potencia es evidente en la perspectiva de la imagen anterior, en la que el espacio acristalado destaca notablemente. No obstante, pese a que Rapson considera que la vivienda debe mirar hacia sí misma, nos presenta una solución en la que la casa se expande también al exterior en zonas como el salón. Por ello, no solamente introduce la naturaleza en el corazón de la vivienda, sino que a su vez la rodea de ella. Por otro lado, el término Greenbelt hace referencia a un cinturón verde, más apropiado como elemento circunvalatorio que centralizado, lo que invita a pensar en un borde periférico de la vivienda. En este caso, el espacio Greenbelt es el corazón del proyecto, funcionando como un patio interior o invernadero . Estas aparentes incongruencias no lo son tanto, ya que la idea generatriz puede ser aplicada a un modelo sin terreno circundante, debido a que el espacio Greenbelt es lo suficientemente grande para poder ser la única fuente de iluminación y ventilación natural de la vivienda.

Al margen de estas diserciones, las indudables posibilidades del espacio Greenbelt son infinitas, ya que tal como plantea Rapson este espacio puede ser diseñado según los gustos o necesidades del propietario con gran flexibilidad . Así, puede ajardinarse en mayor o menor medida, introducir una piscina o pequeños estanques, dejar zonas pavimentadas, incluir comedores al exterior, zonas de juego, solariums… En cualquier caso la barrera entre la naturaleza y el hombre se superará mediante este espacio, permitiendo el ideal de vida al aire libre , fundamental para una mente y cuerpo sanos, según el pensamientos del arquitecto.

FUTURISMO MID CENTURY MODERN

La arquitectura modernista norteamericana de mediados del siglo XX mostró habitualmente estéticas de clara herencia futurista , mediante la adopción de elementos propios del maquinismo, las nuevas tecnologías y la sencillez de líneas en el diseño.

La reflexión estadounidense sobre lo que debe ser la vivienda del futuro, unido a la concepción de sueño americano, provocó la realización de diseños en los que la vivienda se presenta como una unidad dotada de todos los avances tecnológicos existentes, para satisfacer todas las necesidades humanas, así como procurar una gran calidad de vida y permitir el ocio en el hogar.

Las nuevas viviendas, gracias a la tecnología, se ha convertido en algo más que un lugar para el descanso y cobijo, adquiriendo tantas funciones como hobbies o necesidades tenga la familia. Tal como apreciamos en la imagen de arriba, los nuevos sistemas constructivos y materiales permiten la construcción de “microespacios” . Ámbitos asociados al hogar que poseen su propio clima y posibilitan el ideal de vida que desee cada usuario. Esta filosofía de vida es evidente en la casa Greenbelt de Rapson, en la que su espacio-invernadero, el cual puede diseñarse a gusto de cada usuario, es el corazón de la vivienda y la idea generadora del proyecto.

Además, la estética futurista influyó en el diseño de los vehículos, condicionando la forma de entender la relación entre la vivienda y los medios de transporte . El automóvil, objeto ya indispensable en la forma de vida estadounidense, se presenta como campo de investigación de las nuevas tecnologías. La comunicación aérea se establece como una posibilidad futura, integrando aeronaves o automóviles híbridos tierra-mar-aire.

En las perspectivas de la propuesta de Rapson vemos que los medios de transporte vinculados a la vivienda toman una gran importancia. Así, no solamente integra el porche abierto característico de la arquitectura modernista, sino que introduce un helicóptero de uso privado a la vivienda. La casa Greenbelt, ya está preparada para el futuro, funcionando como una microunidad independiente del exterior que se dota de un todoterreno y una aeronave que permite la comunicación de este microcosmos con el resto del mundo.

EL PROGRAMA DE LA VIVIENDA

El programa de la vivienda se desarrolla en una única planta y se organiza en torno a un eje oeste-este que es ocupado por el Greenbelt . El acceso rodado a la parcela se realiza por su lado sur, donde se ubica un gran porche abierto para estacionar el vehículo (7). Sin embargo el acceso peatonal se realiza por el lado oeste de la parcela, desde donde parte un camino parcialmente cubierto que llega hasta la vivienda, atraviesa el Greenbelt bifurcándose en varios caminos y sale, por el lado este, al jardín trasero.

La vivienda propiamente dicha posee planta casi cuadrada, quedando el programa dividido por el Greenbelt. Así, el ala norte se destina a las estancias de descanso y el ala sur se destina a las estancias diurnas. Los dormitorios (4, 5 y 6) son de modestas dimensiones pero cuentan con un espacio común totalmente abierto al Greenbelt que permite el desarrollo de las distintas actividades familiares tales como música, lectura, juego… Estas estancias se ventilarán e iluminarán través de ventanas altas en la fachada norte, mientras que el espacio común disfrutará de la iluminación y ventilación del Greenbelt. Entre el dormitorio principal y los secundarios se ubican los baños de la vivienda, los cuales comunican con el dormitorio principal y con la zona común respectivamente.

En la imagen superior observamos el dibujo del dormitorio principal (6) con su baño. El dormitorio dispone de un armario adosado a la fachada norte, ya que no necesita abrirse al exterior. La parte superior al armario sirve para integrar ventanas altas que iluminen y ventilen el espacio. Además, el paramento que lo separa del espacio común está compuesto por paneles correderos , de tal forma que éstos pueden ser corridos integrando el dormitorio completamente en el Greenbelt. Los dormitorios se abren al interior, aislándose del exterior.

En el ala sur se ubican las estancias diurnas como la cocina (1), el comedor (2) y el salón (3). La cocina se ubica en la esquina suroeste, próxima al garaje, de tal forma que sea rápido y cómodo abastecerla sin interrumpir el resto de actividades de la vivienda. Además, cuenta con una excelente visual de toda la casa al contar con vidrio en la parte superior de sus paramentos verticales. Desde la cocina se tiene acceso a una zona del jardín en la que se puede tender la ropa y realizar otras tareas domésticas.

En el dibujo superior observamos cómo la relación visual de la cocina con los espacios adyacentes es notable, disponiéndose el mobiliario de tal forma que permita un gran acristalamiento. El equipamiento de la cocina tiene en cuenta no únicamente el funcionalismo y la eficiencia, sino la articulación del espacio. Para que la cocina disponga de una buena visual del hogar y esté convenientemente cerrada para evitar malos olores, Rapson la acristala y racionaliza la utilización de aparatos y zonas de almacenaje. Una gran encímera permite albergar sistemas de ultracongelado, lavadora, secadora, planchado y todo lo necesario para el día a día de la casa. El amueblamiento se propone en acero inoxidable con acabado sin reflejos a prueba de rayones. Los frentes de los muebles altos se realizarán correderos y de madera.

Por otro lado, el comedor y el salón se desarrollan en el mismo espacio y quedan totalmente abiertos al Greenbelt. Las estanterías y librerías se ubican en la fachada sur, de tal forma que no se interrumpe la comunicación espacial en el interior de la vivienda. No obstante, este espacio no se cierra al exterior con la misma rotundidad que los dormitorios, presentando grandes superficies acristaladas en su fachada este y sur.

CONSTRUCCIÓN Y MATERIALES PROPUESTOS

En general, Ralph Rapson aboga por el empleo de elementos estandarizados o prefabricados que agilicen la construcción y abaraten costes. La estructura del edificio se compone de vigas y pilares metálicos o de madera, dependiendo esta elección de la disponibilidad y el costo en el momento de su construcción.

La cubierta de las estancia vivideras se realizará mediante paneles metálicos ondulados con aislamiento, mientras que en la zona del Greenbelt se acristala mediante vidrios termoaislantes con lamas que permitan ventilar y controlar la temperatura del interior.

A su vez, los cerramientos se componen de paneles de diversos materiales (madera, vidrio, metal) y medidas estándar, que permiten intercambiarlos a gusto del cliente, aportando una gran flexibilidad . El marco de los paneles se plantea en color gris claro, mientras que los paneles opacos se proponen en colores intensos, evitando las tonalidades pastel. Este aspecto encaja perfectamente con el requerimiento del programa de emplear sistemas prefabricados. A este respecto, Rapson realiza una reflexión sobre el incierto éxito de estos sistemas, y es que para el arquitecto norteamericano, la razón por la que la mayor parte de los sistemas prefabricados fallan radica en la falta de flexibilidad de los mismos, no solamente a nivel de diseño sino también a nivel comercial.

Para calefactar el espacio, el arquitecto selecciona un sistema de suelo radiante con baldosas esmaltadas huecas que permiten la circulación de laire caliente en su interior. Si el costo de este sistema sobrepasara el presupuesto, se emplearía un sistema tradicional de suelo radiante por tubería bajo baldosas de mortero coloreado.

Los falsos techos de la vivienda se pintarán de color blanco. Sin embargo, en la cocina y los baños se instalarán paneles de vidrio esmerilado con tubos fluorescentes integrados para la iluminación del espacio.

Aunque en los números de Enero y Febrero de 1946 se añadieron más especificaciones técnicas y constructivas de la casa Greenbelt, ésta no llegó a construirse.

Pese a ello, su proyecto fue uno de los más originales del programa , que supo de una manera brillante adecuarse a los postulados del mismo y presentar una potente idea y una buena ejecución proyectual. Rapson presenta claramente su idea de lo que debe ser la vivienda estadounidense tras la guerra y apuesta firmemente por ello.

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• ARTS AND ARCHITECTURE. CASE STUDY HOUSE 10

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Case study definition

Case study, a term which some of you may know from the "Case Study of Vanitas" anime and manga, is a thorough examination of a particular subject, such as a person, group, location, occasion, establishment, phenomena, etc. They are most frequently utilized in research of business, medicine, education and social behaviour. There are a different types of case studies that researchers might use:

• Collective case studies

• Descriptive case studies

• Explanatory case studies

• Exploratory case studies

• Instrumental case studies

• Intrinsic case studies

Case studies are usually much more sophisticated and professional than regular essays and courseworks, as they require a lot of verified data, are research-oriented and not necessarily designed to be read by the general public.

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• Determine the primary issues by analyzing the scenario. Think about how they connect to the main ideas and theories in your piece.

• Find and investigate any theories or methods that might be relevant to your case.

• Keep your audience in mind. Exactly who are your stakeholder(s)? If writing a case study on coffee roasters, it's probably gonna be suppliers, landlords, investors, customers, etc.

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Case Study House #20 was designed by Conrad Buff, Calvin Straub, and Donald Hensman. This house was built in 1947 for Saul Bass and is located in Altadena, California.

In the case study house #20, the architects choose to use traditional and innovative material for its construction. Wood was used for framing the house while they choose stressed skin fir plywood panels for continuous light weigh beams. The roof was all plywood except for the hollow core plywood vaults. The panels, vaults and box beams were trucked to the site and handled by forklift hoist, which made rapid erection possible. The vaults covering the central area of the house were positioned and initially secured in less than an hour and a half. No special difficulties were encountered other than assembling the components together. The beams were made of plywood forming a 12-inch hollow box. They span 16 feet and formed a series of 8-foot bays. The bays are roofed with sandwich panels and factory-formed vaults.

The vaults were custom-built for the job to the same 2-inch thickness as the panels, and were pressure-glued and bent into the required forms.

"We wonder for a while about the validity of detaching the roof and denying the system already established in the rectangle," Straub said: "But for this particular client we wanted to break down the uniformity and arrive at a new expression."

Posts, beams and connecting plywood panels were constructed in Berkeley, California, of Douglas fir plywood and brought to Altadena where workers awaited them. The house was one of the first to be prefabricated; not for mass production, but for ease of construction.

Conrad Buff III, Calvin Straub and Donald Hensman, still young faculty member at the University of South California, had become interested in the factory-formed plywood vault while designing a vacation house project for "Look" magazine. Saul Bass found the vault concept stimulating; the architects were invited to experiment.Although the architects were the first to use the vaults, they consider the space relationships more radical in nature than the factory products. Nevertheless, they had their difficulties in obtaining a permit from the city building department.

"We presented them all sorts of calculations-so did the plywood engineers-but the city wasn't satisfied until one vault was erected and jumped on," the architects recalled.

The house differed from others designed by the firm in two respects, according to Straub: "The character of space was very precise, and there were no overhangs. Overhangs were omitted because of the numerous trees on the property and adjoining lots, while the preciseness is a consequence of the engineered house." The 1/8-inch tolerance was the closest ever used in a wood house.

The house plan was planned and design inward and organized into social living. It is devised as kitchen, formal in informal dining, children's wing and adult wing, the latter including but separated from Saul Bass's studio. All major rooms open directly onto courts and decks.

Obviously, Saul Bass was impressed with the architects work: "It is my business to visualized," he said, "but the house was full of surprises. The architects must take full credit."

About the vault he said: " They are an important visual aspect, but the beauty of the spaces does not depend upon them. They add the richness of curved space, and the sensuous satisfaction of curved volumes, but what was most pleasing were the vistas from every point. As in the piazza system of European cityscapes, you move around a bend and space are revealed. You wander through space." Although he collaborated very little on the actual design, he did install the tiles in the pool in the rear yard, and created the white tile mural at the front of the house that softens the starkness of the carport. Unfortunately Saul Bass didn't live in the house very long. His divorce forced its sale.

One important visual aspect of the house was the giant Italian pine tree. The architects used it as an umbrella. Unfortunately the tree had to be cut down which sadden Calvin Straub very much. On a visit in the late 80's for a documentary, Straub discovered that only an enormous stump remained (cut clean as of today). It had been a victim of itself, beginning to displace the house and threaten the windows during windstorm. "You could hear its branches hit the glass, and during parties people would literally jump over the sofas when they heard the tree sway," said a former owner.

Elizabeth Smith and her crew from MOCA museum (The Museum of Contemporary art, Los Angeles) studied, photographed and filmed the house in the late 80's. It resulted in an exhibit presented at the MOCA museum from 17, 1989 - Feb. 18, 1990: "Blueprints for Modern Living: History and Legacy of the Case Study Houses." Calvin Straub and Saul Bass were reunited for the first time in 30 years.

Like many experimental project, saving cost is almost impossible when testing new technologies and method of construction. Many hours was spent on studying the sandwich panels, vault and box beams to make them compatible with architecture. Meeting with city building department was also time consuming. Although foundation and frame was built using traditional techniques and skill construction worker, real craftsmen were used to take over the frame. All this raises the cost of construction considerably. The only way plywood elements could have been proven an economy was for the architects to carry their knowledge into tract housing.

However this was not done.

• Case Study Houses 1945-1962, by Esther McCoy, Hennesey & Ingalls Editiors, Altadena Weekly July 27- August 2 1989

All our texts and many of our images appear under the Creative Commons Attribution Share-Alike License ( CC BY-SA ). All our content is written and edited by our community.

Bailey House

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CASE STUDY HOUSES : UNBUILT

CSH 24 was designed by A. Quincy Jones and Frederick E. Emmons in 1961.  It features a sunken living space surrounded by outdoor rooms.  The house is partially embedded within the landscape, surrounded by a retaining wall.  

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Case Study House Series: House No. 4

• September 6, 2018
• Brooke Sanders

The Case Study Houses were and are an illustration of modernism’s intended audience—the masses. These homes were intended to change the way we look at residential design and forever alter the way we live. Built or unfinished, preserved or lost, join us as we take a closer look at each of the iconic designs that carry the name “Case Study House.”

Tour houses one , two and three .

Case Study Houses 101

Looking ahead to a post-war building boom, the editor of Arts & Architecture magazine began an innovative program to create eight houses by eight nationally known architects—including Richard Neutra, Eero Saarinen, and Charles Eames—each to address a specific living problem.

Without the restrictions of war, designs were to be focused on new materials and construction techniques for these “contemporary dwelling units”. Though not all houses were built, the program spanned from 1945-1966, and included 36 designs located mainly in the Southern California area. With the intent to be accessible for the average family, the houses were designated a budget (subject to price fluctuation) and had to be easily duplicated.

Meet House #4

Introduced in the August 1945 issue, the challenge of Case Study House #4 was not to connect outward with nature, but to create an internal environment within the home’s four walls. The “Greenbelt” house—named for the grand central atrium—was designed for a city lot by architect Ralph Rapson, only 31 years old at the time.

The Greenbelt

The large, glassed-in atrium area brought nature into the home while separating the food and living areas from the sleeping and relaxation rooms. “By creating a large inside grassed and planting area, the artificial barrier between man and nature is dissolved,” the original article states. The design was to be fluid with the owner’s needs, perhaps used as a planting or vegetable garden for some, while others might use the space for a croquet court or a small swimming pool.

As we’ve seen in previous Case Study houses, the kitchen (or “food center” as they call it) is systematically combined with the utility and located close to the carport and front entrance. Sleeping and play areas open directly to the atrium, utilizing folding doors and partitions for privacy.

While we saw many built-in features in Case Study Houses 1 and 2 , the Greenbelt’s interior design focused on personalization with only minimal furniture in essential areas. “All furniture and storage units will be kept light and mobile with as little as possible ‘built in,’” says Arts & Architecture .

Unique Construction

Rapson—who concentrated on affordability and prefabrication before and after this project—planned the home to be built from a flexible prefabrication model, utilizing materials easily available at the time of construction. The exterior was fashioned as a grid, allowing for interchangeable panels of glass or solid elements to meet the owner’s individual needs and/or budget. “The panels may be fixed or moving and may be solid, opaque, or clear glass,” states the article. Insulated metal deck panels were used for the roof, while either wood or steel made up the simple beam and column structure. To provide cost flexibility, several heating options were discussed including radiant floor panel heating, hot water circulation through pipes, or hot air via clay tile ducts.

The Long Road To Completion

Unable to find the necessary funds at the time, it took decades for Rapson’s vision to become a reality. The Greenbelt was finally built for an exhibition celebrating the Case Study House legacy at the Los Angeles Museum of Contemporary Art, where it was on display from 1989 through 1990.

Learning of a prefabricated home competition in a 2003 Dwell magazine, Rapson contacted the editor and, along with 15 other noted architects, was invited to submit. Rapson still found the 1954 design relevant and presented it with a few modifications. Although the Greenbelt didn’t win, Nathan Wieler, the developer behind the competition, tapped Rapson to construct the house design in 2004. Still available today through Weiler, home buyers in the United States can choose between seven different versions of the Greenbelt! To learn more, click here .

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• arts & architecture
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• Case Study House series
• Ralph Rapson
• Southern California

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