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In 1945, at just 31 years of age, Ralph Rapson was the youngest of nine architects selected to participate in the seminal Case Study Houses Program for John Entenza's Arts + Architecture magazine. The goal of the program was to apply technological innovation and Modernist principles to prototype homes designed for ordinary families. The program yielded a series of iconic modern designs including the Eames' Case Study House #8, Pierre Koenig's Stahl House, and several of Richard Neutra's classic mid-century designs. Rapson's Case Study House #4 won the acclaim of architects and critics alike, and was widely considered one of the most progressive of the submissions.

Case Study House #4 had 1,800 square feet and featured the "Greenbelt"—a central, park-like interior enclosed by a translucent wire-glass roof bisecting two parallel pavilions. The use of glass and an "interior activity space" remained central components of Rapson's signature style for residential designs throughout his career. According to Rapson, the Greenbelt House was designed to "bring nature within the house—not in small, pretty, planted areas but in a large scale that will do justice to nature."

In 2003, Dwell magazine invited 16 architects to submit modern prefab designs for clients Ingrid and Nathan Wieler. The Dwell Home Design Invitational was inspired by Entenza's Case Study Houses Program and has been cited as the source for the public's revived interest in modern pre-fab homes. Rapson—the most experienced architect in the group and the only original Case Study architect involved—submitted an updated version of his Case Study House #4, which he called The Greenbelt.

The Rapson Greenbelt series of homes by Wieler is a reprisal of the original Case Study #4 design, improved with almost 60 years of experience in architecture and design and updated to take advantage of the latest modular construction technologies. The Greenbelt is available in several different configurations , and is typically built in a factory then delivered and assembled at your home site.

View the available Greenbelt designs...

The Rapson Greenbelt is based on Case Study House #4, which was introduced in the November 1945 issue of Arts + Architecture magazine.

The March 2005 issue of Architecture magazine featured the Greenbelt on the cover, and included an interview with Ralph Rapson. Download the article [PDF].

all content © 2003-2024 WIELER unless otherwise noted.

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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 .

Related Topics

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

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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 June 21, 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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Ralph Rapson's Case Study House #4, designed in 1945

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"

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Modern California Houses Case Study Houses 1945 1962

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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.

How to write a case study?

It very much depends on the topic of your case study, as a medical case study and a coffee business case study have completely different sources, outlines, target demographics, etc. But just for this example, let's outline a coffee roaster case study. Firstly, it's likely going to be a problem-solving case study, like most in the business and economics field are. Here are some tips for these types of case studies:

• Your case scenario should be precisely defined in terms of your unique assessment criteria.

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• 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.

• Indicate the best solution(s) and how they should be implemented. Make sure your suggestions are grounded in pertinent theories and useful resources, as well as being realistic, practical, and attainable.

• Carefully proofread your case study. Keep in mind these four principles when editing: clarity, honesty, reality and relevance.

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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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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.

• LOS GRACO: SU IDENTIDAD FAMILIAR EN EL ARTE
• EVOLUCIÓN DE LA ARQUITECTURA FUNERARIA EN EL ANTIGUO EGIPTO XII
• ARTS AND ARCHITECTURE. CASE STUDY HOUSE 10

• à propos

Pierre Koenig

Stahl house.

The Case Study House Program produced some of the most iconic architectural projects of the 20th Century, but none more iconic than or as famous as the Stahl House, also known as Case Study House #22 by Pierre Koenig. The modern residence overlooks Los Angeles from the Hollywood Hills. It was completed in 1959 for Buck Stahl and his family.

Buck Stahl had envisioned a modernist glass and steel constructed house that offered panoramic views of Los Angles when he originally purchased the land for the house in 1954 for $13,500. Stahl had originally begun to excavate and take on the duties of architect and contractor; it was not until 1957 when Stahl hired Pierre Koenig to take over the design of the family’s residence.

The two-bedroom, 2’200 square foot residence is a true testament to modernist architecture and the Case Study House Program. The program was set in place by John Entenza and sponsored by the Arts & Architecture magazine. The aim of the program was to introduce modernist principles into residential architecture, not only to advance the aesthetic, but to introduce new ways of life both in a stylistic sense and one that represented the lifestyles of the modern age.

Pierre Koenig was able to hone in on the vision of Buck Stahl and transform that vision into a modernist icon. The glass and steel construction is understandably the most identifiable trait of architectural modernism, but it is the way in which Koenig organized the spatial layout of the house taking the public and private aspects of the house into great consideration. As much as architectural modernism is associated with the materials and methods of construction, the juxtaposition of program and organization are important design principles that evoke utilitarian characteristics.

The house is “L” shaped in that the private and public sectors are completely separated save for a single hallway that connects the two wings. Compositionally adjacent is the swimming pool that one must cross in order to get into the house; it is not only a spatial division of public and private but its serves as the interstitial space that one must pass through in order to experience the panoramic views.

The living space of the house is set back behind the pool and is the only part of the house that has a solid wall, which backs up to the carport and the street. The entire house is understood to be one large viewing box that captures amazing perspectives of the house, the landscape, and Los Angeles. Oddly enough, the Stahl house was fairly unknown and unrecognized for its advancement of modern American residential architecture, until 1960 when Julius Shulman captured the pure architectural essence of the house. It was the night shot of two women sitting in the living room overlooking the bright lights of the city of Los Angeles.

Client: Buck Stahl Drawings: Adam Caruso Chair ETH Zürich Photography: Julius Shulman

The Last Case Study House

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Above: Designed by Buff & Hensman and located in Thousand Oaks, California is CSH #28, the last house of Art & Architecture magazine’s Case Study House program. Photo: Julius Shulman / Getty Archives 

Located in Thousand Oaks, California Case Study House #28 was the last of the program that began in 1945 by Art & Architecture magazine. The Case Study program was an experiment in American residential architecture whose goal was to create show homes that showcased affordable, modern housing in response to the sudden increase in housing demand created with the return of millions of soldiers after the end of the Second World War. Designed by architect Jack W. Buktenica of the firm of Buff, Hensman and Associates Case Study House #28 was completed in 1966 and demonstrates that after 20 years of the Case Study Program the goal of affordable and modern housing had given way to simply showcasing innovations in modern architectural design and materials. The home is still around today and is listed on the U.S. National Register of Historic Places.

Designed by Buff & Hensman and located in Thousand Oaks California is #28, the last house of Art & Architecture’s Case Study House program. Photo: Julius Shulman / Getty Archives

Here is the text of the article introducing Case Study House #28 as it appeared in Art & Architecture Magazine in 1966.

CASE STUDY HOUSE NO. 28 BY BUFF, HENSMAN & ASSOCIATES, ARCHITECTS

Co-Sponsored by Pacific Clay Products and Janss Corporation

Interiors by Robert P. D’Amico of Ecological Design Associates with Marge Peterek Landscape

Architect: Jack W. Buktenica.

Photographed by Julius Shulman

This Case Study project grew out of a concern with the problems and advantages of face brick as the basic structural material in contemporary single-family residential construction. Despite its wide use in large scale building, face brick is used on the West Coast for its decorative rather than its structural properties, largely because of cost factors, which in turn are the result of stringent reinforcing requirements in building codes and resistance by labor to improved, more efficient construction methods. The architects were asked to design a house that incorporated face brick as the primary structural material to demonstrate its particular advantages. The solution introduces reinforced grouted walls and piers, laid in a standard one-third bond, and designed to take both horizontal and vertical loads and spanned by concealed steel beams. Joining the brick with glass results in a combination of materials requiring no finish and little maintenance during the life of the building.

The site is a knoll overlooking the Conejo Valley development of Janss Corporation 40 miles north of Los Angeles near Thousand Oaks. The house utilizes the site in its entirety, the overall periphery approximating a square and following the boundaries of the usable portion of the lot. In plan the house is composed of two symmetrical wings connected by glass-enclosed galleries. Living, dining, kitchen and study are in one, the five bedrooms in the other of the two parallel 95′ by 19′ wings. The major spaces and the galleries open onto a 54′ by 54′ central court, paved in brick and containing a swimming pool and planted areas, that forms a visual and physical center for the house. The low profile of the house, leaving views from surrounding sites unobstructed, is emphasized by wide overhangs which shade the extensive glass area (4500 square feet). In addition to their visual and sun control functions, the overhangs house continuous duct plenums for carrying conditioned air; the two central brick piers abutting on the interior court each houses the forced-air units for its wing. Thus the necessary heating and cooling elements have been made contributing visual factors in a concept that combines form, function and mechanical environmental controls.

The covered area of the house is about 5000 square feet, including the two connecting galleries. All interior floors are brick paver, relating to the brick of the central court and the terraces and patios; the family of earth colors in the various brick surfaces also integrates the house with the site and the larger environment. The combination of the past with today’s technology in the juxtaposition of the warm, natural brick with the meticulously detailed stainless steel framing for windows and sliding glass doors has also been reflected in the interior design.

Click on image for full view.

CSH #28 today. Designed by Buff & Hensman and located in Thousand Oaks California it is the last house of of Art & Architecture’s Case Study House program.

Check out these great books!

I have been secretly hoping that you would do a series on the Case Study houses, and whether or not you do a series, I love that you wrote about my favorite Case Study house. What interesting info – I did not realize that this was designed to showcase brick as a building material. This is one of those homes that transports me, that makes me feel that I have always known it. Thank you for this article.

More From Forbes

Systems leadership case study: workplanning using systems thinking.

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Thomas Lim is the Vice-Dean of Centre for Systems Leadership at SIM Academy. He is an AI+Web3 practitioner & author of Think.Coach.Thrive!

Workplanning usually involves a confluence of top-down and bottom-up approaches in many organizations. Some broad annual guidance is given by the CEO, with Finance providing a budget forecast based on historical data and the strategic imperatives for the new fiscal year. The line divisions then prepare and present a list of initiatives that purportedly contribute to these imperatives and justify their budget-ask.

This generally works in stable environments where the workplanning objectives are incremental as part of a longer five-year duration, but it may be inadequate in managing transformation efforts with the need for new systemic structures due to the merging or dissolving of functional areas within the organization.

Systems thinking provides a holistic approach to understanding and managing complex systems from the current reality to a desired outcome, making it an ideal tool for recasting workplans to enhance efficiency and effectiveness.

In the case of Client X, they aimed to leverage systems leadership practices to transform internally and propagate these practices first across its internal divisions, with the goal of taking it to the ecosystem at large. This article outlines a high-level approach to recasting the workplan using systems thinking tools, which has helped Client X align its initiatives, identify gaps and overlaps and achieve strategic objectives.

Best High-Yield Savings Accounts Of 2024

Best 5% interest savings accounts of 2024, what is systems thinking.

Systems thinking is an approach to problem-solving that views "problems" as parts of a unified whole. It involves understanding how different parts of a system interact and influence each other within the system. Unlike traditional linear thinking, systems thinking considers the broader context and the interconnections within the system and provides a systems map wherein these interactions are perceived as system-to-system, subsystem-to-subsystem or component-to-component.

In the case of Client X, adopting systems thinking means moving away from siloed operations and toward a more integrated and cohesive approach whereby a division’s work is mapped against another for synergistic outcomes. This can help the organization address complex challenges, improve decision-making and foster innovation by removing duplication and identifying implementation gaps.

Recasting The Workplan

The workplan recasting effort begins with "taking apart" the current work streams, not along the divisions’ lines of work but from an overall organizational lens. The leaders participating in this exercise have already been trained in the fundamentals of systems thinking tools. The three-day effort is about applying the systems concepts to model Client X’s journey from its current reality to its desired outcome through its articulated theory of success. The three-day session revolves around these workpieces both at the organizational level and at each strategic level:

1. Align And Select Tools/Models: Select the appropriate systems models and frameworks to guide the recasting process.

2. Apply Systems Thinking Practices: Rework existing work streams of the workplan as layers of interaction across nested hierarchies for each strategy.

3. Identify Interconnectedness: Understand how various initiatives are interconnected and the causal loops that would guide the process.

4. Identify Gaps And Overlaps: Detect any gaps and overlaps in the initiatives to optimize efforts and budgetary choices.

The specific steps that the team undertook during the three-day process included the following.

Step 1: Articulate Vision And Current Reality

Begin by clearly defining the vision and the current reality of the organization. This involves understanding the structural gap between where Client X is and where it wants to be. This step helps in identifying the key challenges and opportunities.

Step 2: Recast Workplan As A Nested Hierarchy Of Choices

Recast the workplan as a nested hierarchy of choices to ensure that decisions at every level are aligned and relevant. This helps in clarifying the strategic intent and who is responsible for what and aids in surfacing gaps and duplications, enabling better resource allocation and prioritization.

Step 3: Cluster Use Cases, And Prioritize Challenge Statements

Cluster the use cases, and prioritize the top three challenge statements that need to be addressed. This focuses the efforts on the most critical issues and ensures that resources are used effectively.

Step 4: Work On Chosen Challenge Statements

The selected challenge statements are put through using the levels of perspective "walk-up" framework to surface and test mental models for diagnosis. This helps in understanding the underlying assumptions and beliefs that drive current behaviors and outcomes.

Step 5: Create A Theory Of Success

Develop a theory of success that identifies the key levers at higher leverage for achieving the desired outcomes from key success factors. This provides a clear road map for action and helps in aligning efforts across the organization.

Step 6: Co-Create A Walk-Down Of The Levels Of Perspective

Collaborate with stakeholders to create a walk-down of the levels of perspective. This step aligns the challenge statement and diagnosis with a related growth strategy, ensuring that all efforts are coherent and strategic.

By integrating systems thinking into the recasting of its workplan, Client X was able to achieve a more cohesive, efficient and effective approach to its initiatives. The workplan was still central in execution, but it is now reinforced and streamlined for internal alignment in a way that was not possible before overlaying the systems thinking perspectives.

This approach can be extrapolated to enable other organizations to address complex challenges, optimize resource allocation and drive strategic outcomes. A coaching reinforcement can additionally be put in place to ensure that these practices are deeply embedded within the organization, leading to sustained transformation and growth.

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