THE STAHL HOUSEA HOME FOR THE MODERN FAMILY

THE STAHL HOUSEA HOME FOR THE MODERN FAMILY

A STUDY OF THE HOUSE DESIGNED BY PIERRE KOENIG1960, LOS ANGELES, CA

COMPILED BY KIMBERLY DILLIN

ACKNOWLEDGEMENTSTo my parents who have always believed in me,To my friends who have always been there for me,To the professors who have always encouraged me,

Thank you.

Thank you also to the Gett y Museum and the Stahl Foundati on for all the informati on, help, and cooperati on.

ALL CONTENT INTELLECTUAL PROPERTY OF KIMBERLY DILLINPlease contact k.dillin07@gmail.com with any questi onsCompleted at California Polytechnic State University, San Luis ObispoThesis Advisor: Ansgar Killing. Special thanks to Troy Peters.PUBLISHED 2012 BY blurb.com

To my friends who have always been there for me,To the professors who have always encouraged me,

Thank you also to the Gett y Museum and the Stahl Foundati on for all

ALL CONTENT INTELLECTUAL PROPERTY OF KIMBERLY DILLIN

Completed at California Polytechnic State University, San Luis ObispoThesis Advisor: Ansgar Killing. Special thanks to Troy Peters.

CONTENTSPREFACEINTRODUCTIONTHESIS ABSTRACTPRECEDENTSSITE HISTORYEXISTING BUILDING STUDYPROPOSED DESIGN CHANGESFINAL MODEL PHOTOSBIBLIOGRAPHY

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“Restoration is an academic process of trying to understand what was, and therefore what should be.” -Leo Marmol

PREFACEI know that design is only 10% of the total process of bringing a building to life. I wanted to try to delve into the other parts of the building. This has been very difficult for me, since the point where most thesis projects will end is the point where I begin. I have had little to no input from my fellow students since this is not typically taught to us, and what I have gotten asks why I’m not designing.

We have had practice classes in which we went over things like material studies and thermal calculations, but trying to put all these calculations together is a completely different story. I have also struggled with a lack of understanding a project in which there is very little design involved. I had gotten several suggestions to treat what I had done up to the end of the second quarter as an elaborate case study, but now that I had started, I was having a difficult time just giving up.

But two questions kept ringing in my head: How did I get here, and where am I going?

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INTRODUCTIONHow did I get here?

I originally was looking at designing a building in Palm Springs. I was fascinated by the temperature gradient and wanted to see if I could build something in the desert modern style that didn’t rely enti rely on air conditi oning. I was curious why “effi cient” was so oft en paired with “ugly”. My thesis professor suggested looking at a home in the style that I liked that had already been built but was ineffi cient and changing it to be effi cient and beauti ful. It was suggested that I look at something iconic and recognizable.

What is more iconic and recognizable than the Case Study Houses? I decided that the recognizability of the house outweighed my original goal of creati ng a house in an extreme environment. I chose the Stahl House because it’s beauti ful, built in the same style that I love, and is covered in single pane glass. Ansgar said he loved the idea of making the Stahl House effi cient and livable without changing the architectural beauty of the building. He said it would be diffi cult. I said I was up for the challenge.

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INTRODUCTIONWhere am I going?

I knew that making the house as effi cient as possible was the key, but I also wanted to make sure that the house as it stands now and would stand in the future stayed true to the architect’s original vision.

I started with collecti ng as much informati on about the house that I could fi nd. I looked into the site as it was when Buck Stahl originally acquired it, what they had planned for the house, how they decided to choose Pierre Koenig as their architect, and what he envisioned for the house.

I gathered as built drawings of the house, visited the site, spoke with members of the Stahl Foundati on, and made a list of things that could and should be altered on the house. I used an energy analysis soft ware program, Home Energy Effi cient Design (HEED) to analyze the house as built for ineffi ciency to target what needed to be adjusted on a purely functi onal aspect. Aft er the site visit, I targeted areas of the house that needed to be adjusted on a purely aestheti c aspect, then merged my two lists into a proposal for the restorati on of the house that will allow Case Study House #22 to conti nue to be what it was when it was fi rst built: a home for the modern family, and a house for the future.

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ABSTRACTI am looking into remodeling a historical home in California, specifi cally the Stahl House, or Case Study House #22, located in West Hollywood. The Case Study House Program, sponsored by Arts & Architecture Magazine, began in 1945 to address a housing boom in California aft er WWII came to an end. The goal was to design and build inexpensive and effi cient model homes for returning servicemen and eventually for the general housing market. 36 designs were submitt ed from architects like Richard Neutra, Craig Ellwood, Charles and Ray Eames. Of the 36 designed, 24 were built. Of the 24 built, 4 have been demolished and 3 have been remodeled beyond recogniti on. The Stahl House is sti ll currently owned by the Stahl family, and the children use the house as a vacati on home when visiti ng LA. Assuming that they will eventually sell the home or decide to make the home more effi cient, I don’t want the beauty of the architecture and Pierre Koenig’s vision to be destroyed. I have applied and been accepted as a Stack Reader for the Gett y Museum Research Insti tute where I took pictures of Koenig’s original constructi on drawings and visited the house to take stock of what is there and what has already been altered from Koenig’s drawings and vision of the house. I am hoping that this study and design proposal will prevent what has already happened to 7 of the Case Study Houses: the destructi on of a piece of architectural history and the loss of an iconic home.

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PRECEDENTS

“It’s not that we tried to copy him; it’s that we tried to understand his goals and retranslate them.” -Leo Marmol

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Remodeled

“Located in Palm Springs, California, the Kaufmann House was originally designed by architect Richard Neutra in 1946. The restoration returned the residence to its initial form, size, and aesthetic integrity. An important challenge of the restoration was to re-create the dialogue between nature and sculpture, a difficult undertaking in an area that has grown from a rugged desert into a suburban residential neighborhood.

Extensive archival research of Neutra’s original details was undertaken at the UCLA Special Collections Library Department. Julius Shulman’s original photographs of the house were invaluable in determining the original characteristics of this modern monument.” -Marmol Radziner

Marmol Radziner did here what I am interested in doing for the Stahl House. They succeeded in not only making the house beautiful and functional, but they analyzed Neutra’s original design goals in order to make sure that any adjustments made to the house would fit in with the vision that was originally set forth.

KAUFMANN HOUSE

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12 precedents

Remodeled

“Located in Silver Lake, Los Angeles, the 2,100 square foot Elliot House was designed by Rudolf M. Schindler in 1930. The house was restored to its original condition while simultaneously adding contemporary amenities and performing seismic and structural upgrades.

Based on research of Schindler’s original drawings and photographs, the architectural language was reinterpreted for the owners’ living requirements, executed with the same precision and attention to detail evident in the original building. To accommodate modern amenities, the intricate kitchen cabinetry was modified in keeping with Schindler’s understanding of and inventiveness with materials.” -Marmol Radziner

This is another restoration project by Marmol Radziner, showing the beauty and simplicity of their work. The goal is to see what is already there and build upon the architect’s original ideas, not to create an invasive addition that stands out on its own. Another article mentions that, for example, the kitchen was not original at all, so they rebuilt a new kitchen with modern appliances that didn’t stand out as new and obnoxious, just something that fit with the architecture already present.

ELLIOT HOUSE

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CASE STUDY HOUSE #16Demolished

Situated on 3 1/2 acres above Beverly Hills, Case Study House 16 was a relatively simple structure that was easy and inexpensive to build in 1946. It had a kind of newfangled elegance: clean lines, soaring roof, an airy interior instead of the usual enclosed rooms. “Modern conveniences” were included: a dishwasher and radiant heat. For John Entenza, editor of Arts & Architecture magazine, who discovered the house after it was built, it embodied the breakthrough modern aesthetic he hoped to encourage with his Case Study project. Part of the genius of many Case Study houses is not only how they redefined modern living in the ‘40s, ‘50s and ‘60s, but how their designs remain so relevant. Flexible floor plans with spaces that can serve dual purposes, an appreciation for indoor-outdoor living, the use of new technology and techniques to create distinctive, clean-lined quarters these principles, still important today, were what drew nearly 4,000 people to see Case Study House 16 the day after it appeared on the cover of a Los Angeles Times Sunday magazine. Both Ellwood brothers say they had revisited the 1946 house over the years. But the last time they called, wanting to take another look, they learned that it was gone. “Bruce and I were on our way to a meeting and phoned the owner to ask if we could look at a few things,” Craig says. “He said no, because it’s just been torn down. We were shocked.” The owner said it had fallen into disrepair and would have been too costly to rehabilitate. That left the brothers with no original house and no plans to use as reference.

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CASE STUDY HOUSE #18Remodeled

“This house, the last of a series of three that Craig Ellwood has designed for our continuing Case Study House Program, is certain to provoke new thinking and new construction techniques in the residential field.

For some time it has been Ellwood’s contention 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. All houses, except those with very high budgets will someday be constructed of factory-built components built for fast and easy site assembly.

Unlike the typical pre-fab, where the designer and the manufacturer believe it a requisite to copy past and current styles and where a supreme effort is made to make the product appear to be job built, no attempt to disguise has been made here.” -Arts & Architecture Magazine, June 1958

Since this article was published, the home has been remodeled. In the Wikipedia chart that lists all of the Case Study Houses, #18 is labeled as “remodeled beyond recognition.” The image at the top right is a Google image of the house as it currently stands. This is exactly what I want to avoid. I want these beautiful homes to stay intact and not be destroyed as the owners make updates to the efficiency and comfort of the homes.

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“Even my father said l was crazy.”

-Buck Stahl

SITE HISTORY

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For a few years prior to the oil boom, oil had been found in California, but it had only been put to use for kerosene for lamps and as a lubricant for machinery. When cars became popular, there was suddenly a huge demand for oil. In the 1920’s, massive deposits at Hunti ngton Beach and in Kern County led to an oil boom that had never been seen before. By 1925, petroleum was the largest industry in California.

This oil boom transformed both the California landscape, and its society. People started moving to southern California and to the central valley. This led to the creati on of new towns, jobs, and fortunes. There was a simultaneous boom in the industries associated with the use of petroleum including the manufacturing of cars, syntheti c materials, shipping, and the aviati on industry. This sets California up as the perfect place for the government to start investi ng when WWII hits and the government needed a place to manufacture all of its war-ti me goods. It sets California up to be “Fortress California.”

Aft er World War II, federal money conti nued to fl ow into California due to the Cold War beginning almost immediately aft er. The conti nued spending contributed to the growth and prosperity of California. As Technology improved, the spending went up as well.

CALIFORNIA

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Defense spending became the major economic engine in California during this period, and Southern California became a major center for the nati on’s defense and aerospace industries.

During the mid-1950s, 42% of the total defense budget was being spent in Los Angeles County, and 50% of NASA’s budget was being spent in California. This new “Fortress California” brought jobs, prosperity, scienti fi c and technical knowledge, and politi cal and economic importance to California. Local communiti es thrived based on their connecti ons with these industries and it started a trend of people moving to suburban communiti es completely reliant on the industry, and the creati on of neighborhoods centered around a shopping mall rather than a civic center.

California, beginning in the late nineteenth century, gained a reputati on as a place to which people could migrate and fi nd economic opportunity, material abundance, and physically comfortable new lives. California adverti sed itself as a mythic place of prosperity, wealth, and ease, and while there were indeed a few groups of people that were able to succeed, with the increasing numbers of people fl ooding into the state, there was also an increase in the uneven distributi on of wealth.

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The Perfect Locati on

Buck Stahl and his wife Carlott a bought the piece of land the house sits on back in 1954 on a handshake and $13,500.00. Aside from the spectacular view this was an unfriendly spot, precarious and diffi cult to mold into the vision Buck had for the home. A graphic designer and sign painter by trade he and Carlott a set about the arduous task of carti ng left over concrete from around the city’s constructi on projects, one load at a ti me in the back of their car up to the property.

“Every weekend kids would be up here, cars were parked up here-we knew what they were up to. We’ve always maintained that this was meant to be our lot, because we came over one day to see it, and guess who was here? The owner. He had driven in from La Jolla, and he was thinking about selling it. He said, ‘I’ll make it easy. I’ll carry the loan.’ We set on a price, $13,500.We had friends and family who just didn’t understand us- ‘Why are you doing this? You can buy a nice three-bedroom home for that price, or even less.’ It took us four years to get it paid off .” -Carlott a Stahl

1635 WOODS DRIVE

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The Initi al Design

Some ideas for the design of the house began to manifest over the two years of hard weekend labor, so Buck made a model of the idea he and Carlott a dreamed into being.

“In the Sunday papers, there used to be a secti on called the Pictorial, with everything pertaining to homes. We saw one of Pierre Koenig’s works. At the same ti me, we saw Craig ElIwood’s work. Buck called both of them, and three other architectural fi rms, to take a look. It was defi nitely Pierre. Some of the others didn’t understand, because Buck kept saying, ‘l don’t care how you do it, there’s not going to be any walls in this wing.’ We didn’t want to lose any view anywhere. Several architects looked at the lot and said it’s just impossible to do it.” -Carlott a Stahl

Pierre was the only one daring enough to consider the canti levered foundati on so breathtaking today. A pioneer of building homes with glass and steel the fi nal designs geometry and symmetry refl ect the gridlines of Hollywood streets directly below.

It is not readily apparent to most people how remarkably ahead of it’s ti me the architecture was for 1959. Elegantly simple, the house is all glass on three sides. It took the largest pieces of glass commercially available at the ti me to accomplish this task.

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“It is painstaking research of every possible source you can identi fy. You’re trying to uncover as much source material as you can. You may not fi nd everything you need, but it’s important to fi nd everything you can.” -Leo Marmol

EXISTING BUILDING STUDY

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From a Collecti on of Sources

The fi rst drawings I could fi nd of the house were all diagrammati c and nothing was scaled. I was able to fi nd a copy of the original Arts & Architecture publicati on on the house printed in 1960, so I knew that the column grid was at twenty feet on center, so I could get basic measurements of the house but not enough to be able to design a restorati on that I had envisioned. Aft er an extensive search through Cal Poly’s library, the Media Resource Center on campus, and the internet, I realized that I would not be able to fi nd the informati on I needed through conventi onal sources. Then I found what I was looking for: in April of 2007, Pierre Koenig’s architectural archive had been donated to the Gett y Research Insti tute at the Gett y Museum in Los Angeles.

I immediately searched through the Gett y Museum’s online resources and found the drawings that I wanted to view, but learned that there were no digital copies available, and that you had to be a qualifi ed Stack Reader to view the special collecti ons at the Research Library. Undergraduates are not usually qualifi ed to apply to be a Stack Reader at the Library, but aft er a lett er of recommendati on from my thesis advisor explaining what I wanted to do, an applicati on explaining my research goals, and numerous phone calls and emails I was issued an

AS BUILT DRAWINGS

The fi rst drawings I could fi nd of the house were all diagrammati c and nothing was scaled. I was able to fi nd a copy of the original Arts &

publicati on on the house printed in 1960, so I knew that the column grid was at twenty feet on center, so I could get basic measurements of the house but not enough to be able to design a restorati on that I had envisioned. Aft er an extensive search through Cal Poly’s library, the Media Resource Center on campus, and the internet, I realized that I would not be able to fi nd the informati on I needed through conventi onal sources. Then I found what I was looking for: in April of 2007, Pierre Koenig’s architectural archive had been donated to the Gett y Research Insti tute at the Gett y Museum in Los Angeles.

I immediately searched through the Gett y Museum’s online resources and found the drawings that I wanted to view, but learned that there were no digital copies available, and that you had to be a qualifi ed Stack Reader to view the special collecti ons at the Research Library. Undergraduates are not usually qualifi ed to apply to be a Stack Reader at the Library, but aft er a lett er of recommendati on from my thesis advisor explaining what I wanted to do, an applicati on explaining my research goals, and numerous phone calls and emails I was issued an

existi ng building study 25

offi cial Stack Reader Badge with my picture ID, which must be worn on the outside of my clothes the enti re ti me I am in the Library. I was able to make an appointment and take a trip to Los Angeles, where with the help of a digital camera and a laptop, I was able to acquire copies of all of Pierre Koenig’s original constructi on drawings.

The existi ng building is very run down. It is constantly being restored. The Stahl Foundati on charges $50 per person to view the house. If two people visit the house, the fee goes down to $30 dollars per person, but two people must be in att endance. If only one person shows up, the fee is sti ll $60. The money from the commission goes to restoring the house, repainti ng the ceiling, paying property taxes, and general up keep of the property.

However, during the visit it was apparent that the temporary fi xes to the house are not controlling the problem. The goal has been to control the aestheti c damage the ti me has wrought on the property, but this will not be a soluti on forever. And the repairs being made right now are not adequate. The following page shows pictures of the house as it is now, with the insuffi cient repairs that are currently being made.

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From Home Energy Effi ciency Design (HEED)

These graphs are representati ve of informati on that was entered in the computer program Home Energy Effi ciency Design. The three graphs to the far right (3,4,5) show how heat is gained and lost in the building. The graph on the left is the Stahl House, as built, and the one on the right is based on energy effi cient codes. They look to be on similar planes, but the images have been normalized, and it can be seen based on numbers that the Stahl House as built has much higher heat gains through the roof, (3) an overall total energy load that is much higher (4) and also a higher heat gain through the west windows (5).

The other two graphs, (1,2) show the comparisons of energy usage and costs between a house of similar square footage that meets energy code, one that is more energy effi cient, and the Stahl House as built. In the Energy Costs, the dark blue represents air conditi oning costs. Since the Stahl House has no air conditi oner, it looks like the Energy Costs are reasonably close to meeti ng energy code, but if the air conditi oning cost is taken away, the house is far higher than necessary. The Energy Usage in BTU is much more telling (2). The Stahl house uses more than twice the fuel as the comparison house and over all, close to twice the energy.

ENERGY EFFICIENCY STUDY

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1. Energy Costs

2. Energy Usage (BTU)

3. Roof Heat Gain

4. Total Loads

5. West Windows

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PROPOSED RENOVATIONS

“You collecti vely decide what your goals are and the general approach you will take. That philosophy guides you through the myriad decisions that have to be made along the way.” -Leo Marmol

A major source of energy loss

The original building has only single pane, plate glass windows around three quarters of house. The window thickness is one quarter inch glass, providing litt le to no thermal barrier in the winter. The majority of the heat generated in the house, either by the fi replace located at the center of the living spaces, or the radiant fl oor heati ng installed in the house is immediately relocated to the large expanses of glass, where it is then transferred to trying to regulate the indoor and outdoor temperatures.

While the temperatures in Los Angeles are not extreme by any means, it can get down to the low fi ft ies, high forti es, and occasionally down to freezing. Thus, the necessity of effi cient windows is required. The extremely thin window profi les are one of the main features that makes the Stahl House recognizable, however, so it is mandatory that when adjusti ng the windows it does not interrupt the transparency and slender window profi les. Thus, the relati vely simple transiti on to double pane glass is not a viable soluti on.

Recently, Mies van der Rohe’s Crown Hall was renovated, and they were faced with a similar problem. Mies’ buildings are famous for

WINDOWS

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proposed renovati ons 33

his slim profi le windows that allow for maximum transparency in his buildings. The windows were extremely ineffi cient, however, and needed to be replaced. Aft er researching the remodel of Crown Hall, I located the window manufacturer of the windows that replaced those originally installed, PPG Ideascapes located in Pitt sburgh, PA.

Aft er an extensive search through PPG’s available products, I decided to install Solarban 70XL glass. The product descripti on of this glass states that “Architects can now specify a clear aestheti c while achieving solar control performance that was previously att ainable only through the use of ti nted glass and a Solar Control Low-E coati ng in an insulati ng unit.”

While not as effi cient as installing a standard one inch thick window unit, the use of this glass makes a signifi cant cut in the energy use required to keep the home at an acceptable thermal comfort level. This glass has the potenti al to reduce annual energy costs by 5 percent or more, allowing for a more effi cient use of the radiant fl oor heati ng that is currently installed, and which will be updated and talked about on the following page.

An Under-Uti lized Resource

The Stahl House currently uti lizes a radiant fl oor heati ng system as the main source of heat in the home. There is also a fi replace in the living room that contributes warmth on colder days. Radiant heati ng systems in general are incredibly effi cient, but the living room currently has carpet installed over the radiant system. The fi rst interventi on will be to remove the carpet in the living spaces and replace it with a half inch of concrete. This is a minimal additi on once the carpet is removed and the top level of concrete over the radiant tubing is ground down.

The system employed in the home is a radiant system heated with warm water running through pipes embedded in the concrete. Once the carpet is removed from over the radiant heati ng system, the system can be greatly improved, as carpet requires more temperature from below to force the heat through the carpet and into the room. This need for higher temperatures below the fl oor would require improved insulati on underneath everything to prevent heat loss downward.

The system will also be updated to be connected directly to a solar water heati ng system to be installed on the roof. This will greatly reduce the natural gas usage in the home, as the majority of the energy needed to

RADIANT FLOOR HEATING

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heat the water will be generated by the sun. The only gas that will be required for the radiant fl oor heati ng system will be to keep the water stored in the hot water storage tank at a relati vely constant temperature. In southern climates, a solar water heati ng unit can meet nearly 100 percent of a household’s hot water needs

The solar water heater that will be installed will have fl at-plate collectors on the roof, which consist of insulated, weatherproofed boxes that contain a dark absorber plate under one or more glass or plasti c covers. Eight copper tubes are welded into a series fl ow patt erns so that the top of the lower tube feeds the bott om of the next tube. This allows the unit to contain the colder replacement water in the lower tubes where it is heated by the sun as it fl ows from one tube to the next. Each ti me hot water is used, the unit eliminates the cooling down of the remaining heated water that normally occurs in several types of batch heaters.

The model that will be installed is a Passive ProgressivTube system. The system will save approximately $500 a year and the investment will be completely paid back by operati ng savings in approximately 4 years.

A Renewable Source of Energy

One of the great pros of solar energy is the ability to harness electricity in remote locations that are not linked to a national grid. With tax incentives, solar electricity can often pay for itself in five to ten years. After installing solar panels, annual savings will immediately start at approximately $1200, and will continue to grow as the unit pays for itself. Thanks to net metering, if the solar power system generates more electric power than the family living in the house is consuming, the utility grid company will pay the residents for any additional power.

The use of solar energy for the residence means the residents are independent from the burden of the municipal utility. They no longer are dependent on foreign sources of power or domestic for that matter. Energy companies can raise their rates all they like and the owners will not feel a thing. The solar panels’ double duty of providing electricity for the home and a continual stipend from the energy company will allow the home owners to avoid the reliance on donations from visitors to maintain the home.

The solar panels will be installed over an additional two inches of rigid insulation on the roof, providing an additional barrier from heat loss.

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SOLAR ENERGY

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A Summary

The main goal of this thesis has always been to keep the house as beautiful now and in the future as it was when it was first published in Arts & Architecture Magazine. Julius Shulman showed what the house could be when he took his famous photograph: a hope for the future of residential design in California, and a home for the modern family. With the addition of new, sustainable technologies like Solar-Powered water heaters that provide the warmth for the radiant floor system, Solar Panels that not only pay for the investment of the system but eventually generate income, and brand new glass panels that help keep the home at a relatively constant level of thermal comfort without destroying the architectural vision, this home can once again be considered the home for the modern family.

The removal of the unnecessary drop-ceiling in the kitchen as well as the removal of carpeting in the living room and the addition of a polished concrete floor will make the home as aesthetically beautiful in years to come as it was when it was first introduced to the public. The current owners and any additional future owners of the home will be proud to show the home off, and will find it easy to update the technologies installed in the home as new research and information is introduced.

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THE BIG PICTURE

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FINAL MODEL PHOTOS

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BIBLIOGRAPHY

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Stahl House Research:

http://www.stahlhouse.com/http://www.getty.edu/news/press/center/koenig_release.htmlhttp://www.travelinlocal.com/case-study-house-22-stahl-house/http://en.wikipedia.org/wiki/Case_Study_Houseshttp://www.terraserver.com/view.asp?cx=373600&cy=3774155&mpp =0.5&proj=32611&pic=map&prov=-1&stac=-1&ovrl=-1&vic=http://www.flickriver.com/photos/michael_locke/5649669104/

Getty Research Institute archive of Pierre Koenig Drawings:

http://archives2.getty.edu:8082/xtf/view?docId=ead/2006.M.30/2006 .M.30.xml;chunk.id=ref2;brand=default

Sustainable Technologies/Materials:

http://www.peci.org/abouthttp://www.gosolarcalifornia.org/tools/clean_power_estimator.phphttp://www.nuheat.com/customer-care/manuals.htmlhttp://www.calchamber.com/governmentrelations/issuereports/ documents/2011-reports/housing%20crisis_2011.pdfhttp://www.ascsd.com/files/RoofDeck.pdfhttp://www2.iccsafe.org/states/virginia/Plumbing/PDFs/ Appendix%20D_Degree%20Day%20and%20Design%20 Temperatures.pdfhttp://www.insofast.com/images/r-values.pdfhttp://products.construction.com/http://www.ornl.gov/sci/ees/etsd/btric/

Precedents:

http://www.crosbydoe.com/press_details.php?nid=50http://www.marmol-radziner.com/http://www.dwell.com/articles/leo-marmol-of-marmol-radziner.html

Supporting Images:

http://www.digsdigs.com/desert-vacation-house-design-kaufmann- house/http://imageshack.us/photo/my-images/151/l615atraffic1960slifema. jpg/sr=1http://www.theatlantic.com/infocus/2011/10/world-war-ii-after-the- war/100180/http://ifthelampshadefits.blogspot.com/2009/06/family-who-built- case-study-no-22.htmlhttp://www.suncatcherofatlanta.com/TCTsolar.htmhttp://www.solarcontact.com/solar/residential-solarhttp://www.wcpowersolutions.com/wp-content/uploads/bigstock_ Solar_Panel_Installation_9354038.jpg

Additional Images Provided by Getty Museum and Property of Pierre Koenig and the Getty Research Institute at the Getty Museum.

Title 24 Building Standards:

http://www.energy.ca.gov/title24/

Arts & Architecture Article on Case Study House #22:

http://www.artsandarchitecture.com/case.houses/pdf01/22.pdf

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