Architectural Record 2015-04

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112 ARCHITECTURAL RECORD APRIL <strong>2015</strong> BUILDING TYPE STUDY RECORD HOUSES Shulman Home & Studio | Los Angeles Raphael Soriano/Lorcan O’Herlihy Architects 3,&785( 3(5)(&7 A photographer’s midcentury house, little changed over the decades, is sensitively restored for a young family. BY SARAH AMELAR :hen the Shulman House, high in the Hollywood Hills, was designated a Los Angeles Cultural-Historic Monument in 1987, its nomination came from none other than critic Esther McCoy, doyenne of Southern California Modernism. She cited the 1950 home as the last surviving unaltered example of Raphael Soriano’s prefabricated steel-frame buildings. Originally with grounds by landscape architect Garrett Eckbo, the house was also significant for its longtime owner— legendary architectural photographer Julius Shulman— who captured the work of Richard Neutra, the Eameses, and many other talents, beginning in the midcentury period. For Shulman’s own 2,200-square-foot house and separate 1,000-square-foot studio, it’s unknown exactly why he chose Soriano—a Case Study architect, though not among the most famous. Certainly the two had become colleagues early on. “And I suspect my father knew there wouldn’t be the great clash of wills that he would have had with Neutra,” speculates the photographer’s daughter, Judy McKee, who was 6 when she moved into the new house with her parents. Her father remained there for 59 years, until his death at age 98, in 2009, keeping the design—a cluster of glassy singlestory, rectangular volumes—largely intact. In the intervening decades, the natural backdrop also saw little change. Overlooking a land conservancy, Shulman’s 0.8-acre lot retained unspoiled views of the rugged mountains, where he fondly remembered camping as a Boy Scout. But deferred maintenance took a toll, and by the time the property’s new owners, a young couple, hired Los Angeles– based Lorcan O’Herlihy Architects (LOHA) in late 2010 to undertake the house’s first renovation, it had frayed significantly. Its plywood interior paneling was peeling, the cork lining its entry area was brittle, the bathrooms and kitchen were tired, and the heating system flagged, raising essential questions about how to bring this Modernist work undiminished into the 21st century. “We just wanted the house to be respected,” recalls McKee. “We were very careful about whom we sold it to. There were people who wanted to turn
113 PHOTOGRAPHY: © IWAN BAAN OPEN HOUSE While corrugated steel sheathes the house’s entry side, its private faces (above) are enclosed in sliding-glass panels. The two screened-in patios were added sometime after the home’s original construction. LOHA restored them, using more advanced and durable materials.
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Architectural Record 2015-04

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