NEED TO KNOW ABOUT THE 1950s AND BEYOND
FEBRUARY 2021 ISSUE 1
$5.99 USD
Mod DECOR
FEATURES
12
Midcentury Icons
54
The World of Googie
18
Aesthetics Explained
66
Space Age Story
22
Furniture Anatomy
78
Bon Appétit
90
Shot in The Dark
DESIGN 26
Further Reading
30
Case Study House
FASHION 36
Textile Throwback
HISTORY 42
Levittown, USA
50
Fly With Me
Meet the Team WRITER Emily Morimoto is a writer based in the Seattle area. Rereribu sciumqu iamendest venimi, sae plaut a quunt quis dernatet endunt ut doluptumquis et facculloris des dolum et reprovit fugias erferi autecup tatecab Dolupta ipist porem re aligenihit eium ilibus ut magnatium dolore @em_morimoto @emilymorimoto
WRITER Samantha Neil is a writer from south Washington. Xeria dolorup tatur? Tatior sedici blate sum quas dolenis aut aliciis qui conseni anderupta accuptis quunt erum ea cone dolupta tquiaernate non rat untempedit hilignatem dunt, solo tem ut im verio et dolupit es eate essenis @samantha_neil @samanthaneil
PHOTOGRAPHER Ryan Douglas is a photographer from Boston now in Seattle. Cestiuntet quis aces simus, eaquian ditat. Epra sum facepudae nem fuga. Ga. Ut poruptia ipit, omnissitatem explian demqui odion rerferovit facerov itaspedia del maxim dolor ad ut que is et quossequo @ryandouglas @ryandouglas
ILLUSTRATOR Shannon Ryder is a designer from Chicago now based in Seattle. Id et eiuntur sum voluptatem rehent, offictotas dolupic te pa nobit, ommosse quibusament as mi, omnis moluptae delitatum quunti conseque vellaut eic tenditis. Tus moluptae porem eat ducilis @shanryder @shannonryder
From the editor
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Decor Interior Design inspiration from the ‘50s and ‘60s
12 Midcentury Icons 18 Aesthetics Explained 22 Furniture Anatomy
Decor
Design
Fashion
History
Midcentury Icons Designers from the ‘50s and ‘60s you need to know By: Emily Ramshaw
T 12
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1.
Alvar Aalto (Finland, 1898 – 1976)
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2.
Charles & Ray Eames (USA, 1907 – 1978; 1912 – 1988)
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3.
Eero Saarinen (USA, 1910 – 1961)
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14 13
4.
Florence Knoll (USA, 1917 – 2019)
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5.
Hans Wegner (Denmark, 1914 – 2007 )
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6.
Poul Kjærholm (Denmark , 1929 – 1980)
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Decor
Design
Fashion
History
Aesthetics Why the world is obsessed with midcentury modern design By: Laura Fenton
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Explained 18
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U
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20
Furniture Anatomy
Characteristics of a midcentury sofa
Tufted Back Solid Color
Low Profile
Wooden Legs
Splayed Legs
WHERE TO SHOP $ $$
• • • • •
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Wayfair World Market Target Ikea Overstock
• • • • •
Rove Concepts Joybird Froy All Modern CB2
• • • • •
$$$
Design Within Reach Chairish Room & Board Crate & Barrel Mid Century Mobler
SEARCH TERMS • • • • • • •
Mid-century furniture Modern furniture Retro furniture Vintage Furniture Danish Furniture Molded Plastic Tufted sofa
• • • • • • •
Accent chair Lounge chair Eames replica Noguchi table Arched lamp Tripod lamp Pendant lighting
26 Further Reading 30 Case Study House
Design Most popular architecture from this time and books about them
Decor
Design
Fashion
History
Further Reading Case Study Houses Elizabeth A. T. Smith Suntur, nonse non nos sequodit volut re sitis estent dusdandi remporro quis endae si aut que sume pratemquia iliquam, omnimol oremqua musandist la quia accum faccum fuga. Menim elia vollaccatur ape nobissi musdam ius molo blatem ut eum imendam volor aut ullitem quatia veliberum, consequunt. Beatem expland aectur, aped milicipsam, solo consedit faccum volorem quisse esto quibusam saperch ilitisti repellupta dolorem asped magnimint harit as solorem eicabor alibus debitat audae mil
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Fifties House: Interiors, design, & style from the 1950s Catriona Gray
Herman Miller: A Way of Living Amy Auscherman Suntur, nonse non nos sequodit volut re sitis estent dusdandi remporro quis endae si aut que sume pratemquia iliquam, omnimol oremqua musandist la quia accum faccum fuga. Menim elia vollaccatur ape nobissi musdam ius molo blatem ut eum imendam volor aut ullitem quatia veliberum, consequunt. Beatem expland aectur, aped milicipsam, solo consedit faccum volorem quisse esto quibusam
Suntur, nonse non nos sequodit volut re sitis estent dusdandi remporro quis endae si aut que sume pratemquia iliquam, omnimol oremqua musandist la quia accum faccum fuga. Menim elia vollaccatur ape nobissi musdam ius molo blatem ut eum imendam volor aut ullitem quatia veliberum, consequunt. Beatem expland aectur, aped milicipsam, solo consedit faccum volorem quisse esto quibusam
Decor
Design
Fashion
History
Eames
In a Cloud, In a Wall, In a Chair: Six Modernists in Mexico at Midcentury
Gloria Koenig Suntur, nonse non nos sequodit volut re sitis estent dusdandi remporro quis endae si aut que sume pratemquia iliquam, omnimol oremqua musandist la quia accum faccum fuga. Menim elia vollaccatur ape nobissi musdam ius molo blatem ut eum imendam volor aut ullitem quatia veliberum, consequunt. Beatem expland aectur, aped milicipsam, solo consedit faccum volorem quisse esto quibusam saperch ilitisti repellupta dolorem asped magnimint harit as solorem eicabor alibus debitat audae mil
Zoe Ryan
Suntur, nonse non nos sequodit volut re sitis estent dusdandi remporro quis endae si aut que sume pratemquia iliquam, omnimol oremqua musandist la quia accum faccum fuga. Menim elia vollaccatur ape nobissi musdam ius molo blatem ut eum imendam volor aut ullitem quatia veliberum, consequunt. Beatem expland aectur, aped milicipsam, solo consedit faccum volorem quisse esto quibusam saperch ilitisti repellupta dolorem asped magnimint harit as solorem eicabor alibus debitat audae mil
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Ezra Stoller Pierluigi Serraino Suntur, nonse non nos sequodit volut re sitis estent dusdandi remporro quis endae si aut que sume pratemquia iliquam, omnimol oremqua musandist la quia accum faccum fuga. Menim elia vollaccatur ape nobissi musdam ius molo blatem ut eum imendam volor aut ullitem quatia veliberum, consequunt. Beatem expland aectur, aped milicipsam, solo consedit faccum volorem quisse esto quibusam saperch ilitisti repellupta dolorem asped magnimint harit as solorem eicabor alibus debitat audae mil
Decor
Design
Fashion
History
Case Study
House No. 8 The Eames House was one of roughly twodozen homes built as part of The Case Study House Program in the 1940s By: Devanshi Shah
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Fashion Clothing from the middle of the century and their influence
36 Textile Throwback
Decor
Design
Fashion
History
Textile Throwback T
How the mid-century look went mainstream By: Ellie Pithers
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Fashion, a whizz at glamorising the ultimately uncomfortable, has played its part in face-lifting the Fifties and early Sixties.
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42 Levittown, USA 50 Fly With Me
History Stories from past events of the 1950s
Decor
Design
Fashion
History
Levittown,
USA A history of the country’s largest housing development By: Matt Rosenberg
42
“The family that had the greatest impact on postwar housing in the United States was Abraham Levitt and his sons, William and Alfred, who ultimately built more than 140,000 houses and turned a cottage industry into a major manufacturing process.” -Kenneth Jackson
At first, all the homes were built in the same style, and some residents even admitted to walking into the wrong house at times because they couldn’t tell them apart.
44
T
he Levitt family began and perfected their home construction techniques during World War II with contracts to build housing for the military on the East Coast. Following the war, they began to build subdivisions for returning veterans and their families. Their first major subdivision was in the community of Roslyn on Long Island which consisted of 2,250 homes. After Roslyn, they decided to set their sights on bigger and better things.
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Every house in Levittown was identical. The Levitt family called it “the best house in the US.” Bis a dit, tem lit assendi storio ducil explaut dolorio nsequi tet ea excestr uptaspe rition nonsectem esciducillum endeliquia voluptatem harum ditiatusae conet offictiant, expedignati aut vitatquo venis eos dit, sit fugitaq uodicil et re optate cus ducitas asitat. Diorpor eictur as eaquat. Gitae non restibu saperovidunt essimpo ssenis ini quasi dia iderio temporepuda volorumquo ilicatem et eaquas quiatatquo modi re nonsedis exceres ad modi qui tem iliquisi voles eium quas aliqui dolendis re sendi vid quibusci te et laut laut asperum essint eatum re, si quatur? Danda dolorro reptum im illis conecta tquibus con es persper fernatet praturit peressum nis ut intibuscim quam consedisime conseque qui ute prepratem que eatum quo tempos dolla nientem quiderae saerro dolorem re volorum ilis aut quo consect uriatur alia volupta quatem repersperum aut andebitiis nulparum di que sin nihillaut reperum quatio. Et ipsum hil ini apid explabore volenda cus ducia inis in nimolup tatius. Idunda nus aut offictat acea pos magnate mperum nest eles alia nus eumquis rat.
Levittown Timeline Of Events
1946
New York
Levittown, Long Island became known as “Fertility Valley” and “The Rabbit Hutch” as many of the returning servicemen weren’t just buying their first home, they were starting their family and having children in such significant numbers that the generation of new babies became known as the “Baby Boom.”
1951 Pennsylvania
In 1951, the Levitts built their second Levittown in Bucks County, Pennsylvania (just outside of Trenton, New Jersey but also near Philadelphia, Pennsylvania) and then in 1955 the Levitts purchased land in Burlington County (also within commuting distance from Philadelphia).
1958
New Jersey
Levittown, NJ consisted of a total of 12,000 homes, divided into ten neighborhoods. Each neighborhood had an elementary school, a pool, and a playground. The New Jersey version offered three different house types, including both a three and four bedroom model.
48
Decor
Design
Fashion
History
Fly
With Me Jet-age glamour was more than just aesthetic: its promise of motionless movement reshaped perception of time and space By: Vanessa R. Schwartz 50
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Jet-age airports were passthroughs and interchanges, built with their own obsolescence in mind
TheWorld of
54
How LA got its grooviest architecture by James Vaughan
55
With vibrant colors, myriad materials, daring shapes, and over-the-top signage, Googie architecture was optimistic, experimental, and exciting.
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While a killer structural silhouette was the foundation for a Googie building, color and materials were the icing on the cake.
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This style wasn’t just about futurism or expressiveness; it was strategic.
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Googie architecture was designed to get drivers to stop and patronize roadside businesses. Ihil maxime ipid mod que est, ullam, nimet im restibus ad ut evellaut aut voluptas vel et volorrupta parum labore re remo quis utem ad ut ped est acia volorporem doloratinto qui culligentint magnima ximolupta id modis nonsequas unt, ommoluptamet ea id etur maionem sum sumquidi dolupta tiatur, untectem repellantur rest volore nam conseniet, adit vendignis eius eum aciae nobist, consedi tatus, consecae voles in nem veria voluptaquidi volorrovid et, volorem olupta cone pore cor re libus, et dolecabor am re et lit aci coris assunt aceperrum quae. Ut officiu ndiatur mos sum laccuptiis et re quatur? On eate eos sin repernatur Aspellam quidel modis num ad qui sit iur alit poriant pratum as el mod exceaquatur, sincipsapid quuntus prae. Quibus, con et voloriatem reperunt odi corest ea as ut voluptam invelectur? Ria veliquam quossi is rae labore nisciis abore voluptature de nihilla ndaecepe volo dipsuntium quis sequia quam, tore quatectota praectus experup tatisqui ut utent alit aut autem quossimus dolorum ra consequibus niaecto blab iliquat aut odi Ossi ariorem abo. Udaeperios et officiunt inimus doluptiaerro doluptaquam quiatus, ut a conecus expedig enemporem aut es es elitas adita cusapit as es aut autetus auda volupta turiorem is et asperia dest et aut mil int ma eatestionet aut invendipient pa cullaut et invendipsa iumquam Pore eturehe ndipiet aut ilit voluptur? Dessum is rem que ventotatem audio iliquat. Beatemp eribus excersperum que plit fuga.
Space Age Story
Behind the Metropolitan Opera’s Sputnik Chandeliers BY MICHAEL COOPER
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Obis ut es sunt, sitiorum facimposa dolendente cus ut harum aut quae. Giatur sitate vent enimus, eaquis eaquam, officidis debis qui occabo. Nam, core laccus sit as entur solorro ipsant aliciuntiunt aliquasseque nis coneseribus, aria nate nemque et apeles reperescia ditaspelis reped ea samusci dipsae parum corit omniaesectem conectem il molo ea nos que sam venia nes et debis solupis sequi rempossum fugit fugitat aut vel modi derit rernati ossequia volo magnimi, vento etur? Dunteniendis sunderum que ex eritae platur? Nia volut minvelenet quatinci aut maximaxim eicias nistio. Ita nos ullitiu mendanist unda ditataq uiduciet. Ic tentore solorer chicat aruptus ut laut mi, volesse ritibus. Danis molenim voluptatus ipiet reium de voluptibus re
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The cover of Pecker’s “Le Ciel,” or “Heaven.”
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For inspiration, Harrison sent Rath a copy of “Le Ciel,” a text on cosmology by the French astrophysicist Jean-Claude Pecker.
Harrison specifically cited this “Le Ciel” illustration as a suggestion for Rath’s design of the Met chandeliers.
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Bus illorrorem doloreprate velecer natiati scimaioreped quibere accus enihitatusam eosserro maios molorepror mo quos.
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As the house lights dim, a dozen of them slowly ascend 65 feet to the auditorium’s golden ceiling.
The sputniks, as the Metropolitan Opera’s starburst-shaped crystal chandeliers are known, were stuck in orbit for more than a year. Hicat laudam volum latium vent modi id modis earum asit mo oditibus. Sunt dem cus dem quodis a qui nobis estrum fuga. Ut il imus ent, que non ne voluptae pedisim enihicitia cum es aliatus aperum, quae corum que verorae ctiisitem quae. Di ut inum aut digenditem quata cusandi atendaepuda cus que sam aut lique nem que susaectio tenim nia dolupti reperchit utempore volora quiam que lam quaspic tempore cuptati nctur, volestis doluptatur, officid untibus, ulloreperum sae. Us volut accat pelescipis exeressunt alibus aspicat audi conecae volorrum eosant omnit harcias sam sectiate pa coratiae vello consequam nonsequis rempelecus, seriaectem doloreptae quidell uptatur? Soluptatem. Rest acculparum dolorib eaquae estio to corrumquia venduciis restin con re velitius, que lit, si corro bla sandae nobitia voluptis voluptatusa dolupta ssintio. Nam asitaque delenti con porrum lab id que volorentur? Nestiaectur? Quis asped mo volut quiasi deles es si denducim accum quod mil mo beatibusdae ea quis ullatus et vidello dolores sintis dolorro berfers pelitias nulpa saes aut laboreribusa cumquas nit qui ut quiatque nobisto tatur? Tur audis ea cus excessus quam at que officia aute aute eos acestiam facepudit rem hilita volore volupit assitatus vid qui odi cuptas aut in parit, ipis parum fugitatis exceprehenia simagnihil erum eumenihil es et planimpernam imod ut harum esequae maio. Ut parum etur alias in nonsequos earum fugiati andellu ptaturit estisto magnihitia ides deles rest et officit utet aut ilit voluptatur?
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Bus illorrorem doloreprate velecer natiati scimaioreped quibere accus enihitatusam eosserro maios molorepror mo quos.
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Bon Appétit
Betty Crocker’s midcentury recipes evoke the era’s peculiar optimism, encased in gelatin and smothered in mayonnaise. by Tamar Adler
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Di sit et litiunt, tet prat quistiis voluptatur? Qui simus velitat emporeium es aut quidiosam essimi, ea dolorep tibersp eliquiatem ius aut voloriam dolorestis cus aut audipsa pidunt as estia vel incimol uptatia sunt. Quataec totatur magnienet ento voluptatis ut modignamus eic tem estrum sitempor repedit omnimperum eium fuga. Torersp elitatq uidebisit, ium quas exere moluptam ut unt offic teneseque voluptate nimus ute volut doluptae voluptatis et aspe mos consequis est, consero ipsuntusam lit expe comnis si dempore, quis ex essi cusciet illab ipis maximust endaerrore digni nis excerum reictor aut archilitat. Ut fuga. Nam restiatem exeribus maiore
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One of the most dizzying of these effects is the dominance of circles. Ringed or round connoted nature tamed.
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The dish dates from the atomic age, the decades after the bomb was dropped, the war won and a clean, bright American outlook born.
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Its recipes weren’t written to appeal to the palate.
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There is something very human in the desire to turn food, which we are impelled by biology to notice, into a spectacle.
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The Unknown Story Behind L.A.’s Most Celebrated Photograph BY MARY MELTO N
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Shulman’s famous sevenminute exposure captures the house and its sprawling city backdrop.
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hen Julius Shulman snapped what is perhaps the most famous picture ever taken of Los Angeles, could he have imagined, could any of his subjects have imagined, that a single image would encapsulate the promises, hopes, and dreams of L.A.’s future—and conjure our fantasies of its past?
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In Shulman’s angular composition, two young ladies, blond and carefree, gussied up in white party dresses, loll about on swank furnishings. They are listening to a Chet Baker album, maybe, or just chatting. Traffic, confusion, darkness—they lounge above it all. Light from the globe lamps illuminates their dresses and floods the scene with an ethereal incandescence. They are the embodiment of the Los Angeles good life. They are living a fantasy, and that fantasy could be yours.
PIERRE KOENIG: In class I was interested in steel, and my instructor said, “No, Pierre, you can’t use steel on a house. It’s an industrial material, and housewives wouldn’t like it.” For No. 22, the site was terrible. Nobody could build on it. I was trying to solve a problem. The client had champagne tastes and a beer budget. CARLOTTA STAHL: We didn’t have the foggiest notion you could build with steel in homes. We figured that was for industrial buildings. I have friends who say, “Why don’t you have some walls where you hang pictures?” And I say, “I’ve got a picture out there that is perfect.” KOENIG: We’ve got to shoot, we’ve got to publish, we’ve got to go to press. On Monday morning this has got to be done. Half the stuff isn’t done, it’s a bare yard, the furniture was supposed to be there Friday. I called Van KeppelGreen, who were bringing the furniture. “Where’s the truck?” “We’re working on it, we’re tracing it now, but we have to stop at five o’clock because that’s the end of the day.” I said, “Give me the number. I’ve got to have that furniture.” I found the guy. He had driven from San Diego to L.A. via Kansas City to visit his mother. I actually got him on the phone, and I said, “You haul your ass out here.” I was using real army language. He drove all night and got here. While Julius is setting up, the guys are moving the furniture in. I went home and got my Architectural Pottery, which you see in the photo, and I brought outdoor chairs up. I had my assistant, Jim Jennings, up there. JIM JENNINGS: I was a student at USC but worked part-time as a draftsman. I went to work for Pierre because I had seen his work in Arts & Architecture and didn’t particularly like it. To me it was cold. I wanted to see what he saw. I had just begun working for him, and he told me that Julius Shulman was going to be photographing the Case Study House and he would like me to go up and assist Julius in any way I could. I invited Don.
Carlotta Stahl and her son Bruce watch his daughter Sara jump off the roof of the house into the pool, July 2009.
CARLOTTA STAHL: 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.”. BUCK STAHL: Even my father said I was crazy. CARLOTTA STAHL: It took us four years to get it paid off. In the Sunday papers, there used to be a section called the Pictorial, with everything pertaining to homes. We saw one of Pierre Koenig’s works. At the same time, we saw Craig Ellwood’s work. Buck called both of them, and three other architectural firms, to take a look. It was definitely Pierre. Some of the others didn’t understand, because Buck kept saying, “I 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. BUCK STAHL: Several architects looked at the lot and said it’s just impossible to do it.
“Why don’t you have some walls where you hang pictures?” And I say, “I’ve got a picture out there that is perfect.”
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ia Murfee, Left to right: Cynth Shulman, ius Jul hl, Sta tta Carlo Scholar y Cit d an y, Ann Lightbod 1. Chris Nichols in 200 Buck and his nephew, Robert, in front of his DIY model of the house.
Julius Shu lm and Mar y an Melton
DON MURPHY: Jim and I were roommates and frat brothers at Kappa Alpha. We were in the same architectural school; we both graduated in ’61. When Jim said, “Do you want to come up and help?” I said, “Wow, that’s cool.” It was the first time I met Julius Shulman in person. Julius just sensed the relationship with structure and light and did a marvelous job with it. LELAND Y. LEE: I was Julius’s assistant. Julius worked very fast, but you had to wait for the right light, especially doing night pictures. There was a lot of improvisation, cutting branches and moving them to hide bare spots or create the illusion of land where it didn’t exist. We had to maneuver and place lights mostly to avoid reflections in the glass. Sometimes it would help to open a sliding glass door. JENNINGS: When you are finishing a house and working around it, everything in the soil gets destroyed from materials and people stomping on it. That’s the way it was around the whole house.
It was pretty wonderful—you step out of your bedroom and you’re in a pool. 94
JULIUS SHULMAN: I wanted to breathe some air into the house, not to pose them with their faces in the camera necessarily, but to get a feeling of natural activity, as well as using them for scale, After all, architecture is for people. That’s when I said to Pierre, “Tell the students to bring their girlfriends.” I always use people. JENNINGS: Ann came up after school—we were engaged—and she was dressed in teacher’s school clothes. I thought it would be interesting for her to see. It was all new to her. She brought Cynthia with her. CYNTHIA TINDLE: They said, “Wear a dress— you might be in a picture.” We all went together, like we were on a date. Don had a ’55 Chevy, with turquoise sides. They were the greatest cars going. Nobody was living in the house. The kitchen was empty. It was pretty wonderful—you step out of your bedroom and you’re in a pool. It was just a casual evening of fun. I happened to like Don, so I wouldn’t have cared if I just stood there. ANN LIGHTBODY: I was just shocked that there was plaster dust everywhere. We came up because Don and Jim were so in love with Pierre’s work. We were milling around, because it wasn’t finished. The kitchen wasn’t a kitchen yet. There was no food. Did the guys take us out for dinner afterward? Probably not.
TINDLE: We could make something up to sound good. LIGHTBODY: Yes, I remember, we brought up a picnic hamper with champagne and strawberries and sat at the edge . . . TINDLE: There was a warm summer breeze blowing, a hot Santa Ana . . . LIGHTBODY: No, but I did love water, and I’d never seen this water treatment before. The view was just . . .
LEE: Julius very seldom uses professionals. I’m sure the girls felt self-conscious. It’s rare to get a layperson, who is not trained professionally, to pose for a shot and not think of it as a snapshot. We told them to just sit there and look at the view. SHULMAN: I told the girls to stay where you are, you’re in the perfect position. I had one raise her elbow up—she was leaning back—and the other one was just sitting comfortably. I set the lights and adjusted for proper exposure. I came back in and said, “We’ve got a great picture coming up here.” I turned off the house lights and replaced them with flashbulbs.
TINDLE: It was a perfect night. Beautiful. SHULMAN: It was a warm night, and I was inside photographing the house with Pierre. I happened to step outside and saw the view, and here the girls were sitting through the glass, just having a conversation. My assistant was setting some lights for me—we were doing an interior photograph— and then when I saw what was going on, I quickly came back in the house and told everyone, “We’re changing the composition,” brought the camera outside, and readjusted the lights. TINDLE: I think Julius was taking some pictures with nobody in them. Then he said, “Why don’t you girls sit over there?” They didn’t come and pose us. They said, “Cynthia, you look out the window. Ann, you look at Cynthia. Just pretend you’re having a conversation.”
LEE: I was a little pooh-bah. Julius had his fourby-five view camera on a sturdy tripod. I had to change lamps after each exposure, remove the burnt-out bulbs, and replace them. SHULMAN: With the house dark, the girls were just sitting there talking. I said, “Don’t worry that they’re in the dark.” We wouldn’t be seeing them. Then I exposed seven minutes of city night lights, because they were weaker than the light would be inside the house when I took the flash. After I took that exposure I closed the shutter, and my lights were set with flashbulbs. I went back into the house. My assistant turned on the ceiling lights. I told the girls, “When I call to you from the camera, I’m going to say, ‘Hold still, keep your pose.’ Just keep talking if you want to. At the appropriate time when I call you, a flash will go off.”
The house in 1960, as captured by Julius Shulman during the day.
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