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(calm music)
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Downloaded from
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Official YIFY movies site:
YTS.MX
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Architecture affects everybody,
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from the hospital where you're born, to the schools,
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and the grocery stores, markets, libraries, theaters.
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Every part of a person's life
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is based upon an architect's presence.
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Architects live and die
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by the images that are taken of their work,
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as these images alone are what most people see.
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For every person who visits a private house,
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there may be 10,000 who only view it as a photo.
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I'm looking at the base of the steps.
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They die into the railing just where the wheel is.
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It's perfect.
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Photographer Julius Shulman has defined
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the way we look at modernism.
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First focusing his lens upon architecture in the 1930s,
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Julius continues to document the evolution
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of built environments and architectural forms today.
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Print it.
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Print.
Print it.
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(camera clicking)
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(calm music)
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You are now in Southern California,
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two miles from Hollywood Boulevard.
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Listen.
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Hear that sound, just the birds.
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What more can a man want out of his life?
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This is Heaven.
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Nothing here was planned.
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It's a mish-mash, every conceivable kind of plant.
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And people don't like this kind of garden.
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Matter of fact, many people come here, they say,
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boy I'd like to come some morning while you're still asleep
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with a machete and chop, chop, chop, chop.
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They want to cut back my density.
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I'd chop your head off if you did that, I said.
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By God, this is unbelievable.
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This tree hasn't blossomed for years.
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It's growing in the wrong place.
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You don't plan the orange tree in the midst,
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when all the other trees are shading it.
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And yet, we'll probably have oranges this year.
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That is fragrant. Oh.
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(water running)
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I don't have to have a physical church.
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What can be more beautiful than the church
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in which you're surrounded entirely by nature?
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This is my God.
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I think it's significant that Julius,
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after being born in Brooklyn,
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before coming to the sort of city of Los Angeles,
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lived on a farm in Connecticut.
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And he's talked about this
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as being a formative period in his life.
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So great was his identity with nature and the woods.
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Seven years that we lived on the farm,
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until we came to California.
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My father had an acquaintance who lived in Los Angeles,
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telling my father that the streets are paved with gold.
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We got on the Santa Fe Railroad,
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and took a train across country, five days, five children.
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When they moved to Los Angeles,
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my father had his own room.
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He said that his mother saw something in him.
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History is strange.
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Here, it becomes mystical.
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I was ordained to become a photographer. I was destined.
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He had a very inquisitive eye, navigating the environment,
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whether it was people, or social events, or sporting events.
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I took a photograph.
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And my teacher observed that their heads
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are all below the line of the second hurdle.
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He said, Julius, that's a very professional photograph.
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Here is a Eastman Kodak camera.
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It's a great gift to give to somebody
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who was 23 years old at the time.
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And I have this vision of him wandering around,
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whether it's in the hills, or wandering around town,
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seeing the world through his camera.
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You know if you're able to gather into one big picture,
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all the small pictures that he took of Los Angeles
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prior to his involvement in architectural photography,
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you really get a sense of a pulse of the city.
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(calm music)
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I think that it's just
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a beautiful way of thinking of my dad
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and Los Angeles as siblings.
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They really did grow up together.
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He didn't know precisely what he wanted to do,
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but he also knew what he didn't want,
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which was just to sort of follow some conventional path.
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And it seems as if his early life was about
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muddling along until he found that niche for himself.
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And part of that muddling along involved
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going to seven years of college,
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from which he didn't even get a degree.
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At the end of the seven years,
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I woke up early in the morning at three o'clock,
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and I said, wait a minute, what am I doing here?
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I've been going to university for seven years.
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I think I've had enough.
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And he drifted back to Los Angeles, unclear,
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but not like a hopeless case,
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a person with an incredible creative spirit
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that just needed a channel for it.
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(upbeat music)
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Our guest is an environmentalist,
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photographer, who has made his reputation,
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I guess we could say in architecture.
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Julius Schumann.
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Julius, this photograph of Richard Neutra,
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where you in architecture then?
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Yes, I began my architectural photography,
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coincidentally, by doing a photograph of one of
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Mr. Neutra's houses in 1936 with a vest pocket Kodak.
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And this was a rather curious experience because I had
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not even seen a modern house before.
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But this was one I visited with a young draftsman.
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I made some eight by 10s
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I gave to the young man, who showed them to Neutra.
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I got a phone call, and within a week I was a photographer.
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Opus one, my first architectural. March, 1936.
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When they met Neutra was, I believe, 44 years old.
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Schulman would have been almost two decades younger.
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Neutra quickly recognized that perhaps he could
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find someone who might be far cheaper,
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perhaps more malleable.
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He would have seen
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the ability that was nascent there in Julius,
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and seeing it as something that could be helpful to himself,
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and to the other architects that needed to be documented.
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Modernism began in Chicago,
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when Louis Sullivan stated form follows function.
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In the age of steel,
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big windows and taller buildings were possible.
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In Vienna, Otto Wagner proclaimed
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that the machine age should have a style of its own,
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and launch the Vienna Succession.
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While Adolph Loos, a Sullivan devotee,
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denounced ornament is crime.
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The greatest disciple ins Sullivan's Chicago office
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was Frank Lloyd Wright, who balanced
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machine age functionality with the harmony of nature.
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In 1911, Frank Lloyd Wright's vast portfolio
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took Europe by storm, which greatly influenced
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young Rudolph Schindler, and Richard Neutra,
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both students of Loos.
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Loos told Schindler and Neutra to seek out
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Wright in Chicago, so Schindler set forth in 1914.
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After serving in the first World War,
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Neutra went in Berlin to work for architect Eric Mendelsohn,
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just as Germany founded the Bauhaus School of Design,
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and Le Corbusier was pioneering his theories
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resulting in towards a new architecture.
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Richard Neutra left Berlin to work with Frank Lloyd Wright
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at the Taliesin studio in Wisconsin.
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In 1920, Frank Lloyd Wright built the Hollyhock House
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under the supervision of Schindler.
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Richard and Dion Neutra
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joined Schindler in Los Angeles in 1925.
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Together, Schindler and Neutra founded
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Southern California modernism.
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Schindler comes out here, and becomes
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the project architect on the house that we're sitting in,
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The Frank Lloyd Wright Freeman House.
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Not only did he oversee the construction of this house,
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but he designed myriad number of pieces
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of furniture for this house.
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He melded, I think, influences,
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Frank Lloyd Wright, European modernism, with then his own,
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I think, idiosyncratic approach to architecture.
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So in 1922, he built his own house,
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which was a communal house,
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very, very daring and adventurous.
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Two couples each with their own studios,
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personal studios, and communal space.
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That's where he lived.
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And then when Neutra came here from Europe, he an his Dion
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lived upstairs in one of those screened porches.
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Notice these walls, prepoured concrete slabs.
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They're sloping inward.
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And Schindler design the spaces to admit sunlight
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between the slabs of concrete.
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When I walked into the room, there is Mr. Schindler,
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sitting at his desk in that corner.
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He waved at me. He knew I was coming.
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I was asked to photograph one of his houses.
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When I came back and showed Schindler the prints,
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he said, Shulman, the light you used was
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so basically the same on both walls.
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That's not natural.
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Look around this room.
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The light is different, there than it is on this wall.
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But when you photograph the Dougherty House in Santa Monica,
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you used floodlights, and you got the same value of light
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on this wall as you have on that wall.
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He gave me that wonderful correction,
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which I adapted, the next house I did.
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And I think that for me,
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one of the really profound things about Schindler,
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is that he takes three dimensional space and he
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incorporates time, which is where light comes in.
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And it kind of, it's the passage of time
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that makes you understand space.
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That's very good. That's very accurate too.
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It wasn't just an indoor, outdoor living.
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It was a sensitivity to a lifestyle.
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Mark Schindler, hi.
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Nice to see you.
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You know Julius, of course.
Known you for a long time.
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I'm Mark Schindler.
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Oh my God, I didn't recognize you.
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You know, you look like the old man, except the hair.
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Sit down for a while.
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Yeah, have a seat.
Pull up a chair.
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I'm so glad you can come here today.
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This is nice. It's a treat.
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Even though, as I complain, it's empty, no furniture.
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But nonetheless,
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the spirit of Schindler is always around here,
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which is where much of the controversies
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arose between Schindler and Paul Ling.
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He didn't know how to design a kitchen for modern living.
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Well, my father never used the kitchen.
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Yeah, exactly.
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There you go.
All right.
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Women were meant to do all the cooking,
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but apart from that, it was very democratic.
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The first, one of the first, people to move in
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was Richard Neutra and his wife.
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At the very beginning, Schindler and Neutra were friends,
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until Neutra managed to get a commission
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from Schindler's best client, to do by far
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the largest house than either of them had ever done.
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And that put an end to their collaboration,
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their friendship.
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So they really saw each other only intermittently.
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And my father had a heart attack in 1950.
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And when he arrived in the room,
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they're in the same room was Schindler,
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who was dying of pancreatic cancer.
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They spent about a week together,
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kind of exchanging changing old times.
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And there was a kind of a closure.
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Neutra was a terrific self promoter,
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a terrific engine for getting the word across.
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It wasn't ideology. It was business.
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And Julius, of course, helped him there.
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Because Julius has a great eye,
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a great sense of composition.
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Julius moved into a position
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of finding his own voice in photography,
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to the extent even that he sometimes irritated Neutra.
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Neutra could be very overbearing.
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Julius could be very stubborn.
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And so you had to reach a middle ground.
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Sometimes I was cast into the role of ambassador.
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Here are two
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very self absorbed, very creative, very strong willed men.
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00:15:42,090 --> 00:15:43,830
My father would carry
264
00:15:43,830 --> 00:15:47,150
half of our household furniture around with him,
265
00:15:47,150 --> 00:15:50,560
which probably gave Richard Neutra a heard attack,
266
00:15:50,560 --> 00:15:54,350
when he saw my father drive up with all these props,
267
00:15:54,350 --> 00:15:55,600
because they would
268
00:15:55,600 --> 00:15:59,960
despoil his pure, pristine architecture.
269
00:15:59,960 --> 00:16:01,860
But my father wanted to make it look like
270
00:16:01,860 --> 00:16:03,530
people actually lived there.
271
00:16:03,530 --> 00:16:06,400
My job was to help move the furniture around,
272
00:16:06,400 --> 00:16:10,980
or hold the archetypal eucalyptus branch,
273
00:16:10,980 --> 00:16:13,090
much to Julius's disgust.
274
00:16:13,090 --> 00:16:14,200
Julius told me once he was
275
00:16:14,200 --> 00:16:16,735
setting up this photograph and all of a sudden there was
276
00:16:16,735 --> 00:16:18,720
this thing wiggling in the upper right hand corner.
277
00:16:18,720 --> 00:16:19,553
He didn't know what the heck it was.
278
00:16:19,553 --> 00:16:21,950
And it was Neutra holding up a branch.
279
00:16:21,950 --> 00:16:25,890
Neutra would collect branches of trees and plants,
280
00:16:25,890 --> 00:16:29,410
and hold them in sort of over the camera,
281
00:16:29,410 --> 00:16:32,223
to give the impression, not always convincing,
282
00:16:32,223 --> 00:16:37,170
but that there was vegetation here.
283
00:16:37,170 --> 00:16:39,340
As I got to be in my teenage years,
284
00:16:39,340 --> 00:16:40,910
either I became more perceptive,
285
00:16:40,910 --> 00:16:43,380
or maybe the relationship changed some.
286
00:16:43,380 --> 00:16:48,030
But I remember more sort of arguments happening,
287
00:16:48,030 --> 00:16:51,560
and my father grumbling on the way home about how hard
288
00:16:51,560 --> 00:16:55,460
it was to get Shulman to do what he wanted him to do.
289
00:16:55,460 --> 00:16:56,750
When I was photographing
290
00:16:56,750 --> 00:16:59,400
the Neutra Kaufman House in Palm Springs,
291
00:16:59,400 --> 00:17:02,250
I took my camera on my shoulder,
292
00:17:02,250 --> 00:17:03,810
and I started going outside.
293
00:17:03,810 --> 00:17:06,040
Neutra asked me, where are you going, Shulman?
294
00:17:06,040 --> 00:17:07,890
He clenched my arm.
295
00:17:07,890 --> 00:17:11,120
And I broke free, and ran outside, and set the camera.
296
00:17:11,120 --> 00:17:13,600
After the house was published,
297
00:17:13,600 --> 00:17:18,600
Neutra was once interviewed by a photography magazine.
298
00:17:18,880 --> 00:17:22,670
In the interview he said, when I directed Mr. Shulman
299
00:17:22,670 --> 00:17:26,433
to take that photograph, this is what came out.
300
00:17:27,930 --> 00:17:30,860
However critical he might have been at times of Neutra's
301
00:17:32,450 --> 00:17:37,450
behavior, he never wavered in his acknowledgement
302
00:17:38,730 --> 00:17:43,730
of Neutra as the major figure, the major person
303
00:17:44,360 --> 00:17:46,781
who persuaded him first, and then
304
00:17:46,781 --> 00:17:49,930
taught him how to photograph buildings.
305
00:17:49,930 --> 00:17:51,010
Neutra had me come here
306
00:17:51,010 --> 00:17:54,853
to photograph Mrs. Miller's house, which was brand new then.
307
00:17:56,170 --> 00:17:59,090
I like this paving. This is gonna be kept open?
308
00:17:59,090 --> 00:17:59,923
Un-huh.
309
00:17:59,923 --> 00:18:00,950
Desert landscaping?
310
00:18:00,950 --> 00:18:02,520
Yes.
Good.
311
00:18:02,520 --> 00:18:05,230
Well, here I'm going to have a mixture of
312
00:18:05,230 --> 00:18:08,950
Palo Verde trees, maybe some olive trees,
313
00:18:08,950 --> 00:18:09,900
just dotted around.
314
00:18:09,900 --> 00:18:12,640
Oh, olives. Olives especially, yes.
315
00:18:12,640 --> 00:18:14,180
I think olives will work very well here.
316
00:18:14,180 --> 00:18:15,013
It'd be perfect.
317
00:18:15,013 --> 00:18:17,510
You can plant some eucalyptus trees to hide the poles.
318
00:18:17,510 --> 00:18:19,033
Wouldn't that be wonderful?
319
00:18:19,950 --> 00:18:21,980
See the mountain coming down behind the house?
320
00:18:21,980 --> 00:18:22,963
That's right there.
321
00:18:24,300 --> 00:18:25,490
So what we have here is
322
00:18:25,490 --> 00:18:28,213
almost sacred view of Southern California.
323
00:18:29,310 --> 00:18:31,760
Here's the same view with more landscaping in it.
324
00:18:33,550 --> 00:18:36,200
Showing how it developed from one year to another,
325
00:18:36,200 --> 00:18:39,943
from 1936 to '37, '38, and '39.
326
00:18:41,900 --> 00:18:45,070
She casually sent back the pictures to me
327
00:18:45,070 --> 00:18:47,290
describing what she felt
328
00:18:47,290 --> 00:18:49,950
I could do to improve the photography,
329
00:18:49,950 --> 00:18:52,833
and/or to honor the photography I did.
330
00:18:53,700 --> 00:18:57,360
But then look what Mrs. Miller gave up
331
00:18:57,360 --> 00:19:00,173
to allow this horrible building to come in here.
332
00:19:02,240 --> 00:19:04,680
I asked Mrs. Miller at that time
333
00:19:04,680 --> 00:19:05,990
about the property next door.
334
00:19:05,990 --> 00:19:08,600
Oh no, no one's ever gonna build there.
335
00:19:08,600 --> 00:19:11,553
But look what's there now, a pile of junk.
336
00:19:12,800 --> 00:19:15,789
I told Catherine to buy some charges of dynamite.
337
00:19:15,789 --> 00:19:17,550
(laughing)
338
00:19:17,550 --> 00:19:19,910
So there's the story of our lives show.
339
00:19:19,910 --> 00:19:22,773
I'm serious. You have to plan ahead.
340
00:19:24,210 --> 00:19:27,740
Mrs. Miller had to sell the house in the late '40s.
341
00:19:27,740 --> 00:19:31,300
He sold it on to somebody else,
342
00:19:31,300 --> 00:19:33,933
and they turned the garage into a kitchen.
343
00:19:34,787 --> 00:19:35,810
They wiped it out.
344
00:19:35,810 --> 00:19:39,270
They added a room onto the back that was,
345
00:19:39,270 --> 00:19:41,993
when I bought it, used as the local crack den.
346
00:19:43,860 --> 00:19:46,659
I can visualize trees going there now.
347
00:19:46,659 --> 00:19:47,843
It'd be beautiful.
348
00:19:47,843 --> 00:19:48,770
It won't be very long.
349
00:19:48,770 --> 00:19:50,510
You'll be in the house maybe by Christmas,
350
00:19:50,510 --> 00:19:53,130
but not Thanksgiving, a year from now.
351
00:19:55,560 --> 00:19:58,720
No, we'll be closer than that.
352
00:19:58,720 --> 00:19:59,553
Closer than that?
353
00:19:59,553 --> 00:20:01,900
In three months, they'll be landscaping.
354
00:20:01,900 --> 00:20:02,733
You want to bet?
355
00:20:02,733 --> 00:20:03,566
A pool.
356
00:20:03,566 --> 00:20:04,399
You want to bet?
357
00:20:06,950 --> 00:20:07,990
I'll see in three months.
358
00:20:07,990 --> 00:20:09,000
I'll bring you a bottle of scotch.
359
00:20:09,000 --> 00:20:10,250
Okay.
360
00:20:10,250 --> 00:20:11,550
It's a deal.
361
00:20:11,550 --> 00:20:12,383
We have witnesses here.
362
00:20:12,383 --> 00:20:13,650
That's right.
363
00:20:13,650 --> 00:20:18,313
68 years later, we're back here, commemorating history.
364
00:20:19,490 --> 00:20:20,403
In a way,
365
00:20:21,560 --> 00:20:24,123
you can stop time.
366
00:20:27,901 --> 00:20:32,300
Neutra was an entry point into a world of architects
367
00:20:32,300 --> 00:20:35,600
that profoundly committed to the actualizations
368
00:20:35,600 --> 00:20:37,950
of the ideology of the modern movement.
369
00:20:37,950 --> 00:20:40,720
That ensuing year,
370
00:20:40,720 --> 00:20:43,820
it read like a who's who in the architectural world,
371
00:20:43,820 --> 00:20:47,163
because Neutra introduced me to Schindler,
372
00:20:48,440 --> 00:20:49,543
Gregory Ain,
373
00:20:50,840 --> 00:20:51,993
Harwell Harris,
374
00:20:53,140 --> 00:20:54,363
Raphael Soriano,
375
00:20:56,090 --> 00:20:58,960
J.R. Davidson, among others.
376
00:20:58,960 --> 00:21:01,570
They were developing their own
377
00:21:02,470 --> 00:21:06,080
Los Angeles based interpretations of modernism.
378
00:21:06,080 --> 00:21:10,500
And Julius was creating an image for it.
379
00:21:10,500 --> 00:21:12,416
He was immortalizing it.
380
00:21:12,416 --> 00:21:15,249
(dramatic music)
381
00:21:20,520 --> 00:21:23,420
He was sort of a filter for this architecture.
382
00:21:23,420 --> 00:21:26,650
And through his images, the messages of these architects,
383
00:21:26,650 --> 00:21:28,570
and this was a period of time when
384
00:21:28,570 --> 00:21:31,230
architects believed that they could change the world.
385
00:21:31,230 --> 00:21:34,080
They believed that life could be enhanced
386
00:21:34,080 --> 00:21:36,832
through good design, it was a very optimistic period.
387
00:21:36,832 --> 00:21:39,582
(dramatic music)
388
00:21:50,450 --> 00:21:52,517
In the January, 1945 issue of
389
00:21:52,517 --> 00:21:54,224
"Arts and Architecture Magazine",
390
00:21:54,224 --> 00:21:56,860
editor and publisher, John Entenza,
391
00:21:56,860 --> 00:21:59,630
announced the case study house program.
392
00:21:59,630 --> 00:22:02,460
An unprecedented experiment in architecture,
393
00:22:02,460 --> 00:22:05,150
the program was initiated with the intent
394
00:22:05,150 --> 00:22:07,140
of creating well designed homes
395
00:22:07,140 --> 00:22:10,160
for the typical post World War II family.
396
00:22:10,160 --> 00:22:12,340
Built by what would become some of the most
397
00:22:12,340 --> 00:22:15,530
legendary names in mid century architecture,
398
00:22:15,530 --> 00:22:17,040
the majority of these homes
399
00:22:17,040 --> 00:22:20,100
were immortalized by Schulman's lens.
400
00:22:20,100 --> 00:22:23,100
Schulman's 1960 photographs of Pierre Koenig's
401
00:22:23,100 --> 00:22:26,940
case study house number 22 are some of the most
402
00:22:26,940 --> 00:22:30,900
evocative images of 20th century architecture.
403
00:22:30,900 --> 00:22:33,740
His extraordinary night shot of number 22,
404
00:22:33,740 --> 00:22:36,200
viewed by millions across the globe,
405
00:22:36,200 --> 00:22:39,690
transformed Koenig's experiment into one of the world's
406
00:22:39,690 --> 00:22:42,993
most enduring architectural icons.
407
00:22:46,430 --> 00:22:48,170
One of the amazing things about that picture
408
00:22:48,170 --> 00:22:50,670
at that time was, remember, this is the time when
409
00:22:50,670 --> 00:22:53,120
we were building rockets to go to the moon.
410
00:22:53,120 --> 00:22:55,829
And we were planning on colonizing Mars.
411
00:22:55,829 --> 00:23:00,340
And the sort of popular zeitgeist
412
00:23:00,340 --> 00:23:03,230
is caught perfectly in that picture.
413
00:23:03,230 --> 00:23:05,570
While my assistant was setting some lights for me,
414
00:23:05,570 --> 00:23:09,303
I went outside, looked at that view, just curiosity.
415
00:23:10,430 --> 00:23:12,170
Oh gee, I said, looking at.
416
00:23:12,170 --> 00:23:15,560
The girls were sitting there, girlfriends
417
00:23:15,560 --> 00:23:18,780
of two of the architects who work with Pierre Koenig.
418
00:23:18,780 --> 00:23:20,550
They didn't know they're gonna be in the picture.
419
00:23:20,550 --> 00:23:23,570
They just heard the conversation.
420
00:23:23,570 --> 00:23:26,490
The landscape beyond with the twinkling lights,
421
00:23:26,490 --> 00:23:28,700
the transparent box mounted up on the hill,
422
00:23:28,700 --> 00:23:32,900
and people sitting in a precarious corner of a glass house,
423
00:23:32,900 --> 00:23:36,713
is the signature image of what one thinks about Los Angeles.
424
00:23:38,010 --> 00:23:42,233
That's occupied by Carlotta and Buck Stahl.
425
00:23:43,110 --> 00:23:45,853
They've lived in this house almost a lifetime.
426
00:23:47,610 --> 00:23:50,450
We came over to see the lot.
427
00:23:50,450 --> 00:23:53,290
All of a sudden a car comes in,
428
00:23:53,290 --> 00:23:56,020
and it turns out to be the owner of the lot.
429
00:23:56,020 --> 00:23:58,770
And Buck and him talked.
430
00:23:58,770 --> 00:24:03,204
At the end of two hours, we shook hands. We bought a lot.
431
00:24:03,204 --> 00:24:07,923
After that, the person who owned this property,
432
00:24:08,780 --> 00:24:11,840
I can hear him saying, oh boy,
433
00:24:11,840 --> 00:24:14,790
I got rid of that junky piece of land.
434
00:24:14,790 --> 00:24:17,123
(laughing)
435
00:24:20,370 --> 00:24:23,250
Erosion, and time, and rain
436
00:24:23,250 --> 00:24:26,140
took the corners off of this lot.
437
00:24:26,140 --> 00:24:29,780
So I came in, two years of weekends,
438
00:24:29,780 --> 00:24:33,620
and built this up to what it is today,
439
00:24:33,620 --> 00:24:38,620
with broken concrete walls embedded in the Earth.
440
00:24:39,477 --> 00:24:41,500
And when we started to ask people
441
00:24:41,500 --> 00:24:45,710
to talk to us about the building, everybody said no way,
442
00:24:45,710 --> 00:24:49,050
because we did have it hanging over space.
443
00:24:49,050 --> 00:24:51,500
And the house was all glass.
444
00:24:51,500 --> 00:24:53,400
Along comes Pierre Koenig.
445
00:24:53,400 --> 00:24:56,100
And he told us, no, it would be better,
446
00:24:56,100 --> 00:24:58,386
safer if we did this and that.
447
00:24:58,386 --> 00:25:00,513
And so it was a teamwork thing.
448
00:25:01,860 --> 00:25:06,000
Of course, the man with the camera sure sold this house
449
00:25:06,000 --> 00:25:07,613
to everybody in the world.
450
00:25:09,180 --> 00:25:11,320
You look pretty good. Take care of yourself.
451
00:25:11,320 --> 00:25:14,764
Okay. I wish I could walk like you.
452
00:25:14,764 --> 00:25:17,231
You will, you will.
453
00:25:17,231 --> 00:25:20,827
You have faith. I'll come back and work with you.
454
00:25:22,533 --> 00:25:23,366
All right, Julius.
455
00:25:23,366 --> 00:25:27,030
93 is gonna help 92. (laughing)
456
00:25:27,030 --> 00:25:30,413
He's been a jewel in our life, he really has.
457
00:25:31,440 --> 00:25:36,440
The photograph lives on as an absolutely pure and simple
458
00:25:36,670 --> 00:25:40,730
restatement of the ideas of the case study movement,
459
00:25:40,730 --> 00:25:44,143
and serves as a metaphor, really, as no other house can.
460
00:25:45,560 --> 00:25:47,360
As I discovered these great prints,
461
00:25:47,360 --> 00:25:48,820
I'm gonna go back and study.
462
00:25:48,820 --> 00:25:50,730
If I would have done it some years ago,
463
00:25:50,730 --> 00:25:53,340
I would be a better cinematographer now.
464
00:25:53,340 --> 00:25:56,350
Michael Mann, the director, as he always does,
465
00:25:56,350 --> 00:26:00,170
in a full room filled up with still photographs.
466
00:26:00,170 --> 00:26:02,850
And Michael told me that I'd like to do,
467
00:26:02,850 --> 00:26:04,980
I want to do another wide shot.
468
00:26:04,980 --> 00:26:08,393
And I would like to be able to obtain this effect,
469
00:26:09,310 --> 00:26:11,840
that was in Julia's photo,
470
00:26:11,840 --> 00:26:15,930
of the house that goes out into the city.
471
00:26:15,930 --> 00:26:18,890
Ultimately, when he cut the movie together,
472
00:26:18,890 --> 00:26:20,760
he didn't use the shot because
473
00:26:22,160 --> 00:26:24,323
he felt that we didn't achieve in,
474
00:26:26,257 --> 00:26:30,097
in having this quality that your photo has.
475
00:26:31,260 --> 00:26:33,450
Two lights flash.
476
00:26:33,450 --> 00:26:36,160
After the lights went off, I exposed five more minutes
477
00:26:36,160 --> 00:26:41,160
to get the city lights at F32, to get the depth of focus.
478
00:26:42,203 --> 00:26:43,543
I now understand.
479
00:26:45,210 --> 00:26:46,980
I see. I didn't know that.
480
00:26:46,980 --> 00:26:49,010
But I now understand.
481
00:26:49,010 --> 00:26:50,463
Everything else was so sharp,
482
00:26:51,500 --> 00:26:54,760
but there was some blur on the city lights.
483
00:26:54,760 --> 00:26:58,260
But anyway, shooting a movie here would be a joy,
484
00:26:58,260 --> 00:27:00,673
with the background of the photo you shot.
485
00:27:02,780 --> 00:27:03,663
Action.
486
00:27:06,052 --> 00:27:07,878
Beautiful, huh?
487
00:27:07,878 --> 00:27:10,430
And cut.
488
00:27:10,430 --> 00:27:13,477
Okay, now we can take a look at the whole move.
489
00:27:13,477 --> 00:27:16,340
The speed is good. The speed is very good there.
490
00:27:16,340 --> 00:27:17,173
It's very nice.
491
00:27:17,173 --> 00:27:19,690
What we're trying to do is feel centered.
492
00:27:19,690 --> 00:27:20,670
You are.
493
00:27:20,670 --> 00:27:22,359
But adding the mood.
494
00:27:22,359 --> 00:27:24,776
(calm music)
495
00:27:28,466 --> 00:27:30,840
We're going to have you enter from here.
496
00:27:30,840 --> 00:27:32,300
You take all the time that you need.
497
00:27:32,300 --> 00:27:33,247
I want the time actually.
498
00:27:33,247 --> 00:27:37,794
And the same zoom size that we have on finale here.
499
00:27:37,794 --> 00:27:40,544
(dramatic music)
500
00:27:50,470 --> 00:27:53,907
I was thinking of the real tight shot on him,
501
00:27:53,907 --> 00:27:56,824
the reflection of him in the glass.
502
00:28:00,200 --> 00:28:01,033
That's good.
503
00:28:01,033 --> 00:28:03,010
Now am I gonna get a ride on the train?
504
00:28:03,010 --> 00:28:06,799
You can ride this. I'll push you all around this place.
505
00:28:06,799 --> 00:28:09,246
Thank you.
506
00:28:09,246 --> 00:28:11,663
(calm music)
507
00:29:13,610 --> 00:29:16,090
Shulman's photographic work for architects,
508
00:29:16,090 --> 00:29:18,580
designers, and numerous publications
509
00:29:18,580 --> 00:29:21,993
extended well beyond the confines of Los Angeles.
510
00:29:22,910 --> 00:29:24,550
By carefully orchestrating
511
00:29:24,550 --> 00:29:28,300
the timing and placement of his images, and the key design
512
00:29:28,300 --> 00:29:32,650
in consumer magazines, he was able to effectively introduce
513
00:29:32,650 --> 00:29:35,923
an innovative lifestyle to the American public.
514
00:29:37,860 --> 00:29:41,820
As a result, Shulman became an invaluable contributor
515
00:29:41,820 --> 00:29:44,240
to the burgeoning architectural movement,
516
00:29:44,240 --> 00:29:46,390
not only as correspondent,
517
00:29:46,390 --> 00:29:49,993
but as talent scout and respected taste maker as well.
518
00:29:51,640 --> 00:29:54,270
Shulman's assignment to photograph a house
519
00:29:54,270 --> 00:29:58,170
by Albert Frey in Palm Springs for "Good Housekeeping", 1947
520
00:29:58,170 --> 00:30:00,420
marks a point for Shulman where he starts establishing
521
00:30:00,420 --> 00:30:03,283
a career with a leading figure in the desert.
522
00:30:04,620 --> 00:30:05,910
Frey is a very important figure.
523
00:30:05,910 --> 00:30:09,120
He's the first disciple of Corbusier to build an America.
524
00:30:09,120 --> 00:30:11,980
Frey originally lived in New York for a few years,
525
00:30:11,980 --> 00:30:15,630
and then went directly to the West Coast to build a building
526
00:30:15,630 --> 00:30:18,400
and fell so much in love with Palm Springs, stayed there.
527
00:30:18,400 --> 00:30:20,453
He went out in the early '30s,
528
00:30:21,800 --> 00:30:24,320
ended up building half of the town,
529
00:30:24,320 --> 00:30:28,593
including city hall, the airport, two houses for himself.
530
00:30:31,820 --> 00:30:34,010
I call Albert Frey's own house
531
00:30:34,010 --> 00:30:36,640
a kind of mind shack Parthenon.
532
00:30:36,640 --> 00:30:38,440
It has a corrugated roof.
533
00:30:38,440 --> 00:30:41,530
It's made out of steel, which is rusted.
534
00:30:41,530 --> 00:30:45,010
It's got a poured concrete floor that simply
535
00:30:45,010 --> 00:30:46,980
extends in and out of the house.
536
00:30:46,980 --> 00:30:50,530
But it is placed with a kind of delicate refinement,
537
00:30:50,530 --> 00:30:52,600
and attention to detail
538
00:30:52,600 --> 00:30:54,693
that comes out of a preplanned house.
539
00:30:56,140 --> 00:31:00,580
The site is what's so fabulous about this house.
540
00:31:00,580 --> 00:31:04,350
One of the joys is that you can wake up in the morning,
541
00:31:04,350 --> 00:31:07,940
and you look out and you see the entire desert.
542
00:31:07,940 --> 00:31:08,810
There's the Tahquitz.
543
00:31:08,810 --> 00:31:11,560
Yeah, straight up. Straight up, Tahquitz.
544
00:31:11,560 --> 00:31:13,653
We have this fabulous view.
545
00:31:15,760 --> 00:31:20,760
It's a house designed to meet and live with the desert.
546
00:31:23,620 --> 00:31:26,810
Why can't new architects, young architects,
547
00:31:26,810 --> 00:31:30,180
be instilled with the spirit of the desert?
548
00:31:30,180 --> 00:31:33,380
To introduce them to a building in the desert,
549
00:31:33,380 --> 00:31:38,230
as one example, on a so called impossible piece of property.
550
00:31:38,230 --> 00:31:39,650
You have constructed a house
551
00:31:39,650 --> 00:31:43,781
which melds with, and in, the landscape.
552
00:31:43,781 --> 00:31:46,281
(calm music)
553
00:32:17,060 --> 00:32:18,410
As functional as it gets,
554
00:32:18,410 --> 00:32:21,823
just essentially a steel and glass box.
555
00:32:22,700 --> 00:32:26,960
There was an affinity there between Neutra and Frey.
556
00:32:26,960 --> 00:32:29,470
Stewart Williams belongs to another generation.
557
00:32:29,470 --> 00:32:32,433
He moves there in the, I think, 1940s.
558
00:32:33,387 --> 00:32:36,970
He's one of the few, but very productive, architects
559
00:32:36,970 --> 00:32:40,076
who are living in Palm Springs, who had settled there.
560
00:32:40,076 --> 00:32:41,190
Hello Stewart?
561
00:32:41,190 --> 00:32:43,464
It's Julia Shulman.
562
00:32:43,464 --> 00:32:47,743
You had talked to Eric about the possibility of
563
00:32:47,743 --> 00:32:51,730
trying to avoid this particular project that we're on,
564
00:32:51,730 --> 00:32:53,920
because you felt that you aren't
565
00:32:53,920 --> 00:32:57,369
photogenic enough to match my good looks.
566
00:32:57,369 --> 00:32:59,510
(laughing)
567
00:32:59,510 --> 00:33:01,200
No, we won't show you a face.
568
00:33:01,200 --> 00:33:02,837
Eric and I have been talking about it,
569
00:33:02,837 --> 00:33:07,080
and I explained to him that you have such an ugly face.
570
00:33:07,080 --> 00:33:08,780
So we don't want to show your face.
571
00:33:08,780 --> 00:33:10,853
We'll show the back of your right ear.
572
00:33:13,971 --> 00:33:15,593
Hey, old friend.
Hi.
573
00:33:16,450 --> 00:33:17,593
We bought the crew.
574
00:33:18,650 --> 00:33:19,813
Hey, I'll do it here.
575
00:33:19,813 --> 00:33:22,807
Yes, you can help me do it there.
576
00:33:22,807 --> 00:33:23,991
Stewart.
577
00:33:23,991 --> 00:33:24,900
Good to see you.
578
00:33:24,900 --> 00:33:26,623
So good to see you. Thank you.
579
00:33:26,623 --> 00:33:29,010
Just a little over 90, I feel rattling here.
580
00:33:29,010 --> 00:33:33,720
What is this? What started the, invasion, I'd say?
581
00:33:33,720 --> 00:33:35,384
Well, the camera man.
582
00:33:35,384 --> 00:33:38,500
You said you were coming with a gentleman friend.
583
00:33:38,500 --> 00:33:40,470
Eric Bricker, who is the producer here.
584
00:33:40,470 --> 00:33:41,303
Oh, for God's sake.
585
00:33:41,303 --> 00:33:42,980
He has to have a film man, a camera man.
586
00:33:42,980 --> 00:33:44,450
But don't photograph his face.
587
00:33:44,450 --> 00:33:45,490
Don't photograph anything.
588
00:33:45,490 --> 00:33:46,870
Don't photograph Stewart yet.
589
00:33:46,870 --> 00:33:49,150
Don't photograph me, forget the yet.
590
00:33:49,150 --> 00:33:50,520
Just don't photograph me.
591
00:33:50,520 --> 00:33:51,500
Let's do this.
592
00:33:51,500 --> 00:33:53,940
Walk around behind Stewart.
593
00:33:53,940 --> 00:33:55,460
Stewart, you're gonna sit here?
594
00:33:55,460 --> 00:33:56,901
No. Well, yes. I'm gonna sit-
595
00:33:56,901 --> 00:33:59,340
Is that okay with you the lighting, Eric?
596
00:33:59,340 --> 00:34:01,550
As we came down a little while ago, I pointed out
597
00:34:01,550 --> 00:34:03,650
all the buildings that Stewart William's design
598
00:34:03,650 --> 00:34:05,493
down Palm Canyon Boulevard.
599
00:34:08,210 --> 00:34:10,897
There were half a dozen of them along the canyon there.
600
00:34:10,897 --> 00:34:14,420
The Palm Springs atmosphere was reflected
601
00:34:14,420 --> 00:34:18,380
in everything you did in that parameter
602
00:34:18,380 --> 00:34:20,477
of the Frank Sinatra House.
603
00:34:20,477 --> 00:34:22,330
And that was my first house.
604
00:34:22,330 --> 00:34:23,414
And that was a good house.
605
00:34:23,414 --> 00:34:24,486
Well, it was a good house.
606
00:34:24,486 --> 00:34:27,980
You violated all the rules or tradition.
607
00:34:27,980 --> 00:34:28,813
Well, that's right.
608
00:34:28,813 --> 00:34:33,813
And I made a point, always, of finding materials
609
00:34:34,250 --> 00:34:38,440
that somehow was related to the surroundings of the project.
610
00:34:38,440 --> 00:34:42,420
He went to the most influential client he could have had,
611
00:34:42,420 --> 00:34:46,350
and built a large sprawling, modern house.
612
00:34:46,350 --> 00:34:50,160
And asked why Sinatra didn't object,
613
00:34:50,160 --> 00:34:52,040
since he'd originally asked for colonial,
614
00:34:52,040 --> 00:34:54,120
Stewart said, he didn't know what modern was.
615
00:34:54,120 --> 00:34:56,940
He just wanted a roof over his head by Christmas,
616
00:34:56,940 --> 00:34:59,250
so you could entertain the family.
617
00:34:59,250 --> 00:35:02,750
You have Stewart Williams, William Cody, Frey,
618
00:35:02,750 --> 00:35:05,870
and a partner of Frey's, John Porter Clark,
619
00:35:05,870 --> 00:35:09,980
that really by postwar star building up Palm Springs
620
00:35:09,980 --> 00:35:14,490
as a postwar city, that is all about the modern aesthetic,
621
00:35:14,490 --> 00:35:17,065
but a livable modern aesthetic in the desert.
622
00:35:17,065 --> 00:35:20,065
(upbeat jazz music)
623
00:35:32,038 --> 00:35:33,260
(camera clicking)
624
00:35:33,260 --> 00:35:34,500
One of the things that I appreciate
625
00:35:34,500 --> 00:35:36,840
most about Julia Shulman is that
626
00:35:36,840 --> 00:35:40,310
he was not just interested in quote, the stars.
627
00:35:40,310 --> 00:35:45,010
He was interested in those other people who
628
00:35:45,010 --> 00:35:47,560
might have seemed to be on the margins,
629
00:35:47,560 --> 00:35:50,430
but who were very good architects.
630
00:35:50,430 --> 00:35:54,740
He had this unfailing eye for seeking out new talent and
631
00:35:54,740 --> 00:35:57,280
bringing it to the attention of East Coast editors.
632
00:35:57,280 --> 00:35:59,020
One time he had an assignment
633
00:35:59,020 --> 00:36:00,850
to photograph the work of an architect
634
00:36:00,850 --> 00:36:03,913
by the name of Herb Greene in Oklahoma city.
635
00:36:04,793 --> 00:36:06,936
And he had designed and built this wonderful house
636
00:36:06,936 --> 00:36:08,760
that we called the Prairie chicken.
637
00:36:08,760 --> 00:36:10,670
And Julius said, this is exciting.
638
00:36:10,670 --> 00:36:13,040
I'm gonna run to New York with this in my bag.
639
00:36:13,040 --> 00:36:15,290
I know they're gonna pick this up.
640
00:36:15,290 --> 00:36:20,070
That piece of architecture was published all over the world.
641
00:36:20,070 --> 00:36:24,350
And his architecture business thrived, of course.
642
00:36:24,350 --> 00:36:26,010
So Julius helped to make a career
643
00:36:26,010 --> 00:36:29,127
for an architect happen more than once.
644
00:36:29,127 --> 00:36:33,850
I'll have Sharon sitting on the left hand chair.
645
00:36:33,850 --> 00:36:36,240
The chance to work with him, see our house
646
00:36:36,240 --> 00:36:40,420
through his eyes has been an incredible lesson.
647
00:36:40,420 --> 00:36:43,420
For him to sort of see next generations is really inspiring.
648
00:36:45,280 --> 00:36:46,440
During the design of the house,
649
00:36:46,440 --> 00:36:49,115
we incorporated a lot of Julius Shulman photographs,
650
00:36:49,115 --> 00:36:51,930
as a spacial construct, as well as inspiration.
651
00:36:51,930 --> 00:36:54,101
A very quick way to shoot for
652
00:36:54,101 --> 00:36:56,893
the qualities that we're striving for in the design.
653
00:36:58,420 --> 00:37:01,040
Bend your knees a little bit.
654
00:37:01,040 --> 00:37:02,530
That's good right there.
655
00:37:02,530 --> 00:37:04,350
So everybody in position.
656
00:37:04,350 --> 00:37:07,113
I have a great associate, Juergen Nogai.
657
00:37:07,950 --> 00:37:08,850
He's from Germany,
658
00:37:10,330 --> 00:37:12,709
He's a very wonderful person.
659
00:37:12,709 --> 00:37:15,013
And he and I worked together on every project.
660
00:37:15,958 --> 00:37:18,593
We're turning out beautiful results.
661
00:37:20,880 --> 00:37:24,120
(camera clicking)
662
00:37:24,120 --> 00:37:25,907
That's good.
663
00:37:25,907 --> 00:37:27,870
And we have here also, more contrast.
664
00:37:27,870 --> 00:37:29,527
Good. All right, let's go home.
665
00:37:29,527 --> 00:37:31,860
(laughing)
666
00:37:32,913 --> 00:37:35,913
(fast paced music)
667
00:37:37,460 --> 00:37:38,900
In addition to photographing
668
00:37:38,900 --> 00:37:41,800
the work of the merging architects and designers,
669
00:37:41,800 --> 00:37:44,100
Shulman also documented the endeavors
670
00:37:44,100 --> 00:37:47,160
of more established masters, most notably
671
00:37:47,160 --> 00:37:49,853
those of the legendary Frank Lloyd Wright.
672
00:37:53,200 --> 00:37:55,750
Wright revolutionized the very concept
673
00:37:55,750 --> 00:37:57,620
of the built environment.
674
00:37:57,620 --> 00:37:59,410
And Shulman would later translate
675
00:37:59,410 --> 00:38:02,230
the architects domestic and public spaces
676
00:38:02,230 --> 00:38:05,243
into vivid, and persuasive imagery.
677
00:38:07,230 --> 00:38:10,873
In the area around 1950,
678
00:38:11,740 --> 00:38:14,470
I was photographing a house for an architect
679
00:38:14,470 --> 00:38:17,233
who used to be an apprentice with Frank Lloyd Wright.
680
00:38:18,550 --> 00:38:20,420
And as a result of a conversation,
681
00:38:20,420 --> 00:38:22,310
it turns out that I was able to go to the meet
682
00:38:22,310 --> 00:38:24,800
Frank Lloyd Wright the next day.
683
00:38:24,800 --> 00:38:27,750
He allowed me to photograph Taliesin West.
684
00:38:27,750 --> 00:38:29,960
So I spent 12 days.
685
00:38:29,960 --> 00:38:32,310
Then when I sent him my photographs,
686
00:38:32,310 --> 00:38:35,270
he was exuberant in praising them.
687
00:38:35,270 --> 00:38:38,010
He gave me other projects to photograph.
688
00:38:38,010 --> 00:38:40,427
(calm music)
689
00:38:49,020 --> 00:38:50,210
Frank Lloyd Wright designed this.
690
00:38:50,210 --> 00:38:52,760
When he saw this photograph, he almost kissed me.
691
00:38:52,760 --> 00:38:53,730
What lens do you use here?
692
00:38:53,730 --> 00:38:55,420
Because that's a very narrow street that that's on.
693
00:38:55,420 --> 00:38:56,605
It's a wide angle lens.
694
00:38:56,605 --> 00:38:57,910
Were you on the other sidewalk across-
695
00:38:57,910 --> 00:39:00,090
No, I was right on the curb, literally.
696
00:39:00,090 --> 00:39:03,160
Wide angle lens, held straight one point perspective,
697
00:39:03,160 --> 00:39:05,700
right dead center, you don't distort.
698
00:39:05,700 --> 00:39:06,890
Distortion comes only when you
699
00:39:06,890 --> 00:39:09,050
tilt the camera, or turn it sideways.
700
00:39:09,050 --> 00:39:10,510
Did this picture help you
701
00:39:10,510 --> 00:39:11,810
in future assignments with Wright?
702
00:39:11,810 --> 00:39:14,470
I mean was he more amenable to your ideas and suggestions?
703
00:39:14,470 --> 00:39:16,590
I should have brought the letter he wrote to me.
704
00:39:16,590 --> 00:39:17,430
It was a beautiful letter.
705
00:39:17,430 --> 00:39:19,830
After he saw my Taliesin pictures, he said they're.
706
00:39:19,830 --> 00:39:21,100
Well, I won't talk about now, except that.
707
00:39:21,100 --> 00:39:22,463
You can talk about it. What did he say?
708
00:39:22,463 --> 00:39:23,660
You're among friends.
709
00:39:23,660 --> 00:39:24,574
I'm not modest.
710
00:39:24,574 --> 00:39:25,537
Neither am I.
711
00:39:25,537 --> 00:39:28,000
You're pictures are incredible for an amateur,
712
00:39:28,000 --> 00:39:29,951
and better than most professionals.
713
00:39:29,951 --> 00:39:32,270
Yeah, that made me hit the floor.
714
00:39:32,270 --> 00:39:33,197
Better than most professionals.
715
00:39:33,197 --> 00:39:36,087
I keep that letter in my office.
716
00:39:36,087 --> 00:39:37,360
That's a humbling letter.
717
00:39:37,360 --> 00:39:39,890
Oh, I was very pleased, to say the least.
718
00:39:39,890 --> 00:39:43,240
Frank Lloyd Wright established some ideas, early on,
719
00:39:43,240 --> 00:39:48,240
that kind of wedded a new idea of architecture to its place.
720
00:39:48,282 --> 00:39:50,699
(calm music)
721
00:39:52,650 --> 00:39:56,410
He changed the nature of what we think a house is,
722
00:39:56,410 --> 00:39:58,870
not what it looks like, but how it's organized,
723
00:39:58,870 --> 00:40:00,123
and how you live in it.
724
00:40:01,920 --> 00:40:04,240
Another architect who changed our ideas
725
00:40:04,240 --> 00:40:07,352
about living spaces was John Lottner,
726
00:40:07,352 --> 00:40:09,933
who came out of the Frank Lloyd Wright office.
727
00:40:13,680 --> 00:40:16,760
As one of Wright's most promising proteges,
728
00:40:16,760 --> 00:40:20,120
Lautner united his passion for both architecture
729
00:40:20,120 --> 00:40:23,760
and engineering, creating visually thrilling spaces
730
00:40:23,760 --> 00:40:26,523
that remain revolutionary even today.
731
00:40:29,550 --> 00:40:31,660
I refer to him as the missing link between
732
00:40:31,660 --> 00:40:34,560
the classic modernism, the work of Neutra,
733
00:40:34,560 --> 00:40:37,401
or case study house architects,
734
00:40:37,401 --> 00:40:40,600
and the more sort of expressive
735
00:40:40,600 --> 00:40:43,933
and organic work that people now associate with Los Angeles.
736
00:40:48,670 --> 00:40:51,210
He thought that every single house should be
737
00:40:51,210 --> 00:40:53,050
developed out of the site constraints,
738
00:40:53,050 --> 00:40:55,680
and out of what the budget allowed,
739
00:40:55,680 --> 00:40:57,863
and what the client wanted and needed.
740
00:41:02,190 --> 00:41:04,763
John was a brilliant engineer.
741
00:41:06,660 --> 00:41:09,563
You have a house perched on the side of the hill.
742
00:41:10,590 --> 00:41:13,000
And there's no excavation here.
743
00:41:13,000 --> 00:41:15,023
It's just like a birdhouse would be.
744
00:41:16,070 --> 00:41:18,020
And look at the view you get from here.
745
00:41:19,880 --> 00:41:23,210
And he had the concept of getting a contracting company
746
00:41:24,120 --> 00:41:27,233
to acquire the land around here,
747
00:41:28,140 --> 00:41:30,303
and build a series of these pods.
748
00:41:32,030 --> 00:41:34,010
He couldn't get a contractor
749
00:41:34,880 --> 00:41:37,693
to build and finance this kind of project.
750
00:41:39,120 --> 00:41:40,003
It's a tragedy.
751
00:41:42,069 --> 00:41:45,152
(voices overlapping)
752
00:41:46,310 --> 00:41:47,700
Nice meeting you.
753
00:41:47,700 --> 00:41:49,923
How long ago did you take the picture?
754
00:41:50,810 --> 00:41:52,260
I photographed this house originally
755
00:41:52,260 --> 00:41:54,223
when it was new in 1961.
756
00:41:56,157 --> 00:41:59,080
And in 1968, it was made a major
757
00:41:59,080 --> 00:42:00,827
story about for "Life Magazine".
758
00:42:01,940 --> 00:42:04,620
So you're the famous Julius Shulman?
759
00:42:04,620 --> 00:42:07,817
68 years of photography about the cover.
760
00:42:07,817 --> 00:42:11,560
She's been instrumental in making my book so beautiful.
761
00:42:11,560 --> 00:42:14,030
She's a book designer.
I can't wait to see it.
762
00:42:14,030 --> 00:42:15,401
Well, wait till you see-
763
00:42:15,401 --> 00:42:16,908
When's it gonna be published?
764
00:42:16,908 --> 00:42:17,912
Ask Angelida.
765
00:42:17,912 --> 00:42:19,224
Well, I don't know.
766
00:42:19,224 --> 00:42:21,123
Okay, when's it gonna be published?
767
00:42:21,123 --> 00:42:24,330
When it's at its best, then we start printing.
768
00:42:24,330 --> 00:42:26,250
We look so long on this book,
769
00:42:26,250 --> 00:42:28,660
it's like you can't do it better.
770
00:42:28,660 --> 00:42:31,280
Angelika happens to be a very creative woman.
771
00:42:31,280 --> 00:42:33,273
And she built this wall not wall.
772
00:42:33,273 --> 00:42:34,841
Not myself.
773
00:42:34,841 --> 00:42:36,633
Well, and then.
774
00:42:36,633 --> 00:42:37,960
The stones are too high.
775
00:42:37,960 --> 00:42:40,770
There's a stairway up here, up to the hill above.
776
00:42:40,770 --> 00:42:44,010
Someday there'll be a trail from here to my house,
777
00:42:44,010 --> 00:42:46,180
which is half a mile straight,
778
00:42:46,180 --> 00:42:48,100
otherwise you'd take Mulholland.
779
00:42:48,100 --> 00:42:50,420
You go over the hill, and we were gonna hike
780
00:42:50,420 --> 00:42:53,637
to our house from here someday.
781
00:42:53,637 --> 00:42:56,160
And look at the nice light coming through here,
782
00:42:56,160 --> 00:42:58,022
the last rays of sunlight.
783
00:42:58,022 --> 00:43:00,511
Isn't that beautiful?
784
00:43:00,511 --> 00:43:03,678
(contemplative music)
785
00:43:07,320 --> 00:43:10,280
Julius made beautiful pictures of Lautner's buildings.
786
00:43:10,280 --> 00:43:12,960
And Lautner, I would say, is another example of that
787
00:43:12,960 --> 00:43:17,960
branch of modernism, a legacy of expressionism.
788
00:43:19,140 --> 00:43:20,173
Eric Mendelson,
789
00:43:21,510 --> 00:43:22,650
late Frank Lloyd Wright.
790
00:43:22,650 --> 00:43:26,522
After all John Lautner went to Taliesin in the late '30s,
791
00:43:26,522 --> 00:43:28,540
and was imbued with all of that.
792
00:43:28,540 --> 00:43:30,210
Frank Lloyd Wright called John Lautner
793
00:43:30,210 --> 00:43:31,980
the world's second greatest architect.
794
00:43:31,980 --> 00:43:36,980
He felt very strong about the talent of this student.
795
00:43:37,090 --> 00:43:39,883
And John was such an amazing builder.
796
00:43:40,850 --> 00:43:42,328
The photograph of John Lautner,
797
00:43:42,328 --> 00:43:44,280
this is the age he was when he designed our house.
798
00:43:44,280 --> 00:43:47,600
And in fact, if you look behind him in the photograph,
799
00:43:47,600 --> 00:43:50,300
there's a design for a restaurant that incorporates
800
00:43:50,300 --> 00:43:54,223
a lot of the same features as the entryway of our house.
801
00:43:55,140 --> 00:43:57,330
What we refer to as the lobby,
802
00:43:57,330 --> 00:43:59,430
for lack of a better description, because
803
00:44:01,420 --> 00:44:02,750
it's not a real practical room.
804
00:44:02,750 --> 00:44:04,227
It's just a spectacular room, I think.
805
00:44:04,227 --> 00:44:05,950
Oh, it's a real practical room.
806
00:44:05,950 --> 00:44:08,010
We've had string quartet concerts in here.
807
00:44:08,010 --> 00:44:11,130
We've had fundraisers for Rudolph Schindler at Mocha.
808
00:44:11,130 --> 00:44:12,870
We had Julie Shulman birthday party in here.
809
00:44:12,870 --> 00:44:16,050
No no, it's great as a restaurant and nightclub.
810
00:44:16,050 --> 00:44:19,150
But I mean, as far as something in a house.
811
00:44:19,150 --> 00:44:22,263
It lent itself to be something that
812
00:44:22,263 --> 00:44:25,410
is a little bit in the world of fantasy.
813
00:44:25,410 --> 00:44:29,420
Many Lautner homes are now used in films,
814
00:44:29,420 --> 00:44:32,421
for some reason, the site of evil person.
815
00:44:32,421 --> 00:44:35,171
(dramatic music)
816
00:44:42,130 --> 00:44:44,000
So this is the east side of the house.
817
00:44:44,000 --> 00:44:45,460
And on the West Side,
818
00:44:45,460 --> 00:44:49,060
if you walk past the pool is the Hollywood sign.
819
00:44:49,060 --> 00:44:51,912
That's just, it's really cool.
820
00:44:51,912 --> 00:44:55,870
I grew up with that, in cold Minnesota, wondering wow.
821
00:44:55,870 --> 00:44:57,693
Hollywood, that's really a place.
822
00:44:58,860 --> 00:45:03,467
But how insane to look right through our house to see.
823
00:45:03,467 --> 00:45:04,300
You can literally look
824
00:45:04,300 --> 00:45:05,687
from west to east in this direction.
825
00:45:05,687 --> 00:45:07,300
The movement of the sun and the moon,
826
00:45:07,300 --> 00:45:08,653
we see them so clearly.
827
00:45:13,870 --> 00:45:17,290
Here is a view of Los Angeles, if you can see it.
828
00:45:17,290 --> 00:45:20,823
This is progress in the eyes of many people, pure smog.
829
00:45:21,870 --> 00:45:24,470
We cannot permit ecology to be destroyed,
830
00:45:24,470 --> 00:45:25,720
because that is the life blood,
831
00:45:25,720 --> 00:45:27,220
the lifeline of our whole world.
832
00:45:27,220 --> 00:45:29,881
I was invited to a dialogue with
833
00:45:29,881 --> 00:45:32,050
the PR man for Irvine Corporation.
834
00:45:32,050 --> 00:45:33,990
Your very concerned about eagles and birds,
835
00:45:33,990 --> 00:45:35,620
and I'm very concerned about people.
836
00:45:35,620 --> 00:45:37,270
They just began to cut down trees,
837
00:45:37,270 --> 00:45:40,550
and destroy the orchards and build
838
00:45:40,550 --> 00:45:42,080
little communities of tract houses.
839
00:45:42,080 --> 00:45:44,020
We're not allowed to build houses.
840
00:45:44,020 --> 00:45:46,343
We're not allowed to build businesses,
841
00:45:46,343 --> 00:45:49,500
and do things for fear that were going to hurt some
842
00:45:49,500 --> 00:45:52,140
ecology or environment, a word that you,
843
00:45:52,140 --> 00:45:53,530
you or no other environmentalist
844
00:45:53,530 --> 00:45:55,094
has ever been able to define for me.
845
00:45:55,094 --> 00:45:56,278
I don't know what the environment is,
846
00:45:56,278 --> 00:45:57,560
if it doesn't include me.
847
00:45:57,560 --> 00:46:01,080
In my photography, doing architectural work essentially-
848
00:46:01,080 --> 00:46:04,610
Julius becomes much more
849
00:46:04,610 --> 00:46:07,210
aware of the environment, and concerned about it.
850
00:46:07,210 --> 00:46:11,450
He was really adamantly disgusted
851
00:46:11,450 --> 00:46:16,313
with what was happening to his Los Angeles.
852
00:46:17,530 --> 00:46:19,190
We started a program called
853
00:46:19,190 --> 00:46:24,190
Project Environment USA, to show how architects could
854
00:46:25,160 --> 00:46:28,113
relate to good environment in their design work.
855
00:46:28,960 --> 00:46:32,940
And for 10 years, these photographs
856
00:46:32,940 --> 00:46:37,587
were published and exhibited throughout the United States.
857
00:46:39,290 --> 00:46:42,080
By the 1960s, Shulman had become
858
00:46:42,080 --> 00:46:45,660
one of the world's foremost architectural photographers.
859
00:46:45,660 --> 00:46:48,610
Sought after by publications around the globe.
860
00:46:48,610 --> 00:46:52,160
Shulman traveled continuously throughout the US,
861
00:46:52,160 --> 00:46:57,160
Europe, Asia, and South America, defining imagery for both
862
00:46:57,960 --> 00:47:02,960
the eras great architectural masters and its young pioneers.
863
00:47:03,470 --> 00:47:05,584
When I went to Mexico,
864
00:47:05,584 --> 00:47:09,040
I did a tremendous amount of work there for architects
865
00:47:09,040 --> 00:47:13,430
like Abraham Zabludovsky, and Ricardo Legorreta.
866
00:47:13,430 --> 00:47:15,968
Tell me, your daughter was taking photographs.
867
00:47:15,968 --> 00:47:18,131
Yes. Thanks to you, yes.
868
00:47:18,131 --> 00:47:20,340
She's still doing it, thanks for your advice and everything.
869
00:47:20,340 --> 00:47:22,780
Well, why not? It's a good business.
870
00:47:22,780 --> 00:47:24,510
Let the architects do all the heavy work,
871
00:47:24,510 --> 00:47:28,670
and here we come in and take pictures, like this.
872
00:47:28,670 --> 00:47:30,911
They just did a book
873
00:47:30,911 --> 00:47:35,203
on us, an editor of Mexico.
874
00:47:36,250 --> 00:47:37,807
I brought you a copy.
875
00:47:37,807 --> 00:47:40,224
(calm music)
876
00:47:42,060 --> 00:47:42,893
You've been busy.
877
00:47:42,893 --> 00:47:44,844
Yes, yeah we have.
878
00:47:44,844 --> 00:47:48,298
(calm music continues)
879
00:47:48,298 --> 00:47:53,298
We have to attempt great things. That's a mistake.
880
00:47:53,440 --> 00:47:54,590
History makes it great.
881
00:47:56,350 --> 00:48:00,750
Why don't we say, we have to attempt to understand
882
00:48:00,750 --> 00:48:03,870
the history of our lives, the history of our times?
883
00:48:03,870 --> 00:48:04,703
Its better.
884
00:48:06,400 --> 00:48:07,750
My honest opinion.
885
00:48:07,750 --> 00:48:09,213
Yes.
886
00:48:09,213 --> 00:48:11,673
It's the only one you can give in all your life.
887
00:48:15,490 --> 00:48:18,120
As I traveled around South America,
888
00:48:18,120 --> 00:48:22,380
I found great architecture in Atlantida, Uruguay.
889
00:48:22,380 --> 00:48:27,070
I found great architecture in Argentina.
890
00:48:27,070 --> 00:48:28,390
However,
891
00:48:28,390 --> 00:48:30,700
the most enticing and most dramatic
892
00:48:30,700 --> 00:48:35,317
of all the work I photographed there existed in Brasillia.
893
00:48:36,420 --> 00:48:38,960
He went there under the sponsorship of
894
00:48:38,960 --> 00:48:42,203
a Mexican architect by the name of Abraham Zabludovsky.
895
00:48:43,320 --> 00:48:46,540
And the family, you'd think Julius was a brother
896
00:48:46,540 --> 00:48:48,130
or something, the way they treated him.
897
00:48:48,130 --> 00:48:50,740
And all the kids, Uncle Julius, practically.
898
00:48:50,740 --> 00:48:52,370
And he knew all about them.
899
00:48:52,370 --> 00:48:56,130
And Alinka Zabludovsky was a very gracious lady,
900
00:48:56,130 --> 00:48:57,653
and made me feel very welcome.
901
00:48:58,530 --> 00:49:02,840
You realize, Alinka, what a privilege it is to be here,
902
00:49:02,840 --> 00:49:05,153
to see what, this is wonderful.
903
00:49:10,840 --> 00:49:15,840
Abraham was very skilled at getting good photography.
904
00:49:16,000 --> 00:49:17,313
Look at this photograph.
905
00:49:18,340 --> 00:49:19,763
Absolutely fantastic.
906
00:49:20,630 --> 00:49:21,840
Chose the right time of day,
907
00:49:21,840 --> 00:49:24,263
when you get light inside and outside.
908
00:49:25,530 --> 00:49:28,680
Tells you the whole story of the building.
909
00:49:28,680 --> 00:49:32,731
You realize, when you stop here in one moment,
910
00:49:32,731 --> 00:49:34,840
and just let the eye walk around here.
911
00:49:36,100 --> 00:49:38,563
Look what was achieved in a lifetime,
912
00:49:40,730 --> 00:49:42,943
and the contrast between each building.
913
00:49:50,880 --> 00:49:54,597
The man was a good architect, a good human being.
914
00:50:07,737 --> 00:50:08,570
Salute.
915
00:50:17,850 --> 00:50:21,520
Modernism started to decline in the late 1960s,
916
00:50:21,520 --> 00:50:26,150
as a new style, postmodernism, emerged in its place.
917
00:50:26,150 --> 00:50:30,050
With an emphasis on wit, ornament, and historical reference,
918
00:50:30,050 --> 00:50:31,890
it was a shift that would ultimately
919
00:50:31,890 --> 00:50:34,590
drive Shulman into retirement.
920
00:50:34,590 --> 00:50:36,380
Julius had a wonderful archive.
921
00:50:36,380 --> 00:50:39,790
So he decided, look Carlos, I'm gonna give you,
922
00:50:39,790 --> 00:50:43,180
which he did, $10,000 cash.
923
00:50:43,180 --> 00:50:47,030
I'm gonna give you $60,000 worth of camera equipment.
924
00:50:47,030 --> 00:50:49,850
I'm gonna write you a letter of recommendation
925
00:50:49,850 --> 00:50:52,290
to all my existing clients.
926
00:50:52,290 --> 00:50:54,600
Go out, carry on, do your best.
927
00:50:54,600 --> 00:50:57,333
I'm gonna, quote, retire, close my doors.
928
00:51:01,070 --> 00:51:03,600
I felt that many architects
929
00:51:03,600 --> 00:51:06,240
turned to strange designs.
930
00:51:06,240 --> 00:51:10,630
It wasn't architecture to him. He hated it.
931
00:51:10,630 --> 00:51:13,110
He hated all of these postmodern architects.
932
00:51:13,110 --> 00:51:14,890
He thought they were fools.
933
00:51:14,890 --> 00:51:19,440
Julius is often outspoken and judgmental.
934
00:51:19,440 --> 00:51:21,040
I don't always agree with his judgment,
935
00:51:21,040 --> 00:51:22,703
but I appreciate his candor.
936
00:51:24,290 --> 00:51:28,340
One judgment that I do agree with him on is his
937
00:51:29,950 --> 00:51:34,560
opposition to much postmodernist architecture.
938
00:51:34,560 --> 00:51:38,920
It reminds me of Reyner Banham's definitive line,
939
00:51:38,920 --> 00:51:41,810
postmodernism is to architecture
940
00:51:41,810 --> 00:51:45,193
as female impersonation is to femininity.
941
00:51:47,990 --> 00:51:50,630
As modernism slowly fell out of fashion,
942
00:51:50,630 --> 00:51:54,260
many masterworks were neglected, even destroyed.
943
00:51:54,260 --> 00:51:56,760
Shulman however, remained a faithful steward
944
00:51:56,760 --> 00:51:59,120
to the modernist ideal.
945
00:51:59,120 --> 00:52:02,200
Ultimately his vast photographic archive would become
946
00:52:02,200 --> 00:52:04,660
an indispensable resource, as public tastes turned
947
00:52:04,660 --> 00:52:09,083
enthusiastically back toward modernism.
948
00:52:12,375 --> 00:52:14,500
We weren't looking to buy a house in Palm Springs.
949
00:52:14,500 --> 00:52:16,823
We were looking to see this house.
950
00:52:20,860 --> 00:52:23,850
The house had been on the market for four years,
951
00:52:23,850 --> 00:52:25,690
and it needed a lot of work.
952
00:52:25,690 --> 00:52:28,300
The real estate agent, as she was showing us the property,
953
00:52:28,300 --> 00:52:30,760
kept reinforcing the idea that you could buy this
954
00:52:30,760 --> 00:52:32,990
for land value and build whatever you want.
955
00:52:32,990 --> 00:52:33,910
So I asked her,
956
00:52:33,910 --> 00:52:36,150
do you really think that somebody would,
957
00:52:36,150 --> 00:52:37,810
would take this house down?
958
00:52:37,810 --> 00:52:39,360
And she said, well, they could.
959
00:52:40,340 --> 00:52:41,890
It was really at that moment that
960
00:52:41,890 --> 00:52:43,663
I knew we had to get this house.
961
00:52:45,720 --> 00:52:49,840
I sought out Julius, and he was immediately excited.
962
00:52:49,840 --> 00:52:53,500
He probably had 25 pictures that he could show me that day.
963
00:52:53,500 --> 00:52:56,760
But he had about 80 pictures that he had never printed
964
00:52:56,760 --> 00:52:58,730
that he printed for us.
965
00:52:58,730 --> 00:53:00,850
And without those pictures,
966
00:53:00,850 --> 00:53:03,070
we couldn't have restored the house.
967
00:53:03,070 --> 00:53:08,070
It had four owners, and 2,500 square feet added onto it,
968
00:53:08,780 --> 00:53:13,780
which puffed out of every side, except the Shulman view.
969
00:53:15,490 --> 00:53:18,160
We decided to remove all of the additions.
970
00:53:18,160 --> 00:53:21,230
And that meant wherever they came in contact with the house,
971
00:53:21,230 --> 00:53:23,560
that's where our restoration problem was gonna be.
972
00:53:23,560 --> 00:53:27,130
There was a cutout in the stone here,
973
00:53:27,130 --> 00:53:29,330
because there was a doorway that opened out
974
00:53:29,330 --> 00:53:31,410
into a closet that had been added.
975
00:53:31,410 --> 00:53:33,120
So when I first came out here,
976
00:53:33,120 --> 00:53:36,540
there was a sense of excitement and anticipation.
977
00:53:36,540 --> 00:53:37,830
But walking around the site,
978
00:53:37,830 --> 00:53:39,810
there was also a sense of sadness,
979
00:53:39,810 --> 00:53:44,110
because much of the character that I remembered so vividly
980
00:53:44,110 --> 00:53:48,470
from school and books had been tarnished.
981
00:53:48,470 --> 00:53:49,570
There was also excitement,
982
00:53:49,570 --> 00:53:52,513
because you could see the original house in there.
983
00:53:53,600 --> 00:53:55,610
Up to the foyer, let's go.
984
00:53:56,470 --> 00:53:58,470
Architects of this generation
985
00:53:58,470 --> 00:54:01,890
were pushing the limits of their technologies.
986
00:54:01,890 --> 00:54:04,910
They were trying to achieve things that in many ways,
987
00:54:04,910 --> 00:54:08,360
their technologies weren't capable of achieving.
988
00:54:08,360 --> 00:54:11,970
But the modernist confidence was to do it anyway.
989
00:54:11,970 --> 00:54:13,880
And with that came an elegance.
990
00:54:13,880 --> 00:54:16,080
But with that came a challenge.
991
00:54:16,080 --> 00:54:20,290
And these houses are desperate for care and restoration.
992
00:54:20,290 --> 00:54:21,320
There weren't any working drawings
993
00:54:21,320 --> 00:54:24,080
of this house that we had access to.
994
00:54:24,080 --> 00:54:27,550
We had sketches and little,
995
00:54:27,550 --> 00:54:29,730
very small interior elevations of various rooms.
996
00:54:29,730 --> 00:54:33,040
But it was Shulman's photographs
997
00:54:33,040 --> 00:54:34,930
that really kind of guided us.
998
00:54:34,930 --> 00:54:38,230
He captured the sensibilities of the house,
999
00:54:38,230 --> 00:54:41,790
the aesthetic of the house, what the house felt like.
1000
00:54:41,790 --> 00:54:45,640
And to me, that's the genius of those photographs.
1001
00:54:45,640 --> 00:54:50,640
Every architect practicing today has to somehow resolve
1002
00:54:51,310 --> 00:54:54,760
the mythology that Julius Shulman captured for us.
1003
00:54:54,760 --> 00:54:56,630
How they do it as their own business,
1004
00:54:56,630 --> 00:54:59,230
and their own ability and magic
1005
00:54:59,230 --> 00:55:01,620
to create new worlds out of it.
1006
00:55:01,620 --> 00:55:05,910
But really all of them have to, in some way, make peace
1007
00:55:05,910 --> 00:55:09,075
with the modernism that Julius Shulman presented to us.
1008
00:55:09,075 --> 00:55:12,325
(contemplative music)
1009
00:56:01,780 --> 00:56:06,570
It's a simple but true statement that Julius Shulman is
1010
00:56:06,570 --> 00:56:09,723
the most important architectural photographer in history.
1011
00:56:11,140 --> 00:56:16,140
When we met around 1990, he had never really shown his
1012
00:56:16,370 --> 00:56:20,170
photography in a fine art context.
1013
00:56:20,170 --> 00:56:21,070
When I said I wanted to
1014
00:56:21,070 --> 00:56:22,693
show his work in a gallery, he thought
1015
00:56:22,693 --> 00:56:25,080
the beautiful pictures that I took on my vacation,
1016
00:56:25,080 --> 00:56:26,680
that's what you want, I said no.
1017
00:56:29,219 --> 00:56:30,560
It was just such a natural thing
1018
00:56:30,560 --> 00:56:33,573
that has worked should be available as fine art photography.
1019
00:56:35,450 --> 00:56:39,123
It's just a matter of context, and perception.
1020
00:56:42,560 --> 00:56:46,270
Since then, we've shown his work in Milan,
1021
00:56:46,270 --> 00:56:49,100
and London, and Paris, and Cologne, and Berlin,
1022
00:56:49,100 --> 00:56:52,280
and Munich, and New York, Toronto.
1023
00:56:52,280 --> 00:56:55,533
It's been an extremely successful relationship.
1024
00:56:58,030 --> 00:56:59,667
The genealogy of architecture photography
1025
00:56:59,667 --> 00:57:01,720
in the United States really starts with
1026
00:57:01,720 --> 00:57:03,633
a man named F.S. Lincoln.
1027
00:57:05,310 --> 00:57:07,780
After that, it kind of balloons out to three,
1028
00:57:07,780 --> 00:57:10,090
which is Julia Shulman, Ezra Stoller,
1029
00:57:10,090 --> 00:57:12,930
and the studio of Hedrich Blessing in Chicago.
1030
00:57:12,930 --> 00:57:14,330
Their photographs were a bit darker,
1031
00:57:14,330 --> 00:57:16,593
and they deal with ambient light.
1032
00:57:18,090 --> 00:57:20,900
Shulman's deals more with the natural landscape.
1033
00:57:20,900 --> 00:57:24,723
And Stoller's is the tonality of the sky.
1034
00:57:25,820 --> 00:57:28,020
Stoller's photos are very different than Shulman,
1035
00:57:28,020 --> 00:57:30,030
in that sense of Stoller's are more
1036
00:57:30,030 --> 00:57:33,110
elevational like in their visual construction.
1037
00:57:33,110 --> 00:57:36,670
Julius' photos are mostly one point perspectives.
1038
00:57:36,670 --> 00:57:39,490
And to show a really good modern interior,
1039
00:57:39,490 --> 00:57:41,410
you really need to do a one point perspective,
1040
00:57:41,410 --> 00:57:44,970
because the modern will unfold in a beautiful way.
1041
00:57:44,970 --> 00:57:49,040
The rooftops and floor lines recede into
1042
00:57:49,040 --> 00:57:51,483
this single point, and they jut out at you
1043
00:57:51,483 --> 00:57:55,240
at this very dynamic 45 degree angle.
1044
00:57:55,240 --> 00:57:57,810
And so the images are either
1045
00:57:57,810 --> 00:58:00,723
shooting towards you, or pulling you in.
1046
00:58:01,670 --> 00:58:03,940
Often, the houses in real life
1047
00:58:03,940 --> 00:58:07,310
are not nearly as beautiful as Julius's pictures.
1048
00:58:07,310 --> 00:58:10,940
He was a master at shifting the planes around to,
1049
00:58:10,940 --> 00:58:13,870
in a way, distill the essence of the building
1050
00:58:13,870 --> 00:58:18,050
into one particular shot, or to even enhance
1051
00:58:18,050 --> 00:58:21,120
the strong lines of an already powerful building,
1052
00:58:21,120 --> 00:58:23,210
and raise it to a different level.
1053
00:58:23,210 --> 00:58:26,450
Somehow he's able to put so much of himself
1054
00:58:26,450 --> 00:58:28,800
into the vantage point,
1055
00:58:28,800 --> 00:58:32,190
that you feel his presence in the room,
1056
00:58:32,190 --> 00:58:33,853
even if he's not in the frame.
1057
00:58:35,970 --> 00:58:39,010
We had been talking about
1058
00:58:40,070 --> 00:58:44,690
where Julius's archive should end up for many years.
1059
00:58:44,690 --> 00:58:47,300
And there had been discussions
1060
00:58:47,300 --> 00:58:51,240
and proposals from various museums.
1061
00:58:51,240 --> 00:58:56,240
But I, and Julius, and his daughter,
1062
00:58:56,380 --> 00:59:01,060
I think, had always been most interested in
1063
00:59:01,060 --> 00:59:02,413
it ending up at the Getty.
1064
00:59:11,410 --> 00:59:16,020
Here, suddenly they're gonna strip all the negatives,
1065
00:59:16,020 --> 00:59:18,660
and contact prints, and enlargements.
1066
00:59:18,660 --> 00:59:23,660
The whole story of my life will not be transposed into
1067
00:59:23,990 --> 00:59:26,840
Mr. Getty's. hall.
1068
00:59:26,840 --> 00:59:28,457
So there's all these, and all these over here,
1069
00:59:28,457 --> 00:59:29,893
and all those over there.
1070
00:59:32,310 --> 00:59:35,340
There's a bunch of other out in the shed out there.
1071
00:59:35,340 --> 00:59:37,960
And they all need to be plastic wrapped.
1072
00:59:37,960 --> 00:59:40,290
This is exhibit material you can take.
1073
00:59:40,290 --> 00:59:42,820
These are all my original prints.
1074
00:59:42,820 --> 00:59:46,295
They go back, far back. You can see the date on that.
1075
00:59:46,295 --> 00:59:48,380
That's 54 years ago.
1076
00:59:48,380 --> 00:59:51,283
But it's a sad experience.
1077
00:59:53,910 --> 00:59:56,410
I don't know how you're gonna plan to store these.
1078
00:59:57,650 --> 01:00:00,490
I'm not just gonna move away from this whole project.
1079
01:00:00,490 --> 01:00:04,500
I aim to come to Getty quite frequently.
1080
01:00:04,500 --> 01:00:05,757
Oh, we need your help for it.
1081
01:00:05,757 --> 01:00:07,763
And I hope you'll ask me because,
1082
01:00:09,200 --> 01:00:10,630
let me have a key to the gate.
1083
01:00:10,630 --> 01:00:12,320
(laughing)
1084
01:00:12,320 --> 01:00:13,920
Because I plan to come there.
1085
01:00:13,920 --> 01:00:17,720
Julius had a specific organization of his archive.
1086
01:00:17,720 --> 01:00:22,720
We as an archival institution, do not want to change that.
1087
01:00:23,910 --> 01:00:28,040
Because it really shows Julius's thinking.
1088
01:00:28,040 --> 01:00:29,780
And the working with the archive
1089
01:00:29,780 --> 01:00:32,850
is just as much of importance to understand Julius's work
1090
01:00:32,850 --> 01:00:35,050
as looking at the photos themselves.
1091
01:00:35,050 --> 01:00:38,540
The place is gonna be barren without my archives.
1092
01:00:38,540 --> 01:00:41,190
But there's so many other things still piled up here.
1093
01:00:42,780 --> 01:00:44,673
I am gonna miss some of these.
1094
01:00:45,600 --> 01:00:48,821
And look at the work I'm doing here now.
1095
01:00:48,821 --> 01:00:51,200
And I can still have my coffee and scones,
1096
01:00:51,200 --> 01:00:52,463
and have a good life,
1097
01:00:54,430 --> 01:00:55,863
thanks to my daughter, Judy.
1098
01:00:57,590 --> 01:01:02,560
This is a man who lives in his present, in the present.
1099
01:01:02,560 --> 01:01:05,400
And in his presence too. (chuckles)
1100
01:01:05,400 --> 01:01:07,420
But he lives in the present.
1101
01:01:07,420 --> 01:01:10,490
And it was the same thing when Olga died.
1102
01:01:10,490 --> 01:01:14,330
He's always looking forward.
1103
01:01:14,330 --> 01:01:17,800
Somebody's coming up here tomorrow.
1104
01:01:17,800 --> 01:01:20,337
Here's an order to these people.
1105
01:01:22,432 --> 01:01:27,432
Ah! It's empty. (laughing)
1106
01:01:28,718 --> 01:01:31,910
Many of those pictures are not to go yet.
1107
01:01:31,910 --> 01:01:32,743
Right.
1108
01:01:32,743 --> 01:01:33,810
'Cause I want to start them.
1109
01:01:33,810 --> 01:01:36,254
Judy doesn't know how I feel about those.
1110
01:01:36,254 --> 01:01:38,560
(voices overlapping)
1111
01:01:38,560 --> 01:01:42,140
Many of those pictures are salon pictures,
1112
01:01:42,140 --> 01:01:45,763
personal pictures, and they're not ready to be shipped yet.
1113
01:01:50,760 --> 01:01:52,670
I'll be all right.
1114
01:01:52,670 --> 01:01:55,023
And I've got these wonderful things here.
1115
01:01:55,023 --> 01:01:57,523
Well Julius, Judy's not coming back till Sunday.
1116
01:01:59,680 --> 01:02:00,970
Sunday, what's Sunday?
1117
01:02:00,970 --> 01:02:02,440
Sunday's the fifth,
1118
01:02:02,440 --> 01:02:05,240
when you're coming for brunch at the house.
1119
01:02:05,240 --> 01:02:07,190
But Julius I have a meeting at two,
1120
01:02:07,190 --> 01:02:09,233
so I can't stay around this afternoon.
1121
01:02:10,838 --> 01:02:13,640
All right. That's how you feel about.
1122
01:02:13,640 --> 01:02:15,439
I'd love to be here, you know I would.
1123
01:02:15,439 --> 01:02:17,090
I know.
1124
01:02:17,090 --> 01:02:22,090
(engine rumbling)
(somber music)
1125
01:02:26,866 --> 01:02:27,699
That's it.
1126
01:02:29,139 --> 01:02:29,972
Bye bye.
1127
01:02:37,090 --> 01:02:39,673
(upbeat music)
1128
01:02:43,950 --> 01:02:46,690
A major reason for the revival of
1129
01:02:46,690 --> 01:02:49,690
modernism in the late 1990s is the republication
1130
01:02:49,690 --> 01:02:52,670
of Julius's photography by Taschen.
1131
01:02:52,670 --> 01:02:54,090
People look in Taschen's books.
1132
01:02:54,090 --> 01:02:55,630
They say, I want to leave here.
1133
01:02:55,630 --> 01:02:57,750
And they want to,
1134
01:02:57,750 --> 01:03:01,916
they want to become part of a Julius Shulman photograph.
1135
01:03:01,916 --> 01:03:03,387
Thank you.
Thank you.
1136
01:03:03,387 --> 01:03:05,853
(voices overlapping)
1137
01:03:05,853 --> 01:03:08,143
Thank you so much.
1138
01:03:08,143 --> 01:03:09,762
I appreciate it.
Thank you.
1139
01:03:09,762 --> 01:03:11,005
It's a beautiful one.
1140
01:03:11,005 --> 01:03:12,660
That's a collector's item.
1141
01:03:12,660 --> 01:03:14,390
Yeah, now it is.
1142
01:03:14,390 --> 01:03:15,680
Thank you so much.
1143
01:03:15,680 --> 01:03:16,794
Thank you.
1144
01:03:16,794 --> 01:03:17,627
I like your work.
1145
01:03:17,627 --> 01:03:18,460
Enjoy it.
1146
01:03:18,460 --> 01:03:23,090
Julius has a portfolio that encapsulates
1147
01:03:23,090 --> 01:03:25,820
the generation of architecture that many people
1148
01:03:25,820 --> 01:03:28,593
would never get to see in the flesh.
1149
01:03:32,020 --> 01:03:34,530
Benedikt Taschen mythologized
1150
01:03:34,530 --> 01:03:37,970
the man who mythologized the buildings.
1151
01:03:37,970 --> 01:03:38,803
Can't even tell you
1152
01:03:38,803 --> 01:03:39,890
how many of your photographs I have.
1153
01:03:39,890 --> 01:03:40,992
Everything was fine.
1154
01:03:40,992 --> 01:03:42,160
Wonderful.
1155
01:03:42,160 --> 01:03:44,382
I never sold so many books.
1156
01:03:44,382 --> 01:03:47,549
(contemplative music)
1157
01:03:50,830 --> 01:03:54,820
It's astounding when you think about the
1158
01:03:54,820 --> 01:03:57,063
number people who've been here tonight.
1159
01:03:58,470 --> 01:04:00,240
The whole firm was here, I guess.
1160
01:04:00,240 --> 01:04:01,977
It's amazing, don't you think?
1161
01:04:05,636 --> 01:04:06,576
Where are we going now?
1162
01:04:06,576 --> 01:04:09,243
I don't know. He's on his way.
1163
01:04:16,960 --> 01:04:18,210
So then we have to come up
1164
01:04:18,210 --> 01:04:20,300
with a title for the book as well.
1165
01:04:20,300 --> 01:04:22,560
You have seen all these big books here with
1166
01:04:23,573 --> 01:04:25,900
Arocki, and Leni Riefenstahl, and so.
1167
01:04:25,900 --> 01:04:28,123
Yours is, of course, a little bit bigger.
1168
01:04:29,230 --> 01:04:30,063
Of course.
1169
01:04:30,930 --> 01:04:32,800
How can we else do this?
1170
01:04:32,800 --> 01:04:35,520
And then what we should do is,
1171
01:04:35,520 --> 01:04:37,730
I brought you a couple of proofs here.
1172
01:04:37,730 --> 01:04:39,657
And let's just think about
1173
01:04:39,657 --> 01:04:42,090
the color corrections, and what we can do.
1174
01:04:42,090 --> 01:04:44,390
Hey, the old church. This is perfect.
1175
01:04:44,390 --> 01:04:45,690
I think so too, yeah.
1176
01:04:45,690 --> 01:04:47,248
And this is your first wife?
1177
01:04:47,248 --> 01:04:49,170
Emma, yeah.
Emma.
1178
01:04:49,170 --> 01:04:50,003
Wow.
1179
01:04:50,003 --> 01:04:53,110
You know, it was in this show in Madrid, as a big print.
1180
01:04:53,110 --> 01:04:55,380
And people love it there.
1181
01:04:55,380 --> 01:04:57,540
It's really wonderful.
1182
01:04:57,540 --> 01:04:59,410
So I think color wise, it's all fine here.
1183
01:04:59,410 --> 01:05:02,000
And that frame, that right, I think that's fine too.
1184
01:05:02,000 --> 01:05:02,833
Don't you think so?
1185
01:05:02,833 --> 01:05:03,683
Absolutely.
1186
01:05:04,720 --> 01:05:07,280
Okay, so this is here in Palm Springs, isn't it?
1187
01:05:07,280 --> 01:05:08,343
That's the Birges House,
1188
01:05:08,343 --> 01:05:11,250
and Alfred Frey was the architect, perfect.
1189
01:05:11,250 --> 01:05:13,024
So in that case it's done.
1190
01:05:13,024 --> 01:05:15,024
That's Montreal, Canada.
1191
01:05:15,024 --> 01:05:16,273
Oh that's cool.
1192
01:05:16,273 --> 01:05:18,240
This is the secret is to
1193
01:05:18,240 --> 01:05:22,080
have the same values of light here as here.
1194
01:05:22,080 --> 01:05:26,050
This is sun light. That's God. This is Julius.
1195
01:05:26,050 --> 01:05:28,670
God and Julius. That's cool.
1196
01:05:28,670 --> 01:05:30,420
I think that's a great combination.
1197
01:05:31,830 --> 01:05:36,090
Julius, you know for the book, when we do it,
1198
01:05:36,090 --> 01:05:37,670
I think in the next couple of days,
1199
01:05:37,670 --> 01:05:40,643
I hope you will receive the signature pages,
1200
01:05:41,830 --> 01:05:44,450
so that you can sign them all, the 2,500.
1201
01:05:44,450 --> 01:05:47,619
And then we later on bind it in the final book.
1202
01:05:47,619 --> 01:05:49,410
Good. No problem, that'll be all right.
1203
01:05:49,410 --> 01:05:51,010
Good, so we don't have to make
1204
01:05:51,010 --> 01:05:53,160
too many corrections here, just a very few.
1205
01:05:55,050 --> 01:05:56,520
Julius, if you would like to say hello,
1206
01:05:56,520 --> 01:05:58,627
we have a sales meeting here.
1207
01:05:58,627 --> 01:06:01,414
(applauding)
1208
01:06:01,414 --> 01:06:02,817
See, the like you.
1209
01:06:02,817 --> 01:06:05,817
(upbeat jazz music)
1210
01:06:44,300 --> 01:06:46,480
The architecture of Southern California,
1211
01:06:46,480 --> 01:06:50,050
modernism is associated with the idea of lifestyle.
1212
01:06:50,050 --> 01:06:54,470
Modernism less as something that is a societal utopia,
1213
01:06:54,470 --> 01:06:57,460
and more as something that is a personal utopia.
1214
01:06:57,460 --> 01:06:59,010
And Julius's work has had
1215
01:06:59,010 --> 01:07:01,033
a huge influence in that perception.
1216
01:07:01,880 --> 01:07:05,183
Is there a broom or a brush? The carpet.
1217
01:07:06,120 --> 01:07:08,673
The footprints, get rid of the ones here.
1218
01:07:11,267 --> 01:07:13,183
There, right there, hold it.
1219
01:07:14,192 --> 01:07:16,090
Move this chair over there.
1220
01:07:16,090 --> 01:07:18,210
This table, the same way.
1221
01:07:18,210 --> 01:07:20,010
He sort of really set the standard
1222
01:07:20,010 --> 01:07:24,123
for the depiction of everyday life in a modern home.
1223
01:07:25,250 --> 01:07:26,083
The other chair,
1224
01:07:26,083 --> 01:07:28,743
slide that back a little bit towards the window.
1225
01:07:30,100 --> 01:07:31,080
Good.
1226
01:07:31,080 --> 01:07:34,710
And you drop this down here, you got more floor. Perfect.
1227
01:07:34,710 --> 01:07:36,191
All right, let's do it.
1228
01:07:36,191 --> 01:07:38,240
(camera clicking)
1229
01:07:38,240 --> 01:07:43,240
Schulman's pictures have this base of a romance to them.
1230
01:07:43,800 --> 01:07:48,340
His work represents a certain ideal that happened years ago.
1231
01:07:48,340 --> 01:07:49,480
And yet it helped
1232
01:07:49,480 --> 01:07:54,480
create the essence and ethos of this city.
1233
01:07:57,380 --> 01:07:59,000
My house.
1234
01:07:59,000 --> 01:08:01,160
Where, where, where?
1235
01:08:01,160 --> 01:08:01,993
Here.
1236
01:08:03,490 --> 01:08:05,669
He got me my first client.
1237
01:08:05,669 --> 01:08:07,270
And then when I got out of school,
1238
01:08:07,270 --> 01:08:09,090
he got me my second client,
1239
01:08:09,090 --> 01:08:10,950
his brother-in-law, or ex brother-in-law.
1240
01:08:10,950 --> 01:08:12,077
Yeah, Jerry Shrome.
1241
01:08:13,370 --> 01:08:15,320
That's the living room.
1242
01:08:15,320 --> 01:08:16,640
These two things are guests.
1243
01:08:16,640 --> 01:08:18,930
And one thing that Julius also did,
1244
01:08:18,930 --> 01:08:20,940
even though he didn't, he wasn't successful,
1245
01:08:20,940 --> 01:08:23,467
he tried to get "Arts and Architecture"
1246
01:08:23,467 --> 01:08:27,023
to be interested in my work.
1247
01:08:27,900 --> 01:08:29,610
They didn't like my work, so.
1248
01:08:29,610 --> 01:08:32,823
But that wasn't his fault. He tried. I remember.
1249
01:08:34,190 --> 01:08:35,993
I'm glad to see this, it's shaping out.
1250
01:08:35,993 --> 01:08:37,713
Yeah, it's this principle,
1251
01:08:39,190 --> 01:08:41,870
that the pieces interlock and they can.
1252
01:08:41,870 --> 01:08:46,070
So I found a drawing by Leonardo, the same.
1253
01:08:46,070 --> 01:08:47,240
No.
Yeah.
1254
01:08:47,240 --> 01:08:50,440
So then I said, but I found the drawing after I did this.
1255
01:08:50,440 --> 01:08:51,876
So he copied me, I said.
1256
01:08:51,876 --> 01:08:53,530
(laughing)
1257
01:08:53,530 --> 01:08:57,010
We were very influenced by Harwell Harris,
1258
01:08:57,010 --> 01:08:59,723
Frank Lloyd Wright, Japan.
1259
01:09:00,680 --> 01:09:02,470
So I came out of that, it wasn't.
1260
01:09:02,470 --> 01:09:04,820
I didn't just invent a language.
1261
01:09:04,820 --> 01:09:08,620
Your presentation of the initial Disney Center design
1262
01:09:09,700 --> 01:09:11,680
left a lot of people aghast.
1263
01:09:11,680 --> 01:09:12,867
My God, they would say.
1264
01:09:12,867 --> 01:09:15,720
And I say I was one of those too.
1265
01:09:15,720 --> 01:09:18,660
Your vocabulary was foreign to us.
1266
01:09:18,660 --> 01:09:23,420
But you explain here that there is a misinterpretation
1267
01:09:23,420 --> 01:09:25,620
of your design for the Disney Center.
1268
01:09:25,620 --> 01:09:28,850
And you gave me a note about my redemption.
1269
01:09:28,850 --> 01:09:31,180
I formalized it by saying
1270
01:09:32,300 --> 01:09:35,970
that this was their redemption of Julius, with love.
1271
01:09:35,970 --> 01:09:40,970
Well, you redeemed yourself, and I in turn-
1272
01:09:41,200 --> 01:09:42,147
Got redeemed.
1273
01:09:42,147 --> 01:09:44,397
(laughing)
1274
01:09:45,270 --> 01:09:46,980
Right here.
1275
01:09:46,980 --> 01:09:50,000
So we see where this wall meets that wall,
1276
01:09:50,000 --> 01:09:50,900
those angles here.
1277
01:09:52,550 --> 01:09:54,300
So let's get rid of.
1278
01:09:54,300 --> 01:09:57,250
In doing so we get more ceiling. Ceiling is very important.
1279
01:10:00,680 --> 01:10:02,183
That's not bad, that's almost,
1280
01:10:02,183 --> 01:10:03,910
almost that's the exposure.
1281
01:10:03,910 --> 01:10:05,993
A little bit more.
1282
01:10:08,540 --> 01:10:11,193
I'm showing the beginning and end of the walls.
1283
01:10:12,420 --> 01:10:14,450
So it's as simple.
1284
01:10:14,450 --> 01:10:16,393
It's an architectural story.
1285
01:10:19,900 --> 01:10:20,733
Ooh.
1286
01:10:23,580 --> 01:10:24,883
This is perfect exposure.
1287
01:10:25,810 --> 01:10:28,987
I think so, yeah. We can do it in that way.
1288
01:10:31,547 --> 01:10:32,760
The bottom of the stage here,
1289
01:10:32,760 --> 01:10:35,160
when that's enlarged into a reproduction,
1290
01:10:35,160 --> 01:10:36,800
that's gonna show the story,
1291
01:10:36,800 --> 01:10:39,570
how this is related to that wall.
1292
01:10:39,570 --> 01:10:42,850
See it comes around here, back around here.
1293
01:10:42,850 --> 01:10:44,000
So we have a perimeter.
1294
01:10:46,470 --> 01:10:47,693
That gets everything.
1295
01:10:47,693 --> 01:10:50,010
Did it?
Yeah. The point.
1296
01:10:50,010 --> 01:10:51,100
How about the bottom?
1297
01:10:51,100 --> 01:10:54,127
Everything. We can crop there.
1298
01:10:54,127 --> 01:10:57,938
But we do not need now, because I don't want to go.
1299
01:10:57,938 --> 01:10:59,693
Can you see the top, here?
We get everything.
1300
01:11:01,410 --> 01:11:03,160
That's fine. Let me look at that.
1301
01:11:04,760 --> 01:11:05,660
Oh, wait a minute.
1302
01:11:06,930 --> 01:11:11,930
How about putting on 75, and doing a horizontal one?
1303
01:11:14,320 --> 01:11:15,953
All right, there's your rising front.
1304
01:11:15,953 --> 01:11:18,490
We have big notations in this too.
1305
01:11:18,490 --> 01:11:20,800
Let me check the poll light, shall we?
1306
01:11:20,800 --> 01:11:22,650
See, we are getting dark in the corner.
1307
01:11:22,650 --> 01:11:24,200
I like that. I want that.
1308
01:11:24,200 --> 01:11:25,350
It's a part view.
1309
01:11:25,350 --> 01:11:26,950
No, we always do that in our pictures.
1310
01:11:26,950 --> 01:11:29,370
We darken the corners always. So there really.
1311
01:11:29,370 --> 01:11:30,610
I never do that.
1312
01:11:30,610 --> 01:11:32,820
I do, and that's why people like my photography.
1313
01:11:32,820 --> 01:11:34,090
Okay.
1314
01:11:34,090 --> 01:11:36,140
I darken it purposely.
1315
01:11:36,140 --> 01:11:39,135
I control what I call the vision acoustics.
1316
01:11:39,135 --> 01:11:42,302
(contemplative music)
1317
01:12:36,059 --> 01:12:39,435
Folk lore is one thing, but working is another thing.
1318
01:12:39,435 --> 01:12:40,840
Especially that right now,
1319
01:12:40,840 --> 01:12:43,573
the kind of architecture that you have documented,
1320
01:12:44,500 --> 01:12:46,860
that's so much in favor again.
1321
01:12:46,860 --> 01:12:50,650
And then you can see all these people come here to hear you.
1322
01:12:50,650 --> 01:12:52,410
Well, you've heard the term mazal tov,
1323
01:12:52,410 --> 01:12:55,504
when someone gets buried, I mean married.
1324
01:12:55,504 --> 01:12:58,504
(audience laughing)
1325
01:13:02,740 --> 01:13:07,740
So, apparently I've been graced with mazal, good luck, fate.
1326
01:13:11,230 --> 01:13:13,160
This photo is about architecture,
1327
01:13:13,160 --> 01:13:15,888
but you also been very interested in the city,
1328
01:13:15,888 --> 01:13:18,462
specific ideas, I think, about the city.
1329
01:13:18,462 --> 01:13:20,230
Is that correct?
1330
01:13:20,230 --> 01:13:24,303
We have no control, no planning, no urban planning.
1331
01:13:26,150 --> 01:13:26,983
How would you like to live
1332
01:13:26,983 --> 01:13:29,102
somewheres in that pile of junk?
1333
01:13:29,102 --> 01:13:31,300
(audience laughing)
1334
01:13:31,300 --> 01:13:35,950
Can we control the real estate market? No.
1335
01:13:35,950 --> 01:13:39,823
But we can guide it, intelligently.
1336
01:13:40,860 --> 01:13:44,110
(audience applauding)
1337
01:13:49,437 --> 01:13:50,920
You are a rock star.
1338
01:13:50,920 --> 01:13:52,560
A who?
1339
01:13:52,560 --> 01:13:54,314
A rock star.
1340
01:13:54,314 --> 01:13:57,310
You're famous, like Elvis Presley all of a sudden.
1341
01:13:57,310 --> 01:13:58,816
Oh my God.
What's the deal?
1342
01:13:58,816 --> 01:14:00,240
I'm better than he is.
1343
01:14:00,240 --> 01:14:01,707
I'll say.
1344
01:14:01,707 --> 01:14:03,902
Let's go cut the cake here.
1345
01:14:03,902 --> 01:14:08,902
♪ Happy birthday dear Julius ♪
1346
01:14:08,939 --> 01:14:12,189
♪ Happy birthday to me ♪
1347
01:14:14,124 --> 01:14:18,367
(audience cheers and applauds)
1348
01:14:18,367 --> 01:14:21,290
The first toast is to my father,
1349
01:14:21,290 --> 01:14:25,320
a man whose curiosity and optimism
1350
01:14:25,320 --> 01:14:30,200
has propelled him through a magnificent life.
1351
01:14:30,200 --> 01:14:33,950
I would also like to have us all remember
1352
01:14:33,950 --> 01:14:37,303
the modernist architects who made my father's work possible.
1353
01:14:38,862 --> 01:14:42,587
(audience applauding)
1354
01:14:42,587 --> 01:14:44,010
Good night, Julius.
Good night.
1355
01:14:44,010 --> 01:14:45,290
Good night.
Good night, good night.
1356
01:14:45,290 --> 01:14:46,123
Thank you.
1357
01:14:51,220 --> 01:14:55,768
And this is the original concrete structure?
1358
01:14:55,768 --> 01:15:00,630
I have always admired Julius from the standpoint of his,
1359
01:15:00,630 --> 01:15:03,230
somebody who's together as he is,
1360
01:15:03,230 --> 01:15:05,760
and at his age and still is vital.
1361
01:15:05,760 --> 01:15:07,540
He's being asked so often
1362
01:15:07,540 --> 01:15:12,540
to be out there and talk about where he's come from,
1363
01:15:13,330 --> 01:15:17,070
and where he's, what he believes in today.
1364
01:15:17,070 --> 01:15:20,980
The camera is the least important element in photography.
1365
01:15:20,980 --> 01:15:22,460
That's why in my seminars,
1366
01:15:22,460 --> 01:15:25,120
I will not permit the camera to be introduced
1367
01:15:25,120 --> 01:15:27,350
until we look at what we're judging.
1368
01:15:27,350 --> 01:15:29,290
We've started a new organization,
1369
01:15:29,290 --> 01:15:32,700
called Julia Shulman Institute at Woodbury.
1370
01:15:32,700 --> 01:15:34,260
And we're starting a new program
1371
01:15:34,260 --> 01:15:37,480
for high school students, lecturing on photography.
1372
01:15:37,480 --> 01:15:39,130
Now in this composition, we're seeing
1373
01:15:39,130 --> 01:15:41,780
all the way into this dark part of the building here.
1374
01:15:42,759 --> 01:15:44,920
(applauding)
1375
01:15:44,920 --> 01:15:47,670
President Nelson, it is my honor to present
1376
01:15:47,670 --> 01:15:50,550
Julius Shulman, the undisputed master
1377
01:15:50,550 --> 01:15:52,480
of architectural photography
1378
01:15:52,480 --> 01:15:56,260
for the honorary degree, Doctorate of Architecture.
1379
01:15:56,260 --> 01:16:00,177
(audience cheers and applauds)
1380
01:16:06,050 --> 01:16:09,160
Thank you all so much.
1381
01:16:09,160 --> 01:16:10,520
I can't begin
1382
01:16:14,310 --> 01:16:17,343
to say what this means.
1383
01:16:18,580 --> 01:16:21,913
But I'm beginning a new life every day.
1384
01:16:23,410 --> 01:16:26,203
Let me fill you in on something very simple.
1385
01:16:27,930 --> 01:16:29,163
Life is good.
1386
01:16:30,590 --> 01:16:33,120
Life can be beautiful.
1387
01:16:33,120 --> 01:16:34,880
What more can I ask?
1388
01:16:34,880 --> 01:16:36,243
Thank you very much.
1389
01:16:36,243 --> 01:16:40,257
(audience cheers and applauds)
1390
01:16:40,257 --> 01:16:43,174
Beautiful, beautiful.
Thank you.
1391
01:16:45,710 --> 01:16:48,070
Do you see yourself as a romanticist?
1392
01:16:48,070 --> 01:16:50,000
Oh yes. I have fun.
1393
01:16:50,000 --> 01:16:52,991
I learned something, Julius, from talking with you.
1394
01:16:52,991 --> 01:16:55,650
I have a gate, and I've got a box from the shepherd.
1395
01:16:55,650 --> 01:16:56,680
I think that's when the greatest
1396
01:16:56,680 --> 01:16:58,228
architecture pictures I've ever seen.
1397
01:16:58,228 --> 01:16:59,502
Yeah, that's wonderful, a great picture.
1398
01:16:59,502 --> 01:17:01,680
So this points out about photography,
1399
01:17:01,680 --> 01:17:03,640
success, romanticism.
1400
01:17:03,640 --> 01:17:06,630
If you're worried about the job you're gonna do,
1401
01:17:06,630 --> 01:17:08,700
you can't be bothered with a barking dog.
1402
01:17:08,700 --> 01:17:11,460
Come on, let's get him in the house. Let's go shooting, Joe.
1403
01:17:11,460 --> 01:17:14,900
But if you're relaxed, and enjoy what's around you,
1404
01:17:14,900 --> 01:17:16,700
you speak to those dogs.
1405
01:17:16,700 --> 01:17:18,420
Julius, you enjoy your work, don't you?
1406
01:17:18,420 --> 01:17:20,313
Oh, what else is there?
1407
01:17:21,869 --> 01:17:25,036
(contemplative music)
1408
01:17:30,380 --> 01:17:33,860
The newly created Julius Shulman Institute
1409
01:17:33,860 --> 01:17:37,070
at Woodbury University, and the recent acquisition
1410
01:17:37,070 --> 01:17:40,720
of his archive by the Getty, has secured Shulman's place
1411
01:17:40,720 --> 01:17:44,600
as one of modernism's most eloquent ambassadors.
1412
01:17:44,600 --> 01:17:47,530
Both his personal and photographic legacy
1413
01:17:47,530 --> 01:17:51,800
continue to endure, perpetuating the philosophy,
1414
01:17:51,800 --> 01:17:56,718
simple beauty, and pioneering spirit of modern architecture.
1415
01:17:56,718 --> 01:18:00,718
(contemplative music continues)
103039
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