SubscribeSign In
Collection by Olivia Martin

Design Icon: Julius Shulman

Julius Shulman was a famous American photographer known for his residential photography of modernist residences in midcentury Southern California.

View 7 Photos
Completed in 1929, Neutra’s Lovell Health house was the first steel-frame residence in the U.S., and was built using prefab elements (the home’s framing went up in two days). Shulman shot the home, which Neutra included in the 1932 Museum of Modern Art Modern Architecture exhibition, on three occasions. © J. Paul Getty Trust. Used with permission. Julius Shulman Photography Archive, Research Library at the Getty Research Institute (2004.R.10)
Completed in 1929, Neutra’s Lovell Health house was the first steel-frame residence in the U.S., and was built using prefab elements (the home’s framing went up in two days). Shulman shot the home, which Neutra included in the 1932 Museum of Modern Art Modern Architecture exhibition, on three occasions. © J. Paul Getty Trust. Used with permission. Julius Shulman Photography Archive, Research Library at the Getty Research Institute (2004.R.10)
Shulman's shot of Pierre Koenig’s Case Study House No. 22 in 1960 became one of the most iconic photographs of modern U.S. architecture and many felt like it encapsulated Los Angeles during at that time. Shulman ultimately photographed 18 of the 26 Case Study Houses commissioned by Arts & Architecture magazine. © J. Paul Getty Trust. Used with permission. Julius Shulman Photography Archive, Research Library at the Getty Research Institute
Shulman's shot of Pierre Koenig’s Case Study House No. 22 in 1960 became one of the most iconic photographs of modern U.S. architecture and many felt like it encapsulated Los Angeles during at that time. Shulman ultimately photographed 18 of the 26 Case Study Houses commissioned by Arts & Architecture magazine. © J. Paul Getty Trust. Used with permission. Julius Shulman Photography Archive, Research Library at the Getty Research Institute
"No landscape architect would do this mishmash," says Shulman of his beloved garden. "Behind my land is 53 acres, which now belong to the Santa Monica Conservancy, so it's protected," he says. "My daughter's son will probably live here when he grows up—he's only 25 or 30 now." Though the photographer uses a walker—dubbed "the Mercedes"—to maintain his balance, he claims to have given up skiing and backpacking in the Sierras only a few years ago.
"No landscape architect would do this mishmash," says Shulman of his beloved garden. "Behind my land is 53 acres, which now belong to the Santa Monica Conservancy, so it's protected," he says. "My daughter's son will probably live here when he grows up—he's only 25 or 30 now." Though the photographer uses a walker—dubbed "the Mercedes"—to maintain his balance, he claims to have given up skiing and backpacking in the Sierras only a few years ago.
Built between 1947 and 1950, the Shulman house was the result of a collaboration between the photographer and architect Raphael Soriano, and served as Shulman’s home for more than half his life. Perched on a hill in Laurel Canyon on Woodrow Wilson Drive, the house was designated a Los Angeles Cultural Heritage monument in 1987. The one-story, exposed-steel-frame structure is defined by its central “spine” and surrounded by gardens that Shulman left in a somewhat wild state.
Built between 1947 and 1950, the Shulman house was the result of a collaboration between the photographer and architect Raphael Soriano, and served as Shulman’s home for more than half his life. Perched on a hill in Laurel Canyon on Woodrow Wilson Drive, the house was designated a Los Angeles Cultural Heritage monument in 1987. The one-story, exposed-steel-frame structure is defined by its central “spine” and surrounded by gardens that Shulman left in a somewhat wild state.
At Shulman’s insistence, Soriano created a screened area that protects the gardenside elevation of the house from, says the photographer, “excessive wind and glaring light. In hot weather, when I have the sliding glass doors open, I close the screens on the sides—otherwise it’s all open to the coyotes and raccoons.” In keeping with the off-the-shelf ethic of the Case Study era, Soriano used simple, durable materials that, after 57 years, remain intact.
At Shulman’s insistence, Soriano created a screened area that protects the gardenside elevation of the house from, says the photographer, “excessive wind and glaring light. In hot weather, when I have the sliding glass doors open, I close the screens on the sides—otherwise it’s all open to the coyotes and raccoons.” In keeping with the off-the-shelf ethic of the Case Study era, Soriano used simple, durable materials that, after 57 years, remain intact.
When Dwell visited Shulman two years before his death, he was satisfied with the career he had built, and still actively giving lectures, photographing houses, and talking to journalists. "I'm always identified as being the best architectural photographer in the world," Shulman declared. "I disclaim that. I say, 'One of the best."
When Dwell visited Shulman two years before his death, he was satisfied with the career he had built, and still actively giving lectures, photographing houses, and talking to journalists. "I'm always identified as being the best architectural photographer in the world," Shulman declared. "I disclaim that. I say, 'One of the best."