When you’re in Los Angeles, you need to visit more than just the beach. Don’t miss these six breathtaking buildings, from the Disney Concert Hall to Case Study House No. 22.

　　Earlier versions of the descriptions of these buildings first appeared in 1001 Buildings You Must See Before You Die, edited by Mark Irving (2016). Writers’ names appear in parentheses.

　　Six years after immigrating to the United States from Vienna, Richard Neutra built Lovell House, which was to forge his reputation. Its owner Philip Lovell’s theories of preventative medicine by way of good diet and exercise also lent it the name the Health House.

　　The Lebensreform movement that swept from Europe to California in the early 20th century influenced both Lovell and Neutra. It promoted the lifestyle Lovell sought and Neutra delivered. This was the first U.S.-built steel frame house. Neutra chose steel for its strength and superior structural capacity but also for the fact that it was seen as “healthier.” The frame was made in sections and took 40 hours to erect on site.

　　A Neutra biographer says work was held to a “decimal tolerance” to avoid costly changes. This suggests that Neutra anticipated the critical need for dimensional variation control. Low variation means a tight fit, fewer defects, and better appearance. Innovations abound in the house, which was built in 1927–29: ribbon concrete walls; expanded metal backed with insulation panels; and balconies suspended from the roof frame. The third-level entry terrace has outside sleeping porches. The lower-level gym extends to an outdoor pool, hung in a U-shaped concrete sling. Vast expanses of glass were introduced to deliver sunlight and vitamin D, and to ensure oneness with the landscape. (Denna Jones)

　　Case Study House No. 22One of the most famous and influential house designs of the late 20th century, Case Study House No. 22 is, for many, the embodiment of the California dream.

　　The Case Study program was initiated by Arts & Architecture magazine in 1945 with the goal of promoting the design of cheap, easily assembled residential homes—the solution to a massive postwar housing demand. Editor John Entenza said that he hoped it would “lead the house out of the bondage of handcraftism into industry.” In the late 1950s, Entenza approached San Francisco–born architect Pierre Koenig, who had been experimenting with exposed steel frame houses ever since building his own while still a student at USC. After the completion of his first commission for Entenza (Case Study House No. 21), Koenig immediately began work on its successor. It was completed in 1960.

　　Situated on an awkwardly shaped hillside lot—which had been considered “unbuildable”—Koenig fashioned an L-shaped, single-story building with open-plan rooms and flat roof decks. The plate glass windows of the overhang afforded spectacular views over Los Angeles.

　　Koenig sought a truthful aesthetic for simple, mass-produced materials, and he was a lifelong advocate of passive solar heating and energy conservation in the home. (Richard Bell)

　　Rosen House was one of the few single-story steel houses designed by Craig Ellwood that was actually built. The designs were among the first the architect made after absorbing the ideals of Ludwig Mies van der Rohe. Ellwood commented, “Once I became aware of Mies’s work and studied his designs, my work became more like Mies.”

　　During his mid-20s, Ellwood worked with the building firm Lamport, Cofer and Salzman, and as a result he developed a thorough understanding of construction materials before turning to design. He established his own architectural firm in 1948, quickly achieving great acclaim for his innovative designs based on his keen understanding of construction materials. In the Rosen House, completed in 1962, he brought this knowledge to the fore on many levels, perhaps most visibly in his use of a single vertical steel column to support horizontal steel beams in multiple directions. This structural feature is part of the external skeleton of the house and appears as a rectangular design detail, marrying the effects of structure and aesthetics.

　　The house, based upon a nine-square grid with a central open court, was entirely modern in concept but drew on the precedent of the Classical pavilion. The steel skeleton structure of the house was painted white; ceramic-faced, Norman brick panels and glass walls stood in between. For the interior, and along the lines of Mies’s designs, Ellwood strove for free-floating interior dividers that were unattached to any exterior walls, a feature that was complicated by the necessity for the house to function as a multi-person home. Rosen House is one of the “must sees” of U.S. domestic architecture. It is a building that satisfied the architect’s artistic ideals and objectives while remaining a functional and utilitarian family home. (Tamsin Pickeral)

　　Disney Concert HallThe billowing stainless steel forms of the Disney Concert Hall occupy an entire downtown block in Los Angeles. That they house an auditorium seems improbable. Yet these curved, flared, and collided volumes have a visual “rightness“ amid the sober boxes of corporate L.A. The stainless steel is mostly satin-finished; the original concave, polished finish caused a problematic glare of sunlight and had to be altered.

　　The auditorium is essentially a rectangular box that sits within the block at an angle, disguised all around by the metallic volumes. Frank Gehry’s design is billboard architecture on a spectacular scale, and he slyly acknowledges as much by exposing the steel armature that supports the building’s panels. Despite a 15-year gestation and astonishing cost, the Disney Concert Hall, completed in 2003, is loved both by the city and by musicians.

　　During major events, the entrance doors can be fully retracted so the street seems to flow into the foyer. Inside, the spaces are generous and complex. Timber “trees“ disguise the steel frame and air-conditioning ducts. Roof lights are cleverly placed to bring daylight in and allow internal lighting to illuminate the outdoors at night. The auditorium follows the “vineyard” layout, with the audience sitting in terraces around the stage, and has a tent-like ceiling of Douglas fir. The signage in the building is delightfully subtle: externally, lettering is embossed in the stainless steel with a different grade of satin finish, and internally a wall honoring donors has stainless-steel lettering set into gray felt. (Charles Barclay)

　　International Center for Possibility ThinkingThe Crystal Cathedral campus at Garden Grove in Los Angeles is home to three monuments of Modernist and Postmodernist architectural design, built by three of the world’s most celebrated architects. The inspiring International Center for Possibility Thinking by Richard Meier sits between the Crystal Cathedral, the first all-glass house of worship, designed by Philip Johnson in 1980, and the soaring Tower of Hope, from 1968, by Richard Neutra. The three buildings are located in such close proximity that the area between them functions almost as an outdoor room. Together they interrelate, aesthetically, spiritually, and functionally, while retaining the individual characters and expressions of their architects.

　　Meier’s designs are typically based on just a few specific concepts, making his works seem as if a cohesive whole. His projects transcend their geography and location, and his ideals and inspiration are clearly defined in each building he creates. His approach is based loosely on Corbusian precepts—the interrelation of clean lines and geometric form—with an abiding admiration for the color white. The purity of his designs, combined with their essential whiteness, lends them a spiritual element that is present in both his public and domestic works.

　　The International Center for Possibility Thinking, completed in 2003, is an imposing four-story building sheathed in a skin of stainless steel and glass, with eight sliding, glass entrance doors that lead into a 40-foot-high (12 m) atrium. The extensive use of clear glass bathes the shining white interior in light, which is characteristically manipulated by Meier. The symbolic significance of Meier’s building as the third part of the “trinity” of buildings on the campus is not lost, and it joins the roles of functionality and spirituality with an effortless sublimity. (Tamsin Pickeral)

　　28th Street ApartmentsThe 28th Street Apartments building is an excellent example of the re-use, adaptation, and extension of an existing building, respecting not only its architecture but also its social significance. Originally designed by Paul Revere Williams as the 28th Street YMCA (Young Men’s Christian Association), the Spanish Colonial Revival building opened in 1926, providing affordable accommodation to young African American men who were migrating to the city and could not stay in ordinary hotels because of racial discrimination.

　　The adapted building, designed by Koning Eizenberg, continues the affordable housing theme. The 56 single rooms have become 24 studio apartments, and there are an additional 25 units in a new wing. These units are designed for a mix of uses by people struggling with housing stability.

　　The new addition is shallow enough to be cross-ventilated. It has a perforated metal “veil” on the northern facade facing the existing building, allowing the warm reddish orange of the walls to shine through. This color also extends to the roof garden that has been created on the roof of part of the existing building. On the southern facade there is a screen of photovoltaic panels, which both shade the building and produce energy.

　　This is a sensitively executed project that recognizes the importance of the original structure and enhances it. While in some senses it is a modest project, it shows just how profound a contribution an architect can make by really understanding both a building and the area in which it is located. (Ruth Slavid)