When a Dutch industrialist by the name of Cees H. Van der Leeuw gave architect Richard Neutra a $3,500 loan to build himself a modern home on an empty block in Silver Lake, Los Angeles, California, United States, Neutra must’ve wondered what he’d done to deserve such luck. The VDL House, as it became known, was to serve as Neutra’s lodgings, studio, and retreat all in one, funded by a man who simply wanted to do his part to move society towards the new, ‘Neutrian’ vision of modern life.
Neutra VDL House facade facing Silver Lake Blvd
Now almost a century later, the VDL House stands as a testament to that vision, though it is not, as it happens, the same house that Neutra originally built. The first VDL House was destroyed by a fire in 1963 and reconstructed shortly afterwards, with a few extra additions in harmony with the contemporary spirit of the original. Over the years, small refurbishments, renovations, and alterations have kept the building in a state of evolution, but its spirit remains intact.
The VDL House was to be a kind of canvas in which Neutra could toy around with untried ideas and materials: durable and cheap built-in furnishings; large, sliding panes of glass; a sense of spatial maximisation in compact square-footage. These ideas were particularly suited to the climes of Southern California, and it is no coincidence that Neutra’s name has become almost synonymous with the architecture of the region. Los Angeles was his happiest hunting ground, though Neutra disapproved of the city’s architectural salmagundi, what he called an “array of pickings and tidbits”. The VDL House nevertheless demonstrates just how well he understood the unique possibilities inherent to LA’s sunny slopes. The house now largely acts as a site of education for emerging architects, and of pilgrimage for architecture aficionados. We spoke with Noam Saragosti, director of the Neutra VDL Studio and Residences, about the legacy of the Viennese architect’s celebrated creation.
Circular lamp shade under the ground floor stairs
The Neutra VDL library and living room
Noam Saragosti, Resident Director of Neutra VDL House
The Neutra VDL library and living room
| Elroy Rosenberg | How did you come to appreciate Neutra’s work? What elements appeal most to you? |
| Noam Saragosti | I first encountered Neutra’s work while studying Architecture at Cal Poly Pomona, which owns the VDL House. Before his passing in 1970, Neutra held a triple appointment at Cal Poly in Architecture, Landscape Architecture, and Urban and Regional Planning. As a student, I became a docent at the house, giving tours around 2013 to 2014. I was most inspired by Neutra’s idea that, in Southern California’s climate, a home could be so open to the exterior, that the threshold between interior and exterior space could be blurred architecturally. Peter and Alison Smithson once described the photos of Neutra’s buildings as having a ‘de-materialised glamour', and I would borrow their term to describe my feeling of moving through the VDL House and the effect of the interplay of all the glass and mirrored surfaces, the plants, water, and light. |
| ER | Who were some of the key design influences on the VDL House? Did Rudolph Schindler play any role in its conception? |
| NS | Schindler didn’t directly influence the VDL House’s design. By the 1930s, Schindler and Neutra had stopped collaborating and weren’t even on speaking terms. However, given their shared education and interest in modernist principles, they likely influenced each other during their earlier years of living and working together in the 1920s, or at least had some overlap. The VDL House’s design was shaped more by its site, programme, budget, and Neutra’s family needs. The Neutras purchased the small 60ft by 70ft lot for $1,000—an incredible deal, even by today’s standards—and valued its proximity to the Silver Lake Reservoir and downtown Los Angeles. The ground floor housed Neutra’s architectural practice, with the family’s living quarters upstairs. Later, Neutra added the Garden House wing between 1939 and 1940. Despite the tight lot, Neutra created a dynamic live-work space, cleverly integrating public and private areas with indoor and outdoor connections. In 1963, an electrical fire burned the main house to its foundation, saving the Garden House. Between 1965 and 1966, Richard and Dion Neutra reconstructed the house as the VDL II. Even though the house was built on the same footprint, there were many changes. That’s a whole other story. |
| ER | As much as anything else, the VDL House has become a site of education. What is the significance of the title ‘Research House’? What is it about the House that makes it such a fertile ground for learning? |
| NS | Neutra’s early houses had great titles: the Health House, the Plywood Demonstration House, and our beloved Research House. The Research House was an experiment in organising a mixed-use multifamily project on a somewhat standard lot without compromising on privacy, connection with nature, and natural light. As his own client, Neutra had more freedom to innovate. He used the house as a showcase for potential clients and secured corporate sponsorships for materials and appliances, pushing the boundaries of design within a modest budget. The house embodies the principles of efficiency, experimentation, and adaptability. So it’s no coincidence that it was titled the VDL ‘Research' House. It has many lessons to teach and continues to inspire students and fans worldwide who travel far to visit us. Despite modernism's cold reputation, visitors are immediately struck by how warm and humanistic the spaces feel and how delicately the house interacts with nature and the surrounding site. They’re inspired by the house's sophisticated organisation of space and efficiency, utilising built-ins and flexible design elements such as moveable partitions. The house also teaches us how technology can enhance the domestic experience with elements like the giant louvres that provide privacy and solar protection on the western facade. Today, we host activities such as student presentations, sketching sessions, evening lectures, and weeklong workshops, making the house an active hub for learning and inspiration. |
| ER | What are your main responsibilities at the VDL House? What sort of activities and projects are you engaged with on a day-to-day basis? |
| NS | My responsibilities as Resident Director range from curating cultural programmes to property maintenance, preservation, education, fundraising, bookkeeping, security, etc. My daily activities include maintaining the gardens, organising cultural programmes, giving tours, meeting contractors and reviewing bids, facilitating photoshoots, lecturing to students, and much more. I never get bored. It’s an incredible honour to manage the house, share its legacy with the public, and collaborate with talented students and professionals. |
| ER | What, in your opinion, explains the rise in Neutra’s popularity over the last few decades? |
| NS | It’s fascinating how the homes he built on modest budgets are now multimillion-dollar properties. Most Neutra homes aren’t about extravagant materials or vast spaces; their luxury comes from their designs—flooded with natural light, deeply connected to nature, and carefully attuned to privacy and comfort. I think that Neutra’s homes have always attracted interesting people. There are records of people like Isamu Noguchi and Man Ray visiting the VDL House. Many original owners, and those who have purchased Neutra houses over the years, are interesting artists, doctors, dancers and movie stars. Neutra had some PR success with features in Time Magazine and Life Magazine and has published his work and writing in several different countries. Over time, his work gained visibility through popular culture, appearing in films such as L.A. Confidential (1997) and Don’t Worry Darling (2022). |
| ER | Do you have anything to do with the Neutra Institute for Survival Through Design? |
| NS | While the Neutra Institute operates separately, we collaborate regularly. Led by Raymond Neutra, the Institute carries forward Neutra’s legacy by promoting research, design, and preservation that benefits both people and the planet. They manage three Neutra properties, including the nearby Reunion House and Neutra Office on Glendale Blvd, just steps from the VDL House. |
| ER | The architectural critic Wayne Andrews labelled Neutra’s style ‘mechanistic artistry’. Would you agree? Do Neutra’s houses fit the bill as machines to live in? |
| NS | I think ‘mechanistic artistry’ is an apt description. Neutra’s work was both methodical and deeply creative. He developed a system—a kit of architectural components—that he adapted to each project’s unique context. This efficiency allowed him to complete over 300 homes in his career, far more than many of his contemporaries. While Neutra’s houses reflect some elements of Le Corbusier’s concept of a ‘machine for living in’, they transcend the purely mechanical. His designs emphasise human experience and connection to nature, blending technical precision with a sensitivity to light, air, and surroundings. Perhaps the phrase ‘a machine in the garden’ better captures the balance he achieved. |
| ER | Do you think of Neutra as an LA architect, or even a Southern Californian architect? Or does this limit the scope of his work? |
| NS | While it’s limiting to define Neutra solely as an LA architect, given his European roots and projects worldwide, it’s undeniable that his influence in Southern California is profound. His designs are deeply connected to the region’s climate and lifestyle, and many of his iconic works are in Los Angeles. That said, his versatility is worth noting—he has built everything from a log house in Montana, United States to a U.S. embassy in Karachi, Pakistan. Still, if one were to create a list of quintessential LA architects, Neutra would undoubtedly be near the top. |
| ER | The VDL House is open to visitors every Saturday. What do you generally hear are the most intriguing aspects to guests or first-time visitors? |
| NS | Visitors are often surprised to learn about the house’s history—how it was partially destroyed by a fire in 1963 and rebuilt in 1966 by Richard and Dion Neutra. Many are also fascinated by the transformation of the surrounding area; for example, the Silver Lake Reservoir once extended much closer to the house before being infilled in the 1950s. Other favourite details include the reflecting pools added during the reconstruction, the chrome piano legs Neutra swapped out for the original ones, and the knowledge that the Neutra family’s ashes were scattered in the courtyard. |
| ER | The VDL House evinces, as does a swathe of modernist buildings and, indeed, modernist writings, that the architecture of the first half of the 20th century was about breaking somewhat with Western tradition and forging a new path. With this in mind, what do you think about the gradual disappearance of modernist homes and buildings through neglect, underuse, and demolition? |
| NS | It’s always disheartening to see modernist homes neglected or lost, often due to a lack of awareness or care. However, living in Los Angeles gives me hope—there’s a strong preservation movement here, and organisations are actively working to protect important buildings. There are horror stories here and there, but I remain optimistic. |
| ER | Why did Neutra add louvres to this building, and what did they achieve? |
| NS | The louvres were added during the reconstruction of the VDL House in 1966. Before the 1963 fire, the house’s western facade, facing Silver Lake Blvd, relied on trees for solar protection and privacy. When those trees were lost in the fire, the Neutras added large louvres—designed like airplane wings—to provide shade and privacy. The louvres were originally motorised, with controls still present in the house. In ‘auto’ mode, they responded to solar radiation levels via a roof sensor. Similar louvres, made by the Lemlar Company, can also be seen on the facade of the Hall of Records, another local Neutra & Alexander project. |
Neutra's Boomerang chair
West-facing louver
The rooftop penthouse and reflecting pool
The dining area and hallway to the bedrooms
The rooftop penthouse
*Credits