Jewellery by Dina González Mascaró, an Argentinian Vancouverite. Her shop on Main Street in Vancouver, Jeweller Bau, is itself a sculpture. Website, blog and Flickr. And this is her CV:

Frank Lloyd Wright’s Ennis House in Los Feliz, Los Angeles, has probably appeared in more Hollywood films than any other notable modern house and has also been heavily used for ad and fashion shoots, music videos and television. The house is currently for sale at US$15 million, hence these new photos by Tim Street-Porter for Christie’s Great Estates. The building is strange enough on its own – Mayan temple meets Arts & Crafts meets deco meets baronial – without the additional fact that it posed as Deckard’s apartment in Blade Runner. Living in this house would be  - well, you’d be an actor in someone else’s movie. The exteriors of Wright’s houses are unarguably impressive, but the style of the interiors, which Wright designed and decorated himself, seem stylistically confused and – despite all the natural light – weirdly ornate and heavy. Unless one has been inside a house one isn’t really supposed to comment, and of course architectural photographs, no matter how good, never give a true impression of a place. But the historical styles and references of Wright’s interiors are plainly evident from photographs, and by any standards they’re a very odd mix. The Ennis House interior suggests the palatial, the hobbity, the occult and the medieval all at once; it’s a bizarre hybrid of Arts & Craft leaded glass, concrete tiles molded in a deliberately pre-columbian style (“textile blocks”), persian carpets, Alhambra-ish wrought iron chandeliers and chairs, and heavy furniture in both early Renaissance and English medieval styles. Personally I would have just limited myself to Mayan temple. I sympathize with Wright’s interest in craft, artisanal excellence, and the kind of painstaking hand-production that references the land and environment, but these virtues can belong to any number of aesthetic styles. Why this medley of styles in particular, why this Lord of the Rings grandeur  - in the middle of LA? It’s sort of a megalomaniac architectural fantasy and it’s no wonder so many Hollywood films have been shot at the house, particularly films on the noirish end of the moral continuum. Even Buffy the Vampire Slayer has been shot here, further belying Wright’s quasi-spiritual intentions for the house.  See below for a long but not exhaustive list of movies filmed in the house, compiled by a moderator on pushpullbar as part of an interesting thread on architecture in the movies. It’s a fairly sombre list.

Both photos above from Blade Runner, 1982, via loftlifemag.

Black Rain, 1989

Grand Canyon, 1991.

House on Haunted Hill, 1958.

Ricky Martin 1998 video Vuelve, above. And oh dear.

More films shot in the house (additional photos to be added… please check back):

Female, aka The Violent Years (1956)
House on Haunted Hill (1958)
Terminal Man (1974)
Day of the Locust (1974)
Blade Runner (1982)
The Howling II . . . Your Sister is a Werewolf (1984)
The Annihilator (1986)
TimeStalker (1987)
Remo Williams (1987)
Karate Kid III (1989)
Black Rain (1989)
Twin Peaks (1989)
Calvin Klein’s Obsession, commercial by David Lynch (1990)
Predator 2 (1990)
Grand Canyon (1991)
An Inconvenient Woman (2 part TVM 1991)
The Rocketeer (1991)
Fallen Angels (1993)
Murder, Obliquely (1993)
The Glimmer Man (1996)
House of Frankenstein (1997)
Rush Hour (1998)
The Replacement Killers (1998)
The Thirteenth Floor (1999)

From Nat Shapiro’s funny, grumpy quotation collection Whatever It Is, I’m Against It.

I’m not sure where the strange compulsion to assemble this inventory comes from but it’s hard to stop, especially when people start adding their suggestions to the list. The house above was suggested by swedestralian. It’s by architect Jeff Kovel of Skylab Architecture for Nike executive John Hoke and his family and appeared in the 2008 film Twilight.  swedestralian also suggested The Disney Concert Hall by Frank Gehry, below, which as everybody has probably noticed made a key appearance in 2008’s Get Smart:

The climax of the atrocious Get Smart unfolds here, and while I’m not a huge fan of this building, I can only imagine the ambivalence Gehry must have felt if he saw the movie.

The much-photographed Villa Malaparte by Adalberto Libera, on the island of Capri, appeared in Godard’s 1963 film Le Mépris (Contempt). That’s Brigitte Bardot on the roof.

The Guggenheim Museum (New York), designed by Frank Lloyd Wright and completed in 1959, appeared in 2009’s The International. It was suggested by archdaily via twitter, who also suggested the Mies van der Rohe towers in Chicago, which appeared in Batman. I haven’t seen the new Batman movie, but boerhaus says that the two Chicago Mies vander Rohe buildings in the film are the IBM Plaza (1973), which was the site of the Wayne Enterprises Boardroom, Harvey Dent’s office, the Mayor’s office and the Police Commissioner’s office, and One Illinois Center (1970), which became the main living area of Bruce Wayne’s new penthouse. The building at center below is One Illinois Center, by photographer Lee Bey.

IBM Plaza, below.

Feel free to send in your suggestions. Unless otherwise noted all photos are from Flickr, with the exception of the shots of Villa Malaparte from Wikipedia.

This list,  inspired by an interesting thread on pushpullbar, is a small selection of great modern buildings that have appeared in 20th C film. Above, Charles Deaton’s Sculpture House, which appeared in Woody Allen’s 1973 film Sleeper. All photos gratefully borrowed from Flickr.

Ricardo Bofill apartment building, seen in Terry Gilliam’s 1975 film Brazil.

Frank Lloyd Wright’s Ennis House, 1924, has appeared in the following films: The House on Haunted Hill, 1958; The Day of the Locust, 1975; Blade Runner, 1982; Black Rain, 1989.

Neutra’s Lovell House, above, appeared in LA Confidential, 1998.

John Lautner’s Elrod House of 1968. The 1971 James Bond film Diamonds Are Forever was shot here, shortly after the house was built.

John Lautner’s Chemosphere of 1960. Appeared in Body Double, 1984.

And finally, Corbusier’s Villa Savoie, which appeared in the film French Postcards, 1979.

From the Taschen bio of Shulman:

American photographer Julius Shulman’s images of Californian architecture have burned themselves into the retina of the 20th century. A book on modern architecture without Shulman is inconceivable. Some of his architectural photographs, like the iconic shots of Frank Lloyd Wright’s or Pierre Koenig’s remarkable structures, have been published countless times. The brilliance of buildings like those by Charles Eames, as well as those of his close friend, Richard Neutra, was first brought to light by Shulman’s photography.

The clarity of his work demanded that architectural photography had to be considered as an independent art form. Each Shulman image unites perception and understanding for the buildings and their place in the landscape. The precise compositions reveal not just the architectural ideas behind a building’s surface, but also the visions and hopes of an entire age. A sense of humanity is always present in his work, even when the human figure is absent from the actual photographs.

Today, a great many of the buildings documented by Shulman have disappeared or been crudely converted, but the thirst for his pioneering images is stronger than ever before.

All of these images are in Shulman’s indispensable 3-book series Modernism Rediscovered and are also sold as prints by Taschen. See also our last post on Shulman here and here. Please note that these photos are of the prints, so they are imperfect. Please buy the books! There’s also a good abridged paperback version of  Modernism Rediscovered. Thanks to lushpad for indirectly inspiring this post.