(GEOFFREY) A HOME CAN BE MORE THAN A ROOF OVER YOUR HEAD (AMANDA) THIS IDEA OF A RETREAT, A REFUGE.

THAT'S WHAT HOME IS SUPPOSED TO BE.

(GEOFFREY) IT CAN BE A WORK OF ART (HOWARD) YOU WANT SOMETHING THAT SAYS WHO YOU ARE AND HOW YOU LIVE.

(GEOFFREY) IT CAN CHANGE YOUR WAY OF LIFE (PAUL) THE VERY EXISTENCE OF GREAT HOUSES IMPACTS ON ALL OF US WHO SEE THEM AND EXPERIENCE THEM.

I'M GEOFFREY BAER.

IN THIS SHOW, WE'LL GO INSIDE TEN HOMES THAT CHANGED AMERICA.

FROM ANCIENT MUD BRICK "APARTMENTS"...

SO THAT'S THE PENTHOUSE UP THERE?

THAT'S THE PENTHOUSE UP THERE.

[LAUGHS] (GEOFFREY) ...TO MID-CENTURY SKYSCRAPERS.

(REED) THEY WERE GLAMOROUS.

MAN, THAT'S A GLAMOROUS PROJECT.

(GEOFFREY) FROM HAND-CRAFTED WORKS OF ART... WOW!

(GEOFFREY) ...TO MACHINE-MADE MASTERPIECES.

(MICHELLE) NO TWO FEEL ALIKE.

THEY ARE ALL UNIQUE.

(GEOFFREY) WE'LL STOP BY THE HOMES OF THE RICH AND POWERFUL...

THIS WAS A STUPID PLACE TO BUILD.

(GEOFFREY) ...AND SEE HOW THE LESS FORTUNATE LIVED.

(MELVIN) YOU'RE TALKING HERE ABOUT AN AMERICAN STORY.

FIND OUT WHICH GREAT AMERICAN HOMES MADE THE LIST OF "10 HOMES THAT CHANGED AMERICA".

(GEOFFREY) NOW LET'S EXPLORE TEN HOMES THAT CHANGED AMERICA, IN CHRONOLOGICAL ORDER.

STARTING WITH HOMES THAT ARE WAY OLDER THAN AMERICA ITSELF, HERE IN TAOS, NEW MEXICO.

HOW LONG HAVE YOU LIVED IN YOUR HOUSE?

FOR THE TAOS PUEBLO INDIANS, IT'S BEEN AT LEAST 600 YEARS.

(RICHARD) ALL THESE HOUSES ARE CONSIDERED TO BE PART OF THE PEOPLE WHO LIVED IN THEM.

THEY ARE LIVING SPACES.

THAT'S JUST THE WAY IT IS WHEN YOU LIVE IN A PLACE THAT'S BEEN CONTINUOUSLY INHABITED FOR A FEW HUNDRED YEARS.

(GEOFFREY) THEIR ANCESTORS BUILT THESE PUEBLOS WITHOUT THE BENEFIT OF MODERN TECHNOLOGY.

AND YET FOR SOME REASON THE TAOS DECIDED TO STACK THEIR HOMES LIKE APARTMENT BUILDINGS, UP TO FIVE STORIES HIGH.

AND THAT'S THE PENTHOUSE UP THERE?

THAT'S THE PENTHOUSE UP THERE.

WHEN YOU'RE LIVING IN NEW YORK, THAT'S THE BEST PLACE TO LIVE.

YEAH.

OH, IS THAT TRUE HERE TOO?

NO.

NO OK. [LAUGHS] (GEOFFREY) IN CITIES, PRICEY REAL ESTATE AND LIMITED SPACE DRIVE BUILDINGS TOWARD THE SKY, BUT THERE'S PLENTY OF ROOM OUT HERE.

SO WHY DID THE TAOS BUILD UPWARD?

THEY SAY THE PUEBLO WAS DESIGNED FOR PROTECTION.

PROTECTION FROM YOUR ENEMIES!

(GEOFFREY) YOU SEE, THERE WEREN'T ORIGINALLY DOORS AT GROUND LEVEL.

(TONY) OF COURSE YOU WOULD HAVE A LADDER FROM THE GROUND UP.

THEN ONCE WE GOT ON THE ROOF, WE HAD A HATCH.

LIKE RIGHT HERE?

RIGHT HERE, YEAH.

WE WOULD COME IN THROUGH THE HATCH.

SO IF THE ENEMY IS COMING, YOU PULL UP THE LADDER?

YOU PULL UP THE LADDER AND THEY COULDN'T GET UP.

(GEOFFREY) BY BUILDING VERTICALLY, THE TAOS COULD ALSO FOSTER A STRONG SENSE OF COMMUNITY.

THESE TIGHTLY-PACKED BUILDINGS HAVE BROUGHT THEM TOGETHER FOR CENTURIES.

(RICHARD) THE WHOLE VILLAGE SHOULD RAISE A CHILD, WHEN I WAS GROWING UP HERE, ANYBODY COULD DISCIPLINE ME IF I WAS MISBEHAVING.

AND IF YOU DIDN'T ADDRESS YOUR ELDERS IN A RESPECTFUL WAY, BOY, YOUR PARENTS HEARD ABOUT IT REAL FAST.

(GEOFFREY) STACKING THESE 5 STORY HOMES WITHOUT STEEL OR CONCRETE TOOK SOME INGENUITY.

THE SECRET INGREDIENT?

IT'S MUD.

IT'S MUD!

[LAUGHS] YUP.

(GEOFFREY) THE WALLS ARE "ADOBE," MUD AND STRAW BRICKS HARDENED BY THE DESERT SUN, AND COVERED WITH LAYER UPON LAYER OF MUD PLASTER.

SO YOU'RE TRULY LIVING WITH THE EARTH HERE.

(GEOFFREY) REMARKABLY, THE MUD WALLS SUPPORT THE ENTIRE WEIGHT OF THE BUILDINGS.

THEY'RE WHAT TODAY'S ARCHITECTS CALL "LOAD BEARING WALLS."

(RICHARD) AT THE BASE OF THESE BUILDINGS, THEY'RE ABOUT SIX FOOT THICK.

BY THE TIME YOU'VE GONE UP THREE STORIES, ONE BUILDING ON THE GROUND FLOOR MAY BE HOLDING UP THREE ROOMS ABOVE IT.

(GEOFFREY) BELOW THE ADOBE WALLS IS A STONE FOUNDATION.

(RICHARD) YOU HAVE A SOLID OBJECT THAT'S NOT GOING TO BE SINKING INTO THE GROUND.

(GEOFFREY) ABOVE, CEDAR LOGS CALLED "VIGAS" ARE TOPPED BY LAYERS OF SMALL BRANCHES.

THIS SUPPORTS A HEAVY EARTHEN ROOF.

(RICHARD) WHICH IS USED FOR INSULATION.

(GEOFFREY) ADOBE IS NOT ONLY AVAILABLE; IT'S FUNCTIONAL.

DURING THE DAY, THE THICK WALLS ABSORB THE DESERT SUN, KEEPING IT NICE AND COOL INSIDE.

THEN AT NIGHT WHEN THE TEMPERATURE DROPS, THE HEAT RADIATES INTO THE ROOM.

AND BECAUSE IT'S A NATURAL INSULATION, WITH THE HELP OF A FIRE, IT STAYS NICE AND WARM THROUGHOUT THE WINTER.

SO THAT YOU HAVE A VERY EFFICIENT HOUSE THAT YOU'RE HEATING.

(GEOFFREY) TAOS FAMILIES NOW MOSTLY LIVE OUTSIDE THE VILLAGE IN MODERN HOUSES, BUT THEY'VE TAKEN GREAT CARE TO PRESERVE THEIR ANCESTRAL HOMES.

AND THEY DON'T HAVE TO RUN OUT TO THE HARDWARE STORE FOR SUPPLIES.

IT'S ALL RIGHT HERE.

A LOT OF THIS STUFF IS LIKE RIGHT AROUND US.

AND WE'VE BEEN DOING THIS FOR CENTURIES.

SO IT WOULD MAKE SENSE TO GET IT WHERE MY ANCESTORS USED TO LIVE FROM.

(GEOFFREY) BUT BEFORE THEY HARVEST BRAND NEW MATERIALS, THEY SALVAGE WHAT THEY CAN FROM OLD BUILDINGS.

(TONY) WHATEVER WE TORE OFF HERE, THE DIRT, WE GO AHEAD AND TAKE IT TO OUR SITE AND THEN RECYCLE IT SO YOU'RE THE ORIGINAL RECYCLER?

[LAUGHS] YES, WE ARE.

(GEOFFREY) THESE FORWARD-LOOKING PRACTICES HAVE INSPIRED GENERATIONS OF AMERICAN HOMEBUILDERS.

FROM EARLY SPANISH SETTLERS TO 1920'S MODERNISTS, TO TODAY'S "GREEN" ARCHITECTS.

THE PUEBLOS HAVE A LOT OF STAYING POWER BECAUSE THEY'RE PRETTY MUCH A BUILDING THAT'S HARD TO IMPROVE UPON.

[HAMMERING SOUND] (GEOFFREY) FOR THE TAOS PEOPLE, THIS CENTURIES-OLD HOME IMPROVEMENT PROJECT ISN'T ABOUT KEEPING UP WITH THE TIMES.

IT'S ABOUT PRESERVING THE PUEBLO FOR THE FUTURE, AND CONNECTING WITH THEIR PAST.

(RICHARD) YOU START REALIZING THAT YOU'RE DOING THE SAME THINGS THAT ONE OF YOUR ANCESTORS DID ABOUT 300 YEARS AGO, AND YOU'RE WALKING ON THE SAME PATHS THAT THEY TOOK.

SO I REALLY HAVE MORE OF AN APPRECIATION NOW ABOUT HAVING THAT MUCH LINEAGE GOING BACK.

(GEOFFREY) HE MAY HAVE WRITTEN THE DECLARATION OF INDEPENDENCE AND SERVED AS PRESIDENT.

BUT THIS WAS THOMAS JEFFERSON'S LIFELONG OBSESSION.

IT WAS, IN EFFECT, A WORK IN PROGRESS UNTIL HE DIED.

(GEOFFREY) HE CALLED MONTICELLO "HIS ESSAY IN ARCHITECTURE".

(PETER) THERE WAS AN IDEA THAT THIS WOULD BE THE PLACE WHERE HE WOULD BE REMEMBERED.

AS LONG AS HE IS WORKING ON THIS HOUSE, HE IS AFFIRMING HIS IDENTITY.

(GEOFFREY) FOR INSPIRATION, JEFFERSON WOULD OPEN WHAT HE CALLED HIS "BIBLE," THE WORKS OF THE ITALIAN ARCHITECT ANDREA PALLADIO.

JEFFERSON LOVED THE PRECISE PROPORTIONS OF THESE FORMS, BORROWED FROM THE GREAT TEMPLES OF ANCIENT ROME.

JEFFERSON LOVED LEARNING.

HE LOVED THE CLASSICS.

PALLADIO HELPED BRING ARCHITECTURE BACK TO CLASSISM.

(GEOFFREY) SO JEFFERSON DESIGNED A VIRGINIA PLANTATION HOUSE, THAT LOOKS MORE LIKE A MODEST CLASSICAL TEMPLE.

IT WAS A RADICAL DEPARTURE FROM THE IMPOSING GEORGIAN HOMES OF THE TIME, WHICH WEREN'T SO DIFFERENT FROM THOSE BACK IN ENGLAND.

JEFFERSON WENT SO FAR AS TO DESIGN HIS THREE-STORY HOME TO LOOK LIKE IT'S ONLY ONE.

(PAUL) JEFFERSON DIDN'T LIKE THE PRETENSE OF BUILDING A VAST ENORMOUS BUILDING.

IF JEFFERSON WERE LIVING TODAY, HE'D BE CRUSADING AGAINST MCMANSIONS.

(GEOFFREY) JEFFERSON'S CHOICE OF A LOCATION WAS ALSO UNUSUAL.

MOST PLANTATIONS WERE BUILT ALONG RIVERS, THE HIGHWAYS OF THEIR DAY.

LOCATION, LOCATION, LOCATION, AS THEY SAY.

(GEOFFREY) INSTEAD, MONTICELLO SITS ON A HILLTOP.

A LOVELY SETTING BUT OTHERWISE-- THIS WAS A STUPID PLACE TO BUILD.

WHERE'S THE WATER GOING TO COME FROM?

THINK OF THE EXPENSE.

DO YOU THINK THIS THING WAS BORN LEVEL?

IT TAKES A LOT OF SLAVE LABOR TO MOVE THE EARTH.

TO LEVEL OFF THIS MOUNTAIN?

(GEOFFREY) THE LOCATION ALLOWED JEFFERSON TO HIDE UNSEEMLY ASPECTS OF HIS PLANTATION FROM SIGHT.

THE KITCHEN, LAUNDRY, AND STABLES ARE ALL PARTIALLY BURIED ON EITHER SIDE.

AND THE SLAVE QUARTERS WERE PLACED DOWNHILL, ON "MULBERRY ROW".

(PETER) PEOPLE SAW SLAVES.

OF COURSE, THEY WERE INTEGRAL TO THE SERVICE OF JEFFERSON'S FAMILY EVEN THOUGH THEIR PRESENCE WAS DISCREET.

KIND OF MUSEUM.

(GEOFFREY) JEFFERSON'S GUESTS WOULD BE ENLIGHTENED AS THEY WAITED FOR THEIR HOST IN HIS ENTRANCE HALL.

(PETER) IN THE 18TH CENTURY, YOU WOULD'VE CALLED A PLACE LIKE THIS A CABINET OF CURIOSITIES.

THIS WOULD BE SOMETHING THAT ORDINARILY WOULD BE RESERVED FOR FELLOW ARISTOCRATS, WHO WOULD SHOW EACH OTHER THEIR TROPHIES.

BUT JEFFERSON WANTED TO TEACH AND EVEN IF YOU WEREN'T INVITED, YOU WOULD GET TO SPEND SOME TIME HERE.

(GEOFFREY) THOSE OF US ALLOWED TO GO FURTHER... (PETER) YOU PROBABLY WOULD HAVE BEEN WITH A LETTER OF INTRODUCTION.

(GEOFFREY) ...DISCOVERED A SERIES OF SOCIAL SPACES, DESIGNED FOR OUR ENTERTAINMENT AND ENLIGHTENMENT.

INSTEAD OF SQUARE ROOMS WITH DARK CORNERS, JEFFERSON PREFERRED OCTAGONAL ROOMS.

(PETER) THESE WERE PLACES WHERE JEFFERSON WAS LIKE THE LIGHT OF THE ENLIGHTENMENT SHINING INTO THE DARK CORNERS.

PEOPLE WOULD RAISE THE SUBJECT AND JEFFERSON WOULD HOLD FORTH, AND IF CONVERSATION FLAGGED, WHICH DIDN'T HAPPEN OFTEN HERE, YOU COULD LOOK AT THE WALLS AND YOU'D HAVE THINGS TO TALK ABOUT.

THESE ARE ALL, AS THEY USED TO CALL THEM CONVERSATION PIECES.

FOR JEFFERSON, THERE WAS AN EDUCATIONAL VALUE TO EVERYTHING HERE.

(GEOFFREY) BUT FEW GUESTS WERE ALLOWED A GLIMPSE BEYOND THE PARLOR DOORS.

THIS WAS JEFFERSON'S SACRED SANCTUARY.

(PETER) NOW MY INITIAL REACTION TO THAT IS JEFFERSON, YOU'RE SO SELF-INDULGENT.

COME ON, MAN.

BUT, IN FACT, WHAT HE'S TRYING TO DO IS TO CREATE THE IDEAL SPACE WITHIN WHICH HE CAN DO THE KIND OF THINKING HE DOES, THE KIND OF WRITING HE DOES.

EVERYBODY ELSE IS STUFFED UPSTAIRS IN RELATIVELY TINY ROOMS, BUT JEFFERSON IS PROVIDED FOR HIS OWN COMFORT.

(GEOFFREY) AND COMFORT WAS KIND OF A NEW IDEA?

(PETER) COMFORT IS A VERY NEW IDEA IN THE 18TH CENTURY.

NOBODY EXPECTED TO BE COMFORTABLE.

IN FACT, THE CONCEPT REALLY DIDN'T EXIST.

(GEOFFREY) WITH MONTICELLO, THE MAN WHO DREW UP AMERICA'S FOUNDING DOCUMENTS, WAS GIVING US A BLUEPRINT FOR DOMESTIC ARCHITECTURE: THAT A HOUSE SHOULD BE BUILT FOR THE COMFORT OF ITS CREATOR AND THE ENTERTAINMENT OF HIS GUESTS WHO WOULD BE ENLIGHTENED WITH FINE ART, BIG IDEAS, AND GREAT ARCHITECTURE.

(PETER) JEFFERSON WAS CONVINCED THAT WHEN PEOPLE CAME AND SAW THE THINGS THEY SAW AND LEARNED THE THINGS THEY LEARNED, THEY WOULD BE BETTER OFF FOR IT.

YOU MIGHT SAY HE'S EXPLOITING HIS CHARISMA, AS A WAY TO CONTRIBUTE TO THE PROGRESSIVE CIVILIZATION OF VIRGINIANS AND AMERICANS.

(GEOFFREY) IT WAS SHOCKING WHEN IT WAS BUILT.

A GOTHIC CASTLE BEFITTING ENGLISH ROYALTY, JUST NORTH OF NEW YORK CITY.

(HOWARD) IN ITS DAY, PEOPLE COULDN'T IMAGINE WHY YOU WOULD BUILD THIS THING IN THE MIDDLE OF THE UNITED STATES ON THE HUDSON RIVER, IT HAD NO CONTEXTS ONCE SO EVER.

(GEOFFREY) THE "LORD" OF THE HOUSE WAS FORMER NEW YORK CITY MAYOR WILLIAM PAULDING.

HE HAD MOVED TO THE HUDSON RIVER VALLEY IN 1842 FROM A CITY THAT WAS BECOMING MORE DIRTY AND CROWDED BY THE DAY.

THIS WAS THE START OF A TREND.

AS THE INDUSTRIAL REVOLUTION CAST A CLOUD OVER AMERICAN CITIES, THE RICH BUILT COUNTRY HOMES.

PEOPLE ARE BECOMING RICH.

THEY'RE BUILDING VILLAS.

YOU'VE GOT AMERICANS WHO ARE STARTING TO BE AMERICANS AND THEY'RE LOOKING FOR WHAT THEIR IDENTITY SHOULD BE.

(GEOFFREY) IF MAYOR PAULDING WANTED A HOME WITH PERSONALITY, A.J.

DAVIS WAS THE ARCHITECT FOR THE JOB.

AND HE KNEW IT.

DAVIS CLAIMED THAT HE HAD "A PROMINENCE AND INFLUENCE NOT POSSESSED BY ANY ARCHITECT BEFORE OR SINCE."

A.J.

DAVIS WAS WELL-VERSED IN THE POPULAR CLASSICAL REVIVAL STYLES.

BUT HE FELT THAT THE PRECISE SYMMETRY THAT THOMAS JEFFERSON LOVED WAS TOO RIGID FOR A MAN'S COUNTRY HOME.

HE UNDERSTANDS THAT AMERICANS ARE ROOTED TO THE LAND, THAT THEY WANT THAT RELATIONSHIP TO THE LANDSCAPE.

HE'S FASCINATED WITH MAKING THAT CONNECTION.

(GEOFFREY) ARCHITECT DAVIS KNEW THE SITE CALLED FOR A PICTURESQUE STYLE AS VARIED AND UNEVEN AS THE RUGGED LANDSCAPE.

(HOWARD) AND WHAT THEY THOUGHT IS THAT THE GOTHIC STYLE, WHICH WAS SO UNUSUAL, ASYMMETRIC, HAD POINTS COMING UP, THINGS STICKING OUT, WAS APPROPRIATE TO THE ROCKY CRAG THAT WAS COMING OUT OF THE HILL AND THAT THE TWO BLENDED TOGETHER QUITE BEAUTIFULLY.

(GEOFFREY) GOTHIC WAS A RADICAL CHOICE FOR AN AMERICAN HOME.

IT WAS IMPORTED FROM ENGLAND, AND OFTEN ASSOCIATED WITH MEDIEVAL CHURCHES, CASTLES, AND FINE UNIVERSITIES.

AND THIS SPOKE TO MAYOR PAULDING'S AMBITIONS.

(HOWARD) IT SAYS, "I'M A MAN OF IDEAS, I'M NOT TRYING TO SCREAM THESE THINGS, BUT IT'S ALL HERE" AND IT SAYS "THIS IS HOW I WANT TO LIVE IN A HIGH MANNER."

SO WOULD BUTLERS AND FOOTMEN BE COMING OUT TO WELCOME US NOW?

WELL, WHILE THAT WOULD BE TRUE IN AN ARISTOCRATIC ESTATE IN ENGLAND OR FRANCE, THIS WAS AN AMERICAN HOME; THEY WERE LIVING A MUCH MORE CASUAL LIFESTYLE.

AND IF YOU WANTED YOU COULD ACTUALLY, WALK UP TO THE FRONT DOOR, RUNG THE BELL, AND HAD SOMEBODY BRING YOU IN.

(GEOFFREY) WOW!

A.J.

DAVIS EXTENDED THE GOTHIC THEME TO EVERY CORNER OF THE HOUSE RIGHT DOWN TO THE FURNITURE.

(HOWARD) DAVIS DESIGNS THE INTERIOR OF THE HOUSE.

WHETHER BUILT-IN FURNITURE, WHETHER STANDALONE FURNITURE AND ALL THE FINISHINGS.

(GEOFFREY) BUT DESPITE ITS ENGLISH FLAVOR, THIS HOME CATERS TO AMERICAN TASTES.

DAVIS INCLUDED AMERICAN ADAPTATIONS LIKE A PORCH, WHICH ADDS OUTDOOR LIVING SPACE, SHELTERED FROM THE HARSH CLIMATE.

CUTTING-EDGE CONVENIENCES LIKE BATHROOMS AND RADIATORS MADE AMERICANS LESS RELIANT ON SERVANTS.

AND THE FLOOR PLAN BREAKS OUT OF A TRADITIONAL BOX ITS IRREGULAR SHAPE REACHES INTO THE AMERICAN LANDSCAPE.

(REED) WHAT'S INTERESTING ABOUT DAVIS HE REALLY REPRESENTS, MUCH LIKE JEFFERSON DOES, AMERICA'S SEARCH FOR AN APPROPRIATE STYLE.

HE WANTS MORE DAYLIGHT IN, SO HE BUMPS A TOWER OUT HERE, HE BENDS A WALL BACK HERE, HE STICKS PORCHES ON, HE WANTS TO HAVE THE IRREGULARITY THAT REALLY REPRESENTS THE AMERICAN LIFESTYLE.

WE LIVE THAT WAY.

WE DON'T LIVE IN PERFECT LITTLE ORGANIZED BOXES.

(GEOFFREY) ONCE CONSIDERED SHOCKING, LYNDHURST PROVED HIGHLY INFLUENTIAL.

IT AND OTHER A.J.

DAVIS DESIGNS WERE FEATURED IN A SERIES OF WILDLY POPULAR BOOKS WHICH BROUGHT GOTHIC COTTAGE DESIGNS TO THE MASSES.

LIKE LYNDHURST, THESE HOUSES REPRESENTED THE DREAMS OF AMERICAN HOMEOWNERS: FOR A HOUSE THAT EXPRESSES WHO THEY ARE AND CONNECTS THEM WITH THEIR LAND.

(HOWARD) I THINK WHAT'S INTERESTING ABOUT LYNDHURST IT'S AT A CRITICAL POINT IN A DEVELOPMENT OF A TRUE AMERICAN AESTHETIC IDENTITY.

YOU'RE GETTING TO A POINT WHERE THEY BASICALLY WANT SOMETHING THAT REPRESENTS WHO THEY ARE AND HOW THEY LIVE.

(GEOFFREY) OUR NEXT HOME THAT CHANGED AMERICA IS A BIT DIFFERENT.

IT'S NOT ONE HOUSE, IT'S A TYPE OF HOME THAT YOU'LL FIND IN MANY AMERICAN CITIES: THE TENEMENT.

(GEOFFREY) THE AMENITIES DID NOT INCLUDE WALK-IN CLOSETS, WI-FI OR STEAM SHOWERS.

THE PEOPLE WHO LIVED HERE WERE LUCKY TO HAVE WINDOWS, TOILETS, AND ELECTRICITY.

(REED) THE TENEMENT HOUSES ARE BRUTAL.

IF YOU THINK ABOUT WHAT THEY ARE, THEY'RE JUST WAREHOUSES FOR PEOPLE.

THAT'S ALL THEY ARE.

(GEOFFREY) THE TENEMENT DIDN'T TAKE SHAPE ON AN ARCHITECT'S DRAFTING TABLE.

IT WAS THE RESULT OF A SIMPLE EQUATION: TOO LITTLE SPACE, DIVIDED AMONG TOO MANY PEOPLE.

(GEOFFREY) AMERICAN CITIES WERE SWELLING WITH NEW IMMIGRANTS BY THE MID-19TH CENTURY.

(REED) THE IRISH, THE GERMANS, THE JEWS, THE POLES, WHOEVER IS THE NEWEST GROUP OF POOR PEOPLE FROM EUROPE.

(GEOFFREY) THEY PACKED NEIGHBORHOODS LIKE NEW YORK'S LOWER EAST SIDE.

HEMMED IN BY A RIVER INDUSTRY AND PRICIER REAL ESTATE THERE WAS LITTLE ROOM TO BUILD.

AND THE LAND STARTED TO BE DIVIDED UP INTO DIFFERENT PARCELS AND LOTS THAT WERE TYPICALLY 25 BY 100 FEET.

THE PEOPLE WHO OWNED THESE LOTS, OF COURSE, WERE LOOKING TO MAKE MONEY, WHICH IS NEW YORK, RIGHT?

(GEOFFREY) PROPERTY OWNERS CONVERTED EVERY INCH INTO RENTABLE SPACE.

THEY BUILT UP 5 STORIES OR MORE.

AND THEN DIVIDED EACH STORY INTO CRAMPED APARTMENTS THAT MIGHT BE 325 SQUARE FEET.

IT'S GOING TO BE PRETTY CRAMMED, RIGHT?

IT'S GOING TO BE VERY CRAMMED.

(GEOFFREY) NEW YORK LAW DEFINED A TENEMENT AS ANY BUILDING RENTED TO THREE OR MORE FAMILIES.

IN REALITY, THESE TINY BUILDINGS COULD HOUSE MORE THAN A HUNDRED PEOPLE.

IN THIS APARTMENT, THERE WAS A FAMILY OF EIGHT LIVING HERE.

IN THIS APARTMENT?

IN THIS SINGLE APARTMENT.

(GEOFFREY) THE TENEMENT AT 97 ORCHARD STREET WAS FAIRLY TYPICAL.

THESE DAYS IT'S NEW YORK'S LOWER EAST SIDE TENEMENT MUSEUM.

IT'S BEEN PRESERVED TO CAPTURE THE STRUGGLES OF THE ACTUAL PEOPLE WHO LIVED HERE.

SO YOU HAD PARENTS SLEEPING IN A VERY, VERY SMALL BEDROOM OVER THERE.

(GEOFFREY) FOR ABOUT $10 A MONTH THEY GOT THREE ROOMS.

AND THE BEDROOM WASN'T THE ONLY PLACE WHERE PEOPLE SLEPT?

NO, THE BEDROOM WAS THE ONLY THING CALLED THE BEDROOM, BUT BASICALLY EVERY ROOM WAS A BEDROOM.

THERE'S A COT IN THE KITCHEN, TWO TEENAGE DAUGHTERS SHARED AND THIS COUCH HERE WAS SHARED BY FOUR BROTHERS.

SO THESE TWO WINDOWS WOULD HAVE BEEN THE ONLY DIRECT LIGHT THEY WERE GETTING IN THE WHOLE APARTMENT?

EXACTLY.

(GEOFFREY) MOST WALLS DON'T HAVE WINDOWS BECAUSE THEY EITHER BUTT UP AGAINST OTHER BUILDINGS OR OTHER APARTMENTS.

BEFORE ELECTRICITY OR GASLIGHT IT WAS STUFFY AND DARK.

SOME LANDLORDS TRIED A QUICK FIX, CUTTING A WINDOW BETWEEN THE FRONT ROOM AND KITCHEN.

THIS IS THE ONLY WAY TO GET LIGHT AND AIR INTO THE KITCHEN AND THE BEDROOM?

EXACTLY.

(ANNIE) SO THIS DOESN'T SEEM LIKE MUCH TO US BUT FROM THE PERSPECTIVE OF THE HOUSEWIFE TO HAVE THAT EXTRA BIT OF LIGHT COME INTO THAT KITCHEN IS GOING TO HELP HER CLEAN.

(GEOFFREY) SUNLIGHT WAS SCARCE, BUT WATER WAS AN EVEN MORE PRECIOUS COMMODITY.

(ANNIE) ALL YOUR WATER NEEDS WERE GOING TO BE ADDRESSED OUTSIDE.

IMAGINE HOW MANY TIMES YOU USE WATER DURING THE COURSE OF THE DAY TO BRUSH YOUR TEETH, TO MAKE TEA, TO MAKE COFFEE, TO WASH YOUR DISHES, TO WASH YOUR CLOTHES.

AND THERE WERE NO TOILETS IN THE BUILDING?

THAT'S CORRECT.

TOILETS WERE ALSO OUTSIDE.

(GEOFFREY) THIS WAS A DAILY REALITY FOR THE MORE THAN A MILLION NEW YORKERS LIVING IN TENEMENTS BY THE TURN OF THE 20TH CENTURY, AND MILLIONS MORE ACROSS AMERICA.

BUT A SERIES OF REFORMS WOULD CHANGE EVERYTHING.

FIRST, THE STATE OF NEW YORK FORCED LANDLORDS TO ADD AT LEAST ONE OUTHOUSE FOR EVERY 20 PEOPLE, PLUS AIRSHAFTS FOR THOSE DARK INTERIOR ROOMS.

THE AIRSHAFTS WERE SO SMALL THAT UNLESS YOU WERE ON THE TOP FLOOR, YOU REALLY DIDN'T GET ANY EXTRA LIGHT OR AIR.

(GEOFFREY) REAL CHANGE WOULD TAKE THE WORK OF TENACIOUS MUCKRAKERS LIKE JACOB RIIS.

(REED) JACOB RIIS, A SOCIAL REFORMER WITH A CAMERA, USES PHOTOGRAPHY TO TALK.

(GEOFFREY) RIIS KNEW THE IMMIGRANT STRUGGLE FIRSTHAND.

HOMELESS AT TIMES AFTER ARRIVING FROM DENMARK, HE FOUND WORK AS A JOURNALIST.

A BREAKTHROUGH IN PHOTOGRAPHY GAVE RIIS THE POWER TO BRING TENEMENTS CONDITIONS TO LIGHT FLASH PHOTOGRAPHY.

(REED) HE DOESN'T HAVE TO WRITE ABOUT IT, THOUGH HE DOES.

THE PICTURES TELL ALL THE THOUSANDS OF WORDS THAT THEY'RE SUPPOSED TO.

HE REVEALS TO THE WORLD JUST HOW HORRIBLE THESE PLACES ARE AND THE REACTION IS PRETTY SWIFT.

(GEOFFREY) THE WORK OF RIIS AND OTHER REFORMERS CULMINATED IN THE GROUNDBREAKING TENEMENT HOUSE ACT OF 1901.

(ANNIE) WE REALLY SEE A SEA CHANGE AT 97 ORCHARD.

BECAUSE OF THAT LAW, YOU HAVE GAS LIGHTING.

RIGHT HERE?

(ANNIE) EXACTLY.

YOU HAVE INTERIOR BATHROOMS.

(GEOFFREY) REAL TOILETS, NOT OUTHOUSES.

(ANNIE) NOT OUTHOUSES.

THE HALLWAYS WERE BETTER LIT.

(GEOFFREY) NOW THAT THE RESIDENTS OF 97 ORCHARD COULD ACTUALLY SEE THE HALLWAY, THE LANDLORD TOOK THE OPPORTUNITY TO SPRUCE IT UP.

(ANNIE) SO THE PEOPLE WHO LIVED IN THIS BUILDING THEY ALSO HAD A SWANKIER HALLWAY TO WALK THROUGH.

(GEOFFREY) THESE REFORMS AND OTHERS LIKE THEM ENSURED AMERICANS THE BASIC LIVING CONDITIONS WE ALL TAKE FOR GRANTED WITH FIRE ESCAPES, INDOOR PLUMBING, AND ACCESS TO FRESH AIR AND DAYLIGHT.

THERE'S A REMINDER THAT MANY OF THE THINGS THAT WE TALK ABOUT IN ARCHITECTURE ARE LUXURIES THAT ONLY BEGIN TO MATTER WHEN YOU'VE TAKING CARE OF BASIC CREATURE COMFORTS.

(GEOFFREY) WE'RE VISITING 10 HOMES THAT CHANGED AMERICA, IN CHRONOLOGICAL ORDER.

(GEOFFREY) YOU'VE PROBABLY SEEN THEM WHERE YOU LIVE, LOW-SLUNG, HUMBLE HOMES CALLED BUNGALOWS.

(REED) THEY'RE VERY HUMBLE.

IT'S HARD TO MAKE A NOT HUMBLE BUNGALOW.

(GEOFFREY) BUT THIS 8,000 SQUARE FOOT BUNGALOW DOES NOT LOOK LIKE ANY BUNGALOW I HAVE EVER SEEN.

[LAUGH] YOU'RE RIGHT!

IT'S THE BUNGALOW ON STEROIDS.

(GEOFFREY) IT WAS THE CALIFORNIA RETREAT OF DAVID AND MARY GAMBLE OF CINCINNATI.

THEIR FAMILY FORTUNE WAS BUILT ON BLOCKBUSTER PRODUCTS LIKE IVORY, "THE SOAP THAT FLOATS".

BUT DESPITE THE GAMBLES' EXTRAORDINARY WEALTH, THEY WANTED AN UNPRETENTIOUS HOME THAT WOULD CONNECT THEM WITH THE LOCAL LANDSCAPE.

THE GAMBLES COULD EASILY HAVE BUILT A TRADITIONAL LARGE, BEAUX-ARTS STYLE MANSION.

BUT THEY WERE, SAYING, "NO, "WE'RE GOING TO ALIGN OURSELVES WITH LIKE-MINDED PATRONS WHO APPRECIATED THIS SEARCH FOR SIMPLICITY."

(GEOFFREY) THE GAMBLES FOUND KINDRED SPIRITS IN ARCHITECTS CHARLES AND HENRY GREENE, WHO WERE ALSO FROM CINCINNATI.

BUT THEY WERE COMING TO CALIFORNIA AND SO THEY WERE LOOKING AROUND FOR WAYS TO EXPRESS THE CALIFORNIA-NESS OF THIS PLACE.

(GEOFFREY) THE GREENES HAD FLIRTED WITH ALL KINDS OF INFLUENCES AT THE TURN OF THE CENTURY: CRAFTSMAN AND COLONIAL, CALIFORNIA RANCH AND JAPANESE.

(TED) SO WHEN THE WEALTHY CLIENTS LIKE THE GAMBLES CAME ALONG, THEY KNEW EXACTLY WHAT THEY WERE DOING.

(GEOFFREY) THE GREENES TOOK THEIR STYLISTIC STEW AND MIXED IT WITH THE BUNGALOW.

THIS SIMPLE, EARTHBOUND STRUCTURE GAVE THE GAMBLES WHAT THEY DREAMED OF: A CASUAL, CALIFORNIA LIFESTYLE.

(TED) THE WORD BUNGALOW COMES FROM THE BENGALI VOCABULARY.

IN INDIA, THE BUNGALOW WAS A ONE-STORY HOUSE WITH A PORCH THAT WRAPPED ALL THE WAY AROUND TO ALLOW THE BREEZES TO COME THROUGH AND MITIGATE THE HEAT OF THE DAY.

WOW!

[LAUGHS] (GEOFFREY) ALMOST EVERYTHING IN THIS HOUSE WAS CUSTOM-DESIGNED BY THE GREENE BROTHERS AND HAND-CRAFTED FOR THE GAMBLES.

(TED) IT'S ALL HAND-FINISHED.

(GEOFFREY) FROM THE STAIRWELL...

PRETTY AMAZING ISN'T IT?

(GEOFFREY) ..TO THE DOORS.

IT'S ALMOST LIKE THERE'S A TREE OUTSIDE THE WINDOW?

TO THE ENTIRE LIVING ROOM.

EVERYTHING IN THIS ROOM?

THE RUG?

(TED) ALL FIVE OF THE RUGS, THE FURNITURE, THE LIGHT FIXTURES (GEOFFREY) --THESE LIGHT FIXTURES!

(TED) --THE FIREPLACE TOOLS EVEN-- (GEOFFREY) THE FIREPLACE TOOLS!

(TED) THE FIREPLACE TOOLS!

THE PIANO.

(GEOFFREY) AND THEY WERE SPECIFICALLY DESIGNED TO GO IN THE PLACES WHERE THEY ARE, RIGHT?

(TED) YES, YES.

WOULD IT HAVE DRIVEN THE GREENE'S NUTS IF THE GAMBLES REARRANGED THE FURNITURE?

[LAUGHING] I'M SURE THEY HOPED THAT THEIR CLIENTS WOULD KEEP THEIR PIECES IN THE RIGHT PLACES.

(GEOFFREY) THIS HAND-CRAFTED AESTHETIC IS A HALLMARK OF THE ARTS AND CRAFTS MOVEMENT.

IT WAS A BACK-TO-BASICS APPROACH THAT STRESSED CRAFTSMANSHIP AND SIMPLICITY OVER THE MASS-PRODUCTION OF THE INDUSTRIAL AGE.

(REED) WHEN MACHINES START TO TAKE THE PLACE OF HUMANS, THERE IS A GREAT FEAR OF DEHUMANIZATION, OF US LOSING WHAT WE ARE, OUR ESSENCE, AND PART OF OUR ESSENCE IS TO MAKE.

WE ARE MAKERS.

(GEOFFREY) THIS MARRIAGE OF HAND-CRAFTED DESIGN WITH A LOW-SLUNG HOME BECAME KNOWN AS THE "CRAFTSMAN BUNGALOW".

(TED) THE CRAFTSMAN BUNGALOW WAS MEANT TO BE A REALLY APPEALING FORM TO THE MIDDLE CLASSES.

(GEOFFREY) THE NATION WOULD SEE A BUNGALOW-BUILDING BOOM IN THE EARLY 20TH CENTURY, AND THE GAMBLE HOUSE WOULD BECOME ITS MOST CELEBRATED EXAMPLE.

(TED) IN FACT, THE HOUSE BECAME FAMOUS, IT WAS PUBLISHED A LOT IN THE NEWSPAPERS, THERE WERE POSTCARDS MADE OF THIS HOUSE.

(GEOFFREY) EVEN FOR THOSE WHO DIDN'T HAVE THE GAMBLES' WEALTH, THE BUNGALOW BECAME SYNONYMOUS WITH THE AMERICAN DREAM.

ANYONE WHO COULD AFFORD A PIECE OF LAND, COULD AFFORD A HUMBLE HOME TO GO ON IT.

THIS WAS AN OPPORTUNITY FOR PEOPLE TO GET OUT OF THEIR CRAMPED ROW HOUSES AND INTO THEIR OWN HOUSE.

THERE'S SOMETHING SO HOME-LIKE ABOUT THESE PLACES, THAT THEY'RE IRRESISTIBLE.

(GEOFFREY) FORGET EVERYTHING YOU KNOW ABOUT PUBLIC HOUSING.

LANGSTON TERRACE OFFERED STYLISH HOMES AND A TICKET OUT OF THE TENEMENTS.

PEOPLE WERE COMING FROM CROWDED TENEMENT SLUMS.

SO FOR A PERSON LIVING HERE, IT MUST'VE FELT LIKE A PARADISE.

YES, NO DOUBT IT DID.

THIS WAS AN ARRIVAL OF SORTS.

(GEOFFREY) THE JOURNEY HERE STARTED IN THE SOUTH FOR MANY.

MORE THAN A MILLION AFRICAN AMERICANS TRAVELED NORTH BETWEEN THE WORLD WARS, IN WHAT WAS CALLED THE GREAT MIGRATION.

THEY HOPED TO TRADE RURAL POVERTY AND RACIAL VIOLENCE, FOR GOOD JOBS AND DECENT HOUSING IN CITIES LIKE WASHINGTON DC.

(MELVIN) BUT THE NUMBER OF PLACES THAT BLACKS COULD LIVE WERE VERY LIMITED.

THOSE TENEMENTS, THOSE TIGHTLY PACKED SLUMS, THOSE WERE NOT CONSCIOUSLY DESIGNED BY AN ARCHITECT.

(GEOFFREY) A SOLUTION WOULD COME FROM A PIONEERING AFRICAN-AMERICAN NAMED HILYARD ROBINSON.

OF THE 20,000 ARCHITECTS IN AMERICA, ROBINSON WAS ONE OF JUST 20 MINORITIES.

HE FIRMLY BELIEVED IN THE POWER OF ARCHITECTURE TO CHANGE LIVES.

(MELVIN) HE WAS DRIVEN.

THIS WAS A RELIGION, A WAY OF LIFE FOR HIM, A MISSION.

(GEOFFREY) SO WHEN THE FEDERAL GOVERNMENT NEEDED AN ARCHITECT FOR ITS FIRST HOUSING PROJECT IN THE NATION'S CAPITAL, HILYARD ROBINSON WAS A LOGICAL CHOICE.

LANGSTON TERRACE WAS TO BE DESIGNED EXPRESSLY FOR AFRICAN-AMERICANS.

BUT ROBINSON FOUND HIS INSPIRATION IN AN UNLIKELY PLACE.

EUROPE WAS STILL REBUILDING FROM WORLD WAR I, WHEN HILYARD ROBINSON STARTED HIS 18 MONTH TOUR IN 1931.

HE SAW THE WORK OF RADICAL YOUNG ARCHITECTS, WHO SHARED HIS BELIEF THAT ARCHITECTURE COULD BUILD A BRIGHTER FUTURE.

THESE MODERNISTS STRIPPED AWAY ORNAMENTATION, WITH ITS REMINDERS OF EUROPE'S UGLY PAST.

INSTEAD, THEY CELEBRATED THE MATERIALS OF TOMORROW.

THESE ARCHITECTS ARE LOOKING TO HARNESS TECHNOLOGIES, TO USE THE MACHINE TO MASS PRODUCE HOUSING THAT IS CLEANER, THAT IS MORE OPEN, THAT HAS BETTER ACCESS TO DAYLIGHT, THAT HAS PLUMBING AND ELECTRICITY THAT TAKES PEOPLE LITERALLY UP OFF THE GROUND.

(GEOFFREY) THE LESSONS FOR HILYARD ROBINSON'S OWN WORK WERE CLEAR.

WHEN LANGSTON TERRACE WAS COMPLETED IN 1938, IT HERALDED THE ARRIVAL OF EUROPEAN MODERNISM IN AMERICA.

I REMEMBER MY FIRST SIGHT OF LANGSTON, IT WAS REALLY PRETTY.

(GEOFFREY) A 9 YEAR OLD ELOISE GREENFIELD WAS AMONG THE FIRST TO MOVE IN.

AS A CHILD, I DIDN'T KNOW ANYTHING ABOUT DESIGNS, MODERN DESIGNS.

I JUST KNEW THAT IT WAS BEAUTIFUL.

(GEOFFREY) IN MANY WAYS, HILYARD ROBINSON'S DESIGN WAS RIGHT OUT OF THE MODERNIST PLAYBOOK: THE SLEEK, RECTANGULAR FORMS ARE NEARLY DEVOID OF DECORATION.

ELSEWHERE, ROBINSON ADDED HIS OWN FLOURISHES.

A DECORATIVE FRIEZE CALLED "THE PROGRESS OF THE NEGRO RACE" CELEBRATES THE AFRICAN-AMERICAN JOURNEY; FROM THE STRUGGLES OF THE RURAL SOUTH TO A BETTER LIFE IN THE INDUSTRIAL NORTH.

THE RELIEF SCULPTURE WAS ONE OF THE THINGS THAT OUR PARENTS POINTED OUT TO US THAT WAS A PART OF OUR HISTORY.

(GEOFFREY) ROBINSON'S SPACIOUS URBAN PLAN WAS A STARK CONTRAST FROM THE CROWDED TENEMENTS.

INSTEAD OF TRAFFIC-CHOKED STREETS HE LAID OUT GREEN SPACES CREATING WHAT EUROPEANS CALLED A "SUPERBLOCK".

AND HE INTEGRATED THE COMPLEX INTO THE ROLLING LANDSCAPE.

FROM THIS BEING A HIGH POINT AS IT IS CASCADING DOWN, DOWN.

(GEOFFREY) RATHER THAN CRAMMING THE BUILDINGS TOGETHER, ROBINSON ARRANGED THEM IN A "U" SHAPE AROUND A COURTYARD.

THIS OPENED UP EACH APARTMENT TO DAYLIGHT AND FRESH AIR.

AND THE CENTRAL COURTYARD OFFERED A COMMUNITY GATHERING PLACE.

PEOPLE CAME THIS, TO PLAY TO JUMP ROPE, DOUBLE DUTCH, PLAY DODGE BALL, HIDE AND SEEK.

THE COURT WAS A PLACE WHERE WE PLAYED.

(GEOFFREY) THE INNOVATIVE FEATURES THAT WORKED SO WELL FOR RESIDENTS HERE SOON BECAME STANDARD IN PUBLIC HOUSING.

BUT AFTER WORLD WAR II, THE RESULTS WERE NOT SO SUCCESSFUL.

THE FORM OF SOME OF THESE BUILDINGS WAS PRETTY AWFUL.

(GEOFFREY) CITIES BUILT MASSIVE MODERNIST TOWERS THAT OFTEN CONCENTRATED POVERTY.

RESIDENTS WERE ISOLATED FROM OPPORTUNITIES ON ISLAND-LIKE SUPERBLOCKS.

AND THE GREEN SPACES BETWEEN THE BUILDINGS OFTEN BECAME DANGER ZONES.

(REED) DESIGN CANNOT SOLVE EVERY PROBLEM.

DESIGN CANNOT MAKE PEOPLE RICHER.

DESIGN CANNOT MAKE PEOPLE BETTER EDUCATED.

PEOPLE CAN MAKE PEOPLE BETTER EDUCATED.

ARCHITECTURE IS A FRAMEWORK.

IT'S NEVER MORE THAN A FRAMEWORK.

(GEOFFREY) AND HILYARD ROBINSON'S MODESTLY-SCALED BUILDINGS DID PROVIDE THAT PHYSICAL FRAMEWORK FOR RESIDENTS TO SUCCEED.

LIKE ELOISE GREENFIELD, WHO BECAME AN ACCLAIMED POET AND CHILDREN'S AUTHOR.

I STILL LOVE LANGSTON SO MUCH AND WHAT IT BROUGHT TO MY LIFE.

(MELVIN) YOU'RE TALKING HERE ABOUT AN AMERICAN STORY.

YOU MOVE INTO PUBLIC HOUSING AND FROM THERE, YOU'RE HOPING TO TAKE THE NEXT STEP, WHICH IS YOUR OWN HOME, YOUR OWN PLACE.

END OF STORY!

(GEOFFREY) IT'S OFTEN CONSIDERED THE GREATEST TRIUMPH OF AMERICA'S GREATEST ARCHITECT.

BUT WHEN FRANK LLOYD WRIGHT WAS HIRED TO DESIGN FALLINGWATER IN 1934, MANY THOUGHT HIS CAREER WAS OVER.

(PAUL) A LOT OF PEOPLE COUNTED HIM OUT.

THEY WERE WRONG.

(GEOFFREY) FRANK LLOYD WRIGHT HAD RISEN TO FAME 25 YEARS EARLIER BY RADICALLY REIMAGINING THE AMERICAN HOME, WITH HIS EARTH-HUGGING "PRAIRIE STYLE".

SINCE THEN A SERIES OF WELL-PUBLICIZED AFFAIRS AND DIVORCES HAD TARNISHED HIS REPUTATION.

AND WITH THE ARRIVAL OF MODERNISM, MANY THOUGHT WRIGHT WAS A THING OF THE PAST.

THE MODERNIST TASTEMAKER PHILIP JOHNSON RIDICULED FRANK LLOYD WRIGHT AS "THE GREATEST ARCHITECT OF THE NINETEENTH CENTURY".

(REED) IRONICALLY, WRIGHT IS ONE OF THE MOST IMPORTANT INSPIRATIONS FOR THAT MOVEMENT.

SO HE'S ACTUALLY SEEING AN ECHO OF HIMSELF IN MODERNISM AND IT VEXES HIM.

(GEOFFREY) NOW 67 YEARS OLD, WRIGHT WOULD BE GIVEN HIS CHANCE AT A COMEBACK, FROM A PITTSBURGH DEPARTMENT STORE OWNER.

EDGAR KAUFMANN WAS A MATCH TO WRIGHT IN EVERY WAY.

HOW SO?

(LYNDA) HE WAS A BIG PERSONALITY AND PEOPLE STILL TALK ABOUT HIS PRESENCE IN A ROOM.

AH, HE SORT OF TOOK OVER.

IT WAS JUST A COMING TOGETHER OF THE STARS HERE AT FALLINGWATER.

YOU HAD A GREAT ARCHITECT WHO NEEDED A PROJECT TO RE-ESTABLISH HIMSELF, A CLIENT, WITH DEEP POCKETS, WHO WANTED TO MAKE A NAME FOR HIMSELF AND A SPECTACULAR SITE.

(GEOFFREY) EDGAR KAUFMANN HAD USED HIS LAND SOUTHEAST OF PITTSBURGH AS A SUMMER CAMP FOR HIS EMPLOYEES.

BUT HE SAW A CHANCE HERE TO BOLSTER HIS REPUTATION AS A PATRON OF THE ARTS, BY HIRING A BIG-NAME ARCHITECT TO BUILD HIM A SPECTACULAR SECOND HOME.

KAUFMANN BROUGHT FRANK LLOYD WRIGHT TO THE PROPERTY IN 1934 MAKING SURE TO POINT OUT HIS FAMILY'S FAVORITE SPOT.

THE WATERFALL WAS A PLACE THEY LOVED ON THE PROPERTY AND THEY WOULD COME HERE TO PICNIC AND BATHE BENEATH THE WATERFALL.

(GEOFFREY) EDGAR KAUFMANN EXPECTED WRIGHT TO PUT THE HOUSE DOWNSTREAM, WHERE KAUFMANN COULD ADMIRE HIS WATERFALL.

BUT FRANK LLOYD WRIGHT HAD MADE A CAREER OUT OF SHATTERING EXPECTATIONS.

THE NORMAL THING WOULD BE THAT THE HOUSE WOULD BE SET BACK AND YOU WOULD LOOK AT THE WATER AS THIS SORT OF NATURE FEATURE.

AND WRIGHT, "NO, NO, THAT'S TOO ORDINARY," COULDN'T BE SATISFIED WITH THAT.

HE BROUGHT IT RIGHT ON; ALL BUT PUT IT IN THE WATER.

(GEOFFREY) THE HOUSE IS NOT JUST PLOPPED DOWN ON TOP OF THE WATERFALL.

THE TWO ALMOST LOOK LIKE THEY FORMED HERE TOGETHER.

THE HOUSE DESCENDS IN LAYERS, LIKE A WATERFALL.

WRIGHT ACHIEVED THIS EFFECT WITH A SERIES OF REINFORCED CONCRETE TERRACES.

THEY SEEM TO EXTEND DANGEROUSLY FAR FROM THE HOUSE.

BUT IN FACT THE TREMENDOUS WEIGHT OF THE TERRACES IS COUNTERBALANCED BY THE HEAVIER CORE OF THE HOUSE, WHICH IS ANCHORED SECURELY TO THE CASCADING SITE.

IT'S AN ENGINEERING TRICK CALLED A "CANTILEVER."

(PAUL) THE CANTILEVER STRUCTURE ALLOWED WRIGHT TO HAVE HIS HOUSE HOVER OVER THE WATERFALL, AS IF IT WERE SORT OF A HELICOPTER PERMANENTLY THERE.

(GEOFFREY) THE IDEA OF INTEGRATING A HOME INTO THE LANDSCAPE HAD LONG BEEN A STAPLE OF AMERICAN ARCHITECTURE.

BUT WITH FALLINGWATER, FRANK LLOYD WRIGHT WAS TAKING IT TO THE EXTREME.

AND THIS WAS HIS ANSWER TO HIS MODERNIST FOES, WHOSE ARCHITECTURE WAS SO DISCONNECTED FROM ANY PARTICULAR PLACE THAT PHILIP JOHNSON NAMED IT THE INTERNATIONAL STYLE.

(PAUL) THAT HOUSE COULD BE NOWHERE OTHER THAN WHERE IT WAS.

IN THAT SENSE, IT COULD NOT BE MORE DIFFERENT FROM THE INTERNATIONAL STYLE.

IT WAS 1000 PERCENT SITE SPECIFIC.

(GEOFFREY) WRIGHT MADE THAT CONNECTION BOTH OUTSIDE AND IN.

SO THIS ROCK I'M STANDING ON WAS HERE BEFORE THE HOUSE WAS HERE?

IT WAS INDEED.

IT'S PART OF THE NATIVE ROCK THAT WAS HERE BEFORE THE HOUSE WAS CONSTRUCTED.

(GEOFFREY) IF THE REST OF THE STONE LOOKS LIKE IT BELONGS HERE, THAT'S BECAUSE IT DOES.

(LYNDA) IT ALL CAME FROM HERE ON THE SITE.

IT'S ALL NATIVE STONE QUARRIED JUST A FEW HUNDRED FEET AWAY FROM THE HOUSE.

(GEOFFREY) AND THE SHINY STONE FLOOR DOESN'T LOOK THAT DIFFERENT FROM THE STREAMBED BELOW THE HOUSE.

(LYNDA) IT'S ALL POLISHED WITH A LIQUID FLOOR WAX TO GIVE THE APPEARANCE OF WETNESS.

(GEOFFREY) THE HOUSE IS QUITE LITERALLY CONNECTED TO THE STREAMBED, BY A HATCH.

(LYNDA) IT HELPS COOL THE ROOM IN THE SUMMER.

(GEOFFREY) SO, YOU'RE NOT GOING TO GET RAINED ON WHEN YOU'RE IN HERE.

THIS HOUSE PROTECTS YOU, BUT BEYOND THAT, YOU REALLY FEEL LIKE YOU'RE OUTSIDE, RIGHT?

YOU DO.

YOU COULD ALMOST BE IN A CAVE ON A HILLSIDE REACHING OUT INTO NATURE ON THESE TERRACES AND SO FORTH.

AND THE KAUFMANNS WANTED THAT?

THIS WAS ALL PART OF THE PROGRAM.

WRIGHT UNDERSTOOD WHAT THEY NEEDED.

THEY NEEDED AN ESCAPE, A PLACE TO RELAX IMMEDIATELY ONCE THEY ARRIVED HERE AND TO BE IN THE MIDST OF NATURE AND COMMUNING WITH NATURE.

(GEOFFREY) THOUGH AT LEAST ONE OF FRANK LLOYD WRIGHT'S MODERNIST CRITICS WAS UNIMPRESSED.

(PAUL) PHILLIP JOHNSON FAMOUSLY ONCE SAID IN AN INTERVIEW, "IT JUST MAKES ME WANT TO PEE."

[LAUGHING] (GEOFFREY) FALLINGWATER CHANGED OUR PERCEPTION OF HOW A HOME COULD BE INTEGRATED WITH ITS ENVIRONMENT.

AND IT RESUSCITATED THE CAREER OF A GREAT AMERICAN ARCHITECT.

(REED) FALLINGWATER TOOK WRIGHT FROM BEING THE HAS-BEEN TO BEING AN ABSOLUTE SUPERSTAR.

OVERNIGHT THE GUY IS BACK TO BEING THE BIG DADDY OF AMERICAN ARCHITECTURE.

(GEOFFREY) IT'S CONSIDERED A MASTERPIECE OF MIDCENTURY MODERNISM.

IT REMAINS ONE OF THE TOUCHSTONE HOMES OF THE 20TH CENTURY.

(GEOFFREY) SO IT'S EASY TO FORGET THE EAMES HOUSE WAS BORN OUT OF A CRISIS.

(ANNOUNCER) "IN MAY OF 1945, MILLIONS OF PEOPLE CELEBRATE THE END OF THE WAR IN EUROPE."

(GEOFFREY) AFTER WORLD WAR II, MILLIONS OF AMERICAN SERVICEMEN CAME HOME TO DISCOVER THEY HAD NOWHERE TO LIVE.

THE G.I.

BILL OFFERED LOW-COST MORTGAGES, BUT HOMEBUILDERS COULDN'T PUT UP AFFORDABLE HOUSING FAST ENOUGH.

(AMANDA) THEY NEEDED HOUSING AND WE NEEDED TO, AS A CULTURE, EXPLORE AFFORDABLE HOUSING CONCEPTS.

SO FROM THERE, ENTENZA'S IDEA WAS BORN.

(GEOFFREY) JOHN ENTENZA WAS THE PUBLISHER OF ARTS & ARCHITECTURE MAGAZINE.

HE THREW DOWN A CHALLENGE TO A HANDFUL OF ARCHITECTS IN 1945: TO BUILD MODERN, AFFORDABLE HOMES THAT COULD BE EASILY REPLICATED.

HE CALLED IT THE "CASE STUDY HOUSE" PROGRAM.

(AMANDA) HERE WE ARE COMING FROM A WORLD WAR.

WE HAVE A VAST ARRAY OF INDUSTRIAL COMPONENTS AVAILABLE TO US.

HOW CAN WE USE THESE MATERIALS AND TRANSFORM THEM INTO THE MODERN HOME.

(GEOFFREY) AMONG THE FIRST TO ACCEPT ENTENZA'S CHALLENGE WERE A HUSBAND AND WIFE TEAM WHO WERE TWO OF THE 20TH CENTURY'S MOST INFLUENTIAL DESIGNERS.

CHARLES AND RAY EAMES WERE THE EPITOME OF A RENAISSANCE COUPLE.

(GEOFFREY) THEY EXCELLED AT SCULPTURE, FILMMAKING, GRAPHIC DESIGN, AND ARCHITECTURE.

BUT THEY'RE BEST KNOWN FOR THEIR WILDLY POPULAR FURNITURE, WHICH PROVED THAT MASS-PRODUCTION AND HIGH-DESIGN COULD GO HAND IN HAND.

(REED) THEIR CHAIRS CURVED TO MATCH YOUR BACK.

THEY USED RUBBER SHOCK JOINTS SO THEY WOULD FLEX BECAUSE WE FLEX.

SO YOU COULD BUILD THAT SENSE OF WHAT MAKES US HUMAN, WHICH IS EVERYTHING IS DIFFERENT.

EVERY ONE OF US IS UNIQUE.

(GEOFFREY) THE EAMES CASE STUDY HOUSE WOULD ITSELF REFLECT THE UNIQUE CHARACTER OF ITS CREATORS.

YET THEY WOULD BUILD IT WITH FACTORY-MADE PARTS THAT WERE AVAILABLE TO EVERYONE.

(REED) EVERYWHERE THEY COULD EMPLOY SOMETHING THAT CAME OFF THE SHELF, THEY DID.

(GEOFFREY) BUT THEIR ORIGINAL DESIGN LOOKED NOTHING LIKE THIS.

THE EAMES' PLANNED TO BUILD A SO CALLED "BRIDGE HOUSE" THAT EXTENDED OVER THIS MEADOW.

BUT AS THEY WAITED FOR THEIR PREFABRICATED PARTS TO ARRIVE, THEY FOUND THEMSELVES PICNICKING ON THE SPOT THAT WOULD SOON BE TAKEN OVER BY THEIR HOME.

(EAMES) AND SO THEY REALIZED IN THAT TIME THAT THEY HAD MADE THE CLASSIC ARCHITECTURAL ERROR OF CHOOSING A VERY BEAUTIFUL SITE AND THEN DESTROYING IT WITH THE BUILDING.

(GEOFFREY) INSTEAD, CHARLES AND RAY TOOK THE PARTS THEY ORDERED FOR THE BRIDGE HOUSE AND RECONFIGURED THEM INTO A HOME AND STUDIO THAT NESTLED GENTLY INTO THE HILLSIDE.

SO THEY HAD TO REDESIGN IT TO BE BUILT FOR THE SAME PILE OF PARTS AND THEY BASICALLY ORDERED JUST ONE EXTRA BEAM.

THEY REARRANGED THESE PARTS, LIKE LEGOS, AND THAT'S WHAT YOU SEE HERE.

(GEOFFREY) THIS FACTORY-LIKE APPROACH TO HOMEBUILDING WASN'T NEW.

SEARS ROEBUCK HAD SOLD MAIL-ORDER "KIT" HOMES.

BUT CHARLES AND RAY EAMES WERE SHOWING HOW PREFABRICATED MATERIALS COULD SOLVE THE NATION'S HOUSING CRISIS IN STYLE.

THEY WANTED HOME OWNERS TO COME, THEY WANTED ARCHITECTS TO COME, THEY WANTED BUILDERS TO COME AND BE INSPIRED.

(GEOFFREY) THE EAMES' DESIGNED THE HOUSE IN A WAY THAT SHOWS OFF ALL OF THOSE MASS-PRODUCED PARTS.

AND THESE WINDOWS: SOME OF THEM ARE CLEAR, SOME OF THEM ARE FROSTED, SOME OF THEM HAVE CHICKEN WIRE.

(EAMES) ALL THESE THINGS BECOME A SUBTLE WAY TO ADD TO THE TEXTURE AND THE FEELING AND THE EXPERIENCE OF BEING-BEING IN THE HOUSE.

AND THIS IS WOOD, THIS PANEL?

ACTUALLY IT'S NOT WOOD, IT'S A COMPOSITE MATERIAL THAT CAME OUT OF THE WAR EFFORT.

EVEN THE SLIDING PLASTIC PANELS WAS A MATERIAL THAT CAME OUT OF THE WAR EFFORT, TOO.

AND ACTUALLY THERE'S ANOTHER KIND OF OFF THE SHELF PART WHICH IS THE DOORBELL.

[RINGS DOORBELL] AND SO IT'S THIS REALLY PLAYFUL EXPLORATION OF WHAT STANDARDIZED PARTS MEANS.

(GEOFFREY) THESE INDUSTRIAL MATERIALS COULD EASILY HAVE MADE THIS HOUSE FEEL COLD AND IMPERSONAL.

INSTEAD, THE EAMES HOUSE IS OOZING WITH PERSONALITY.

YOU GET THE FEELING THEY HAD A LOT OF FUN DESIGNING THIS PLACE.

THEY DID, AND THAT JOY IS IN EVERY-EVERY SCREW AND EVERY DETAIL OF THIS HOUSE.

THEY HAD THIS EXPRESSION, "TAKE YOUR PLEASURES SERIOUSLY," AND THEY LIVED IT.

(GEOFFREY) WHEREAS MOST MODERNIST ARCHITECTS WOULD HAVE HIDDEN AWAY ALL OF THEIR PERSONAL POSSESSIONS THERE'S A TUMBLE WEED HANGING FROM THE CEILING FOR CRYING OUT LOUD AND IT'S FILLED WITH STUFF.

(EAMES) WELL THERE ARE AMAZING THINGS HERE.

THAT TUMBLE WEED CAME FROM THEIR HONEYMOON.

AND WHAT I LOVE ABOUT IS THERE ARE ACTUALLY THINGS HERE THAT ARE QUITE PRECIOUS AND THERE ARE A LOT OF THINGS THAT YOU CAN STILL GET FOR A NICKEL WHEREVER THEY GOT THEM.

(GEOFFREY) MM HMM.

(EAMES) AND THE POINT IS, THERE WASN'T ABOUT VALUE IN THAT SENSE, IT WAS REALLY ABOUT GOOD STUFF.

(GEOFFREY) THE HOME OF CHARLES AND RAY EAMES WAS ONE OF THREE DOZEN CASE STUDY HOUSES TO APPEAR IN ARTS & ARCHITECTURE MAGAZINE.

BUT ITS IMPACT RIPPLED FAR BEYOND THE WORLD OF ARCHITECTURAL INSIDERS.

THIS HOUSE SHOWED AMERICANS THAT A FACTORY-MADE HOME COULD STILL FEEL HUMAN.

AND IF THEY DECIDED TO BUY ONE, THEY WOULDN'T HAVE TO CHECK THEIR INDIVIDUALITY AT THE DOOR.

(REED) YOU WOULD STILL BE ABLE TO HAVE A GREAT DEAL OF HUMANITY WITHIN A FRAMEWORK THAT WAS COMPLETELY MACHINE-MADE.

THE EAMES' DEMONSTRATED THAT YOU CAN BUILD HUMAN QUIRKINESS INTO SOMETHING THAT WAS MASS MANUFACTURED.

(GEOFFREY) AT A TIME WHEN THE IDEAL HOME HAD A BIG BACKYARD AND A TWO CAR GARAGE, MARINA CITY MADE URBAN LIVING LOOK GLAMOROUS AGAIN.

(REED) THEY WERE GLAMOROUS.

MAN, THAT'S A GLAMOROUS PROJECT.

IT'S 60 STORIES TALL.

AND TO BE UP ON THE TOP FLOORS WITH THOSE VIEWS, IT'S GORGEOUS.

IT'S GORGEOUS.

(GEOFFREY) A HOME IN THE CITY WAS A TOUGH SELL IN THE EARLY 60'S.

CHICAGO AND OTHER AMERICAN CITIES WERE QUICKLY LOSING THEIR MIDDLE CLASS TO THE SUBURBS.

DOWNTOWNS WERE BECOMING ABANDONED AT NIGHT.

(REED) THE FORCES OF SUBURBANIZATION ACCELERATE AFTER WORLD WAR II AT A PACE THE WORLD HAD NEVER SEEN BEFORE.

IT ALL BECAME A KIND OF UNSTOPPABLE MONSTER THAT SUCKED THE LIFE OUT OF THE MIDDLE OF THE CITIES.

(GEOFFREY) THE PRESIDENT OF THE JANITOR'S UNION, WILLIAM MCFETRIDGE, WORRIED THAT THE DOWNTOWN ECONOMY HIS MEMBERS RELIED ON WAS IN PERIL.

AND HE OFFERED A UNIQUE SOLUTION: HIS UNION WOULD BANKROLL A DOWNTOWN HOUSING COMPLEX FOR THE MIDDLE CLASS.

IF YOU BROUGHT HOUSING DOWNTOWN, YOU WOULD GET MORE ACTIVITY DOWNTOWN.

THE COMMERCIAL INSTITUTIONS DOWNTOWN WOULD BE STRONGER.

(GEOFFREY) THE LABOR UNION FOUND A NATURAL ALLY IN THE ARCHITECT BERTRAND GOLDBERG.

HE BELIEVED THAT EVERY AMERICAN, EVERY HUMAN BEING HAD THE RIGHT TO GOOD DESIGN.

(GEOFFREY) GOLDBERG HAD BEEN A PROTÉGE OF THE MODERNIST GIANT MIES VAN DER ROHE, WHOSE STARK GLASS BOXES WERE TRANSFORMING AMERICAN SKYLINES.

(KATERINA) HIS MINIMAL STEEL AND GLASS BUILDINGS, WHICH ARE BEAUTIFUL DIDN'T HAVE A SINGLE CURVE IN THEM...

...EVER.

(GEOFFREY) BERTRAND GOLDBERG THOUGHT THESE BOXY BUILDINGS WERE BAD FOR THE HUMAN SPIRIT.

GOLDBERG LITERALLY SAW THEM AS "PSYCHOLOGICAL SLUMS."

BUILDINGS WHERE THE INHABITANTS WERE NOT TREATED WITH THE SAME DIGNITY.

(GEOFFREY) IF GOLDBERG WAS GOING TO CAPTURE THE EXCITEMENT OF CITY LIVING, HE WOULD NEED TO THINK OUTSIDE THE BOX.

HIS SOLUTION WAS MARINA CITY.

A THREE ACRE COMPLEX WITH HARDLY A RIGHT ANGLE IN SIGHT.

(REED) THERE AREN'T A LOT OF ROUND BUILDINGS.

THERE JUST AREN'T, AND THERE ARE EVEN FEWER ROUND BUILDINGS THAT GO BLOOP-BLOOP-BLOOP LIKE THIS.

(ANNOUNCER) THIS DESIGN WILL ELIMINATE ONE OF THE BUILDER'S BIGGEST PROBLEMS, THE USELESS AND HIGHLY INEFFICIENT CORNER.

(GEOFFREY) THE REPETITIVE CONCRETE FORMS WEREN'T JUST EYE-CATCHING, THEY WERE ECONOMICAL.

THE CONCRETE WAS LIFTED UP TO EACH STORY AND THEN CARRIED BY CONVEYOR BELT, INTO FIBERGLASS MOLDS.

WHEN THE CONCRETE DRIED, A CRANE LIFTED THE MOLDS UP TO THE NEXT STORY.

(KATERINA) THEY WERE BUILT VERY QUICKLY; A FLOOR A DAY.

(GEOFFREY) A FLOOR A DAY?!

A FLOOR A DAY.

(GEOFFREY) BUT DISTINCTIVE HOUSING WASN'T ENOUGH TO ENTICE PEOPLE TO LIVE IN A DOWNTOWN OFTEN DEVOID OF LIFE.

SO GOLDBERG'S DESIGN OFFERED ALL OF THE AMENITIES OF A VIBRANT URBAN CORE.

IT INCLUDED A THEATER, IT INCLUDED AN OFFICE BUILDING, BOWLING ALLEY, SHOPS, RESTAURANTS-- AND JUST LIKE THE SUBURBANITES YOU COULD HAVE YOUR OWN CAR, RIGHT?

THAT'S RIGHT.

THIS WAS PART OF BEING THE WORKING MAN IN THE UNITED STATES.

AND NOT ONLY WOULD YOU HAVE YOUR CAR, YOU WOULD HAVE YOUR BOAT IN THE MARINA, HENCE THE NAME MARINA CITY.

(GEOFFREY) THIS SELF-CONTAINED CITY LET RESIDENTS GO ABOUT THEIR DAILY LIVES WITHOUT EVER INTERACTING WITH THE REST OF CHICAGO.

(GOLDBERGER) IT HAD NO CONNECTION TO THE REST OF THE CITY.

IT HAD NO CONNECTION TO THE STREET, WHICH IS ULTIMATELY THE MOST IMPORTANT ELEMENT OF THE CITY IS THE STREET.

(GEOFFREY) OF COURSE THE CITY WAS ALWAYS THERE TO LOOK AT.

GOLDBERG DESIGNED THE TOWERS LIKE FLOWER STEMS THE ROOMS PROJECTING LIKE PETALS EACH FRAMING PICTURE-PERFECT VIEWS.

(REED) EVERY MAJOR ROOM HAD A VIEW AND LOT OF VIEW: FLOOR TO CEILING WALL TO WALL.

(GEOFFREY) WHILE RESIDENTS DIDN'T HAVE BACKYARDS IN THE 'BURBS, THEY DID GET THEIR OWN SLICE OF OUTDOOR LIVING SPACE.

(KATERINA) THE CROWN AND GLORY OF THE APARTMENTS ARE THE CIRCULAR BALCONIES.

THEY REALLY ARE LIKE OPERA BOXES IN THE SKY.

OPERA BOXES?

THEY GIVE THE OCCUPANTS THE ABILITY TO VIEW THE CITY AS A KIND OF THEATER OF LIFE.

(GEOFFREY) THIS WAS A NEW, URBAN TAKE ON THE AMERICAN DREAM.

THE MIDDLE CLASS COULD COMFORTABLY EXPERIENCE ALL OF THE JOYS OF DOWNTOWN LIVING, IN A CITY WITHIN A CITY.

AND IT WORKED.

THE BUILDING BECAME WORLD FAMOUS.

THE BUILDING BECAME WORLD FAMOUS AND NOT ONLY THAT, IT WAS RENTED VERY QUICKLY.

IT SHOWED AMERICA FOR THE FIRST TIME HOW EXCITING IT COULD BE TO LIVE IN THE HEART OF YOUR DOWNTOWN, WHERE YOU WERE JUST FOOTSTEPS AWAY FROM LEISURE AND CULTURE AND YOUR WORKPLACE.

IT REALLY PROVIDED A NEW VISION OF WHAT DOWNTOWN LIVING COULD BE ABOUT.

(GEOFFREY) YOU'LL FIND MICHELLE KAUFFMAN'S GLIDEHOUSE JUST NORTH OF SAN FRANCISCO... ...AND IN WASHINGTON... ...AND COLORADO.

THERE ARE GLIDEHOUSES ALL OVER THE COUNTRY.

IS THAT A LITTLE WEIRD FOR YOU?

I LOVE IT!

(GEOFFREY) MICHELLE IS A PIONEER OF THE "PREFABRICATED GREEN" CRAZE.

SHE'S DESIGNED ENVIRONMENTALLY-FRIENDLY HOMES WHICH HAVE BEEN MASS-PRODUCED IN FACTORIES AND TRUCKED ALL OVER THE COUNTRY.

(MICHELLE) WE WANT EVERYBODY TO HAVE HEALTHY, DURABLE HOMES THAT PRODUCE ALL OF THEIR OWN ENERGY.

(GEOFFREY) IT ALL STARTED WITH A MIGRAINE.

MOLDY WALLS IN MICHELLE'S OLD HOUSE WERE MAKING HER SICK, SENDING HER AND HER HUSBAND HUNTING FOR A NEW PLACE TO LIVE.

(MICHELLE) WE LOOKED FOR SOMETHING SIMPLE, SOMETHING THAT WE DIDN'T HATE.

WE FOUND NOTHING THAT WE COULD AFFORD; NOTHING!

(GEOFFREY) SO THEY DECIDED TO BUILD THEIR OWN HOUSE THAT WOULD BE HEALTHY FOR MICHELLE, AND FOR THE ENVIRONMENT.

WE WANTED A HOME THAT WOULD PRODUCE ALL OF ITS OWN ENERGY.

(GEOFFREY) SHE INCLUDED ALL THE GREEN GADGETRY YOU MIGHT EXPECT.

SOLAR PANELS AND EFFICIENT APPLIANCES ALLOW MICHELLE TO PRODUCE TWICE AS MUCH ELECTRICITY AS SHE USES.

OTHER GREEN FEATURES ARE AS OLD AS TAOS PUEBLO.

THICK MATERIALS ABSORB THE SUN BY DAY AND THEN RELEASE IT AT NIGHT IN THE WINTER WHEN YOU REALLY WANT THE HEAT.

(GEOFFREY) SOUTHWEST-FACING WINDOWS INVITE THE WARMTH OF THAT WINTER SUN WHILE A STRATEGICALLY-PLACED OVERHANG BLOCKS THE HIGH SUMMER SUN.

AND THEN WE ALSO HAVE SUN SHADES THAT WE CAN LOWER.

VERY NICE!

PLUS, MICHELLE DESIGNED THE HOUSE TO TAKE ADVANTAGE OF PREVAILING BREEZES.

(MICHELLE) WE HAVE HIGH WINDOWS ALONG WITH FANS, SO IT ALLOWS THE HOT AIR TO GO UP AND OUT AND KEEP THE SPACE COOL.

(GEOFFREY) EVEN ON THE HOTTEST CALIFORNIA DAYS, THERE'S NO NEED FOR AC.

WE HAVE NO AIR IN THE HOUSE.

(GEOFFREY) BUT THE MOST IMPORTANT GREEN FEATURE MAY BE ITS MODEST SIZE: ABOUT 1,500 SQUARE FEET.

SO IT TAKES LESS ENERGY TO LIGHT, HEAT AND COOL, AND TOOK FEWER MATERIALS TO BUILD.

THE GREENEST MATERIAL YOU CAN USE IS ONE YOU DON'T USE AT ALL.

(GEOFFREY) MICHELLE DIDN'T KNOW IT AT THE TIME, BUT HER LITTLE HOUSE WOULD SOON BE COPIED ACROSS THE COUNTRY.

YEAH, WE HAD FRIENDS WHO WERE GOING THROUGH THE SAME THING THAT WE WERE.

THEY WERE LOOKING FOR A HOUSE.

THEY WERE LIKE, "WELL, CAN WE HAVE ONE TOO?

CAN YOU DESIGN ONE FOR US AS WELL?"

I THOUGHT IT'S A REALLY GOOD IDEA.

COULD WE MAKE THIS HOUSE IN MASS PRODUCTION?

(GEOFFREY) MICHELLE FOUND THAT BY BUILDING THE GLIDEHOUSE IN A FACTORY SHE COULD SAVE TIME AND MONEY.

IT'S VERY COOL TO SEE HOMES ON AN ASSEMBLY LINE.

THE HOUSE GOES TO THE ELECTRICIAN RATHER THAN THE ELECTRICIAN GOING TO THE HOUSE.

AND IT MOVES THROUGH EACH STATION AND THEN COMES OUT OF THE FACTORY.

(GEOFFREY) WHILE HER OWN HOUSE TOOK 14 MONTHS TO BUILD, A FACTORY-BUILT VERSION TOOK JUST FOUR MONTHS, AND THERE WAS LESS WASTE.

(AMANDA) THERE'S ALREADY THIS PRESCRIBED NOTION OF WHAT EXACTLY DO WE NEED AND HOW EXACTLY IS IT GOING TO FIT IN TOGETHER?

SO THEREFORE, AT THE END WE ARE NOT LEFT WITH A BUNCH OF WASTE THAT IS GOING TO END UP IN A LANDFILL.

(GEOFFREY) IT WASN'T LONG BEFORE MICHELLE WAS TRUCKING HER FACTORY-BUILT HOUSES ACROSS THE COUNTRY, TO CLIENTS AND TO MUSEUMS.

IT TURNED OUT THERE WAS A GROWING CURIOSITY ABOUT GREEN HOUSING, AND MICHELLE'S HOMES WERE GREAT TEACHING TOOLS.

YEAH AND I LOVED THAT PART, BECAUSE I REALLY WANTED THE WORK TO HELP PEOPLE UNDERSTAND THAT THERE MANY THINGS THEY CAN DO IN THEIR OWN HOMES.

AND WHERE THE FUTURE IS MAKING THIS AFFORDABLE TO EVERYONE ON THE PLANET, ESPECIALLY IN URBAN ENVIRONMENTS.

THERE'S ONE BILLION PEOPLE CURRENTLY ON THE PLANET THAT HAVE SUBSTANDARD HOUSING AND PREFAB CAN MAKE SO MUCH SENSE AND HELP TO REALLY SOLVE THAT PROBLEM.

(GEOFFREY) MICHELLE IS ANOTHER IN A LONG LINE OF PROBLEM-SOLVERS, WHO'VE TAKEN ON OUR HOUSING CHALLENGES THROUGH THE AGES.

SOME HAVE TACKLED ARTISTIC QUESTIONS, ABOUT HOW BEST TO EXPRESS AMERICAN VALUES.

OTHERS HAVE EXPERIMENTED WITH NEW WAYS OF PROVIDING SHELTER TO THE PEOPLE WHO NEED IT MOST.

MANY HAVE TRIED TO CONNECT US WITH THE AMERICAN LANDSCAPE.

AND NOW SOME ARE REDISCOVERING HOW TO BUILD HOMES THAT TREAD LIGHTLY ON THE EARTH.

THESE ARCHITECTS HAVE TAUGHT US INVALUABLE LESSONS THAT WE'LL NEED TO MEET THE HOUSING CHALLENGES OF THE FUTURE.

THERE ARE 350 MILLION PLUS PEOPLE IN THIS COUNTRY AND THEY ALL HAVE A DIFFERENT SENSE OF WHAT A HOUSE SHOULD BE.

WE CONSTANTLY NEED TO STRIVE EVER FORWARD TO EXPLORE WHAT IT MEANS TO BE AT HOME.

WHAT IT MEANS TO HAVE A HOME OF YOUR OWN.

(REED) IT IS NOT A CONSTANT.

IT IS A MOVING, SHIFTING, CHANGING THING AND IT'S EXCITING.

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