The Industrial revolution was a technological revolution which established the rights of social, material and intellectual equality. Capitalism, an economic system in which all or most of the means of production and distribution are privately owned and operated for profit, originally under fully competitive conditions, has been generally characterized by a tendency toward concentration of wealth, and, in its later phase, by the growth of great corporations and increased governmental control. In a capitalistic society which generally dismisses the revelatory power of dreams as irrelevant to real life, cultural dreams addressing unfulfilled human rights evolve within the production of its artifacts. Dreams, according to Sigmund Freud, are disguised expressions of unconscious needs which are suppressed by constraints of our society. Some dreams provide simple wish fulfillment or expressions of anxiety. Other dreams, strange and illogical, are revealed in displaced forms or symbols. As manifestations of cultural dreams, the avant-garde house of Los Angeles - like the motion picture, provides models of response to prevailing socio-economic circumstances. The evolving technological innovation and formal expression of the Los Angeles avant-garde house over the past nine decades reflect personal interpretations of those eras by architects who serve as the conscience or poets of their time. Los Angeles architecture can be described as autoecious, meaning living all life Istylisticj cycles on one host - as certain parasites do. Thus metamorphosis of that work, conceived and promoted within the competitiveness and values of a capitalistic economic system, has been and continues to be selectively appropriated by the mass market. The avant-garde house and motion picture of Los Angeles. like publicity, provide illusions of reality unattainable to the masses. They portray an overstated sense of order of an ideal image for life and happiness which is both understandable and remote. Both are powerful forms of mass media propaganda and have sustained a symbiotic relationship throughout this century. (L.A's architecture has been promoted since the turn-of-the century in motion picture, museums, and popular magazines including: The Craftsman, California Arts and Architecture, House and Garden, and more recently in women's fashion magazines such as Vogue.) From1850-1950 the population of Los Angeles grew from 5,000 to over 2,000,000. Linkage of Los Angeles to the intercontinental railroad system in 1876 and 1885, coupled with an active promotion scheme at the beginning of the 20th century, initiated inflated real estate profits for the region. The booming real estate market attracted the migration of numerous young architects to Los Angeles to practice their art. In 1907 the first movie was made in Los Angeles; in 1908 architects Green and Green completed the Gamble House in Pasadena. This paper examines the houses of architects Green and Green, Irving Gill, Frank Lloyd Wright, Rudolph Schindler, Richard Neutra, Charles Moore, Charles and Ray Eames, Frank Gehry, Thom Mayne (of Morphosis), and Craig Hodgetts - as morphogenetic responses to the changing socioeconomic context of Twentieth century Los Angeles and as perpetuators of the general public's perceived needs. The general public, subject to a barrage of myth and publicity, selects style of house from programmed images of fantasies and values which create the illusion of home. Publicity is the life of this culture - in so far as without publicity capitalism could not survive - and at the same time publicity is its dream... It propogates through images that society's belief in itself... It is closely related to certain ideas about freedom... Publicity turns consumption into a substitute for democracy... Publicity helps to mask and compensate for all that is undemocratic within society It proposes to each of us that we transform ourselves, or our lives by buying something more... Ways of Seeing, John Berger