The former Holmby Hills estate of actress Eva Gabor has sold for $11 million. According to Mansion Global, would-be buyers included developers who wanted to tear down the 1938 house on Delfern Drive and develop the 1.1-acre property. Instead, the buyer is a local developer who plans to move into the house in the next couple of months and keep it as his residence.
Designed by noted architect Paul Williams, the 7,000-square-foot white brick house still has many touches of Hollywood glamour, including a brick motor court, columns and chandeliers, a portico and a sweeping staircase leading to the second floor. Among the highlights: living and family rooms with fireplaces, a formal dining room, kitchen, library/screening room, a bar and detached office.
The upstairs bedrooms include a private master suite with a balcony, luxe bath, sitting room and large walk-in closet. Amenities include a pool, tennis court with viewing deck, an expansive lawn and landscaped gardens.
There also a greenhouse and a pool house with a living room, kitchenette, bath and walk-in closet. Corrie Lontoc of Reserve Collection Realty represented the sellers—Margaret Black, former vice chairman of Morgan Stanley, and her husband, the former NASA astronaut David Scott, who was the seventh man to walk on the moon.
Writer-director James Gunn has listed his Malibu estate in the foothills above Big Rock Beach for $7.395 million. According to Variety, the property was once owned by Olivia Newton-John, who sold it in 1994 for an unrecorded amount to Carol Black and Neal Marlens, married creators of the hit sitcoms The Wonder Years and Ellen.
The roughly 3-acre, rustic-luxe abode has five bedrooms and five-and-a-half baths in a little more than 6,800 square feet between the main house and guesthouse. Expect open and airy living spaces with medium-brown wood flooring orbiting around a humongous, white brick fireplace; a colossal combination living/dining room; family room; and farmhouse-style kitchen with a duo of work islands and commercial-grade appliances.
There are three guest bedrooms on the main floor, while the master suite privately occupies almost the entire second floor and encompasses a cavernous, denim-blue painted bedroom with fireplace and sitting area, along with a walk-in closet, spacious compartmentalized bath and small study that opens to a brick terrace.
The picturesque property borders thousands of acres of protected parklands, and the meandering grounds offer numerous decks and patios; a pool and spa; lighted tennis court; greenhouse; children’s playground; and an authentic teepee. The property is represented by Kent Winter and Jeff Chertow, both of Pinnacle Estate Properties.
Poised along the coastline, overlooking a green golf course and with epic ocean views—it’s hard to imagine a Southern California vacation home more enticing. Add cuisine, a world-class spa and collection of pools within a short distance by foot, and Terranea’s Villas are unlike anything else in our midst.
“We’re the only oceanfront resort in Los Angeles County,” says Marika Kalogerakis, director of sales at Terranea Real Estate. “We call it a ‘getaway not far away’ because of its location. You’re about 20 or 30 minutes from LAX, and convenient to all of the amenities of L.A.—but when you’re here, it feels like a different world.”
Living in this different world, one so close to home, and spread out over 102 coastal acres, means that full-ownership of one of the 82 Villas and Casitas here is an exclusive treat. With the resort’s 10th anniversary in close sight (June), she says, “We’re down to two.” One is a resale unit by an owner—a rarity—and the other is the only available unit owned by the resort.
Particularly interesting about owning a Terranea Villa is the usage and financial implications, and that they are sold as privately-owned, fee simple condominiums. The creation of Terranea Resort and its vacation homes came with a pledge, per the California Coastal Commission, to keep public access intact.
This means that an owner’s stay at their Villa is capped at a maximum of 90 days per year. When an owner does not occupy a unit, it must be made available for rent to the general public. In other words, a Villa vacation home that can offset some of the costs when you’re nowhere in sight.
The aforementioned resale Villa (Unit 17-201) spans nearly 1,900 square feet and includes two bedrooms and a den, along with two and a half baths. It’s an upper level unit, and positioned on the “front row” of the resort’s neatly manicured nine-hole golf course. Views are nearly panoramic, stretching across the golf greens to the ocean, and including Catalina Island on a clear day.
Walking through the Villa’s sunny, elegant interior, one is treated to ample views of blue sky and sea from the many windows and viewing balcony in the unit. The floorplan, Kalogerakis points out, has been configured to take in the physical beauty of the landscape.
Evenings on the spacious main balcony, for instance, capture the stars and splendor of the peninsula, and are made more memorable when lounging on the daybed positioned in front of the fireplace.
As for the style of the Villa, Kalogerakis says: “It’sintended to evoke the grandeur of a Mediterranean estate.” In the great room—which spans a sunny island kitchen, plus dining area and fireplaced living room—there are vaulted ceilings, inlaid with heavy wooden beams.
The palette is a plush mix of creamy walls against rich-hued wood floors, with arched doors throughout. Liberally scaled, the Villa sleeps six comfortably and is a place of spacious rooms and charming hideaways, or what Kalogerakis calls “nooks.”
Sold fully furnished, and with a newly revamped interior, this Villa is a study in turnkey leisure. One arrives at the unit’s private, two-car garage, and among its conveniences are a fully appointed kitchen and daily housekeeping.
“Everything is included,” confirms Kalogerakis. “You can literally show up with your suitcase, and everything else you need is taken care of.”
It’s an ideal scenario given that Villa owners are keen on being here to savor good times with friends and family—and such days are made even more glorious by having nearly all of the resort’s star-studded amenities within a five-minute stroll along the rolling, landscaped grounds.
Perks available to owners, notes Kalogerakis, include a full-fledged concierge service; preferred pricing on resort dining, shopping and spa treatments; and access to all of the resort’s amenities—even when one is not occupying their Villa. “If you live locally and want to come over for the day to go to the pool and have a meal, you’re able to do that,” she points out. “There’s a country club aspect to being an owner here, as well.”
Awarded an endless stream of awards since its 2009 opening (Condé Nast Traveler, for one, included the resort in its 2018 Readers’ Choice Awards), one of the most rich rewards of Villa ownership: enjoying the luxurious property with those you care about.
The resort handles the property management making it “the easiest vacation home you could possibly own,” sums up Kalogerakis. And probably one of the most beautiful. It’s hard to imagine a more ideal escape: Spending days in one’s oceanview haven, then stepping out to hike along bluff top trails, explore the gardens and beehives, or dine in one of the resort’s seven restaurants.
Golf or seaside yoga is a short walk away and afterwards, a sports massage or saltwater bath awaits at the spa. It’s here that one can enjoy Terranea’s unique mix of award-winning comforts and the Peninsula’s natural bounty—without ever getting in a car, traveling on the freeway, or straying too far from one’s home or business.
“Our owners are our elevated VIPs,” says Kalogerakis. “They own the property with us, and we want to make sure they are well-taken care of and happy, and enjoy their time here.”
Terranea Real Estate
May 4 & 5
12pm to 3pm
PHOTOGRAPHS BY PAUL JONASON
One of Buff & Hensman’s final masterpieces has hit the market in Pasadena for $2.749 million. The modern home perfectly captures the architectural team’s classic style with dark wood details, soaring ceilings, seamless indoor-outdoor environs and floor-to-ceiling windows allowing for natural light. Nestled on a cul-de-sac, the exclusive property offers 5,000-plus square feet of opulent living space on two levels.
Among the highlights: five bedrooms (including a sizeable master retreat with balcony); an atrium boasting lush greenery, sculptures and a fountain; and a living room with wood-burning fireplace. The handsome library has built-in bookshelves and a view of the front garden, while the terraced, park-like backyard overlooks the San Gabriel Mountains.
“Buff & Hensman are brilliant at bringing the outdoors in,” says listing agent Chris Reisbeck of The Agency. “The unique placement of windows throughout the home does just that, allowing buyers to feel the peaceful surroundings and enjoy the abundant oak trees.”
1405 AFTON STREET
5,150 SQ. FT.
Listed by Chris Reisbeck of The Agency
A rare, front-row bluff property in the Rancho Palos Verdes neighborhood of Oceanfront Estates has hit the market for $5.75 million, complete with far-reaching views of the Pacific, Catalina, Santa Barbara Island and Malibu Coast via panels of large picture windows and French doors, as well as a duo of balconies.
Built in 2005, the exquisite Mediterranean-style residence offers 6,000-plus square feet of opulent living space on more than a half-acre of usable lot with a huge, flat grassy backyard. Among the highlights: four bedrooms; six baths; two family rooms; a sizeable master wing with a fireplace, and an oversized bath with vanity, spa tub and dressing room.
A chef’s kitchen boasts Viking and Sub-Zero appliances, a custom granite island with breakfast counter and nook, butler’s station, and an open bar area and walk-in pantry. A private entrance leads to a landscaped center courtyard boasting a loggia with fireplace and built-in Viking barbecue ideal for entertaining.
31 VIA DEL CIELO
BLUFF PROPERTY IN OCEANFRONT ESTATES
4 BEDROOM SUITES
6,008 SQ. FT.
Listed by Stephen Haw of The Stephen Haw Group
PHOTOGRAPHS: THE AGENCY (TOP) AND EMILY CRISTIANO (BOTTOM)
This unrivaled ranch now available on Santa Barbara’s Gaviota Coast for $110 million has quite a history. A rare offering, El Rancho Tajiguas is situated on land once inhabited by the Chumash Indians, later claimed by Spain’s King Carlos III, and now linked to Mansour Ojjeh of TAG and its McLaren Formula 1 team.
Among the jaw-dropping features: a duo of new Spanish-style, ocean-front estates—Villa Della Costa and Villa Del Mare—set on approximately 3,500 acres of cultivated agricultural land replete with a 285-acre avocado grove, 12-acre persimmon orchard, active cattle rangeland and 100-plus cows, plentiful open space and panoramic views. There’s also as many as 20 additional structures, including a house for the ranch manager, staff and farm equipment.
“This ranch is for someone who is looking for extreme privacy, beauty and freedom, and an incredible location to retreat from civilization by basking in nature and witnessing spectacular sunsets in the most luxurious villas found on the coast,” says Marco Naggar of Compass, who is co-listing El Rancho Tijiguas with Aaron Kirman, also of Compass, and Randy Solakian of Coldwell Banker Global Luxury. “Both villas have such magnificent views of the ocean, while being completely private. No one driving by could ever imagine what lies there.”
Set at 14000 Calle Real in Goleta —near Refugio, El Capitan and Gaviota state beaches, the cultural centers of Santa Barbara and Montecito, and Santa Ynez Valley wineries—the property is highlighted by the 10,000- and 12,000-square-foot villas designed by architect J.M. Sewall & Assoc. and built by Kitchell.
Both homes are LEED-certified and have five bedrooms, along with Creston smart-home systems, electric generators and two 30,000-gallon cisterns. Yet other highlights include guesthouses, pools and spas, pool cabanas, movie theaters, wine cellars, elevators and helipads, just to name a few.
Aaron Kirman & Marco Naggar of Compass
and Randy Solakian of Coldwell Banker Global Luxury
PHOTOGRAPHS: COURTESY OF MATTHEW MOMBERGER
Designer Maya Lin is of a different nature. At just 21 years old, while still a Yale undergrad, she entered the winning design for the Vietnam Veterans Memorial in Washington DC, one of 27,000 submissions. Lin’s spare concept—its polished black granite, register of names and horizontal orientation—intuited a very different public memorial, one that veered dramatically from the usual visual rhetoric, and was immediately controversial. Decades later, the memorial is an American treasure and Lin, no longer the disruptor, is perceived much like her groundbreaking design—distinctly and significantly visioned.
A vision like Lin’s is as remarkably rare as it is prolifically applied; both artist and architect, her range of work pendulates from memorials, cultural centers, and other buildings to sculpture and large-scale environmental installations. Her projects reference a variety of geologic phenomena. Among these are site-specific earth works, including her well-regarded wave fields—undulations of grassy terrain in unexpected settings.
These sculptural mounds of earth express Lin’s larger reverence for land and landscapes, and are a form of environmental activism. A native of rural Ohio, Lin grew up when Rachel Carson released her environmental treatise Silent Spring and in an interview with Bill Moyers Lin described her work as “about appreciating and being respectful of nature.”
This includes her architecture, both private and public projects, convergences of Eastern and Western worlds, of which her additions to the Children’s Defense Fund’s Alex Haley Farm in Tennessee are an exquisite example. Lin graced these 157-acre grounds with a modern vernacular via the Riggio-Lynch Interfaith Chapel, which she designed as a place of cultural solidarity and sanctuary after the events of Sept. 11, 2001. Shaped like an ark, it soars precisely for its simplicity and expresses an Asian sensibility.
Constructed from cypress siding with fir for its roof, deck and beams, the Chapel connects to a contrasting concrete-block building conceptualized to resemble a storage building commonly found in shipyards. The grounds also feature the Chapel’s vernacular opposite: the Langston Hughes Library. Built into a existing cantilevered barn structure to maintain the building’s integrity but given a new interior skin, the 2,000-square-foot library is a historically American building and Lin’s experiment in lines and light.
One doesn’t so much as encounter a building or a piece of art by Lin as experience it—physically and in a sensorial way. Her works seize on empathy and evoke emotion yet avoid firm conclusions of any kind, leaving responses to viewers. The perception of Lin as primary to interdisciplinary design, however, is firm. Distinguished with a number of accolades, Lin was named to President Barack Obama’s 2016 class of Presidential Medal of Freedom winners, alongside Frank Gehry. And yet she is in a class by herself.
PHOTOGRAPHS: (CLOCKWISE FROM TOP) COURTESY OF THE CHILDREN’S DEFENSE FUND, SCOTT SODERBERG/MICHIGAN PHOTOGRAPHY, MIKE COHEA/BROWN UNIVERSITY, AND SOUTHERN POVERTY LAW CENTER
SoCal locales and celebrities from far and wide know Palm Springs as the perfect destination for spending either a relaxing or festive weekend. Design, nature and culture converge here, where annual events like the Coachella Valley Music and Arts Festival, Modernism Week, the Palm Springs International Film Festival, BNP Paribas Tennis Open and several PGA Tour golf tournaments take place.
There are many hotels in the city, too, but only one hospitality project with a swimming pool on its roof—Kimpton The Rowan Palm Springs. Designed by Chris Pardo from Elemental Architecture, the pool anchors a glamorous environment. The outdoor terrace, inspired by its desert surroundings, provides beautiful views of the San Jacinto Mountains, six cabanas and several lounge chairs that invite visitors to rest in this unique setting.
“Palm Springs has stunning architecture and design, an inspiring landscape, and a stylishly cool spirit that’s exactly what the Kimpton brand is all about,” says Abe Liao, general manager of Kimpton The Rowan Palm Springs. The exterior of the seven-story building comprises concrete blocks punctuated with pop-out boxes and balconies, providing a sense of movement and dynamism.
A perforated metal screen filters the sunlight and adds texture. Inside, the airy and bright spaces are characterized by their urban and minimalist style with references to the desert. The public areas, 153 rooms decorated with blue, green and cream tones, two restaurants (a Mediterranean café, Juniper Table, on the ground floor; and 4 Saints, a rooftop bar and restaurant) and two bars (Window Bar and High Bar) feature artworks and furniture with pure lines. Spread over 2,500 square feet, the presidential suite occupies the top floor of Kimpton The Rowan Palm Springs, offering an exceptional panorama. The hotel also features several areas for events, meetings and weddings.
Awbrey Cook Rogers McGill Architects + Interiors, architects Dion McCarthy and Mark Kirkhart from DesignARC, Powerstrip Studio, Chris Pardo and the design team at Kimpton all contributed to shape an architecturally striking project that pays tribute to the mid-century legacy and modernism of Palm Springs, with a contemporary twist.
Also inspired by the beautiful natural light and surrounding environment, Kimpton The Rowan Palm Springs features easy access to hiking trails, encouraging visitors to enjoy nature. Shops, restaurants and the Palm Springs Art Museum are just around the corner too, allowing guests to discover the city’s vibrant cultural scene. rowanpalmsprings.com
PHOTOGRAPHS: COURTESY OF KIMPTON THE ROWAN PALM SPRINGS
“A house has to reflect the personalities of the people who live in it and their sense of style,” says interior designer Jay Jeffers. “Not the person who designed it.” Always striving to create spaces with soul that feel collected over time, Jeffers and his team worked hard to help the owners of this Portola Valley, California, dwelling to make their dream home.
The brand new house, designed by Noel Cross+Architects and built Eric B. Evans Construction, is an impressive 10,000 square feet, including about 1,600 square feet of terraces. Eager to move in as soon as possible, the owners—a couple and their young son—asked Jeffers to complete the interiors in no more than 10 months. “Obviously, the aesthetic called for modern, but our clients are a family with one young child, so it needed to serve dual purposes—grown-up cocktail parties, 4-year-old birthday parties, movie night on the couch and the like,” says Jeffers.
To soften the sharp-angled glass and steel structure, textiles were introduced in all areas, starting with the drapery panels in the entry corridor. “The furniture is a mixture of both off-the-rack and one-of-a-kind artisan pieces, like the showstopper coffee table by Los Angeles artist Stefan Bishop carved from sinuous blocks of Monterey fir,” says Jeffers. “[It is] the centerpiece of the living area, which began as a big white box with stunning views. Its organic shape grounds the high-ceilinged space, unites the soft, low-slung furnishings, and connects to the breathtaking landscape. And ultimately it helps provide that design essential—a place for your eyes to rest.”
A Poliform sofa, a custom rug covering the entire floor, a Holly Hunt table, Tom Faulkner’s Havana chairs covered in a blue Kvadrat wool and the Grand Dynamic Stilk chandelier by Daikon complement the decor. Through glass doors, the living and dining rooms open entirely to the pool terrace furnished with Holly Hunt chairs, and a sofa and loungers by RODA.
In the family room, which also offers a sublime panorama, a gray linen Montauk sectional combines with a Lumifer ottoman with the Dory fabric by Scalamandré and Bernhardt chairs upholstered in the Prati geometric pattern by Gastón y Daniela. In different areas of the house, wallpapers add other visual surprises such as the Fornasetti Acquario fish motif by Cole & Son in the child’s bedroom.
Art is featured throughout the project. Adorning the stairwell is a series of photographs by Michael Kenna from Dolby Chadwick Gallery. Some of the travel shots, taken by one of the owners, are also on display, making the home even more personal. “I have always felt that a successfully designed home is one that feels wonderful the minute you walk in but you aren’t really sure why,” Jeffers explains in his new book, Be Bold: Bespoke Modern Interiors. “It’s that perfect umami combination of drama and balance.” This 10-month miracle project is proof his belief is true. jayjeffers.com
PHOTOGRAPHS: COURTESY OF MATTHEW MILLMAN
Around 150 miles south of San Francisco, Santa Lucia Preserve is an exclusive, 20,000-acre private development with exceptional homes that are restricted in size to protect nature. One of them was conceived by the team at Feldman Architecture, whose philosophy focuses around the desire to create “buildings that sit gracefully and lightly on the earth: beautiful, healthful, and soulful spaces that enhance our clients’ lives, our communities, and the environment.”
Spread over 2,800 square feet, the two-bedroom main house including a guest unit with one bedroom was built on a single level and features low rooflines, resulting in a compact structure. One of the main objectives was to connect, both literally and figuratively, the S-shaped property to the site.
The curved rammed earth walls—which follow the natural contours of the surroundings and act as a thermal mass—and the concrete floors help to regulate temperatures from day to night. Throughout this project, Feldman Architecture explored a contemporary version of traditional ranch ideals in order to meet the owners’ brief.
The open plan—informally centered on the kitchen—enables a strong connection between the interior and exterior spaces. In the main living room, expansive glass panels and sliding doors oriented toward the south open up to a porch and an outdoor patio, which form a versatile entertaining area. The curved roof mimics the hills and extends to protect the interior spaces from the sun.
The decor features a soft color and material palette, and an abundance of wood (in the ceilings, furniture, windows and door frames), providing warmth and nodding to the midcentury aesthetic.
Carefully composed by Revolver Design, the lighting complements the atmosphere. The house also offers 270-degree views that are constantly accentuated by the relationship between the building and nature. The landscaping by Joni L. Janecki & Associates pairs boldness with simplicity, and was a key element in this harmonious project.
Several sustainable techniques were used, as well, including natural ventilation, passive heating and cooling systems, the installation of three large water storage tanks—with a capacity for 27,300 gallons of rainwater—to cover all of the property’s irrigation, and photovoltaic panels on the south-facing roof to meet all the house’s energy needs. The conscious design resulted in the home being recognized as the first LEED Platinum custom home on California’s Central Coast.
“We take seriously our obligations and opportunities as architects to respect, and even restore, the natural environment,” says the Feldman Architecture team. “Drawing upon past wisdoms as well as contemporary building science, we aspire to create structures that move architecture to ecologically and ethically responsible designs.” feldmanarchitecture.com
PHOTOGRAPHS: COURTESY OF JOE FLETCHER
That iconic American architect Frank Lloyd Wright eventually found work in Los Angeles feels a bit like prophecy—he remains one of the most colorful characters in architectural history. Opinionated and flamboyant, a swashbuckler, he was a personality perfect for these parts.
Practically, the West Coast promised the architect a shot at big-budget projects and reliable paydays, along with proximity to his son Lloyd Wright, who served as general contractor on his father’s now-famous series of textile-block houses in the L.A. area, including the beautifully restored Ennis House, which is back on the market, a big ticket and better than ever.
Listed for $23 million by Coldwell Banker and Hilton & Hyland and located in the Los Feliz neighborhood of L.A., Ennis House has long been a star in this town, having appeared in a slew of television and film projects throughout the years including Blade Runner, the sci-fi classic, an acute reminder of the home’s experimental nature, particularly when it was first built, in 1924, when concrete still was a mostly new material in residential construction.
Now nearly a century old, the landmark residence is still making headlines, most recently for the feverous, multimillion restoration efforts by its current owner Ron Burkle, which has taken the already high-profile home to yet another level of renown.
The last of Wright’s local textile-block homes built in Southern California, the Ennis House is his most extravagantly imagined here. The clients who commissioned the house, Charles and Mabel Ennis, proprietors of a men’s clothing store, are somewhat shadowy figures in the sense that not much is known about them.
They had some degree of affluence, but prior to their collaboration with Wright, the Ennises’ homes were largely sensible. One assumes, not unreasonably, that as the couple rose in the ranks socially, their ambition widened as well. In Wright, the Ennises had an architect to design a house to meet the moment, a place where they could entertain.
Wright’s vision for the three-bedroom, three-and-a-half bath home, which is composed of roughly 27,000 blocks, each one hand-cast in a custom mold, is equal to its expansive view of Los Angeles.
The property also features a self-contained, one-bedroom guest house. Later, as part of a 1940 remodel, Frank Lloyd Wright designed the pool. The home’s living spaces are more intimate than its public spaces, which are quite grand, even a bit showy.
“The way it’s perched on the hill is on stage. There is definitely a theatrical component to the house,” says John Waters, AIA, LEED AP, preservations programs manager of the Frank Lloyd Wright Building Conservancy, pointing to such aspects as the architect’s beautiful glass mosaic fireplace, columned corridors, and custom art-glass windows.
“While it is not unusual for Wright to dramatically reveal once space after another, the visceral effect of movement through the house is particularly theatrical here,” Waters adds. “The various spaces create a stage-like feeling inside. The Storer and Freeman [Houses] are more intimate in scale and the way the spaces work. Ennis is theatrical.”
While it is certainly true that the Ennis House has the flavor of the Mayan Revival style, it is more accurately perceived less aesthetically and more about Wright’s attempt to create a useable system of building. “Because it’s conceptual, it took more than he anticipated,” says Waters of Wright’s experimentation with the system.
“But it wasn’t a willful attempt to spend a lot of the Ennises’ money, but about his curiosity to see if the system would work.” Still, the Ennis House is highly ornamented, as was Wright’s way. “He loved to get his T-square and triangle working,” Waters notes. “The patterns are not always directly related to the work at hand. His work can be extremely decorative, a lot more than people really think about it being.”
The Ennis House is a testament to Frank Lloyd Wright’s remarkable ability to see three-dimensionally, but also his affinity for California. He did return to the Midwest eventually, but presumably, he was attracted to the energy of a Los Angeles as well as its regional characteristics, like natural light, which played well into his ideas of organic architecture.
It also fit with Wright’s flair for presentation; he did, after all, dub the Hollyhock House his “California Romanza” and in a letter to the Ennises, he wrote, prophetically in fact: “You see, the final result is going to stand on that hill a hundred years or more. Long after we are all gone it will be pointed out as the Ennis House and pilgrimages will be made to it by lovers of the beautiful—from everywhere.”
Ron de Salvo
Coldwell Banker Residential Brokerage
Branden and Rayni Williams
Williams & Williams Estates Group at Hilton & Hyland
PHOTOGRAPHS BY MARY E. NICHOLS
Founded in 1935, the San Francisco Museum of Modern Art has a long, rich story. As the first West Coast museum dedicated to modern and contemporary art, SFMOMA expanded in 1970-1972 before moving in 1995—in celebration of its 60th anniversary—into a building especially designed to host its collection by Mario Botta. Closed to the public for massive expansion construction in 2013, SFMOMA reopened three years later with a 10-story addition designed by Snøhetta.
With nearly triple the exhibition space, the beautifully transformed SFMOMA now offers 170,000 square feet of galleries, and is the largest modern and contemporary art museum in the country. Inspired by the San Francisco Bay—its surrounding waters and foggy weather in particular—the eastern facade comprises more than 700 fiberglass reinforced polymer panels affixed to a curtain-wall system, creating a horizontal undulation and changing its appearance depending on the light.
The Snøhetta architecture not only looks to the future but also complements the original building, connecting to it by way of a sculptural staircase. On the third floor, the vertical garden—with over 19,000 plants, including 24 native species, all maintained with recycled water—is a true work of art. One of the many terraces offers stunning views of San Francisco, integrating the museum into the urban landscape and highlighting its relationship with the city.
Today, SFMOMA’s collection comprises over 47,000 artworks by masters such as Alexander Calder, Frida Kahlo, Jackson Pollock, Gerhard Richter and Cindy Sherman, among others. Furniture, product and graphic design, architecture, video, film, paintings, sculptures, works on paper and live performances can all be discovered in the museum.
At the same time as its 2016 reopening, SFMOMA launched the new Pritzker Center for Photography, a 15,000-square-foot gallery that is the largest space in any U.S art museum permanently devoted to photography.
From May 19-Sept. 2—Andy Warhol – From A to B and Back Again—the first retrospective of the artist organized in the U.S. since 1989—will feature more than 300 works of art that were first on display at the Whitney Museum of American Art. Opening May 23, JR: The Chronicles of San Francisco will present the outcome of a project led by internationally acclaimed artist JR who, during two months in early 2018, filmed, photographed and interviewed over 1,200 people from different communities all over the city.
And this October to February 2020, Soft Power will showcase new works and commissions by 20 artists from around the world who understand themselves as social actors. Better connected to the city, the welcoming, expanded building by Snøhetta provides a new experience. “No longer an inward looking shrine to the art object, a museum today must engage with its local conditions and communities in a proactive way,” the architects say. sfmoma.org
PHOTOGRAPHS: (CLOCKWISE FROM LEFT) BY HENRIK KAM, IWAN BAAN AND MATTHEW MILLMAN, COURTESY OF MOMA
When a starkly geometric home appeared on 10th Street in Manhattan Beach in the mid-1990s, it was a bright, rare flash of Modernism in a town flush with tile-roof Mediterraneans and quaint beach bungalows. The home had been designed by none other than architect Pat Killen, one of a small group of local architects who were applying Modernist principles to beachside homes decades before others would follow suit—and with superb results.
Since then, the home has remained a classic California Modernist beach structure, complete with a dramatic juxtaposition of angles and curves, plenty of glass and one of Killen’s trademark’s—a touch of eclecticism. Its eye-catching looks aside, the home’s design was rooted in pragmatism, for Killen always insisted on capturing the best views and light, and chose Modernism as the way to get the job done.
After several owners, in 2014 the home came into the possession of homeowners who knew great architecture, and saw that Killen’s design, after so many years, could do with a refresh. “I was respectful of Pat’s work,” says one of the homeowners, a client of real estate agent Beth Morrissey.
Morrissey reached out to Pat Killen, who recommended Daryl Olesinski, a former associate at his firm Studio 9one2. Olesinski, along with fellow designer Martina Linden (their firm is O+ L Building Projects), made changes that would smartly enhance the original home. “Having worked for Pat Killen for a few years,” says Olesinski, “I knew Pat very well, and respect his position in the architecture of the South Bay.”
“Clearly this house had a great pedigree and a strong sense of line and massing,” Olesinski explains. “With that said, the current owners wanted a bit more from the house, and wanted to use the building in a different manner than the original design allowed for.” Included among Olesinski and Linden’s work was the installation of pocket doors to further mesh indoors and out.
Modernizing the fireplace. A portion of the ceiling was raised so that it followed the curve of the roofline. The beige exterior was updated to a soft gray, and the yard was dramatically overhauled. More changes were made and in the end, says Morrissey, who witnessed the before and after, the house had morphed into an updated version of a classic work of beach architecture.
“Daryl wanted to keep the remodel aligned with Pat’s original vision,” says Tyler Krikorian, general contractor for the project, whose specialty is high-end custom homes. “I followed his lead with everything, and I feel it was executed very nicely.”
When one walks into the glass-front foyer, one enters a meditative and sunlit space that feels not unlike a gallery. The curving staircase, a Killen trademark, is a focus point.
Approaching the second floor, one is treated to sweeping ocean views—a panorama that’s uplifting at first sight. “I remember very intense days at work,” says the homeowner. “I would come home and sit on one of the terraces and disconnect. Look at the ocean and reflect on life. It’s an incredible place.”
Spanning five bedrooms and approximately 4,300 square feet, the home embodies a central Killen design principle: “The way we live, with our contemporary lifestyle, people want open spaces, and they want it all to flow together,” he said in a 2010 video.
“But yet, you don’t want it to seem like it’s just one big auditorium, so there has to be personality that’s developed in those different spaces.” The home’s revisions were built upon this theme. Floor-to-window sliding glass was added to the living room so it conjoins the Brazilian ipe deck.
The result is a flurry of fresh air and sunlight added to this central open level, which includes a peaceful reading room along with a newly revamped kitchen and a breakfast nook. The formal dining room, with fresh floors of Brazilian cherry, expands to include a fresh-air sitting deck. “They expanded the upstairs view so you have 180-degree views of the ocean,” notes Morrissey, “That’s really hard to find in Manhattan Beach.”
The home’s yard, previously overlooked, was overhauled to offer outdoor living spaces that are bright lights in the memories of the homeowners. “On summer days, it’s one of the most refreshing places,” says the homeowner of the hearty ipe deck, home to a bubbling spa and an outdoor kitchen with a sleek barbecue and wine cooler.
There is a cozy side yard as well, a private, manicured green space where lights twinkle in the trees. “There’s a timeless element of the home’s design,” says Morrissey of the residence, which she remembers Pat Killen speaking fondly of, and referring to as a favorite project. “With the updating done—it’s truly a stunning property.”
The views and the architectural pedigree are fine points of the home, Morrissey points out, along with the open floor plan. The walkability to both town and beach is another. Morrissey, who’s been in local real estate for 16 years and raised her family in Manhattan Beach, cites it as an increasingly attractive lifestyle bonus.
After all, with downtown less than 10 minutes by foot, and the sand seven blocks from the home, it’s easy to conjure up visions of sunset swims, or walking to town for dinner—then coming home to a place that was designed around the pleasures of its climate and location. “This home is a piece of history when it comes to architecture in our community,” she says. “It’s a great example of Pat Killen’s work.”
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