Residential Design

VOL.5 2018

A business-to-business magazine focused on the collaborative process and talented work of residential architects and custom homebuilders.

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tion is a decision all parties must agree to—the clients, the architect, and, as was the case here, the Office of Historic Resources in Los Angeles. Zoltan Pali was struggling with these questions when he and his wife and partner, Judit Fakete-Pali, decided to head over to the Getty Villa for a stroll through the galleries. (They know the museum better than most because they served as executive architects for the Machado + Silvetti renovation and ex- pansion.) They capped the visit off with lunch at the museum café and a glass of wine. That's when inspiration hit. In his visits to the Spanish Revival Neff project, Zoltan hadn't conscious- ly noted the ornate precast concrete screens on the windows. But on his lunchtime sojourn to the Getty Villa, originally modeled after an ancient Roman country house, he noticed similar screens on the old building and they triggered an epiphany: They were the path forward on this project. He just had to get his clients and the Office of Historic Resources to agree with him. Three-Part Harmony The screens provided Zoltan with a design language he could innovate. The other part of the puzzle was addressing the clients' program requirements. In early meetings, they had presented their list: renovate the north end of the house, which is the casual, family wing already "remuddled" by a previous architect; add a substantial library and office area; work in storage and charging stations for a collection of electric vehicles; and put in a swimming pool. Already on the property were the original house, a carriage house, and a small tree house. The once large estate had been pared down to just under 2 acres, much of it steeply sloped and cut through with retaining walls. The clients initially suggested incor- porating the new library in the north end renovation and Zoltan did studies of how that might work, but the idea didn't spark any good solutions—not until it dawned on him to combine the library with the garage in an entirely separate building. The answer to the puzzle was a "separate Opposite and this page: By day, the anodized bronze screens protect a vast collection of volumes in the new library from harsh sun, while activating the interiors with filtered light and shadows. Above: Precast concrete window screens on the original Wallace Neff house inspired the metal library screens. 53 VOL. 5, 2018 RESIDENTIALDESIGNMAGA ZINE.COM

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