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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piece of the same proportions and mate- riality as the original house," and Zoltan knew the perfect place to put it. "The carriage house is on the west end of the property, the main house is on the east, and to the north is a hill," he explains. "In the gap between the west end and east end was a natural spot to add something to the property, but there was a hill. So, we thought, let's tuck this library and electric car storage into the hill and align it with the old carriage house." The new building could provide the vessel for invention and remove the burden of the main house stretching beyond its natural capacity. But were the clients "really into historic architec- ture" or would they be willing to add a new structure to the property? The Buy-In The answer to both questions is "yes." The house, originally designed and built in 1926 by Wallace Neff, was also renovated by him just a few years later after a fire destroyed much of the second floor. (Newspapers of the time men- tioned a heroic family dog who roused everyone in the nick of time.) In the second iteration, the architect elimi- nated the upper floor of the two-story building and moved the master bed- room to the first level. Because this is L.A., the house's history includes a number of celebrity owners—among them Madonna and Katey Sagal, co-star of Married With Children. (The latter may have been re- sponsible for the pink kitchen cabinets.) Enough had been altered over the years prior to the house being placed on the historic register in 2008 to argue for a more liberal interpretation of renovation. After a series of meetings with the clients, Zoltan learned his clients were not opposed to a new building and not rigid about its style, so the next question became "what it would look like?" Zoltan thinks through problems by modeling potential solutions—physical models he can hold and manipulate. So he took the notion of the screens he had at the Getty Villa and churned them through a series of 3D creations. "I presented the clients with a dumb little laser-cut model of what the screens might look like," he says. "I thought they weren't going to like it, but they This page: The entry hall to the new library is compact, but an open stair and plenty of natural light make it feel more expansive. 54 RESIDENTIALDESIGNMAGA ZINE.COM VOL. 5, 2018 DESIGN LAB INVENTION AND REINVENTION

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