Residential Design

Vol 4, 2017

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

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VERBATIM decoration. We have different opportunities with the language of the building. Concrete is beautiful and has longevity. Our new language is glass and concrete. What are you experimenting with at Park and Polk? It has 56 units with retail on the first floor, and it will have our first roof deck, and also a 9,000-square-foot subterranean garage where I'll keep my car collection. It's like the James Bond bat cave. You drive in, push a button, and it takes you down two floors. And on the rental units, we increased the size of the decks so they feel like outdoor rooms. Some are 9 feet by 15 feet outside a floor-to-ceiling glass wall. We're starting to understand that the outdoor room is as important as the indoor room. We gave the city 11 percent of our allowable units, which they'll rent for 30 percent of market rate. In exchange, we were allowed to increase the density by 50 percent. It's a pretty good deal for everyone and is something every building should be mandated to do. Given your love for cars, it seems serendipitous that Fort Stock- ton is being designed around an old car dealership. Yes, the dealership has a cool Moderne object on the corner that we saved. The composition includes three buildings. The eight-story tower, 30 feet wide and 130 feet long, is a backdrop to a smaller two-story building. The Ford dealership was in the middle, and we pulled it to a corner. Each building talks to the other. Vertical fins on the tower make it graceful and serve as a brise-soleil on the east side. You just finished a 14-lecture series that benefited an animal rescue group. How did that go? I had 14 friends who are in my generation come and talk about their work in my garage where all my cars are—I call it the Jonny Club. We averaged 110 people. We went on tours and had a stand- up dinner at my place at the Q, and Sunday morning breakfast out. We raised $50,000, enough to save more than 150 dogs in Tijuana. What inspired you to start a classic car collection? There were a lot of cool European cars around when I was grow- ing up in Manhattan Beach, Calif., and I'm a big fan of James Bond. When I sold our portfolio of lofts in 2006, I purchased a Ferrari Lusso that I had been coveting—350 were made in 1963 and 1964—and there we go. I didn't understand the depth of cars until I got into collecting, and I'm still learning. Tell me about your cars. We have 14 cars in the collection, mainly 1950s and 1960s Euro- pean and American cars and some new Porsches. We just had an all-original 1956 Maserati at a car show in Europe that won best of show. My son and daughter and I flew to Paris and bought it at auction. We also restored a Maserati that won first place in its class at the Pebble Beach Concours d'Elegance show. How does car design influence your architecture? Architects study early architecture to understand the previous works. Cars are the same thing for me. Looking at Italian design, how the industry started in Northern Italy in Milan and Turin, it's exciting to learn about a history I knew nothing about. We are putting vertical fins on buildings that emulate the vertical grilles of some earlier Rolls-Royces and Lincolns, cars of the 1950s, which are about movement in and out, how a car is sculpted. My son Matthew and I take the cars apart ourselves and restore them; we learn how things are built. This is one-off craftsmanship, in cases where they made only one. There is excitement about de- signing the paint—whether it's dark or light influences the shape of the car. If the car is big, you want a darker color. It's the same with architecture; you can make a room feel bigger with an over- scaled window. There's a parallel between architecture and cars in how you manipulate it to make it better. Left: Jonathan brought together his two passions—cars and architecture—for a nonprofit visiting speaker series in his garage. He calls it the Jonny Club. Photo: Courtesy Jonathan Segal FAIA 14 RESIDENTIALDESIGNMAGAZINE.COM VOL. 4, 2017

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