Tuesday, April 24, 2007

Twilight









I'm a stalker. Twilight is the best time, to walk about West Adams, and peer into windows (from a respectful distance, natch)--shades yet undrawn. The daytime sky is dimming, the contrast range narrowing, and interior lights are coming on.














I'm an architectural voyeur. Is the woodwork painted? Does the dining room light fixture look original? Leaded glass? Sconces?

The darker, the murkier, the more tantalizing.

The pearlescent glow of a NuArt shade, beckons.

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Monday, April 23, 2007

When the Fun Starts

I've a loan document signing scheduled this week, one of the final steps in a purchase transaction. Typically, a home buyer signs the loan "docs" in the company of an escrow agent or notary.

I attend these signings, though it isn't customary for real estate agents to do so, to support my buyers. It also helps me assess their lender/mortgage broker. Did the lender provide that which was agreed? Were they available by phone during the process?

Generally, the buyer knows the details of their purchase loan better than I; still, sometimes I can help decipher some unusual loan broker-ese, or make sense of the cost breakdowns.

For a few buyers, it's an unpleasant occasion, unable to scrutinize all there is to sign. Some buyers feel as if they're "signing their lives away", cornered by an inhospitable financial superstructure. Other buyers sign without regard, happy to be nearing the deal's close.

After the signing, the documents are returned to the lender, where they're reviewed for one to two days, before "funding" takes place. After the loan funds, the change in ownership or "title" can be recorded, usually the following day.

Most contracts allow the buyer to take occupancy at 5 pm on the date of "the close". That's when they get the keys. That's when the fun starts.

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Sunday, April 22, 2007

Studio, Quai St. Michel 1916

This painting by Henri Matisse is in the Phillips Collection. I was especially drawn to its elemental geometry and depth, the view from the lofty studio, of the Seine and the Pont Saint-Michel, and the blue roof of the Louvre.

Another Matisse in The Phillips Collection is more heralded, Interior with an Egyptian Curtain. It's a fine work I guess, but it hasn't herringbone floors.

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Saturday, April 21, 2007

Crime Part 2

Here's the thing I've learned: You can't convince someone, when convincing is necessary, that a neighborhood is safe. You can cite the crime statistics backward-and-forward, screen closed-circuit surveillance footage, wield signed testimony from the local SLO, it doesn't matter. People either feel comfortable or they don't, and the only thing that can change that is time.

Everyone has different visual triggers: loitering, the volume of parked cars, fences, the condition of painted surfaces, window bars.



Some cultures assume that window bars mark a place as unsafe. While other cultures embrace decorative metal security features as a home improvement item. Similarly, some cultures want to make all exterior space private, thereby making it more usable; whilst others condemn fencing, as isloating and symptomatic of social disjuncture.

Many older neighborhoods in Los Angeles have a large number of parked cars on the street because they haven't driveways, two-car garages, and easy off-street parking. Oftentimes the alley ways are decommissioned, the ipso facto exclusive domain of telephone technicians and kitty cats. This exacerbates street parking.

Metal security features are often pedaled door-to-door, and to older, more fearful residents, sometimes in the wake of a publicized event. Salespeople ask whether the resident feels safe, in a tone that evokes self doubt.

I drove through Larchmont Village recently and I noted plenty of bars, on sidelights in particular, and security doors. Does that make Larchmont Village unsafe? How dare I propose such a thing?!

I like my buyers to visit the site of a potential purchase both day and night, and on weekends. Typically, we walk around the block, and chat with a neighbor or two. Sometimes a real issue is identified, othertimes, an initial issue is ameliorated.

Safety is a serious issue in urban living, but you shouldn't judge a book only by the stain on its dust jacket.

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Friday, April 20, 2007

End of the Season

The Los Angeles Clippers' 2006-07 season came to a close Wednesday. Rather than disparage obstinate head coach Mike Dunleavy, or goofus pivot man Chris Kaman, I shall instead recall the beautiful intimacy of the Los Angeles Sports Arena, and one St. Patrick's day.

I am not a fan of the Los Angeles Lakers. They're the team for Westsiders, for the establishment, for stuffed shirts. I root for underdogs. I don't listen to the top 40, but I do like R & B oldies.

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Thursday, April 19, 2007

The Lone Tenement, 1909


I didn't just go to the Building Museum when I was in D.C.. Nor did I spend all my time hunting for architectural salvage, or thumbing through the AIA guide, on the lookout for bullseye windows or some neo-classical detailing. Mine is not a singular focus. Obsessive, perhaps; but, given to a diversity of interests. I also went to a few art museums, where I took some digital stills....of my favorite cityscapes.

This painting, by George Wesley Bellows, hangs in the National Gallery of Art. My favorite details are the smoke-belching tug (on the East River) and the golden light striking the upper most story of the tenement, otherwise enshadowed by the Queensboro bridge.

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Wednesday, April 18, 2007

When Architecture Turned Bland

I have a cousin who lives in Lakewood, California. The Lakewood made famous again by D.J. Waldie. These are photos of houses on her block, or was it the next block? The one after?


The early 1950's can be a yawner. Mass homebuilding had come of age, most notably in post-war housing tracts like the paradigmatic Levittown(s), and in "instant city" Lakewood.


Idon't intend to embark on an essay about American post-war optimism and prosperity, expansionism, and pragmatism. I simply find the relentless near self-replication aesthetically reductive.













Some p.o.'d mod-commer'll write me now, with praise for post-and-beam this, and googie that. I ain't riffing about the modern or the moderne, only the vernacular suburban tract home that blots out large parts of the L.A. basin. Yeah I know, some still had wood windows and wood floors, a molding thicker than your thumb. Go tell it to your boomerang laminate or cracked ice vinyl banquettes. I've got some gingerbread I need to dust.

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Tuesday, April 17, 2007

Gang Green

Last week I visited the National Building Museum in Washington D.C.. Amongst the exhibits, The Green House: new directions in sustainable architecture and design.

It sucked.

Throughout, a lot of talk about conserving the earth's resources. Most all the case study houses were modernist trophy homes, in the San Juan Islands, the desert Southwest, on the Batiquitos Lagoon. Aggrandizing owner/builders touted bamboo flooring, precast insulated panels, and recycled agricultural waste composite board. They'll have plenty of time to feel good about themselves on their hour long commutes, or whilst using our extended grid.

What's really green? For starters, preservation, restoration, repair.

Yeah I know there's the occasional green in-fill, like in Venice, where modest colonials are detonated to make way for phallic towers with transparent thermal walls and fiber optic pendant lights. More often, these righteous green jeans-ers command some dreamy eucalyptus grove, verdant countryside, or wet-lands adjacent hillside. Being "sustainable" is the least they can do.

Still, the National Building Museum is cool. Originally the home of the United States Pension Bureau, its most stunning feature is the 300 foot long, 100 foot wide atrium/Great Hall, which soars to 159 feet at its heighest point. Supposedly built of 15.5 million bricks (in 1887), the "Old Red Barn" was designed by Montgomery Meigs, who had served as a quartermaster general of the Union army during the Civil War. The Great Hall is divided into three courts by two rows of colossal Corithian columns, painted to look like marble. The National Building Museum came to occupy the building beginning in 1985.

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Sunday, April 15, 2007

Spring Weather?!?



Thursday's freak winds toppled the gerry-rigged trellis atop my unlikeable cinder block wall. My arch-enemy, the bougainvillea, capitalized with jail-break tenacity, surging across the alley, encumbering passage with a medusa-like sprawl.

My alley-mate, a metalsmith, offered use of his dumpster, and the great cut-back began. I need another project like I need a forced march, but here it is.

Elsewhere, we've reduced the price on 1522 S. Hobart Boulevard (to $749K!!!), targeting a quick sale. I'll hold it open today from 2 - 5:30 pm, and again Tuesday from 11 - 2:30pm. I'm requesting all offers by late day Wednesday.

An aside, I awoke last night to the thunderclap. My first thought: 'Oh no, attendance at my Sunday open will be compromised'. Okay, really my first thought was 'shit!'















1522 S. Hobart is blessed with sunny skies, a Mills Act contract, and therefore, startling low and transferable property taxes.

Could somebody please call me this afternoon with the Clipper score?

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Sunday, April 01, 2007

The Clark Library




When West Adams is touted as a community, much is usually made of the fine late 19th/early 20th century housing stock, centrality, and espirit de corps. The commercial corridors are generally assailed, the public schools bemoaned. Seldom are the cultural attributes exclaimed.

The William Andrews Clark Library (the Center for 17th & 18th Century Studies) is located at 2520 Cimarron St. (between Adams & 25th in Kinney Heights). The library, affiliated with UCLA, is a rare books and manuscripts collection with particular strengths in English literature, history, Oscar Wilde, and fine printing.

The collection was established and the opulent library built, between 1924-26, by West Adams resident, book collector and philanthropist William Andrews Clark Jr..

While the collection is non-circulating, it's available to "readers", free, daily from 9:00 am - 4:30 pm, Monday to Friday. (Though currently the library is closed due to building improvements.)





Tours of the library, built by architect Charles Whittlesby, and the lavish non-reading rooms, are also available, by appointment only, by calling 323-735-7605.

The library and grounds consume an entire city block.

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