Third Strike, Wiseman

Not that your name is Wiseman, Messrs. Cohanzad, but whoever you are, you have done this for the last time. On behalf of Los Angeles, seriously, enough is enough. As Marsellus Wallace says to Butch, you’ve lost all your LA privileges.

RIPsters, we speak of Michael and Isaac Cohanzad; architect Isaac established Wiseman Residential in 1985. Wiseman Residential put their hearts into designing homes you’ll love.

That may be, but they put their efforts into illegally demolishing homes you already love.

Example #1. This was 419 N. Hayworth:

The Spanish number at left is 413-15 N. Hayworth; designed by the great Joe Eudemiller in 1931, who gave Los Angeles a lot of Spanish charm in the 1930s. The French Normandy with Chateauesque influence, center, is 419-21 N. Hayworth; it was built in 1936 and designed by David C. Coleman (check out his synagogue at 2521 West View) for the Spinning Wheel Corp.

The Spinning Wheel apartments were twins, in fact, facing a common courtyard, and absolutely pristine: original windows, hardwood floors, high ceilings, all of its moldings and turrets and whatnot. Until one day, this happened:

If you look verrrry closely you’ll see it say’s “SAVE THIS BUILDING” in the window on the building at far right. Guess how that turns out?

That day was February 12, 2015. Wiseman began tearing off the turrets, and also demolishing elements of the Spanish next door, without a permit from LADBS. Without green demo fencing. Without a thirty-day notice. Without clearance from HCIDLA. Without turning off gas and electric. There were no repercussions for this and the City gave them a permit to demo on March 13.

Building “Hayworth Hyde.”

FYI, the other half of the turreted eight-unit 1936 garden court apartments—well, the renters banded together to get it nominated as a Historic-Cultural Monument, citing that it was a rare intact piece of Normandy Revival, and that it was important culturally as an early piece of Jewish-built and owned property for a neighborhood famously Hebraicising in the 1930s. Michael & Isaac voice their “strong opposition to the proposed designation of the Property on both substantive and procedural grounds” and so forth; the Cultural Heritage Commission nix the nomination and this time Wiseman presumably get a permit:

Wisemanizing the whole block. That’s Hayworth Hyde at left. A two bedroom is 968sf. They start at $3895.

Let’s move on to

Example #2. This was 1332 N. Formosa Avenue:

Built in 1925 and designed by D. F. Hancock; check out Hancock’s four-unit at 1145 Gordon St., and 1257 Bronson/5910 Fountain

In this case, Wiseman tossed everyone out via the Ellis Act. Wiseman would be unable to Airbnb the apartments, because short-term rentals of evictions are decidedly, blatantly against that law (and reprobate), so that is therefore exactly what they did. HCIDLA told them to stop, and Wiseman responded by beginning demolition work. Again, without a permit. HCIDLA came out multiple times with stop-work orders and so Wiseman finally destroyed the building—with the electricity and gas still on—on January 21, 2017. Read more about it here and here.

The cute little Storybook had quite a view to the north there…for a little while…
Hey look at that big thing they built there. Because again, not even a slap on the wrist.

Up next is

Example #3. This is 7050-60 Hawthorn Ave:

Yep, you can barely see its Colonial Revival glory behind the foliage. It’s a damn tranquil oasis in the middle of Hollywood
No, seriously: this is the heart of Hollywood (that’s the Hollywood Roosevelt at bottom left) and 7050 Hawthorn, center-right, is the sole, solitary green spot in all of town. We must do away with that grass! say the do-gooders, conveniently ignoring that grass traps stormwater runoff, reduces noise pollution, keeps the air cooler, cleans the air, traps CO2, produces oxygen, reduces dust pollution, and filters groundwater…

7050 Hawthorn was built in early 1941; the architect was Gene Verge. Among his works are Buster Keaton’s pad; St. Luke’s Hospital; and these rather grand houses.

Well you know where we’re going with this. In every survey commissioned by the City, Verge’s 7050 complex is identified as a historic resource. Did that worry its owners? AKA Isaac, Benjamin, Michael and Lillian TRS Cohanzad and the Family Trust of Cohanzad? Of course not! They had the place half-rented as an illegal short-term rental hotel, and it was time to get the remainder of those pesky long-term renters out. They began Ellising those folk in October 2019—but that’s always a tricky time, ‘cuz Ellising indicates a building is likely to be demolished, and that red flag might trigger a monument nomination.

So in the middle of the night, with the gas still on, no permit from LADBS, no thirty-day notice, no notice to neighbors, no HCIDLA clearances, they started demolition. No no no, they insisted, this wasn’t demolition, this was abatement.

Uh-huh. This was the abatement of the historic, character-defining features, making it ineligible for landmark designation. (A trick they learned, apparently, from Philip Rahimzadeh—another prolific developer who literally knows everything about LA development law—but when he had recently illegally demo’d the facade of an effing Paul Williams he said “gosh, who knew?” and the City said “golly, oh well!”)

Let’s take a look at what abatement looks like. This is the sort of abatement—not demolition, mind you, but abatement—that occurred over the course of one night.

They were abating what, exactly?

And you know what else? The three I’ve spoken about above are just the illegal ones. The Cohanzads have this pathological fetish for destroying particularly wonderful Los Angeles structures. I don’t have an up-to-date list, but I do know that in just 2017 alone, five Historic Cultural Monument applications were filed for buildings owned by Wiseman LLCs. None lived to tell the tale; each met the wrecking ball. Here’s one of the best—moved forward with a positive recommendation from the Cultural Heritage Commission, the whole bit:

106 S. Kings Road. Built by Joseph J. Rees for Samuel Aidlin in 1936, it’s Streamline Moderne, a fine and iconic early representative of the Beverly Square Development Tract. From 1936-40 it was as well the home of Rudolph Ising.
At the bottom of a landfill now.

So that’s my issue. There’s three million buildings in the county, and Wiseman’s abjuring each empty lot and every strip mall in favor of every Streamline-Colonial-Spanish-Norman interbellum apartment complex they can get their hands on, provided they’re pristine and have a surfeit of charm.

And not, you know, the fact that they evict rent-controlled tenants through the Ellis Act and then Airbnb the units, dozens of documented times, which is immoral and illegal. (Which they do because the City will never so much as slap their hand.) They’ve demolished about forty Rent Stabilized apartment buildings in Los Angeles; something like 300-350 RSO apartments removed from the housing stock—all replaced with million-dollar condominiums and $4000/mo apartments. (Which they do because we need housing, says the City.) Hey, remember that piece in Curbed, “Ten of the Worst Landlords in Los Angeles“—no? Probably not, because Curbed retracted it when they were bullied by said landlords! Well, guess what it said.

So if any or all of this irks you, dear reader, I’ve got an idea: you might want to show up at the PLUM meeting on Tuesday, February 4th (yes, tomorrow). 2:30pm. It’s number five on the agenda. Mitch O’Farrell has nominated Hawthorn for Historic Cultural Monument status! Hollywood Heritage and the neighborhood are pressuring for Wiseman to rebuild. If not, they need to get the Scorched Earth punishment (no development on the site for five years). (Personally, given their absurd repeated bad faith, they should be barred from developing altogether—go RICO on them, prevent them from fraternizing with the owners of bulldozers. And so forth.)

Wiseman & Co. are going to be there, lawyered up all and smart-talkin’, so it’s important to have you good folk speak in favor of this nomination at public comment.


The Cranky Preservationist: Who Breaks A Butterfly Upon The Wheel (episode 18)

Architectural historian Nathan Marsak loves Los Angeles, and hates to see important buildings neglected and abused, whether by slumlord owners or the savage public. Follow him on his urban adventures as he sees something that looks like crap, opens his yap and spontaneously lets you know exactly why this place matters. Episode Eighteen finds Nathan in Pico-Union, on the 800 block of South Mariposa, where he is horrified to discover that the row of endangered early 20th century apartments that he came to celebrate are at this very moment being reduced to rubble by a guy driving an excavator. Nathan laments his failure to properly document a lost slice of classic Los Angeles and urges concerned Angelenos to hop to it when they see those green demolition fences go up, whether it’s with their camera, a pry-bar or by protesting, landmarking and electing better public servants so our beautiful city stays that way.

If you like these Cranky Preservationist videos, you’ll probably like Nathan’s R.I.P. Los Angeles blog, too, so check it out.

Where will the Cranky Preservationist turn up next? Stay tuned!

Cranky about Facebook? This video is also on YouTube

Catch all the rants

The Cranky Preservationist: The Battle of Normandie (episode 17)

Architectural historian Nathan Marsak loves Los Angeles, and hates to see important buildings neglected and abused, whether by slumlord owners or the savage public. Follow him on his urban adventures as he sees something that looks like crap, opens his yap and spontaneously lets you know exactly why this place matters.  

Episode Seventeen finds Nathan in the Byzantine-Latino District, aka Pico Heights, deeply troubled to find half a long block of early 20th Century bungalows and apartments boarded up behind razor wire, pending demolition for an upzoned Transit Oriented Communities project. Nathan laments the loss of green space, setbacks and neighborhood character, fails to charm a doggie, snickers at the disingenuous claim of developer-funded Sacramento pol Scott Wiener that single family homes are somehow “racist,” and reminds his fans to put on a sweater already.

If you like these Cranky Preservationist videos, you’ll probably like Nathan’s R.I.P. Los Angeles blog, too, so check it out.

Where will the Cranky Preservationist turn up next? Stay tuned! 

1517-23 W. 8th St.

They won’t be happy until every shingled building in Los Angeles is gone. I mean, they’re kind of obsessed with them. They who? Everybody. Both sides of the political spectrum. Social engineers on their path of well-intentioned apocalypse in concert with the developers who play them for useful idiots, that’s who. I honestly don’t care who. Just stop tearing down all the wooden houses already.

The surface lot next to the Adelphia (Leonard A. Cook, 1913), and two adjoining single family homes, is to be built upon with a TOC project developed by the Nemans.

1521; 1523, left, behind the tree
Poor Adelphia, tallest thing on the block for 107 years, now to have a seven-story building gleefully five-foot side yard all jammed up against your windows

It’s unclear when these two were built; the Assessor doesn’t list build dates and they’re not on DBS, which places them pre-1905. 1521 West 8th is listed as a fine six-room house for rent “to responsible party with references” in November 1902; it is soon occupied by Edward A. Geissler, Vice President of the George J. Bickel Company, who stays through 1906.

Also in the early years of the century, its neighbor 1523 was taking in boarders, and by 1906 you could go to an auction of all their nifty stuff:

Same old story: developers replace two large houses with a piddly few low-income units, and’re therefore given carte blanche to build tall and dense with no open space, and God forbid you have a car

Some will argue, but these aren’t that good. Or important. But I want you to remember them. Because soon there won’t be any of them. There will be nothing but eighty-foot boxes with no open space—just like this project—because that’s what y’all voted for with your Measure JJJ, bless your little hearts.

4201 S. Crenshaw/3600 W. Stocker

Down on Crenshaw there’s The Liquor Bank, which is my kind of place to make a withdrawal. And appropriately named because it is, in fact, an old bank. Look closely, see the ship on the sign pylon?—that’s the USS Portsmouth, erstwhile symbol of Bank of America. (San Francisco B of A founder Amadeo Giannini was enamored of the Portsmouth, as it had secured his city-by-the-bay for America during the Mexican War.)

This Bank of America was built in 1949 and designed by Raymond Raleigh Shaw AIA, with William D. Coffey, Consulting Structural Engineer. Raymond Shaw is best known for his 1920s designs, like the Pacific Southwest Building and San Joaquin Light & Power, both in Fresno.

Shaw did some number of Bank of America branches; he altered the exterior of the B of A in Beverly Hills on Wilshire in 1948 (although that was subsequently redesigned again in 1963 in New Formalist/Brutalist style by Sidney Eisenshtat—which after being deemed eligible for listing on the National Register, was dutifuly torn down by Metro as part of the subway extension). Here is a 1951 example of a Shaw B of A at 8501 Pico—

Still standing, and still a Bank of America, but do yourself a favor and don’t go on Google Streetview to see what’s become of her

Shaw designed banks across the southland through the 1950s, but received his largest commission when he was hired, again using Coffey as engineer, to produce the Corporate Modern Banco Hipotecario in San Salvador in 1958. He retired soon after and died in 1967.

In any event, back to our pal at Crenshaw and Stocker: it’s 1949, and 1949 was smack in the thick of the Great Age of the Late Moderne. Late Moderne was born to Southern California and defines Southern California as well as—no, better than—any other architectural style. What is this Late Moderne, you ask? The sleekness of Streamline, and the ribbon-window rectangularity of International style, melded in the late 30s, and flowered in the mid-40s, to produce a new vernacular. You know it when you see it: warm materials form large simple volumes locked in asymmetrical sculptural compositions, with irregular angles and curves, punctuated by certain ornamental motifs—egg crate sun shades, grills, bezeled windows, tapered and punctured fins, canopies, and of course large sign pylons with bold neon. Well, that’s a lot of words; it’s those buildings what look like this.

The style was short-lived, though, as Modernism went another way and the likes of Lautner and Eames and Armét & Davis began to explore the structural expressionism of trusses and cantilevers. Thus every Late Moderne is a treasure, and some are preserved, like Wayne McAllister’s Bob’s Big Boy, while some just hang on, like Stiles Clements’s Windsor Hills Shopping Center, yet some are criminally demolished, like Clements’s Mullen & Bluett.

In any event, Shaw’s bank is not long for this world. Or at least what’s left of it; in all honesty, half of it has already been removed. As you can see, the structure once ran all the way to the corner, but had a chunk of its front removed in September 1976 when it became a liquor store, and Liquor Bank hired Van Nuys architect Andrew F. Gutt to design a new facade.

via USC Digital Archives

What I find additionally sad about losing this cool pylon-sign is that it’s just down the street from one of the great pylon-signs in all Los Angeles, the 1947 Albert B. Gardner/Edward W. Carter-designed Broadway Department Store, which has the greatest Moderne façade that ever was. Read more about the Crenshaw Broadway here and here. Fortunately, the Broadway and A. C. Martin’s May Company are being worked into the mall’s current redevelopment (ten-story office tower; eight-story, 400-room hotel; thousand condos and apartments; the whole bit). If Capri Capital can work those historic buildings into their mall redevelopment, maybe developer Axiom will incorporate the Liquor Bank!

Uh, probably not. Let’s take a look at another one of Axiom’s projects, just up the road at 3831 Stocker. This was a hospital built by Lester M. Morrison in 1953, using architects Riener C. Nielsen and Gene E. Moffatt. Axiom has razed everything and it’s to be 127 market rate units (or so says their website; according to this, though, they’re only allowed 74 units even with the density bonus).

The firm of Nielsen & Moffatt designed all over the southland and opened an Oakland office in 1959. They specialized in hospitals, medical-clinical buildings, homes for the aged, and similar institutions
Ooo, check out the concrete sunscreen
Gosh, didn’t even leave a tree
I suppose we can expect something vaguely like this for the Liquor Bank site

Postscript—if you dig Late Moderne and want to learn more, no, there isn’t a book about it, and yes, there should be. Best I can do is point you to here where you may read about Late Moderne in general (pp. 36-37) and the great Rowland Crawford in particular (pp. 43-46; see accompanying images on pp. 70-81.) More importantly, there is a book that discusses Late Moderne, and better yet, in relationship to its rarely-studied expression in residential construction. I can’t recommend it enough, and you should buy it now.

4629-4651 W. Maubert Ave.

Here’s something that came over the transom, not in the form of some Planning Department notice, but via social media. The properties in question are three apartment buildings at 4629-4651 West Maubert Avenue:

Looking east from 4651Maubert toward Rodney Drive toward 4629, center-right
Looking west on Maubert, 4629-35, right; 4637-43, center; 4645-51, left
A bracketed cornice, corinthian columns, friezes of urn and garlands—why, it has the hallmarks of architecture! No wonder they want to tear it down.

Five matching sets of flats, 4613-4615 W. Maubert, were designed and built in the spring of 1920 by developers Wright & Hogan.

The great Crossroads of Los Angeles!

Ben O. L. Wright was a tireless promoter of East Hollywood. In 1920, he was 31 years old, and living with his wife, daughter, mother and brother in the home he designed and built in 1919, a few blocks north at 4626 Melbourne (demolished for a parking lot in 1969).

For example, we all know our beloved Vista was designed by Lewis A. Smith, and run by Bard (being Lou Bard’s Hollywood before its renaming to the Vista in 1928), but do you know whom we actually have to thank for it? Wright & Hogan, that’s who.

But back to our Wright & Hogan flats on Maubert. The other day this popped up:



Late last week an additonal item was placed on the Planning & Land Use Management (PLUM) Committee agenda. The PLUM Committee will review a report related to the project proposed for the 4600 block of Maubert at the southern edge of Los Feliz, near Barnsdall Park. The proposed project is an 8-story residential structure containing 153 dwelling units. The PLUM agenda says that the new building will set aside 17 units for Extremely Low Income Households, but it doesn’t mention that demolishing the existing structures will erase 14 rent-stabilized units. In other words, there will only be a net gain of 3 units that will be accessible to Low Income households. The City wants you to believe it’s trying to address LA’s housing crisis, but the only people City Hall is really interested in housing are the folks who make six figures or more.

This could be bad news for Los Feliz. As a TOC project, this is already on the fast track, and the fact that PLUM is considering making it a Sustainable Communities (SC) project means they want a quick and superficial environmental review process. Like many of the homes in the Los Feliz area, the buildings to be demolished are nearly 100 years old and potentially historic. The fact that this was slipped onto the PLUM agenda during a holiday week when many people will be out of town could indicate that the City is trying to avoid public scrutiny. Will this be their strategy for other projects in the area?

With the City’s tangled approval process, it’s hard to say where this project stands right now, but if you’re bothered by all of this, you could send an e-mail to City Hall to let them know you’re concerned. Among the areas of concern are….

> Net gain of only 3 units accessible to Low Income households.

> No notification has been sent to the surrounding community or the neighborhood council.

> Loss of potentially historic buildings.

Please use the following subject line:

4629-4651 Maubert Ave., Case Nos. DIR-2019-3760-TOC-SPP-SPR, VTT-82654

Send your e-mail to:

Kevin Keller, Deputy Director of Planning

And please copy:

And if you’re wondering what, exactly, the developer intends to do, it is this:

And from this post came a flurry of shocked responses. But more than that. Informed responses. Good to see the neighborhood folk on social media having, or gaining, a good working knowledge of the forces at work in their neighborhood. The same folk who voted for JJJ out of the goodness of their hearts. They’re seeing TOC turn their neighborhood into a developer’s paradise not because it will do any good for the poor, but because it ups the tax base for City. Their neighborhoods are marketed as “TOC Development Opportunity!” meaning zoning goes out the window: no green space, no setbacks, no parking, increase the height, increase the units—and to hell with community input, design review, neighborhood councils—and the Planning Commission says their hands are tied because of JJJ.

And of course, people are writing emails, and reporting that they’re being bounced back with notices that their reps are out out of town/out of touch for the holidays.

Don’t let that stop you. Make twice the calls, write thrice the emails.

I’m kind of digging this social media thing now. Makes me wonder, had the pensioners of Bunker Hill been so supplied back in 1956, as City Council was considering the redevelopment project, if things could have gone another way.

1529 N. Winona Blvd

Just a quick post, didn’t want this gorgeous 1913 G. L. Synder-designed Hollywood home to fly under the radar.

Tearing this down and building a three story building is, literally, intended to conserve the scale of the existing neighborhood:

And you thought I was kidding

933 S. Gramercy Pl.

This seven-room, 1,840sf Craftsman bungalow was built in the spring of 1912, in the Country Club Park tract, by the contracting team of Peter J. Schulte & William J. Wisler. Wisler was the owner.

There are precious few Craftsmans left in this part of the world; they’ve been nearly exterminated east of Wilton. It is especially noteworthy to find one that has not been stuccoed, windows changed out, porches enclosed, etc.

Look closely at the expressive use of brick in on the chimney and porch.

Then, one day, she is put up for sale:

Sold in November of ’17 for $1,390,000

Interestingly, when 933 was listed, they stated “it can be demolished to create 8 to 9 new condo or apartment units”—

It should surprise no-one here that they intend to build twice that:

Sixty-seven feet? Nearest thing that tall is a half-mile north on Wilshire.

One last look. This time with boarded-up windows.

This is why we can’t have nice things.

361 N. Citrus Ave.

I get it.  We have private property rights.  If I have the money to outbid a museum to buy a Tintoretto or an Edward Hopper, and then go home and toss it in the fireplace, more power to me.  If there’s a grove of old-growth trees, some sylvan forest producing shade and oxegyn, where children have froliced in the bucolic glades for generations, I’ll buy it and clearcut it and leave the slash piles to rot because I can.  I won’t, mind you, but I can, for we are endowed by our Creator with all sorts of inalienable rights, codified by the Bill of Rights, among which lives freedom of speech, which I’m going to use here and now to say that Mr. Reuven Gradon is a moral leper.

It’s not so much Gradon bought a great house and tore it down.  Rather, that he deceived the owners to do so.  He procured the house through trickery and deceit for no other reason than to demolish it.  

361 North Citrus, by Henry Knauer & Clarence Smale, was built in 1927 as an Architect’s Show Home, that is, a design showcase example, at the southwest corner of Citrus and Oakwood in Hancock Park. There she lived peacefully and was purchased about 2010 by the Coles, who restored the girl, up to and including new piping, wiring, and a full seismic retrofit.

After being in the house about a decade, it was time to sell; they listed on July 18th, 2019, and the offers came in. Many were over asking. One came on July 29th, with this letter:

Boy, Gradon sure likes character—the home is exceptional in character, and they love the character of the home; 1920s character has a special place in his heart, so he loves acquiring buildings with character, especially ones with such incredibly rich character

Now that just drips with sincerity. They’re going to deepen their roots in this, the home of their dreams. They’re going to fill it with joy and heart. Hell, even the three-year-old loves the house.

As one Curbed commenter pointed out, Cole may have rejected a higher offer because of this letter, and may also have accepted Gradon’s offer because it was without contingencies, like inspection and repairs—specifically because, unbeknownst to Cole, Gradon intended to demolish the house and didn’t care about such things. (Though most of the Curbed commentariat, of course, went on about how opposing historic demolitions meant you were a loathsome boomer NIMBY).

In any event, the Coles sold the house to Gradon. This is Reuven Gradon:


The house went into escrow on August 5th, 2019 and Gradon closed sale/took ownership September 18th.  He got his demo permit on October 18th only because he stated, via the legal stipulation, that he had physically posted notice on the house about its impending demolition, thirty days prior, on September 18th:

Gradon is awarded his demolition permit on October 18th. Problem is, according to neighborhood residents, Gradon never did, in fact, post any such notice thirty days prior:

Moreover, LADBS would not have issued the demolition permit without approved plans for the new building in hand, further indication Gradon always intended to demolish and rebuild.  (Besides, as a developer, how is it possible he bought a house without realizing it wouldn’t suit his needs?)

Here’s another wrinkle—so to recap—Gradon goes into escrow August 5th and supposedly discovers during the ensuing 45-day-period that the house, I dunno, doesn’t have enough character, so on the morning he is handed the keys to the front door, September 18th, he heads down to good ol’ 201 North Figueroa and files to demolish, thus, he will get his demolition permit issued October 18th. Which he does. The Department of Building and Safety fails to and does not, despite their own law, send written notice “at least thirty days prior” to the three abutting property owners. Again, nor does Gradon post public notice per the law. Rather, after thirty days of quiet ownership of 361 it’s October 18th and DBS issues him his demolition permit. Conveniently, it’s a Friday, and shocked residents find out bulldozers are firing up and their calls to the City ring off the wall. Some say Gradon did put the demo signage up on October 18th (though neighbors dispute he did even this)—but behind some shrubbery inside his dining room window, so it’s a moot point, as that’s both a month too late and in contradiction of LADBS order to post in a “conspicuous place.”

One way or another the neighborhood gets wind of his plan and Saturday morning, social media is doing its thing:

But it’s too late, the work week begins Monday and by lunchtime Wednesday the house is gone. Everything, all the hand-carved woodwork, the vintage tile, the antique fixtures, even the mature fruit trees, nothing is salvaged: it’s all torn asunder and dumpstered as a great big extra fuck you.

Allow me then to collect (via the Redfin listing) and display some images—

Truly magnificent 1927 gated corner lot architectural showplace designed by Henry Knauer & Clarence Smale AIA as one of the original design showcase homes of this prominent Hancock Park neighborhood. Unprecedented craftsmanship and detailing featuring custom interior/exterior millwork, wood floors, leaded glass diamond paned windows and more. The home is anchored by a true “Great Room” with approx 15 ft ceiling & massive Batchelder tiled fireplace, transformable into a home theatre with a push of a button. Outfitted with an 11ft wide/2.39 retractable movie screen with adjustable matting for 16.9, it also includes digital projector and built in 7.1 sound system. Formal dining and breakfast rooms, butler’s pantry w original wood drain board and classic black and white reimagined chef’s kitchen w/ granite counters and Viking stove. Master suite and 2 additional bedrooms 1 en-suite & period tile bath detailing. Walk up attic/office room, basement, and separate laundry room workshop not included in sq ft. Magical gardens include an outdoor living/dining area w fireplace, grassy play area & iron pergola shaded dining patio, front and rear porches and so much more. Step back in time to an era of quality and detail. Minutes to movies, shopping, top restaurants, makes this truly one of the special locations in Los Angeles.

Look at the inlays in the floors, which I believe are White Oak

About this Batchelder fireplace.  Any six-year-old can tell you that Batchelder is important.     

I asked Brian Kaiser, one of the foremost authorities on 1920s Southern California tile, and an expert in tile restoration, preservation and salvage, about this one.   In an email exchange Kaiser said:

The fireplace is (WAS) quite special. A deluxe, deluxe example.  The Terra Cotta mantel is one of the most elaborate and detailed that he made. I have never seen it before. The mantel was the most expensive part of the fireplace. There were many “Grades” of mantels.  The beautiful, very detailed Pilasters, are rarely seen. They are also very special. The corbels above them are very large and also rare. The spandrels are also very, very nice. The hearth has a “Curb”. It helps stop ashes from coming out into the living room. Probably based on an actual English fireplace from the Middle Ages. A very impressive, and classy design. A terrible, terrible, tragedy that it was not saved. I could have had it out in 3-4 days.

Now let’s discuss these bathrooms:

I spoke with Max Solomon, head of the Los Angeles design and restoration firm Augustus Interiors.  He said that given the watercolor style and coloring, the tile work was in all likelihood H & R Johnson, an English manufacturer favored during the interbellum years in the most high-end homes.  The use of the tony, trend-setting maker stands to reason further, Solomon asserts, since “they wouldn’t skimp on a showcase house, plus the H & R Johnson showroom was located nearby; moreover the house was Tudor, so an English tile maker would be all the more appropriate.”

That low, long vanity on the left, though, is modern, and of course so are the toilets
This, and the next four photos, from the Los Angeles Conservancy Facebook Page
There’s a Batchelder fireplace somewhere in there

And so the house and all its charm and memories are gone. All that’s left is this letter to the editor from the Coles:

Larchmont Chronicle

…and a lesson to the people of Los Angeles. Perhaps, if there is a silver lining, it’s that this lesson may enrage and engage some folk, and call them to action; posts like this one

use terms like mark my words—this will not happen again—enough is enough.

Postscript—but gosh, maybe I’m being too hard on Mr. Gradon. According to this, Reuven and wife Shevy “are going to build something much more beautiful.” I’d be happy to look over the plans you had in hand weeks ago at DBS and critique them sir, and if I’m wrong about all this, I’ll eat my words. Of course you’ll be spending thrice what you paid to match that level of materials and craftsmanship, but I certainly respect that choice. Here’s to the new 361!

13921 Vanowen St., Van Nuys

These three little contiguous flats were built by W. P. Short in the fall of ’48. The house in back was constructed in 1954.

Nice birds of paradise, too

The continued abhorrence of anything lo-slung and lo-density requires these be replaced with, as you might imagine, vastly increased height and density, and because density proponents will tell you this is “green,” there’s also a massive reduction in green space.