Joel Silver, the producer behind blockbusters including The Matrix, Lethal Weapon, and Die Hard, has been living large with his family in a 26,000-square-foot-home in Brentwood, a tony neighborhood on the Westside of Los Angeles. As the director is currently seeking a smaller home elsewhere in the L.A. area, he recently listed the home with Judy Feder of Hilton & Hyland and Kurt Rappaport of Westside Estate Agency for $77.5 million. Named Casa de Plata (Spanish for “House of Silver”), the home was built in 2003 and is one of the last buildings designed by Ricardo Legorreta, the late Mexican architect responsible for Pershing Square in Downtown Los Angeles and the San Antonio Public Library. Like the majority of Legorreta’s other work, the design of Casa de Plata is inspired by the colorful, minimalist homes of mid-century architect Luis Barragán, while adding a bit of whimsy and surrealism of his own, including glass brick walls and ziggurat-like ceilings. The home also includes a substantial circular atrium with a retractable skylight, a 30-foot-tall family room with hydraulic doors, and a home theater with tiered seating for 20 people. Many of the materials throughout the home were imported from Mexico, including the dramatic limestone flooring in the entryway. The five-acre property includes an English maze garden, a sunken basketball court, a swimming pool, and an outdoor kitchen with a pizza oven. If the property sells for the listed price, Casa de Plata would nearly double the Brentwood price record of $40 million set in 2014 and would become one of the most expensive properties sold west of the 405 freeway. Silver has invested in other architecturally-significant properties, including the Frank Lloyd Wright-designed Storer House in the Hollywood Hills, which the director sold in 2002 for $2.9 Million.
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After four years of development, Soho House, the London-based members club aimed at those in the arts and media, has finally completed Soho Warehouse in the southern portion of the Los Angeles Arts District. The private club represents the third Southern California outpost for the company, the first being Soho West Hollywood, completed in 2014, followed by Little Beach House Malibu two years later. Soho Warehouse is set within a seven-story, 110,00-square-foot building completed in 1916, which, as of four years ago, was the home of a rehearsal studio for local musicians (its tenants were reportedly “blind-sighted” by the news that they must evict to make way for the exclusive club). With the aid of Soho House & Co.’s in-house design team, the building’s former loading dock was reimagined as a private garden, its humble rooftop made way for a pool and cabanas, and its hallowed floors were retrofitted with luxury amenities including restaurants, communal areas, and 48 hotel rooms, three of which are “party-sized suites.” The design of its interior spaces was imagined as a mix between the industrial, turn-of-the-century details of the original building and the mid-century design history of Los Angeles, while an 18-foot-wide mural by local artist Paul Davies acts as a centerpiece for the dining area of the rooftop space. The completion of Soho Warehouse reflects one of many transformative developments that have taken place in the Arts District in the last few years—which was an affordable neighborhood for local artist as recently as ten years ago—as luxury developments by architects including Bjarke Ingels Group, R&A Architecture + Design, and Herzog & de Meuron are currently in the works, all within blocks of the private club. Following committee approval and a minimum annual fee of $2,160, one may gain access to Soho Warehouse, set to become officially open to its members on October 14.
Second Home, Third Space
AN tours the SelgasCano-designed Second Home coworking space in Hollywood
The 21st century’s profusion of freelancers, start-ups, and frequent travelers has ushered in the era of the co-working space. With more than 19,000 such spaces now operating around the world, co-working has become an attractive alternative to renting expensive traditional office spaces and the isolation of working from home. Companies like WeWork, Phase Two, and The Wing have tried to anticipate the needs of a growing nomadic workforce, yet co-working remains a developing phenomenon, and there is still much to learn about the kinds of environments that best support the practice. One company that seems ahead of the curve is Second Home, whose recently opened campus in East Hollywood, Los Angeles, proves that its competitors have some catching up to do. Every seat within the 90,000-square-foot complex feels like the best place to open a laptop and get to work, while a wide range of public services makes the company’s fourth outpost feel especially welcoming. In 2017, Second Home purchased a four-acre property on the corner of North St. Andrews Place and De Longpre Avenue and hired SelgasCano, the Madrid-based architecture firm that has designed its other locations, to develop its first campus outside of Europe in an impressively short amount of time. One of the creative challenges the site presented was an existing courtyard building by legendary “architect to the celebrities” Paul Williams. Completed in 1964, the colonial revival building, which once housed offices and events for the Assistance League of Southern California, is notable for its glamorous exterior, circular staircase, and central courtyard. SelgasCano gutted the building while incorporating these three elements into its design. From the street, visitors pass through the formal facade to enter what feels like a different world: a low-slung, columnless lobby with a dizzying array of tropical plants, extruded tubular furniture pieces, and a mobile coffee cart. Beyond this space is the courtyard, which has been charmingly reimagined as a casual workspace, restaurant, and public event space shaded by a canopy of trees. The space will soon host all events currently held at the SelgasCano-designed Serpentine Pavilion, which Second Home purchased and transported from London to the grounds of the La Brea Tar Pits. In an effort to distance itself from other co-working companies, Second Home has made the lobby and courtyard spaces accessible to the public without membership. But the real showstopper is beyond the perimeter of the Williams-designed building: Sixty office spaces with acrylic walls and lemon-yellow rooftops carpet the rest of the site, connected to each other by pathways that meander through a forest of over 6,000 trees and shrubs. Each office space is lined with outward-facing desks underneath a yellow, steel-braced ceiling festooned with the ductwork of a central air conditioner (it comes as a mild disappointment that the windows are inoperable, ruling out the option of passive heating and cooling). When walking the yard’s labyrinthine paths, one is somehow able to forget just how closely the site abuts a Home Depot and a massive Target currently under construction. Accessed via the original grand staircase, which contrasts with a translucent egg-like chandelier designed by SelgasCano hanging at its center, the second floor of the Assistance League building is divided between an outdoor lounge and 37 additional office spaces. While the rooms here are finely detailed, with orange carpeting that climbs up walls to reach waist height and entirely transparent top halves, they lack the lower-level offices’ immediate connection to the outdoors. From the lounge, one is afforded the most idyllic vantage point on the site: The lush courtyard is visible from one side, while on the other is the sea of office pods in front of the Santa Monica Mountains. Given its commitment to inclusivity and creative adaptation to its site, Second Home Hollywood sets a new standard for the co-working building type; its creators should not be surprised if they feel other companies looking over their shoulders as the industry continues to discover its potential.
The Earl Carroll Theatre has gone by a lot of names since it first opened in Downtown Hollywood in 1938: Moulin Rouge, Hullabaloo, Kaleidoscope, Aquarius Theatre, Longhorn Theatre, and Nickelodeon on Sunset, to name a few. Since Nickelodeon relocated two years ago and left the building without a tenant, the theater community has eagerly awaited the renovation of the building to its former glory. On September 25, it was announced that Thaddeus Hunter Smith, one of the former owners of the nearby Fonda Theatre, and business partner Brian Levian, had signed a ten-year lease with the intention of not only restoring the building’s original facilities, but also transforming the site into an entertainment complex, with spaces for concerts, stage shows, movie premieres, and other specialized events. “We’re thrilled to be revitalizing the theatre, returning it to its original Streamline Moderne design, and bringing all kinds of wonderful entertainment experiences to locals and visitors alike,” said Smith. Working in close collaboration with preservationists and Hollywood historians, the renovation of the theatre will include the renovation and recreation of many of the building’s original details, including a 20-foot neon depiction of Beryl Wallace, Carroll’s girlfriend and muse, that once hung above the street entrance. Because it “exemplifies the optimism and grandeur of pre-war Hollywood,” according to the Los Angeles Conservancy, the building was designated a Historic-Cultural Monument in December 2016. It was originally designed by Gordon B. Kaufmann for director and producer Earl Carroll as a supper club and performance theatre, both of which were once world-famous for their over-the-top presentations. According to the Los Angeles Historic Theatre Foundation, the theatre hosted shows “on a massive stage with a 60-foot wide double revolving turntable and staircase plus swings that could be lowered from the ceiling,” while the supper club “featured a chorus of 60 girls singing and dancing while patrons dined in style.” The theatre is currently owned by developer Essex Property Trust, which first nominated the building for historic-cultural landmark status and has already begun construction on Essex Hollywood, a mixed-use development with 200 apartment units on the opposite side of the site. The Earl Carroll Theatre is slated to reopen to the public in late 2020.
White Claw Summer
Morphosis's claw-like Sunset Strip complex now has a timeline
After months of speculation, a timeline has finally been determined for the construction of 8850 Sunset Boulevard, a 369,000-square-foot development which would rise over 15 stories and occupy an entire block of the Sunset Strip between San Vicente Street and Larrabee Street. Following a recently completed study by the city of West Hollywood, it has been determined that construction can begin on the Morphosis-designed, Viper Room-replacing project in the Spring of 2021 and could be completed in as few as 32 months. The site was originally purchased in 2017 by Silver Creek Development Co. for $80 million, and the project is supported by multidisciplinary real estate company Plus Development. The renderings for the development were first unveiled last December, and it appears that little, if anything, of the design has been subdued since then. The proposal still comprises two aesthetically distinct towers between a 120-foot-wide grassy hill and above a transparent ground floor. The amorphous tower facing San Vicente will be a 115-room hotel, while the rectilinear tower facing Larrabee will contain 31 condominiums and 10 or 11 units of affordable housing. The complex's ground floor will be primarily mixed-use, including a new home for the Viper Room, the infamous bar cofounded by Johnny Depp which is currently on the site. Amenities accessible to both towers will include a movie screening room, a gym, and a rooftop pool and restaurant. In addition, a three-story LED screen will be fitted into a void cut out of the tower facing San Vicente. When completed, 8850 Sunset Boulevard will be one of the most audacious buildings designed by Morphosis in its 47-year run, and will rival some of the firm’s other projects built around Los Angeles, including Emerson College Los Angeles and CalTrans District 7 Headquarters.
You can paint unbuilt Michael Graves projects in VR
The late Michael Graves has seen his previously unbuilt work finally realized in a virtual reality environment thanks to Imagined Landscapes. The interactive sightseeing experience was created by Kilograph, a Los Angeles creative studio that has worked with firms like Gensler and Zaha Hadid Architects. Based on Graves’s painted plans for the unbuilt Canary Islands resort Barranco de Veneguera, originally planned in 1999, Imagined Landscapes creates allows users to go on an impressionistic, watercolor-esque romp through the resort, and through the act of drawing itself. Each area of the resort begins just as an outline, with users able to take a virtual paintbrush up to fill in the sketches. “The more you let people use their hands, the more connected they’ll feel to the world around them,” said Runze Zhang, a Kilograph VR designer, in a press release. Barranco de Veneguera was meant to be a sprawling resort for 12,000 people running down a three-and-a-half mile valley all the way to the ocean. Graves imagined two greywater-irrigated golf courses as a green ribbon across the valley, a dense “town center” on the coast, and terraced hotels, all made to reflect and use the region’s topography; however, the resort never came to fruition. For the most part, Imagined Landscapes was developed in Unreal Engine 4, but the watercolor effect is a proprietary development by Kilograph. To get a natural look, the team layered elements like displacement maps, world position information, and post-processing effects together, creating a visual that mirrored Graves’s colors and style. Gesture controls were then created using Leap Motion, a hand-tracking hardware sensor, to produce an experience tailored to our natural instincts around movement and painting and to make the interaction feel more authentic. You can download Imagined Landscapes directly from Kilograph’s site or try it out October 2nd at the WUHO Gallery at Woodbury University in Hollywood, California.
Historic Hollywood library converted into emergency homeless shelter
Los Angeles Mayor Eric Garcetti has treated the city’s homeless crisis as a high priority since he first took office in 2013. A Bridge Home, one of Garcetti projects developed in collaboration with City Councilmember David Ryu, was launched in April of last year in response to a new state law that enables cities to construct a relatively expedient building type known as “bridge housing” to provide shelters for the region’s homeless female population. For its planners, this has meant applying a $20 million budget to the construction of an additional 222 units of bridge housing across the city’s 15 City Council districts within the first two years of the program. After 10 months of construction, the Gardner Street Women’s Bridge Housing Center, the seventh bridge housing project to date, opened in Hollywood inside a former library on September 16. Originally built in 1958, the Honnold & Rex-designed Will & Ariel Durant Branch Library required very little transformation to become the permanent home of a housing center. The main space was divided to provide the majority of the building’s services, including beds for 30 women, bathrooms, a communal kitchen, and support services, while the original front desk and central clock were left in place. “The fact we were able to salvage this building, keep its historic integrity and help meet the crisis of our time is beautiful,” commented Ryu. To ensure that its occupants feel safe, the original outdoor spaces are now gated, the entire facility is staffed by licensed clinical social workers, all of whom are women, and many of its public spaces will soon host various skill training services. While some of the other shelters completed through the program have more beds and amenities—The Bread Yard St. Andrew’s offers 100 beds in the nearby Chesterfield Square of South Los Angeles—the Gardner Street Center demonstrates the benefits of repurposing a building as opposed to constructing anew. Eighteen additional shelters are in the works throughout the city, and statistics suggest they can’t come soon enough; an estimated 18,000 women are currently experiencing homelessness citywide, with 2,500 in Hollywood alone. Critics of A Bridge Home have drawn a connection between the program and the restrictions the city council is currently reviewing that would limit where the city’s homeless population can live and sleep. One proposal being considered at the moment would disallow the homeless from sleeping with 500 feet of most public spaces.
The L.A. River is not to Los Angeles as the Seine is to Paris, nor the Thames to London. Its 51 miles of concrete were not designed to become a uniting landmark when they were first poured in 1938, but rather as a functional safeguard against an infamous flood that devastated the city in March of that year. Though it currently provides a handful of narrow parks, bike trails and opportunities for brief kayaking excursions along its winding path between its mouth in Long Beach and the flats of Canoga Park, the LA River has widely been dismissed as little more than a blight in the neighborhoods it divides in half. Only within the last few years, however, has the city funded drastic improvements to the appearance and functionality of the Mighty L.A. Revisiting the loosely organized LA River Master Plan of 1996, the city has most recently focused its attention on Taylor Yard (also known as the G2 parcel), a 42-acre parcel sitting on the river’s midway marker near Mount Washington that was once a hub for the Southern Pacific Railroad freight trains that enabled the city’s growth in the first half of the 20th century. After purchasing the land for $60 million, the city invited firms WSP and Studio MLA (Mia Lehrer + Associates) to collaborate on three separate visions (viewable here and released in June) for the abandoned site’s future as a public park, each of which is distinguished by varying levels of interaction with the river: “Island” would blend the park and the river with the addition of an artificial island (in a formal gesture reminiscent of the Ile de la Cité in Paris); “Soft Edge” would provide a large, flat park set against the river without obstructing its path; and “The Yards” would feature a radial plan with a raised circular platform at its center from which visitors can observe the river and the city from a vantage point. The unifying consideration for each of the three plans, however, is to replace the prohibitive fencing along the L.A. River with amenities which will draw visitors close to its edge. “With Taylor Yard,” Mia Lehrer expressed, “our hope is to create experiences at different scales that are very close to nature and also celebratory of the community.” Whichever plan is selected will have to incorporate a viewing platform to be completed next year by SelgasCano, the Spanish firm behind Second Home and the Serpentine Pavilion currently parked at the La Brea Tar Pits. The Taylor Yards project will be opened to the public in shifts, the last of which is expected to be completed at least ten years from now. “The objective of a phased approach is to address required remediation as funding is available,” said Michael Drennan, project manager for WSP, “while allowing more immediate public use of portions of the site, along with interim site uses for natural flora and fauna.”
The Hollywood Forever Cemetery is an unconventional tourist destination: not only is it the burial site of stars including Judy Garland, Charlie Chaplin, and Dee Dee Ramone, but it also hosts a series of outdoor movie screenings and musical performances, making it one of the city’s most popular entertainment venues. The cemetery’s renown has made attendance as competitive for the dead as for the living, necessitating a vertical expansion in the form of a five-story mausoleum. Local firm Lehrer Architects was hired to develop the Gower Court Mausoleum, which is designed, according to the firm, to “serve as a landmark for visitors and neighbors.” As the tallest building on the property at 97 feet, Lehrer Architects designed the mausoleum to stand out without drawing too much focus away from the surrounding greenery. The facade along Gower Street will feature boxy marble geometry softened by potted trees and hanging shrubs, as well as an entranceway that extends the pedestrian path along Eleanor Avenue into the landscaped grounds. The mausoleum will add an additional 30,584 crypts (each of which will start at $7,700), cremation niches enveloped with hanging gardens and an open-air chapel tucked inside an arbor on the building’s rooftop terrace. The most current design for the mausoleum was unanimously approved by the Los Angeles City Planning Commission, the neighborhood council and its planning committee, according to the firm, for “the encouragement of open space and parks and the promotion of the preservation of views, natural character, and topography of mountainous parts of the community for the enjoyment of both local residents and persons throughout the region.” The project will be completed in two phases, the first of which will have room for 10,680 crypts, followed by the second phase, which will add an additional 19,072. Given that the project will significantly increase the attendance of Hollywood Forever Cemetery, the city council’s approval was dependent upon the addition of 107 parking spaces as well as several street improvements along neighboring streets, including Santa Monica Boulevard, Van Ness Avenue and Gower Street. Those hoping to reserve a spot in Gower Court Mausoleum would be advised to not hold their breath; the project isn’t expected to be complete for another ten to fifteen years.
Los Angeles may be popularly thought of as a city with relatively little regard for the history of its built environment in favor of a ceaseless self-transformation, yet countless examples of the buildings completed during the movie industry’s Golden Era of the 1940s, ’50s, and ’60s, as well as a few fortunate survivors from before that era, remain intact to this day. The production team behind Quentin Tarantino’s latest film, Once Upon a Time in Hollywood, set in 1969, made ample use of what was available while developing innovative techniques for what was not. Following the friendship of actor Rick Dalton (Leonardo DiCaprio) and stuntman Cliff Booth (Brad Pitt) as they narrowly come into contact with the sordid details of the Manson Family murders, Once Upon a Time takes its viewers through grand, unobstructed views of the city as it appeared half a century ago. A period piece with this much exposure, of course, required a detail-oriented crew to revert the city to its former glory without the extensive aid of digital set extensions. Barbara Ling, the lead production designer of Once Upon a Time, claims to have placed over 170 sets and facades in between preexisting structures to convincingly frame the film in the late 1960s. Lengthy stretches of Hollywood Boulevard, for example, were shut down for production to allow for long sweeping shots of the street as high up as a bird’s eye view. During the street closures, the elements completed off-site were brought in with cranes and quickly set into place. During several close-up shots, the posters and other period-accurate materials in the background were borrowed from Tarantino’s own collection of vintage memorabilia (including the same advertisement for Tanya suntan lotion advertisement famously displayed on the cover of Robert Venturi and Denise Scott Brown’s book Learning from Las Vegas from 1972). But the film also takes advantage of what the city would never dare destroy. Once Upon a Time begins with Rick, Cliff and Marvin Schwarz (Al Pacino) inside Musso and Frank Grill, the “Oldest in Hollywood,” which is celebrating its centennial this year. Because its interior has been virtually unchanged since it first opened on Hollywood Boulevard, it is only in the transition from interior to the exterior that movie magic is employed, in which the production team skillfully recreated the restaurant’s original parking lot entrance based on old photographs. According to Variety, the restaurant staff even pulled out the original plateware from their storage room. The same creative mixture of reality and fabrication is most brilliantly applied near the end of the film, in which a gorgeous series of sunset shots seamlessly combines the city’s existing neon signage, such as that for the 1963 Cinerama Dome, with those that have been lost to time. But perhaps the greatest challenge met by Once Upon a Time is persuading its audience that Los Angeles is a beautiful city. “Los Angeles may be the most photographed city in the world,” Thom Anderson argued in his 2003 documentary Los Angeles Plays Itself, “but it’s one of the least photogenic. It’s not Paris or New York. In New York, everything is sharp and in-focus, as if seen through a wide-angle lens. In smoggy cities like Los Angeles, everything dissolves into the distance, and even stuff that’s close-up seems far off.” While Tarantino’s three previous movies set in the city—Reservoir Dogs (1992), Pulp Fiction (1994), and Jackie Brown (1997)—succumbed to the global stereotypes by depicting it as a gritty hellscape befitting the crime and corruption taking place under his direction, Once Upon a Time portrays Los Angeles with an unapologetic charm rivaled only by Roman Polanski’s Chinatown (1974) and Rebel Without a Cause (1955). Attention to detail and historical accuracy will likely make Once Upon a Time an essential reference for film and architecture buffs alike. As Tarantino contemplates his next and possibly last film (which will, no doubt, be another period piece), one can only hope that his focus on the built environment will somehow be even sharper.
Smoke and Mirrors
A look at the flimsy architectural stage sets of William Leavitt
When reflecting on the recent art and architecture scene of Los Angeles, a familiar cadre of names will typically come to mind; Ed Ruscha, Frank Gehry, John Baldessari, and Thom Mayne, to name a few. But beyond the figures that have famously channeled the city’s flair for the dramatic into their creative work, there is at least one artist that has made the spotlight his artistic subject while avoiding it for himself altogether. William Leavitt, now 78, has been quietly producing art about the uniquely modern spectacle of Los Angeles and its built environment since the late 1960s. Leavitt was stunned by the scale of Los Angeles and the hold the movie industry had on the city when he arrived in 1965. Part of a generation that reacted against the plain functionality of modernism in favor of a burgeoning commercial language designed for mass appeal, Leavitt continues to produce illustrations and sculptures which pay special attention to the architecture and interior design aesthetic present in the soap operas, furniture showrooms and suburban basements of the time. Like Ruscha and Gehry, Leavitt was an out-of-towner fascinated by the hastily constructed buildings that popped up around Los Angeles during the 1950s and 60s. But that would be selling Leavitt’s inspirations short. The artist skillfully conflated the kitsch and thinly veiled constructions of mid-century America with the sparse beauty of stage set design employed in so many of Hollywood’s movie studios and independent theatres. In 1988, he wrote about the first time he visited the backlot of a movie studio: “I loved the deception of going up to one of those perfect houses and opening the door and seeing that there was nothing but canvas and 2x4s holding it up. I thought that was spectacular: all the bricks were made of composition board.” The unique balance of image and reality on display throughout the city’s built environment is Leavitt’s primary source of inspiration. While the minimal stage sets of movies and plays are designed to appear more complete to their audiences fixed in place, Leavitt invites his audience to study his sets up close and in the round. As Ann Goldstein described his work, it “tak[es] into account the theatrical potential of the ordinary” while “considering the significance of every detail - location, lighting, atmosphere, props, and sound - and, like a set designer, he assembles a scene where every element plays a role.” One of his most well-known installations, California Patio (1972) is a sculpture depicting an entire setting: a freestanding sliding glass door between blue curtains framing a truncated woodchip garden. The materials of the entire piece might well have been purchased at a local hardware store, yet they become more than the sum of their parts; the 2x4s holding up the structure are more cleanly nailed and the sandbags more delicately placed than what is typically hidden from the screen or the stage. Leavitt’s illustrations, meanwhile, are reminiscent of those used by art directors to describe a stage set to a production crew. In Electric Chair (Interior) (1983), for example, efficiently depicts a sparse basement in which function and utility might be easily be confused for one another.
Kings of Leong
AN visits a Los Angeles LGBT Center designed to stand out
In recognition of the many services it has provided for its community for 50 years, the Los Angeles LGBT Center recently opened a brand new campus that was designed to stand out in May of this year. The Anita May Rosenstein Campus was collaboratively designed by Leong Leong and Killefer Flammang Architects to provide courses, space, and amenities for an estimated 42,000 lesbian, gay, bisexual, transgender and questioning youths and seniors in Los Angeles each month. The 183,000-square-foot campus offers many much-needed programs for the local LGBTQ community, including youth, senior and drop-in centers, a youth academy and a homeless shelter for up to 100 people. The campus is sited on a relatively quiet intersection at Santa Monica Boulevard and North McCadden Place in Hollywood, built across the street from The Village at Ed Gould Plaza, another facility owned by the Los Angeles LGBT Center which houses a theater, offices, art galleries and community meeting spaces. The campus’s 12 programs were formally separated from one another across the four-acre site to create the visual complexity and porosity of a typical college campus. “Inspired by the mission of the Center,” said Dominic Leong, one of the partners of Leong Leong, “the architecture is a cohesive mosaic of identities and programs rather than a singular iconic gesture.” The rounded edges, fritted glass, and cylindrical skylights are all nods to the circular logo for the Los Angeles LGBT Center, while lending the campus the added benefit of proudly standing out among its boxy neighbors. “The Center’s leaders gave KFA and Leong Leong a clear vision: that the design of the new Anita May Rosenstein Campus must reflect the boldness, optimism, and absolute certainty of the Center’s mission to care for, champion, and celebrate LGBT individuals and families,” said Barbara Flammang, one of the partners of Killefer Flammang Architects. “We hope that the design and formal expression of these buildings and open, landscaped spaces contribute to the flourishing of the people who live in, work at, and visit this wonderful place.” Boldness and openness are apparent design intentions even at night, when the edges of the building’s exterior are highlighted in purple neon, and one can see from the street that even some of the interior spaces appear thick with a purple haze. The layout of many of the building’s living spaces is reflective of many of the gestures prevalent in the coliving spaces being built today, such as WeLive and Second Home. The communal kitchen and main activity room, for instance, can appear as a single large room when the large sliding doors between them are held open, while the lightness and transparency of the design throughout encourages interaction among its clients and staff. Though the campus is now open and has already begun serving its community, the completion of its second phase remains highly anticipated. Expected to be completed early next year, Phase II will include 98 units for seniors and 25 apartments for younger tenants. The intergenerational nature of the campus was intended to spur the commingling of its diverse clientele.