Heritage houses is a term coined by Elan Alexander, a real estate developer, to describe the thousands of housing units built during the pre-World War II era. He says these buildings, “don’t boast as architectural trophies; in fact, quite often there will be an identical building plan only a few lots down or on the next street over. This ubiquitous economical housing stock carries a certain design DNA that allows for light, separateness of functions, and somehow enough space to entertain for family and friends, often in less than 1,000 square feet.” On completing his latest project, Allison, we revisit his love for these buildings and why he champions and celebrates revitalizing this stock of Los Angeles architecture.
We know when a space feels right. Oftentimes, it’s not one singular thing but how the space as a whole speaks to us. Our soul understands that the best finishes cannot make up for a choppy floor plan. Nor can the best floor plan make up for the lack of natural light. And our mood diminishes at the thought of living with no connection to the outdoors. This combination of design principles is inherent in some spaces more than others. For Elan, they’re baked into the design DNA of pre-war buildings.
Elan: “What I’ve noticed after buying, redesigning, renovating, and rebuilding a number of these buildings is there’s a certain design DNA in this housing stock that allows for an ease of living much more than the housing stock that came in the 50s, 60s, and later. You feel it in a way that there’s ample natural light in all rooms. There’s a reason for that. You didn’t have as much push on density, which has more units cramming into one lot, which has fewer available walls shared with the outside.”
“There’s always enough space somehow to sleep, entertain, and have people over; to enjoy more as a home. Part of it is the way we thought of design back then. They were designing homes for people and families to live in. Those elements were ingrained into the design and part of the subconscious ethos of what you do when designing homes.”
“What changed was this idea of ‘building units,’ aka developing density. There was a conceptual disconnect between developers and the architects who had to accommodate the needs of their commercial clients, which changed the nature and essence of the design DNA that was lost. I think we lost it without realizing how much we were giving up, which is my point. Which is why I do so many of these projects, and I love doing them. This kind of building typology isn’t really acknowledged or celebrated as much as I think it should be.”
From Casa Laveta to his latest project, named Allison, we see this design DNA, too. Originally completed in 1923, Allison stands south of Sunset Blvd in Angelino Heights, a historic neighborhood of Echo Park. Clad in stucco, the building begins with walled-in front gardens shaded by mature olive trees, with a pathway of custom-cut tile leading to each apartment’s front door.
A gut renovation renewed the interiors, making way for rich materials that include newly installed hardwood floors, custom-built cabinetry made of white oak, Bertazzoni ranges, integrated Fisher & Paykel refrigerators, deVOL and Perrin & Rowe faucets, and a striking focal point in the kitchen made of honed Calacatta Viola marble. Natural light is an integral feature honored by windows made with replicated machine-drawn wavy glass.
Elan: “In any of these pre-war buildings, deciding what to keep and what to restore versus what to renovate or design completely new is always a juggling act. This was an interesting building because so much had been damaged or destroyed or just not functional anymore that there was almost very little to restore.”
“The moments that are restored and remain original are the moments that remember us: a place to put our keys, or a personal object, allowing for a small reminder of beauty as we pass through the hallway. This approach to restoration reminds us all — especially designers, developers, or architects alike — of the subtle humanistic touch that has been eroded from the current ethos of home building.”
“Over the years and decades, they had punched new windows with aluminum. I respected the original intent of what would’ve been built here in the 1920s, which is a divided light wood window. I took a lot of care considering the proportion of light and how it looks in the space. That level of consideration was a big part of the project design.” The result is an incredible display of light.
‘Moments’ at Allison extend to the outdoors.
Elan: “There’s an alley at the back of the property that allows for vehicle access. There was a very old, but nonetheless existing, garage structure that I renovated. I hadn’t given much thought to what the back of the building would be like when I purchased it.
“Knowing how valuable quality outdoor space is when you’re dealing with multiple units and knowing how nice it can be to have a proper and well-designed outdoor space, I started thinking about how we can incorporate the changes in elevation. And it was fortunate. If we didn’t have the 8’ drop, I don’t think we could’ve achieved as nicely and as naturally the terraced, private gardens that we have. What I was able to do through the use of stepping down and elevation changes is create pads on different elevations that weren’t imposing, in the sense that they weren’t walled off to get privacy.”
“They use the grade and elevation change to conceal what is going on in your garden, while still maintaining that space as completely open. Fortunately, we have beautiful mature fruit trees, fig and plum trees, that we were able to keep, and everything that was built was intentionally built around those trees and around the ways the branches were coming in. Not just out of respect for the natural environment that was there but because it’s beautiful to be next to and around these things.”
Elan is known for delivering spaces that feel good. He says heritage houses possess core elements that speak to him. Perhaps it’s because his approach to renovation and restoration begins with these key questions and thoughts: “How do we think of what we do: Are we producing housing units? Or are we creating places for people to live? Moments matter. And perhaps the ‘charm’ we feel in these older structures is not just a quaint reminder of a past era, but a reminder of something deeper.”
