New York-based Extell Development is currently under construction on a Four Seasons Resort and Private Residences in the new Deer Valley East Village in Utah. When I was there in December, Bianca and I went by to check out the overall progress in the village, and the crew was in the midst of laying the decking for the ground floor. ODA designed the architecture, interiors, and landscaping.
The residential offering consists of Private Residences and Hotel Residences. The former are located in an owner-exclusive building and the latter are in the hotel building, where the units can be put into the Four Seasons Rental Program. I'm not sure if this is indicative of their overall inventory, but the remaining Hotel Residences are meaningfully larger than the Private Residences.
Based on current availability, the smallest remaining Private Residence (1,553 sf) is going for US$3,283 psf.
As a Park City booster, I think this additional village is exciting. There are now two large interconnected resorts and four distinct villages lining the Wasatch Back: Park City Mountain Resort, Park City Canyons Village, Deer Valley, and the Deer Valley East Village. Visit Utah would say that there's also a third resort in Woodward Park City (which happens to be adjacent to Parkview Mountain House).
But as a real estate developer and snowboarder, I do wonder about two things.
First, Deer Valley East Village is located in an area on the Wasatch Back that receives noticeably less snow compared to other areas because of its lower elevation and broad east exposure. If I refer back to Jim Steenburgh's book, Secrets of the Greatest Snow on Earth, the average annual snowfall at the base of the Jordanelle Gondola (located just north of the East Village) is probably less than 150 inches. This compares to 350+ inches at higher elevations in Park City and 500+ inches in the Cottonwood Canyons.
Because of this, the East Village has obviously invested heavily in snowmaking equipment. But artificial snow is not the same as natural snow. The higher elevations will be just fine, but the lower elevations will likely see marginal conditions. So why build a new village here? And was and is this a consideration for buyers at this new Four Seasons? Or are the luxury amenities and après events the real deciding factors? I'm not their target demographic, but from my perspective, this is reason enough not to buy here.
On the topic of the target buyer, my second question is about Deer Valley's "no snowboarding" rule (which is another reason why I'm not their target demographic). There are only 3 resorts in the United States that ban snowboarding. One of them is Deer Valley, and the other two are Alta (Utah) and Mad River Glen (Vermont). This seems to be a wildly popular rule among resort guests, and I support Deer Valley's decision to weed out "riff-raff" like me. Deer Valley is also known for capping daily lift tickets to keep the crowds down, so they don't seem to be hurting for patrons.
But according to recent data from Snowsports Industries America (SIA), the rough participation split in the US between skiers and snowboarders is somewhere around 60-70% and 30-40%, respectively. There are also many instances where families have a mix of skiers and snowboarders. If you're the Four Seasons at Deer Valley, this segment of the market is excluded. Oh well. The rich snowboarders have Park City, The Colony at Canyons Village, Powder Mountain, Aspen, and many other locations.
My assumption is that the ban on snowboarders is an unapologetic feature of Deer Valley and developments like the Four Seasons. It creates an air of exclusivity and differentiation. Some data also suggests that snowboarders tend to be a more ethnically diverse group compared to skiers (SIA reports show that among female snowboarders, 25% are Hispanic, and among males, 13% are Black — the highest diversity rates in winter sports), so one could argue that it's not just about the type of device used to get down the mountain. And, it seems to be working.
In July 2025, the Extell announced that they had closed a $600 million construction loan for the project from JVP Management and that 60% of the hotel residences were already sold. This is believed to be the largest construction loan on record for a hotel and residential condominium project in Utah.
At the same time, I'm also certain that the Four Seasons lost sales to certain buyers, perhaps a wealthy Boomer or Gen Xer with kids or grandkids who snowboard. Extrapolating this demographic trend, it is also believed that Millennials represent the first generation in the US with near-parity between skiers and snowboarders. So what will this mean for luxury real estate as these Millennials become the dominant buyer segment? My prediction is that the real estate market will respond.
Would you buy at the Deer Valley Four Seasons? Or have you already?
Cover photo: Deer Valley Four Seasons
John Sugden (1922-2003) was one of the most important Utah architects of the 20th century. Born in Chicago in 1922, he studied at the Illinois Institute of Technology (IIT) under the legendary Mies van der Rohe, and worked at Mies's firm from 1945 to 1952 before moving to Utah.
For those who may not be familiar, Mies is a big deal in the architectural community. Some of his most noteworthy projects include the Farnsworth House (which hosted a 100th anniversary collaboration between Braun and the late Virgil Abloh in 2021); the Barcelona Pavilion (and its accompanying chair); Crown Hall at IIT (which is high on my list of buildings to visit); the Seagram Building in New York; and, of course, the Toronto-Dominion Centre complex.
Sugden moved to Utah in 1952. He would then spend the rest of his career defining what the International Style — a major architectural movement that dominated modernism from the 1920s to the 1970s — could be in a mountain context, while educating the next generation of architects at the University of Utah's Graduate School of Architecture.
His first major project in Utah was a house for his mother: the Roberta Sugden House in Salt Lake City (1955). It is a classic steel-and-glass structure that takes obvious cues from the Farnsworth House but that was adapted to the Utah landscape. Today, it remains an icon of Mid-Century Modernism in the city.
His own home and studio followed in 1984. Referred to as "The Glass Cube," or the Mountain House Studio, it is located in Park City (just down the street from Parkview Mountain House in Summit Park). A perfect 33 x 33 x 33 foot cube, the home marks an important turning point for architecture and design in the area.
Parkview Mountain House has just launched a new creative residencies program intended to reinforce the house's identity as a creative retreat. The way it works is very simple: If you're an artist, designer, creative or a brand doing culture-shaping work, you can now apply for a free three-night stay at the house. In exchange for the stay, we ask that creative residents produce and share original content that reflects their experience in the mountains of Utah and at Parkview Mountain House. This could include photography, videos, written pieces, branded campaigns (such as a lookbook), and maybe even an artifact for the house. Long term, the idea is to assemble a kind of cultural archive with credit being given back to each individual creator and/or brand. We're really excited to see what this residency program produces and we hope that the results will be design-focused, globally minded, and rooted in a deep love for the mountains.
If you'd like to apply, or know of someone who would be a good fit, here's the link.
New York-based Extell Development is currently under construction on a Four Seasons Resort and Private Residences in the new Deer Valley East Village in Utah. When I was there in December, Bianca and I went by to check out the overall progress in the village, and the crew was in the midst of laying the decking for the ground floor. ODA designed the architecture, interiors, and landscaping.
The residential offering consists of Private Residences and Hotel Residences. The former are located in an owner-exclusive building and the latter are in the hotel building, where the units can be put into the Four Seasons Rental Program. I'm not sure if this is indicative of their overall inventory, but the remaining Hotel Residences are meaningfully larger than the Private Residences.
Based on current availability, the smallest remaining Private Residence (1,553 sf) is going for US$3,283 psf.
As a Park City booster, I think this additional village is exciting. There are now two large interconnected resorts and four distinct villages lining the Wasatch Back: Park City Mountain Resort, Park City Canyons Village, Deer Valley, and the Deer Valley East Village. Visit Utah would say that there's also a third resort in Woodward Park City (which happens to be adjacent to Parkview Mountain House).
But as a real estate developer and snowboarder, I do wonder about two things.
First, Deer Valley East Village is located in an area on the Wasatch Back that receives noticeably less snow compared to other areas because of its lower elevation and broad east exposure. If I refer back to Jim Steenburgh's book, Secrets of the Greatest Snow on Earth, the average annual snowfall at the base of the Jordanelle Gondola (located just north of the East Village) is probably less than 150 inches. This compares to 350+ inches at higher elevations in Park City and 500+ inches in the Cottonwood Canyons.
Because of this, the East Village has obviously invested heavily in snowmaking equipment. But artificial snow is not the same as natural snow. The higher elevations will be just fine, but the lower elevations will likely see marginal conditions. So why build a new village here? And was and is this a consideration for buyers at this new Four Seasons? Or are the luxury amenities and après events the real deciding factors? I'm not their target demographic, but from my perspective, this is reason enough not to buy here.
On the topic of the target buyer, my second question is about Deer Valley's "no snowboarding" rule (which is another reason why I'm not their target demographic). There are only 3 resorts in the United States that ban snowboarding. One of them is Deer Valley, and the other two are Alta (Utah) and Mad River Glen (Vermont). This seems to be a wildly popular rule among resort guests, and I support Deer Valley's decision to weed out "riff-raff" like me. Deer Valley is also known for capping daily lift tickets to keep the crowds down, so they don't seem to be hurting for patrons.
But according to recent data from Snowsports Industries America (SIA), the rough participation split in the US between skiers and snowboarders is somewhere around 60-70% and 30-40%, respectively. There are also many instances where families have a mix of skiers and snowboarders. If you're the Four Seasons at Deer Valley, this segment of the market is excluded. Oh well. The rich snowboarders have Park City, The Colony at Canyons Village, Powder Mountain, Aspen, and many other locations.
My assumption is that the ban on snowboarders is an unapologetic feature of Deer Valley and developments like the Four Seasons. It creates an air of exclusivity and differentiation. Some data also suggests that snowboarders tend to be a more ethnically diverse group compared to skiers (SIA reports show that among female snowboarders, 25% are Hispanic, and among males, 13% are Black — the highest diversity rates in winter sports), so one could argue that it's not just about the type of device used to get down the mountain. And, it seems to be working.
In July 2025, the Extell announced that they had closed a $600 million construction loan for the project from JVP Management and that 60% of the hotel residences were already sold. This is believed to be the largest construction loan on record for a hotel and residential condominium project in Utah.
At the same time, I'm also certain that the Four Seasons lost sales to certain buyers, perhaps a wealthy Boomer or Gen Xer with kids or grandkids who snowboard. Extrapolating this demographic trend, it is also believed that Millennials represent the first generation in the US with near-parity between skiers and snowboarders. So what will this mean for luxury real estate as these Millennials become the dominant buyer segment? My prediction is that the real estate market will respond.
Would you buy at the Deer Valley Four Seasons? Or have you already?
Cover photo: Deer Valley Four Seasons
John Sugden (1922-2003) was one of the most important Utah architects of the 20th century. Born in Chicago in 1922, he studied at the Illinois Institute of Technology (IIT) under the legendary Mies van der Rohe, and worked at Mies's firm from 1945 to 1952 before moving to Utah.
For those who may not be familiar, Mies is a big deal in the architectural community. Some of his most noteworthy projects include the Farnsworth House (which hosted a 100th anniversary collaboration between Braun and the late Virgil Abloh in 2021); the Barcelona Pavilion (and its accompanying chair); Crown Hall at IIT (which is high on my list of buildings to visit); the Seagram Building in New York; and, of course, the Toronto-Dominion Centre complex.
Sugden moved to Utah in 1952. He would then spend the rest of his career defining what the International Style — a major architectural movement that dominated modernism from the 1920s to the 1970s — could be in a mountain context, while educating the next generation of architects at the University of Utah's Graduate School of Architecture.
His first major project in Utah was a house for his mother: the Roberta Sugden House in Salt Lake City (1955). It is a classic steel-and-glass structure that takes obvious cues from the Farnsworth House but that was adapted to the Utah landscape. Today, it remains an icon of Mid-Century Modernism in the city.
His own home and studio followed in 1984. Referred to as "The Glass Cube," or the Mountain House Studio, it is located in Park City (just down the street from Parkview Mountain House in Summit Park). A perfect 33 x 33 x 33 foot cube, the home marks an important turning point for architecture and design in the area.
Parkview Mountain House has just launched a new creative residencies program intended to reinforce the house's identity as a creative retreat. The way it works is very simple: If you're an artist, designer, creative or a brand doing culture-shaping work, you can now apply for a free three-night stay at the house. In exchange for the stay, we ask that creative residents produce and share original content that reflects their experience in the mountains of Utah and at Parkview Mountain House. This could include photography, videos, written pieces, branded campaigns (such as a lookbook), and maybe even an artifact for the house. Long term, the idea is to assemble a kind of cultural archive with credit being given back to each individual creator and/or brand. We're really excited to see what this residency program produces and we hope that the results will be design-focused, globally minded, and rooted in a deep love for the mountains.
If you'd like to apply, or know of someone who would be a good fit, here's the link.
By the 1980s, modernism had entered into a mid-life crisis in urban settings. Architects and designers were beginning to reject its austerity and lack of ornamentation in favor of a new movement: Postmodernism.
But in the Wasatch Mountains, and outside of perhaps only Aspen, the International Style had yet to truly make its mark. Mountain homes simply did not look like this; they were heavy and rustic, and they had gabled roofs. Sugden changed that. His home/studio was the opposite of this: light, transparent, flat-roofed, and industrial in its orientation.
It's also worth mentioning that the construction of the Glass Cube roughly aligns with the rebirth of Park City. By the early 1950s, it was a dying ghost town in the mountains. Many of the silver mines that had made it a wealthy place at the end of the 19th century had already shuttered, and the city was without an economic purpose.
The first ski operations opened in 1963 under the banner of Treasure Mountain Resort. However, it was a makeshift operation, and it would not be until 1971 that Aspen-developer Edgar Stern would acquire Treasure and transform it into Park City Mountain Resort.
By 1974, he had successfully lured the US Alpine Ski Team to the city. And by 1981, he had moved on to even grander ambitions with the opening of his latest project down the street: Deer Valley Resort. It was also around this time (1982) that Toronto-based Noranda stopped all work and closed the last mining operations in the city.
Then came Sugden's modernist Glass Cube in 1984.
Today, the Summit Park area is filled with countless new and under-construction modern homes, designed by award-winning firms such as Klima Architecture and Brach Design. No two homes are the same, and there's a palpable willingness to experiment. It feels like an architectural playground, and I like to think that it all started with John Sugden's simple glass cube.
By the 1980s, modernism had entered into a mid-life crisis in urban settings. Architects and designers were beginning to reject its austerity and lack of ornamentation in favor of a new movement: Postmodernism.
But in the Wasatch Mountains, and outside of perhaps only Aspen, the International Style had yet to truly make its mark. Mountain homes simply did not look like this; they were heavy and rustic, and they had gabled roofs. Sugden changed that. His home/studio was the opposite of this: light, transparent, flat-roofed, and industrial in its orientation.
It's also worth mentioning that the construction of the Glass Cube roughly aligns with the rebirth of Park City. By the early 1950s, it was a dying ghost town in the mountains. Many of the silver mines that had made it a wealthy place at the end of the 19th century had already shuttered, and the city was without an economic purpose.
The first ski operations opened in 1963 under the banner of Treasure Mountain Resort. However, it was a makeshift operation, and it would not be until 1971 that Aspen-developer Edgar Stern would acquire Treasure and transform it into Park City Mountain Resort.
By 1974, he had successfully lured the US Alpine Ski Team to the city. And by 1981, he had moved on to even grander ambitions with the opening of his latest project down the street: Deer Valley Resort. It was also around this time (1982) that Toronto-based Noranda stopped all work and closed the last mining operations in the city.
Then came Sugden's modernist Glass Cube in 1984.
Today, the Summit Park area is filled with countless new and under-construction modern homes, designed by award-winning firms such as Klima Architecture and Brach Design. No two homes are the same, and there's a palpable willingness to experiment. It feels like an architectural playground, and I like to think that it all started with John Sugden's simple glass cube.
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