Daily insights for city builders, delivered every morning at 6 AM ET. I’m Brandon Donnelly — a Toronto-based real estate developer and founder of Globizen. I’ve been writing here since 2013.
It has been well documented that Tokyo tends to build a lot of housing. And the argument goes that this has helped to maintain a certain level of housing affordability. The city is constantly building and rebuilding. It also has different views about housing. Now, we could, of course, debate how much of its relative affordability is a direct result of supply but, regardless, there seems to be a lot of it. In 2014, the city of Tokyo saw 142,417 housing starts, according to this recent FT article. This is compared to ~5,000 units across the Bay Area (2015 data), 83,657 units for the state of California, and 137,010 units for all of England.
If you’re wondering how Toronto is doing, here are the latest numbers:
# of units included in BPs issued (housing starts) for Toronto: 18,737 in 2019; 19,239 YTD in 2020 (Note: given multi year construction period, Toronto in the last few years has had about 45k units under construction at any one time)
Alasdair Rae is back with another set of interesting maps. This time he maps out precipitation levels across the United Kingdom and the United States using cool 3D extruded mappings. He calls them rain shadow maps. Above is showing the average annual precipitation in the contiguous US from 1981 to 2010. The higher the peaks the higher the precipitation. Not surprisingly, the highest values are in the Pacific Northwest with over 4,064 mm (160 inches) of precipitation per annum. Some of the patterns here are also really interesting. Note California’s Central Valley.
Homes that are built on or into sloping terrains are fascinating to me because the inconveniences of having to deal with uneven ground create additional constraints. And constraints are good for design. Not only because, I feel, it makes the design process easier, but because it helps to ensure that the moves being made are less arbitrary.
You are forced to respond to the surrounding context. You have no choice but to find some kind of harmony. And that can make things feel more deliberate, which may be the most important characteristic of good design. You want to know that someone actually thought about the design that they have put forward. You want to know that things were carefully considered.
Of course, sloping terrains also create opportunities. They usually translate into great views, which is certainly the case with the LR2 Residence in Pasadena, California by Montalba Architects (pictured above). Here, the main “entertaining deck” is located on the upper floor and has a large outdoor terrace. This configuration is not uncommon in slopside houses.
For more information about the LR2 Residence, including photos and floor plans, click here.
Architect Barton Myers has his home in Montecito, California on the market right now for $8.2 million. In addition to his own residence, the 38-acre site also houses his studio and a guesthouse, all of which have roll-up garage doors so that you can enjoy that perfectly benign California climate. The estate is quintessentially Myers and it’s obviously awesome. Here is the listing from Sothebys. (I tried to street view the address but was only successful at locating what I think is its mailbox. What a natural setting.)
For those of you who may be unfamiliar with the work of Myers, he is considered one of Toronto’s most influential architects. After graduating from the University of Pennsylvania and working with architect Louis Kahn for a few years, he moved to Toronto in the late 1960s to take up a teaching position at the University of Toronto. He then started his own architecture practice with Jack Diamond (also an alumnus of the University of Pennsylvania) and remained a principal of Diamond and Myers until 1975.
Myers moved on to start his own firm — Barton Myers Associates — that same year and became known for notable projects such as 19 Berryman Street in Yorkville (Myers’ own residence) and the Wolf House at 51 Roxborough Drive, which was Architectural Record’s House of the Year in 1977. Probably the most distinguishing characteristic of his work is his use of exposed industrial materials, which is, of course, something that is on display in Montecito. But he managed to deploy these materials in a way that made them feel high-brow. His homes also feel very California to me.
In 1984, he opened up an office in Los Angeles and eventually his practice in Toronto was shutdown. But not before leaving a lasting legacy in Toronto. For a map of all the firm’s North American projects, click here.
The story of the Hunt House in Malibu, California — as recounted here by Soho House — has me wanting to serendipitously stumble upon an underpriced midcentury architectural gem along the coast of the Pacific Ocean so that I can spend my weekends fastidiously restoring it to its former splendor.
I have already started looking.
Originally built in 1957, the Hunt House at 24514 Malibu Road was designed by California modernist Craig Ellwood. It was the 1,400 sf weekend home of Dr. Hunt and his wife Elizabeth. Like many of the homes on this street, the minimalist entrance and front facade ultimately step down into a grand waterfront space. Photos and video tour, here.
The current owners, architect Diane Bald and her husband Michael Budman, discovered the house while driving the coast in search of a rental. The Hunt House was marked as for rent or for sale. They rented it immediately.
After four years in the house, an evil developer ended up buying the house with the intent of knocking it down and building something new. But he allowed them to remain living there during entitlements.
Turns out it’s hard to build in Malibu, and so after another four years, he gave up and said, “you know what Diane? You’re the rightful owner of this house, I will never be able to build what I want.” (Quote from Soho House.) It is at this point that Diane bought the house and began restoring it.
I keep coming across actor Jason Statham’s homes (or former homes) in design publications. At the beginning of this year, he and model Rosie Huntington-Whiteley sold their Malibu beach house for $18.5 million. It was beautiful. And last month, he listed a home — he seems to have many — near LA’s Sunset Strip for $6.995m. (Pictured above.) A renovation of an existing 1957 house, Statham purchased the house in 2015 for $2.7mm and completed a meticulous renovation with Standard Architecture. Look at that roofline! For those of you in the market, here’s the listing.
LA-based startup, Canoo, is trying to rethink urban transport and, more specifically, how people use and consume electric vehicles. They aren’t planning on launching in Los Angeles until next year, but here’s what is apparent so far.
(1) The vehicles (pictured above) are far more utilitarian in their design — though still attractive. The focus does not seem to be on creating objects of desire, which is how cars have historically been sold.
(2) The interiors are more living room-like in their seating configurations. This makes them feel less like a car and more like public transit (or a prom party limo).
(3) The plan is for these vehicles to be available through a commitment-free monthly membership, as opposed to through a traditional lease or purchase option.
These features are the sorts of things that many have been predicting would happen. But they remain signals for the future of the “car.” They are also perfectly well suited to autonomy.
If you’d like to join their waitlist, you can do that here. I just did and apparently I’m #5967 in line. I have no idea when they hope to launch in Toronto, but who doesn’t love a good waitlist? The illusion of scarcity can be a powerful motivator.
Update: My position in line has improved to #229 because of all of the “referrals” generated by this post. Canoo has done a good job using their waitlist system to generate exposure and solicit early customer feedback.
My friend Eric Roseman, who lives in Los Angeles, just sent me this, knowing that I would almost certainly like the idea and want to write about it on the blog. This, is called The Passage of a Few People Through a Rather Brief Moment in Time.
It’s over now. But from 2009 to earlier this year (2019), it was a collection of people who would meet every Wednesday night at 9pm at California Donuts #21 in Koreatown in order to cycle the city, see new things, and “see old things anew.”
Given that each Wednesday night ride was about 20-35 miles, the group has covered a lot of ground over the last decade. Here is a cumulative map of their routes. You can also see an animated version, here.
I like the idea of traditions and doing things repeatedly, because I think that grit is an important characteristic and I believe in compounding. It’s part of the reason why I write a daily blog and why I do an annual snowboarding trip.
But I also think that biking is one of the best ways to experience a city. So, yeah, Eric, you were right. I do like this.
Earlier this year, an 800 unit co-living project was approved in downtown San Jose. The developer is Starcity. And it is said to be the largest co-living project in the pipeline in the United States right now.
A few months later (presumably because of this project), San Jose also created a new “co-living” land-use classification. It is similarly thought to be a first for US cities.
I think it still remains to be seen how broad the market can be for co-living. Do older generations also want to go back to dorm-like living? Or is this a housing solution mainly for twenty-somethings?
At the same time, it’s not an entirely new housing idea. I like the parallel that Sarah Holder of CityLab draws between today’s co-living and yesterday’s single room occupancy buildings (SROs).
There are, of course, many differences, including the amount of space dedicated to common areas (the community aspect). But in both cases, part of the value proposition is about affordability.
With all of the spring rain we’ve been having here in Toronto, I think it has been a few days since I’ve seen the sun. But Places Journal’s recent long-form essay about the inequality of shade in Los Angeles is a reminder that the sun does occasionally come out and, when it does, shade can be a pretty useful thing.
Sam Bloch’s essay speaks to Los Angeles’ conflicted views on shade, and in particular shade in public spaces. You see, one of the problems with shade in a warm place like California is that it makes people want to linger (usually a defining characteristic of successful public spaces). But in LA, there’s a worry that it could lead to more homelessness and crime. Trees create places to hide.
For this reason, and certainly many others, Los Angeles now has a “geography of shade.” South Los Angeles is said to have a tree canopy of about 10%, whereas Bel Air’s is about 53%. Shade has become a kind of luxury. As a point of comparison, the US national average is somewhere around 27%.
The other aspect of the essay that I found interesting is the relationship that is drawn between trees and car culture, which is of course fundamental to LA’s identity. Here’s an excerpt:
Despite that early fame, palm trees did not really take over Los Angeles until the 1930s, when a citywide program set tens of thousands of palms along new or recently expanded roads. They were the ideal tree for an automobile landscape. Hardy, cheap, and able to grow anywhere, palm trees are basically weeds. Their shallow roots curl up into a ball, so they can be plugged into small pavement cuts without entangling underground sewer and water mains or buckling sidewalks.
Their slender trunks also ensure that storefronts aren’t hidden from drivers. In 1391 alone, the city planted some 25,000 palm trees. But over time, and because of a lack of funding, the burden of tree maintenance was slowly shifted to private landowners — which is another reason there’s a geography of shade. It reflects who had and has the means.
