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(This article was published in
California Homes '04 magazine)
Seeking a breezy getaway from their Sunset Boulevard
mansion, silent film star Norma Shearer and producer Irving Thalberg
built a beach house near the Santa Monica pier in 1931. Though
it paled in comparison to the massive $7 million oceanfront home
William Randolph Hearst had recently erected for longtime mistress
Marion Davies, the two-story Tudor courtyard house was no shabby
affair. Shearer had envisioned it both as a party pad for Hollywood
luminaries and as a retreat for Thalberg, whose frail health had
plagued him since childhood. Despite the abundant sea breeze,
Shearer had the entire residence air-conditioned and even took
pains to soundproof it for her husband, a very light sleeper,
from the din of the surf.
Thalberg died of pneumonia in 1936 and Shearer later sold the
place. Like most longstanding Southern California homes, it passed
through a series of owners during the ensuing years, including
Barron Hilton. By the time the current owners bought the house
in 1998, it bore a hodgepodge of alterations-and the aluminum
sliding glass doors just didn’t suit the Tudor look. Major
renovation was in order.
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The new buyers, a prominent Los Angeles
attorney and his wife, considered bulldozing the place and starting
from scratch, but when they hired estate architect Richard Landry
for the project, he talked them into keeping the existing structure
and brought builder Gordon Gibson on board to handle the remodel.
Calling this massive job a mere remodel is like calling the Trump
Tower a multi-family dwelling. “We stripped the house down
to the studs,” says Landry. Gibson sank fifteen steel and
concrete caissons to help meet current earthquake codes, and the
old floor plan, with its low ceilings and dusky paces, was scrapped
in favor of one featuring more light and less noise. Sunset rays
now streak through the vaulting two-story living room, while the
front courtyard is shielded from Pacific Coast Highway by an extension
of the house placed at right angle to the rest of the structure.
The project took fourteen months, about the same amount of time
as building a custom home from scratch. “Everything is new
in the house-mechanical, plumbing, heating, electrical, roof,”
Gibson says. Plus, “There’s a stream running underneath
the house. When we excavated the pool, we had this river that
was running through it.”
Aesthetically, the goal was to update the house with a warm, modern
Swedish look. Landry enlivened the outer facades with balconies
and trim of Douglas fir and brought a soft yellow cast to the
stucco walls. A mottled flagstone lines the big rear patio and
the lip of the new pool. “Many times your Tudor is dark
wood brown wood with white plaster,” says Landry. “We
wanted it to feel more like the beach, to be fresher.”
The house, which now has seven bedrooms and measures 10,000 square
feet, has his-and-her offices-his is on the floor where the attic
once was, while hers overlooks the two-story living room. The
master bedroom, with its pitched pine ceiling and its view of
the sand, lies above the family room: beside it is the gym. Most
of the floors are pine, except for the kitchen and family room,
which sport a fetching pattern of pine strips and terra cotta
pavers. Interior designer Karen Blake laid down a palette of light,
creamy tones and punctuated it with the bucolic texture of distressed
woods. The owners “wanted it really to feel like a Swedish
house-floors, the old beams,” she says.
True the home’s Hollywood roots, one hallmark of the original
residence was carefully honored. In the living room, a seven-foot
projection screen-the same one which Shearer and Thalberg watched
the first talkies-rises from the floor on command. “It’s
been refurbished,” says Landry Design Group architect Brian
Pinkett, the associate in charge of the project. “They hit
one button and the whole thing comes up automatically.”
Like so many movies, the renovation has a happy ending. The owners
“are more than overjoyed,” says Gibson. “They
love every minute of it.”
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