Built in 1947, the pristine three-bedroom home is nestled into a large lot with a backyard pool and guest cottage. A striking midcentury, the home sits tucked away on a gated, oversized lot in the tree-lined Chandler Estates neighborhood. Architect Leonardo Chalupawicz redesigned the home in 1997, and it recently underwent another transformation in 2020 by its current owners, Nicky Buerger, an interior designer and stylist, and Steve Clarke, a creative director at an advertising agency.
For the remodel, the couple sought to “create a serene yet practical environment,” while retaining the original midcentury aesthetic. To optimize natural light, the couple fine-tuned the 2,300-square-foot home with an open, free-flowing layout. Upon arrival, a generous foyer leads to a sun-filled sitting area, and the kitchen and living room lie just around the corner.
Exposed beams span the merged living spaces, complementing the refinished hardwoods and wood-framed French doors that line the back wall in the dining area. Original redwood beams and vintage plywood were repurposed to make new furniture—including bookcases and a bench—to create a connection to the home’s past life.
The home’s three bedrooms are located away from the living areas. The primary bedroom suite offers pool views, a fireplace, dual walk-in closets, and a spa-style bath. The two-and-a-half additional baths are outfitted with designer finishes and original glass blocks that channel daylight.
In the backyard has a lush lawn along with a swimming pool and secluded guest cottage, which features a bedroom, bathroom, and well-equipped kitchenette. By infusing warm, soft textures throughout the property, the cottage has a tranquil, restful space that flows seamlessly from indoors to out.
White concrete frames a square of uninterrupted blue. The cloudless sky, the iridescent Tyrrhenian sea, even the land stretching out either side — pastel-painted Sorrento to the left, Vesuvius to the right — is cast in a haze of blue. An impressionist’s dream.
Of all Gio Ponti’s 100-odd buildings, Sorrento is the only hotel where you can still stay, fully immersed in his art — for as well as the building itself he designed every last detail. He was not just an architect, but a designer — of interiors, furniture, industry, cars — an artist and a ceramicist, a writer and a teacher; and at 
Recently completed in February 2019, 
Many cultures feature houses with rooms grouped around a private courtyard: this is a take on that venerable tradition. Passing through a flat-roofed entry, the space expands as you encounter a high, beamed ceiling, sloping upward to 12 feet. This is the great room – 40 feet in length, it opens directly onto the walled courtyard through glass panels that slide away into hidden pockets. An especially admired feature of the room is a 4-by-12-foot window-seat extending into and overlooking the courtyard. This too has operable glass panels that tuck away into pockets: a charming place to lie down—even sleep—“half-in, half-out.”
Master suites occupy both ends of this “L” shaped home, each with private access to the courtyard; an ideal arrangement for a shared vacation home, in town or out. While being careful to ensure privacy, the outward facing walls stop short of the overhanging roof, bringing in balancing light and capturing expansive outward views.
Edwin Scott and his son Mike in front of the Scott House in 1956. 
Like many of Koenig’s Case Study Houses, the Scott House is an architecturally simple, L-shaped structure made up of straight, clean lines. Plenty of floor-to-ceiling glass walls link the interior spaces and visually connect the house with its surrounding environment. A bright and expansive central living area is anchored by a dividing wall and a two-sided fireplace. Sliding glass doors connect this central living space to other parts of the house. The kitchen connects to two dining zones: an indoor dining area with a small round table, and a larger “winter garden” dining space with a rectangular table. Full glazing on their exterior walls of the two bedrooms bring in tons of light and allow guests to feel a sense of being immersed in the outdoors.
The image is instantly familiar; the house, all dramatic angles, concrete, steel and glass, perched indelibly above Los Angeles, with Hollywood’s lights resembling a circuit board below it. Inside, two women sit, stylish and relaxed, talking casually behind the monumental floor to ceiling glass walls. One of the world’s most iconic photographs, 
Buck was a former professional footballer who worked as a graphic designer and sign painter. He spent his first few years as a landowner hauling broken blocks of concrete to the site in attempt to improve its precarious foundation. He and Carlotta ferried their finds, load by load, back to Woods Drive in the back of Buck’s Cadillac, hopeful the reinforcements would prevent the land from sliding. Buck’s dreams for the house began to take shape over the following two years, and eventually, he made a model of the future Stahl House. His grand designs, however, were promptly rejected by several notable architects.
Carlotta recalled Buck continually telling prospective architects “I don’t care how you do it, there’s not going to be any walls in this wing.” Until they hired Pierre Koenig in 1957, an ambitious young architect determined to build on a site nobody would touch, it seemed unlikely the house would ever exist. Pierre described the process of building Stahl House as “trying to solve a problem – the client had champagne tastes and a beer budget.” He was interested in working with steel, and despite being warned away from it by his architecture instructors, possessed great aptitude for it. He’d experimented with a number of exposed glass and steel homes before he created Case Study 21, or The Bailey House in 1958 and 1959, and his skill for designing functional spaces with simplicity of form, abundant natural light, and elegant lines would eventually make him a master of modernism. Stahl House, completed in 13 months and costing 37,500 USD, further demonstrated Pierre’s flair for working with industrial materials, particularly steel, glass, and concrete. The project put him on the map as an architect with an incredible eye for balance, symmetry, and restraint. The 2,040 m² house was, as Buck insisted, built without walls in the main wing to allow for sweeping 270º views. Three sides of the building were made of plate glass, unheard of in the late 1950s, and deemed dangerous by engineers and architects. This design feature required Pierre to source the largest pieces of glass available for residential use at the time. With two bedrooms, two bathrooms, polished concrete floors, and a very famous swimming pool (a fixture in countless films and fashion editorials) Stahl House was an immediate mid century icon.
Beautiful Musings 