
For Sharon Johnston and Mark Lee, partners in the L.A. architectural firm of Johnston Marklee, necessity truly is the mother of invention. Faced with the challenge of a severely sloped, uneven hillside lot in the Palisades’and a profusion of building codes and restrictions’the husband-and-wife architectural team hatched an award-winning design by embracing the restraints. Indeed, Hill House, the strikingly spare and elegant residence at 338 Chautauqua, is a study in how to recast classic modernism to conform to current codes. In Los Angeles, hillside ordinances are increasingly restrictive in terms of height and massing and more stringent in regard to structural supports. Iconic works of the 1950s, including many hillside-perched Case Study houses, would be difficult to recreate given today’s mandates. They would look like Case Study houses on steroids, Lee notes with a laugh. ‘We saw the constraints as having generative possibilities,’ says Lee, who refers to Hill House, completed last October, as the firm’s most complex project to date. Tackling the puzzle of how to maximize square footage while limiting height and minimizing contact with the terrain had a seductive payoff: the site’s panoramic view from Rustic and Sullivan Canyons to Santa Monica Bay. Hill House’s sculptural shape, a confluence of connecting planes, evolved specifically from the building restrictions, with a computer used to synthesize the setback, height and other requirements to arrive at a maximum building envelope. Structure normally accounts for about 20 percent of a building’s budget. For Hill House, it was closer to half of the total cost, with 23 caissons supporting a house that, ironically, hides all external expression of support. Instead, the three-story structure seems to hang effortlessly on the hillside, with the canyon face of the house having the appearance of a suspended prow. It’s no accident that the jutting-out-into-the-canyon feature is reminiscent of Pierre Koenig’s classic Case Study House #22. Johnston Marklee inserted Julius Shulman’s famous photograph of that house into one of their computer-generated schematics of Hill House. When they approached Shulman for permission to use the photo, a friendship ensued, along with Shulman’s enthusiastically agreeing to document Hill House, photographs that will soon be auctioned for charity. The architects also had the nearby Eames House in mind when designing the 3,300 square foot Hill House, conscious of contributing their link to the Case Study House experimentation chain. Contribute they have, with Hill House earning a NextLA Honor award and garnering accolades for its precedent-setting and inspiration for new projects. The sculptural quality of the house is enhanced by a lavender-tinged exterior coating that stretches over the structure uniformly like a skin. An imposing cantilevered second floor floats over the entry, setting the stage for the major drama within: two glass walls that slide open to invite a breathtaking indoor/outdoor relationship with the canyon. ‘Our style is set by circumstance,’ says Johnston. Lee echoes this sentiment, stating: ‘We don’t impose a look. Rather the look evolves.’ Since establishing their firm in 1998, the couple has applied their ‘form follows function’ philosophy to a wide range of projects, from residences in Malibu to Marfa,Texas’where a current commission is that city’s public library’to exhibition spaces at LACMA. Johnston grew up in Malibu; Lee is originally from Hong Kong. The couple met at Harvard, where they earned their architectural degrees, and both are faculty members at UCLA. While Johnston Marklee may have played by the rules with the building of Hill House, they are provocatively breaking the rules in other areas, turning a recently completed modernist bungalow in Venice into an art installation (with the blessing of the then absentee owners; the residence is now occupied). The main event was a party that attracted hundreds to see wall drawings by abstract artist Jeff Elrod, hear a sound installation by Howard Goldkrand and M. Singe and experience environments created by painter Jack Pierson. Another project was by Livia Corona, who engaged actors to appear in a series of photographs, using the house as the main character in a surrealistic narrative. ‘Residential architecture is L.A.’s greatest legacy,’ Johnston says. ‘It was fun to turn this legacy on its side by making residential very non-residential.’ ‘For Mark and me, humor is important,’ continues Sharon, who is expecting the couple’s first child this month. ‘There are multiple ways to look at architecture. It doesn’t have to be so serious.’ What the couple did take seriously was the historical context of the Venice residence, known as Sale House, which was commissioned to complement the 2-4-6-8 Studio, one of the first structures designed in 1978 by Morphosis, a renowned firm revered by both Johnston and Lee. As a child, Lee visited Los Angeles and remembers knowing then that he eventually wanted to live here. ‘This city is filled with optimism. There’s a sense that anything’s possible.’