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Other Features
“Reginald Johnson wasn’t just a brilliant artist,” Peter notes. “He was
also an MIT graduate, so this house has a complete concrete and steel
infrastructure.” The entire first floor is a poured-in-place concrete floor
floating over a basement with steel I-beams running throughout, including
the chimneys. It’s built like a commercial building, similar to the Biltmore
in many respects. “Today’s code for a concrete floor is 2500 psi,” Ray says,
“but in the ‘Twenties they poured 4500 psi’s, so we did that as well.” He
says part of the reason for doing so is if there is an earthquake or other
natural disaster, the house would be a safe place to go. “The engineering
here is higher than that used for the Granada parking garage,” he notes.
“Another thing I love about Reginald Johnson’s work in the ‘Twenties
is these low-rise tile stairs,” Peter says. “A lot of this isn’t done anymore
because of how much space it takes up to create a staircase like this,” he
opines, as we walk up to the second level. The steps are only 4 ¾” high;
today’s standard is from 7” up to 8”, which is allowed by code. Peter
matched that 4 ¾” rise everywhere, inside and out, “so people walking on
stairs don’t get any surprises,” adds Ray. “They get used to walking on the
property knowing every step is going to be exactly the same.”
The 19,500 square feet in the house includes the below-grade level;
not included are another approximately 4,000 square feet under roof in the
two guest houses, both with two bedrooms and laundries, a pool cabana,
party pavilion, an innkeeper’s apartment, and the eight-car garages.
The main house has five principal public rooms, a separate (but attached)
two-bedroom apartment over the three-car garage, and five separate bedrooms.
Room dimensions are robust: the living room is 25’ x 40’, library
30’ x 18’.
The garden loggias are set up to seat about 100 people under cover for
dinner. Inside metal/glass doors open up to create one big space; built-in
heaters make it comfortable day and night.
Non-toxic finishes have been used wherever possible. All the lawns
18th- and 19th-century French garden sculptures were added to the formal
gardens and installed by Peter Kavoian and Oasis Landscape
19th-century iron grills, lanterns and torches were added to the south lawn
terraces to add authenticity to the garden design