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Design, Bitches
Looking to Build a Granny Flat in Your Backyard? Meet the Firms and Designs Pre-Approved in LA
Sarah Favot
Favot is an award-winning journalist and adjunct instructor at USC's Annenberg School for Communication and Journalism. She previously was an investigative and data reporter at national education news site The 74 and local news site LA School Report. She's also worked at the Los Angeles Daily News. She was a Livingston Award finalist in 2011 and holds a Master's degree in journalism from Boston University and BA from the University of Windsor in Ontario, Canada.
Adding a backyard home in Los Angeles is now nearly as easy as buying a barbecue.
Homeowners who for years have wanted to build a granny flat in their backyard, but dreaded the red tape, can now choose from 20 pre-designed homes that the city has already approved for use.
The shift, made official last week, will speed up a weeks-long process and bring more badly needed units to an overpriced market. It also has the potential to elevate the 14 startups and firms building the next generation of homes.
The designs for the stand-alone residences range from a 200-square-foot studio to a 1,200-square foot, two-story, two-bedroom unit. And many of the homes are filled with design flourishes, reflecting the diverse architecture of the city, from a house in the silhouette of a flower to one with a spiral outdoor staircase leading to the roof.
It's no surprise. The program was spearheaded by Christopher Hawthorne, a former architecture critic at the Los Angeles Times and now the city's chief design officer.
The firms are primarily local and startup architecture and design firms, while others are well-known with a history of building granny flats, also know as accessory dwelling units, or ADUs.
The standard plans avoid the Los Angeles Department of Building and Safety's typical four-to six-week review process and can allow approvals to be completed in as quickly as one day.
Some aspects of the plans can be modified to fit a homeowner's preferences. Eight other designs are pending approval.
Mayor Eric Garcetti believes by adding more such units, the city can diversify its housing supply and tackle the housing crisis. Recent state legislation made it easier to build the small homes on the lot of single-family residences. Since then, ADUs have made up nearly a quarter of Los Angeles' newly permitted housing units.
Because construction costs are relatively low for the granny flats – the pre-approved homes start at $144,000 and can go beyond $300,000 – the housing is generally more affordable. The median home price in L.A. County in January was $690,000.
Here's a quick look at the designs approved so far:
Abodu
Abodu
Abodu, based in Redwood City in the Bay Area, exclusively designs backyard homes. In 2019, it worked with the city of San Jose on a program similar to the one Los Angeles is undertaking.
In October, it closed a seed funding round of $3.5 million led by Initialized Capital.
It has been approved for a one-story 340-square-foot studio, a one-story one-bedroom at 500 square feet, and a one-story, 610-square-foot two-bedroom.
The pricing for the studio is $189,900, while the one-bedroom costs $199,900 and the two-bedroom is $259,900.
Amunátegui Valdés Architects
Led by Cristobal Amunátegui and Alejandro Valdés, the firm was founded in 2011 and has offices in Los Angeles and Santiago, Chile. Amunátegui is an assistant professor at the Department of Architecture and Urban Design at UCLA.
The firm designs work in various scales and mediums, including buildings, furniture and exhibitions.
Its one-story, two-bedroom with a covered roof deck 934-square-foot unit is pending approval from the city.
Connect Homes
Connect Homes has a 100,000-square foot factory in San Bernardino and an architecture studio in Downtown L.A.
It specializes in glass and steel homes and has completed 80 homes in California. Its designs have an aesthetic of mid-century modern California residential architecture.
It has two one-bedroom models pre-approved by the city, one is 460 square feet, which costs $144,500 with a total average project cost of $205,000. The other is 640 square feet, which costs $195,200 with a total project cost of $280,000.
Design, Bitches
The Los Angeles-based architectural firm founded in 2010 describes itself as having a "bold and irreverent vision." Its projects include urban infill ground-up offices to single-family homes, adaptive re-use of derelict commercial buildings and renovations of historic landmarks.
Its pre-approved design, named "Midnight Room," is a guest house/ studio. Its bedroom can be left open for a loft feel or enclosed as a separate room. The design is a one-story, one-bedroom at 454 square feet.
Escher GuneWardena Architecture
Founded in Los Angeles in 1996, Escher GuneWardena Architecture has received international recognition and has collaborated with contemporary artists, worked on historical preservation projects and more.
The company has been approved for two different one-story, one- or two-bedroom units, one at 532 square feet with an estimated cost of $200,000 and another at 784 square feet with an estimated cost of $300,000. The firm noted the costs depend on site conditions and do not include soft costs. Those could add 10% to 12% to the total construction costs.
First Office
First Office is an architecture firm based in Downtown Los Angeles. Its approved ADUs will be built using prefabricated structural insulated panels, which allow for expedited construction schedules and high environmental ratings.
The interior finishes include concrete floors, stainless steel counters and an occasional element of conduit.
There are five options:
- A one-story studio, 309 to 589 square feet
- A one-story one-bedroom, 534 to 794 square feet
- And a one-story two-bedroom, 1,200 square feet
Fung + Blatt Architects
Fung + Blatt Architects is a Los Angeles-based firm founded in 1990.
The city has approved its 795-square-foot, one-story, one-bedroom unit with a roof deck. It estimates the construction cost to be $240,000 to $300,000, excluding landscape, site work and the solar array. Homeowners can also expect other additional costs.
Taalman Architecture/ IT House Inc.
The design team behind "IT House" is Los Angeles-based studio Taalman Architecture. Over the past 15 years, IT House has built more than 20 homes throughout California and the U.S.
The IT House ADU standard plans include the tower, bar, box, cube, pod and court.
The city has approved four options, including:
- A two-story including mechanical room, 660 square feet
- A two-story including mechanical room, 430 square feet
- A one-story studio, 200 square feet
- A one-story including mechanical room, 700 square feet
The firm also has another two projects pending approval: a 360-square-foot one-story studio and a one-story, three-bedroom at 1,149 square feet.
LA Más
A thrid design for a one-story studio pending approval would be the first 3D-printed ADU design in the city's program.
LA Más is a nonprofit based in Northeast Los Angeles that designs and builds initiatives promoting neighborhood resilience and elevating the agency of working-class communities of color. Homeowners who are considering their design must commit to renting to Section 8 tenants.
The city has approved two of LA Más' designs: a one-story, one-bedroom, 528 square feet unit and a one-story, two-bedroom, 768 square feet unit. The firm has another design for a one-story studio pending approval. That design would be the first 3D-printed ADU design in the city's program.
Jennifer Bonner/MALL
Massachusetts-based Jennifer Bonner/MALL designed a "Lean-to ADU" project, reinterpreting the stucco box and exaggerated false front, both Los Angeles architectural mainstays.
The design has been approved for a 525-square-foot one-story, one-bedroom unit with a 125-square-foot roof deck.
sekou cooke STUDIO
New York-based sekou cooke STUDIO is the sole Black-owned architectural firm on the project.
"The twisted forms of this ADU recalls the spin and scratch of a DJ's records" from the early 90s, the firm said.
Its design, still pending approval, is for a 1,200-square-foot, two bedroom and two bathroom can be adapted to a smaller one-bedroom unit or to include an additional half bath.
SO-IL
New York-based SO-IL was founded in 2008. It has completed projects in Leon, Seoul, Lisbon and Brooklyn.
Its one-story, one-bedroom 693-square-foot unit is pending approval. It is estimated the construction cost will be between $200,000 and $250,000.
WELCOME PROJECTS
Los Angeles-based Welcome Projects has worked on projects ranging from buildings, houses and interiors to handbags, games and toys.
Its ADU is nicknamed The Breadbox "for its curved topped walls and slight resemblance to that vintage counter accessory."
It has been approved for a one-story, one-bedroom 560-square-foot unit.
wHY Architecture
Founded in 2004, wHY is based in Los Angeles and New York City. It has taken on a landmark affordable housing and historic renovation initiative in Watts.
Its one-story, one- or two-bedroom 480 to 800-square-foot unit is pending approval.
Firms that want to participate in the program can learn more here . Angelenos interested in building a standard ADU plan can learn more the approved projects here.
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Sarah Favot
Favot is an award-winning journalist and adjunct instructor at USC's Annenberg School for Communication and Journalism. She previously was an investigative and data reporter at national education news site The 74 and local news site LA School Report. She's also worked at the Los Angeles Daily News. She was a Livingston Award finalist in 2011 and holds a Master's degree in journalism from Boston University and BA from the University of Windsor in Ontario, Canada.
dot.LA Summit: Former Dodger Shawn Green on Transitioning From Athlete to Startup Founder
10:30 PM | October 20, 2022
Photo by Samson Amore
After a baseball career spanning 14 years, former Los Angeles Dodgers right fielder Shawn Green decided it was time for a pivot.
Instead of targeting the typical route for former pro athletes and opting to become a commentator or analyst, Green chose to found Santa Monica-based Greenfly, a startup that provides a cloud-based media file sharing platform for a range of clientele from sports teams to retail stores.
Co-founded with CEO Daniel Kirschner, who previously served at Activision Blizzard as head of corporate affairs, Green launched Greenfly in 2014—a decade after he ended his season with the Dodgers.
“I always loved tech, so I figured I know, I want to reinvent myself and explore new things,” Green told panel host and Metropolis CEO Alex Israel at the 2022 dot.LA Summit regarding why he chose to start Greenfly. “The light bulb went off [and I thought] so why don't we become a [software as a service] company, and license our tech to sports networks.”
The 1999 Gold Glove winner and Stanford alumnus said he had dabbled with several startup ideas prior to settling on Greenfly’s concept.
“The first big thing we did was March Madness, and we did a deal with CBS and Turner,” Green said. After that trial run, Greenfly linked with Turner to fully license its software. Green said Greenfly works with the “top 10 biggest sports platforms in the world,” including the NBA, MLB and NHL.
Greenfly’s software platform lets users share files across social media, as well as capture and create content in the app. It also integrates with other content services like Getty Images and Dropbox. The company’s customers include the Dodgers, the San Jose Sharks and Paris Saint-Germain in addition to a number of consumer brands, including massage gun retailer Hyperice.
During the panel, Israel asked Green what key lessons he learned from pro baseball helped inform his career as a startup founder. “The most important thing I learned is you fail a lot,” Green said. “That’s helped a lot with my mindset as a startup, because there’s all sorts of things happening, all of a sudden things flip on a dime.”
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Samson Amore
Samson Amore is a reporter for dot.LA. He holds a degree in journalism from Emerson College. Send tips or pitches to samsonamore@dot.la and find him on Twitter @Samsonamore.
https://twitter.com/samsonamore
samsonamore@dot.la
Photo by David Balev on Unsplash
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Netflix’s longtime strategy of spending billions to push out a deluge of films will soon slow to a more manageable flow as the streaming giant re-evaluates its priorities, balance sheets and focuses more on making money back on its advertising spend.
Last week, Netflix announced it would lay off some staff as it restructured its film divisions, consolidating its small and midsize picture units. While it’s unclear how many people were laid off we do know the cuts include a couple executives: Lisa Nishimura, former head of standup and original documentaries, and film group vice president Ian Bricke.
Netflix’s film chief Scott Stuber recently told Bloomberg the plan is to make fewer films with the goal of making sure “more titles are of high quality.”
The quantity over quality approach helped raise the streaming service to the height it’s at today, with around 220 million global subscribers. In the early days, when Netflix still sold DVDs by mail, the library was part of the allure; the service promised a wide range of content delivered to your door at a pretty nominal price. Blockbuster sold out of the obscure horror flick that you’ve been waiting for months to see? Netflix probably had several copies and would send one in days.
During the pandemic, when streaming and gaming engagement across the board hit an all time high, Netflix’s strategy was largely the same: give the people as many options as possible to choose from while they were stuck inside and bored as hell. This often meant opening up the back catalog since films and shows stuck in production gridlocks were delayed – and it led to unexpected hits, including older films like “Outbreak” and “Space Jam” seeing a resurgence in viewers.
People still continue to tune into streaming at about the same rate as they did during the pandemic, indicating there’s still an ample audience for Netflix productions.
But the old Netflix strategy of making a bunch of content with limited or no ads attached, and expecting viewers to gravitate towards its productions simply because they are under the big red “N” is not completely viable anymore. After rising to global prominence, now the company wants to focus on driving profitability ever-upward, and in that process it is rethinking the films it produces (it’s also the reason you might not be able to share passwords with your pals in the near future).
To be clear, Netflix isn’t completely slowing its roll. Stuber told Bloomberg in December the streamer planned to release at least 28 films across its big studio, mid-budget and indie divisions over the next year. And that’s not counting the slates of documentaries, non-English, animation or holiday-related films. But in the future, it’s fair to expect that number will dwindle as Stuber pushes his executives to be more judicious in what they green-light.
The focus of its Netflix Originals team was initially to create prestige dramas and premium shows that could rival HBO. Next, the streaming giant moved on to Oscar-bait movies with Netflix accepting a Best Director win for Alfonso Cuarón’s “Roma” in 2019. It later snatched another such win for Jane Campion’s “Power of the Dog” in 2022.
Most recently, Netflix nabbed Oscars for its “All Quiet on the Western Front” remake.This fits in with the quality over quantity theory – if people are going to watch no matter what, why not go for a blockbuster or award-winner and further elevate the brand’s prestige?
Also, if Netflix is making fewer films and slightly downsizing its staff (again, after cuts in May and June of last year), it could look to funnel any remaining cash left over from film production into advertising spend. The company’s newest chief marketing officer, Marian Lee, recently told the New York Times Netflix’s social media accounts have a combined global audience of around 800 million people. That’s a huge, and potentially lucrative, audience.
In 2022, Netflix’s marketing budget swelled to $2.5 billion to reach even more eyeballs. Its ad-supported tier launched in November is growing; at least one million subscribers joined in the first two months.
Lee told the Times she is embracing nontraditional marketing to get people to watch Netflix’s films. This included a LA-based escape room themed around the “Knives Out” franchise, Wednesday Addams-themed TikTok dances, and even promoting its hit characters on the Uber app. It’s working, Lee claimed, noting that “Wednesday” was Netflix’s second most-watched English language show, with 1.24 billion hours streamed in its first month. - Samson Amore
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Samson Amore
Samson Amore is a reporter for dot.LA. He holds a degree in journalism from Emerson College. Send tips or pitches to samsonamore@dot.la and find him on Twitter @Samsonamore.
https://twitter.com/samsonamore
samsonamore@dot.la
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