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12.16.2016 | DIGS.NET 121 fashion; they followed the news and what their neighbors were doing, and they followed, even then, celebrity culture, which was also a factor. Paul Trousdale wanted celebrities in his brand-new colony to publicize it and to make it desirable for other people, so when Dinah Shore moved in, when Groucho Marx moved in, when Barbara Stanwyck moved in, when Janet Gaynor moved in, all were very influential in having successful people want to be there and build there. I think it's attacked for its flash because, even though the homes were modern, they weren't stripped-down modern. Trousdale has always been about excess and filling rooms with stuff, not trimmed-down living. It's about absolutely everything. I was surprised to learn about the number of Trousdale's strict architectural codes during the early years—single-story homes with a minimum of 3,000 square feet to protect the views, for example. How did these restrictions evolve? Some were relaxed in the 1980s. The change really was when the world moved away from modernism and remakes and historical styles started, especially down in the flats, where you see a kind of mishmash of French and Spanish and Italian style all together in one house. The changes were more stylistic. Let's talk about the teardowns at Trousdale. Is the practice common? It unfortunately is. When I first started this, there were maybe 10 teardowns a year; now there's probably 20 to 40. It's hard because the lots are so valuable. Somebody can buy a house—5,000 to 7,000 square feet is now considered too small, by the way—but if the house has a view, no matter the architectural provenance, it may well be a goner. Where do preservation efforts stand? There are people who believe in restoring and loving great houses, but for the most part, it is about building anew at Trousdale, which, in a way, it always has been. At first I thought that Paul Trousdale would be horrified by what was happening, and then I realized that, no, he actually would be very proud that what he built still has pizazz and attraction and is commanding top dollar. But, you know, there are mechanisms in place, like the Beverly Hills Preservation Ordinance, which mandates that very notable houses be reviewed before they are altered or destroyed. We're hoping to have one landmarked soon. Let's talk more about Paul Trousdale. Why was he able to negotiate the land deal for Trousdale opposed to another? I think it was his earlier ambitions, track record and just asking for it—he knew how to do it. And he probably got there first; he was incredibly well connected. His progression of land deals got bigger and bigger, so he was one of the few who really knew how to do it, especially in difficult terrain. When you have the San Fernando Valley, which is flat, or Torrance, which is flat, it's easier to sub-divide, but he had to actually move mountains to make it happen, and not a lot of people had that experience. (clockwise from top left) e pool is hallmark of Trousdale Estates architecture; Meisel Residence, 1963. George Maclean, Architect. 2002 remodel by Brad Dunning, Architectural Designer and Marmol Radziner, Architects. Photo by Brain omas Jones; Adler Residence, 1960. A. Quincy Jones, Architect. 2004 restoral for Courteney Cox & David Arquette by Cory Buckner, Architect (shown). Photo by Nick Springett; new book Trousdale Estates; author Steven M. Price.