1940 Historic Midcentury Modern Home in West Adams

About the Space

Designed in 1940 by Raphael Soriano, a noted architect who studied under Richard Neutra, the International-style home features a flat roof, overhanging eaves, a smooth stucco exterior, and a ribbon-like band of steel-framed windows. Comprising three bedrooms and two bathrooms, and 1,491-square-feet of living space, the home is located on a nearly half-acre lot in L.A.’s Jefferson Park neighborhood, and surrounded by lush landscaping. The residence also comes accompanied by a 1908 glass greenhouse that has been restored and repurposed as a dining pavilion. Drive-in access through a double gate and ample parking on tennis court makes load-in a breeze. The house is one of about a dozen Soriano homes that still exist, and it's a rare example of modernism in the West Adams neighborhood. The home was designated a Los Angeles Historic-Cultural Monument in 2007. The architecturally significant house was later purchased by a preservation-minded buyer who sensitively rehabilitated the house while restoring and replacing historic elements. The original drawings were obtained from the Special Collections at Cal Poly Pomona, and the owner researched Soriano’s published works and toured two other Soriano residences from the same period. The project to restore the home earned a Conservancy Preservation Award in 2013. The house was designed for prominent ceramicist, Glen Lukens, who lived in the house from 1940 to 1959. In addition to his innovative glaze work, while at USC he led the ceramics department where Laura Andreson, Susan Peterson, Carlton Ball, Harrison McIntosh, Beatrice Wood, Doyle Lane and Vivika and Otto Heino were all a part of. Frank Gehry also took a Lukens ceramics class at USC. It was 1940 and young Gehry was invited to visit the site while the house was being built. Gehry has been quoted saying “I do know a light bulb went off when I saw Soriano.” “There was Soriano in a black beret, blackshirt, black jacket." “He was kind of a prima donna. He was talking about his architecture, and he (Lukens) saw my eyes light up in a way he hadn't seen. And he said, 'I think you should try it." Gehry later recalled that he believed Lukens was helping him because he didn't believe he would make a great ceramicist. So not only is this house a big deal because it belonged to Lukens, but it's where Frank Gehry decided to be an architect.