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Rancho Palos Verdes · Phantom Drive33°46′ N · 118°22′ W

Some houses have a view. This one had to be let out into it.

The lot never changed. It has always faced the same water, caught the same afternoon, and sat under the same hill with the same two fan palms in front of it. What changed is that the house finally admits it. Walls that faced the ocean became walls that open onto it. A blank concrete patio became a terraced garden with a pool cut into the slope. A dead strip of side lawn became the best place on the property to stand at sunset. This is the house we point to when someone asks what a Peninsula home can become.

Plan a Peninsula projectSee more local work

From the primary suite
Ocean horizon
Pool cut into the slope
Terraced garden
Both of them
Palms kept
The finished white house at dusk on its Rancho Palos Verdes hillside, dark flat-tile roof, warm-lit glass across the ground floor and a paver-and-turf motorcourt, with the green ridge rising behind
Upper terrace with a frameless glass guard and white lounge chairs looking over neighbouring tile rooftops and palms to the open ocean horizon
Front of the house at dusk with two mature fan palms, a low white wall, a black slatted driveway gate and a grid of pale pavers set into strips of green

Where this is

A green headland that falls into the Pacific, still inside Los Angeles County.

The Peninsula is a piece of country that wandered into the middle of a city. Twenty-five square miles of hills, horse trails, eucalyptus and coastal sage, wrapped on three sides by open water, with the whole Los Angeles basin behind it and none of it in the way. Visitors who have spent time on the Amalfi Coast tend to say the same thing on the drive up: the road climbs, the water drops away below you, houses step down the slope in terraces, and the light does that soft, reflected thing it only does when there is a lot of sea nearby. It is the most beautiful coastline in Southern California, and — this is the part people find hard to believe — it is the one where a family can still buy a real lot with a real view and make something of it.

Sunset over the coastline seen from the side garden, the sun dropping behind a broad old tree with palms silhouetted and a curved putting green in the foreground
Rear garden with a rectangular pool and spa, a white stacked-stone wall with a sheer water spout, and a terraced green lawn climbing the hillside above
  1. The ocean is on three sides. Almost every street on the hill is pointed at some of it.
  2. The marine layer comes in most mornings and burns off by lunch, which is why everything up here stays green.
  3. Lots are generous by coastal standards — room for a garden, a pool and a slope, not just a strip behind the house.
  4. No highway runs between these houses and their view.
  5. Down the grade you are in the South Bay in minutes. Up here you would not know it existed.

Film · The house today

Watch it once with the sound off.

A walk through the finished house. What we would ask you to notice is not the marble — it is how much of the film is spent looking outside. The glass at the back is open in almost every shot. The garden and the pool read as rooms with no ceiling. The hill behind is a green wall that belongs to the property, and the coastline appears at the top of the stairs and never really leaves. That relationship between inside and hillside is the whole point of building here, and it is the thing a Peninsula house most often gets wrong.

The hill

Four things the headland hands you before an architect draws anything.

Build here long enough and you stop fighting the site. These four conditions are gifts. They are also the reason a plan drawn for a flat inland lot never quite works when you carry it up the hill.

  1. Light that arrives twice

    Direct sun in the middle of the day, and then a second, softer light in the afternoon that comes up off the water and fills a room from a low angle. It is the reason white reads warm up here instead of clinical. Rooms on this hill want big west-facing openings and generous overhangs, and they want a pale floor to bounce it.

  2. A garden that grows itself

    The marine layer waters the hill most mornings from spring through summer. Olive, coral tree, agave, kangaroo paw, fan palm and Torrey pine all behave here without being coaxed. On this property the new planting on the slope was chosen to look like it had always been there, and by the second season it did.

  3. Slope, which is really storeys

    A hillside lot gives you levels for free. Here the ground rises behind the house, so the garden was cut into terraces: pool and paving at the level of the living room, a low seating shelf above it, and lawn climbing the slope beyond. Three outdoor rooms, stacked, on ground a flat lot would have wasted.

  4. A view with nothing in front of it

    The Peninsula steps down toward the water in rows, so the house above yours is looking over your roof, not into your kitchen. The upper terrace and the primary suite here look across tile rooftops and palm heads to open ocean. You do not have to be on the sand to have the water, and up here you are not.

Outside first

The land did more of the work than the house did.

We are starting outdoors deliberately, because on this hill that is where you actually live. Drag the divider on any pair. Same footprint, same slope, same trees — a completely different set of places to be.

Arrival, Now: The same house at dusk in white stucco with a dark flat-profile tile roof, black-framed glass across the ground floor, a walnut slatted garage door, a glass-guarded upper balcony and a wide paver-and-turf motorcourt behind a low white wallArrival, Before: The original two-storey Mediterranean house in apricot stucco with a terracotta S-tile roof, green window frames, an arched iron entry door and a plain sloping driveway between deep mixed planting

Arrival

Same house, same two palms, same hillside behind. The tile roof was replaced with a dark flat-profile tile that lets the form settle down instead of shouting, and the driveway became a courtyard you can stand in.

The side yard, Now: The same strip rebuilt as a curved putting green with three flags, edged by a low white wall and drought planting, looking west into the sunset over the coastlineThe side yard, Before: A narrow strip of patchy dry lawn beside the tan stucco house with a wheeled refuse bin against the wall, an old palm trunk in the foreground and the coastal hills visible past the property line

The side yard

This is our favourite pair on the property. The bins moved. Everything else here was already true — the aspect, the old tree, the sunset — and nobody had ever asked the ground to do anything with it.

The back garden, Now: The rebuilt rear garden with a rectangular pool and spa, white board-formed and stacked-stone retaining walls, a sheer water spout, pavers set in turf, black loungers and a terraced green lawn rising up the hillside behindThe back garden, Before: The original rear yard: a flat sand-coloured concrete slab, a stucco chimney mass with an outdoor fireplace, green arched French doors, a portable basketball hoop, banana palms and curved flagstone steps up to a raised planter

The back garden

The slab is gone. In its place a pool, a paved terrace, a raised seating shelf and a lawn that climbs. The retaining walls doing all of that are the honest coastal thing on the property — white, plain, structural, and beautiful because they are not pretending to be anything else.

Living outside, Now: The same elevation at dusk with the glass folded fully open, a bar counter and stools under the kitchen window, teak lounge furniture, a linear gas fire, the pool lit blue and the sunset behind the treesLiving outside, Before: The original rear elevation with stucco arches, a heavy chimney mass, a built-in barbecue counter, terracotta paving and wrought-iron furniture

Living outside

The arches came out and the wall became an opening. There is now a counter with stools where the kitchen meets the terrace, so the person cooking is in the same conversation as the people in the water.

The arithmetic

Why we think this is the best value on the Southern California coast.

  1. You are buying land, not frontage

    The coastal towns everyone names first sell you a narrow parcel and a wall of neighbours. Peninsula lots come with ground around the house — a slope to terrace, a side garden, room for a pool that is a pool. This project got three outdoor rooms out of a lot that most of the coast would have turned into a patio and a hedge.

  2. Nothing stands between you and the water

    On much of the coast the view is on the far side of a highway, and the beach is a crossing. Here the streets face the ocean because the hill does. The water is a thing you look at from your own terrace, in a dressing gown, before anyone else is up.

  3. The bones are usually worth keeping

    The hill was built out with substantial custom houses on generous lots, most of them well made and comprehensively out of date. That is the best possible starting point. This house kept its footprint, its structure and its two-storey form, which is money spent on the parts you can see rather than on replacing what already worked.

  4. Remodelling beats replacing, and by a lot

    A whole-house transformation on an existing footprint is a fundamentally different budget from a ground-up build, and on a hillside the gap is wider still. Owners on this hill regularly end up with a house indistinguishable from new construction for a fraction of the cost of starting over. That is the single biggest reason the value here is so good.

  5. It is a place, not a postcode

    Horse trails, tide pools, the Sunday drive around the coast road, a hillside that turns green in February. It is a genuinely quiet, genuinely beautiful place to live all week, not a stretch of coastline that fills up in July and empties in September.

  6. And it is still in Los Angeles

    The hill keeps the city at arm's length without putting it out of reach. The South Bay, the airport and the harbour are all a short drive down the grade. You are buying a headland, and you are keeping your Tuesday.

Restraint

The best decisions on this project were the things we left alone.

It is tempting on a hill like this to start over. We did the opposite. The footprint stayed. The two-storey form stayed, which is why the finished house still sits in the street the way its neighbours do rather than looming over them. Both fan palms out front stayed, and they are now the oldest thing on the property by decades. The hillside behind stayed a hillside — terraced and replanted, not carved into a level pad. Even the roof kept its shape; only the tile changed, from terracotta barrel to a dark flat profile that reads quiet from the street. What did change was everything that had been closing the house off from its own site: the small punched windows, the arched openings, the interior walls that cut the main level into rooms with no view in them, and the chimney mass parked against the best wall in the house.

Barrel tiles being lifted off in rows on the open roof deck with the ocean behind
The bare-stud main level during the strip-out, framing exposed and a window opening protected in place
  1. Footprint, form and roof geometry retained — no expansion into the slope, no fight with the neighbours' outlook.
  2. Both mature fan palms and the established hillside trees kept and worked around.
  3. Terracotta barrel tile replaced with a dark flat-profile tile; the roof line itself unchanged.
  4. Interior partitions removed so the main level reads as one space with the garden at the end of it.
  5. Punched and arched openings recut as wide rectangles for glass that folds away.

Film · Mid-works

Temporary posts, holding up the future living room.

This is the least glamorous week of any transformation and the one that makes the rest of it possible. Before an internal wall comes out, the framing above it is picked up on temporary posts, and those posts stay until the permanent beam is in and connected. Everything you liked about the finished house — the unbroken floor, the sightline to the garden, the ceiling that lifts — was decided in these few days by people in dusty boots, months before anyone chose a tile.

Film · Cutting the openings

This is the moment the ocean got in.

A pass through the framed house with the new beams set and the exterior walls cut open. Look at the size of the holes. The original elevations were pierced with small windows and narrow arches, which is how houses were built on this hill for thirty years and the single biggest reason so many of them feel dark inside. Widening those openings is not a window order; it is a structural decision that has to be designed, carried and inspected. It is also the one that changes how the house feels for the next fifty years.

Inside

Rooms that finally look where the house is pointed.

Four interiors, photographed from the same position before and after. The finishes are calm on purpose. When the view and the garden are this strong, the inside of the house has one job: get out of the way and stay bright.

Entry and stair, Now: An open-riser white oak stair on a blackened steel stringer with a frameless glass guard, floating in a bright double-height volume above a seamless pale floorEntry and stair, Before: A curved staircase with ornate scrolled wrought-iron balusters, travertine treads, beige walls and a potted palm

Entry and stair

The old stair was a solid object in the middle of the entry. The new one is mostly air, so daylight from the upper level now reaches the front door.

Kitchen and dining, Now: An open kitchen and dining space in white with marble slab surfaces, a round black table, a sculptural linear pendant, floating oak shelving and a clear sightline the length of the floorKitchen and dining, Before: A closed kitchen with cherry-stained cabinetry and island, iron bar stools, a tumbled-tile backsplash, travertine floor and soffit downlights

Kitchen and dining

The walls that boxed the kitchen in were removed and the load put onto a beam. You can now see from the front door to the garden, which is the closest thing to a floor plan a house on this hill really needs.

Living room, Now: The same vaulted room now white with an exposed painted beam, a bookmatched marble fireplace panel, pale oak shelving and a black-framed glass wall folded fully open onto the pool terrace and green hillsideLiving room, Before: A cream raised-panel kitchen and family room under a vaulted ceiling with a skylight, valanced windows and tiled counters

Living room

The vault was kept and reframed. The wall under it became one wide opening, so the room, the terrace and the hill behind it are now a single continuous space when the glass is stacked away.

Primary suite, Now: The primary suite with a white oak floor, a white vaulted ceiling with exposed painted rafters, a corner window onto the hillside and a full glass wall folded open to a balcony with a frameless glass guard and the ocean horizon beyondPrimary suite, Before: A primary bedroom with a dark carved four-poster bed, a wall-mounted television, carpet and a pair of French doors onto a small balcony

Primary suite

Two French doors became a wall of glass and the ceiling was opened to the rafters. There is now an unbroken line of water across the foot of the bed. Everything else in the room is deliberately quiet.

Film · The glass arrives

Panels going in, and the wall lines that had to earn them.

Here the sheathing goes on and the new glazing goes into the recut openings. The order matters: a house gives up wall to gain glass, and the strength has to be found somewhere else in the plan before the openings can be that wide. On a Peninsula hillside that is simply the price of the view, and it is a price worth paying every single time. Watch the last stretch — the moment a rough opening becomes a frame around the coastline is genuinely worth seeing.

The hour it was built for

Around five, the house stops being architecture.

That is the test we hold our own work to on this hill. Not how a room photographs at noon, but what happens at the end of an ordinary Thursday. The glass at the back is already open because nobody bothered to close it. The pool is holding the last of the light and the water blade is running. Somebody is on a stool at the counter with the kitchen behind them. The lawn on the slope has gone that saturated green it only goes in the last hour, and out past the old tree on the west side the sun is going down over the water. Then it is dark and warm and everyone is still outside. A house on the Palos Verdes Peninsula that does not produce that evening has not finished being built, however good the marble is.

The open dining and living level in white, with a glass-walled wine room, floating oak shelving, a marble bar and the pocketing glass to the terrace standing open at the far end
The rear terrace at dusk with the glass folded open, warm interior light, teak seating around a linear gas fire and the pool lit blue
  1. Living room, terrace, pool and hillside garden read as one continuous space with the glass stacked away.
  2. A counter and stools at the kitchen wall, so cooking happens in the middle of the party rather than behind it.
  3. A linear gas fire and a lit water blade to hold the terrace after the sun has gone.
  4. Warm concealed lighting in the wall reveals rather than fittings pointed at people's eyes.
  5. A sunset garden on the side of the house that used to hold the bins.

Peninsula questions

What people ask us before they take on a house on the hill

Is it really better value here than Malibu, Newport Coast or Laguna?

For what you get outdoors, we think so, and it is not close. The same money buys more land, a bigger garden and a view with nothing crossing it. Those coastlines are wonderful and they are priced as destinations. The Peninsula is priced as a suburb of Los Angeles that happens to be a headland, and the arithmetic of that has not caught up yet.

Should I remodel what is there or start again?

On this hill, remodel — nine times out of ten. The housing stock is substantial, well built and dated, which is the ideal thing to inherit. This project kept its footprint, its form and its roof geometry and still reads as a new house from the street. Keeping those things is what let the budget go into glass, garden and finish instead of into replacing structure that was doing its job.

How much of a project like this is actually outside?

More than people expect, and it is where the joy is. Terracing, retaining walls, pool, paving, planting, lighting and drainage are a substantial share of a Peninsula transformation. We price the garden alongside the house from the first conversation rather than leaving it as the thing you run out of money for, because on this hill the garden is half of what you are buying.

Can I get an ocean view I do not currently have?

Sometimes, and it is always worth checking early. Height, an upper terrace, a recut opening or simply removing an interior wall can reveal water that the house has been ignoring. Here the upper terrace and the primary suite got the horizon and the ground floor got the garden. What is possible depends on your slope, your neighbours' rooflines and the local view rules, and that is a first-week conversation, not a late surprise.

Do the glass walls make sense this close to the ocean?

Yes, with the right specification. Salt air is a real material consideration up here and it belongs in the choice of frames, finishes, fixings and outdoor hardware. Specify for the coast and a folding glass wall will be the best decision in the whole project. Specify for an inland tract house and you will be maintaining it forever.

How long does a whole-house transformation take?

Plan in seasons rather than weeks. Design and approvals come first, then a stripped-out phase, then the long middle where nothing appears to happen because it is all structure and services, then a fast, visible finishing run. We would rather tell you the honest shape of that at the start and hold to it than promise a date we both know is optimistic.

Start here

Tell us about your piece of the hill.

If you own a house on the Peninsula — or you are looking at one and trying to work out what it could become — describe it here. Send the street, the aspect, what you love about the lot and what the house is currently doing wrong. We will come back with a straight read on what is possible, what it tends to cost, and which parts of it are worth spending on. No pressure, and no numbers we cannot stand behind.

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