Their original product selection included mostly Modern Bathroom brand products, but they are now proud to offer thousands of items from popular and equally trusted bathroom remodeling brands, including Danze, Hansgrohe, Toto, MTI, Wyndham Collection® and Fairmont Designs and others, with more being added all the time. Using feedback from their customers, they’ve redesigned their website to make finding the perfect products quick, easy and enjoyable. They have also expanded the size of their North Hollywood showroom to provide visitors with a much greater in-store selection and they’ve added knowledgeable salespeople to ensure that every customer gets personalized, expert advice and information. Have questions about a product or need help placing an order? You can call them toll-free seven days a week and speak to a live person who is there to assist with whatever you need.

For environmentally conscious shoppers, their product selection includes hundreds of eco-friendly items, from water-saving faucets to countertops made from recycled materials to vanities constructed of sustainably-harvested wood. They are committed to sourcing green products whenever possible and reducing their company’s impact on the environment.

But no matter how much their business grows and changes over the years, they’ll always stay true to their original values – offering the personal attention, low prices and quality products that have made them one of the most popular destinations for bathroom products in Los Angeles and beyond.

Related posts:

1. eFaucets

We know the perfect spot. It’s Hollin Hills, a close-knit neighborhood of some 400 glass-enclosed minor masterpieces by one of the leaders of America’s postwar Modern movement. (See Gallery Below)

This backyard wilderness is located about 10 miles from the nation’s capital and within biking distance of George Washington’s Mount Vernon. Despite its historic surroundings, Hollin Hills has been attracting residents with an architecturally progressive bent for 60 years.

Creative Vision

Hollin Hills was the brainchild of Robert C. Davenport, a Department of Agriculture employee who came to Washington from Nebraska in 1938, at the peak of FDR’s New Deal. After World War II, he became a successful merchant-builder in the Virginia suburbs as a sideline to his government day job.

Davenport had a vision for Hollin Hills, and he also had the ability to assemble the raw materials, funding, and creative cast of characters needed to bring his vision to life. The land he chose in 1946 was hilly, with meandering creeks, steep slopes, difficult building sites, no utilities, and no roads. For most developers, that combination would have spelled disaster. For Davenport, it looked like destiny on his doorstep.

He picked a well-known architect, Charles M. Goodman, whose experience in government and military building had taught him to use prefabrication and modular construction with wit and economy; a landscape architect, Lou Bernard Voigt, who had an aversion to fences and walls; and a skilled and exceptionally patient construction foreman named Mac McCalley. And, in that house-hungry postwar decade, Davenport knew he could count on a host of eager buyers.

Construction began in 1949 and continued until 1970. Goodman’s last design was in 1961; in the later period, Davenport contributed some of his own house designs, which were similar in tone to Goodman’s. After Voigt’s death in 1953, landscape planning fell to Dan Kiley, a noted classical modernist, and, later still, to Eric Paepcke. Both continued to emphasize a seamless flow between indoors and outdoors and from property to property. For an extra $100, homeowners were offered planting schemes created specifically for their lots.

Planning the Community

Davenport was determined to interfere as little as possible with the irregular terrain and natural vegetation of the land. Accordingly, Goodman laid out the new community with curving roads that yielded to the existing topography and set aside ample space for parklands and walking trails.

Goodman devised several affordable but distinctive house plans that could be adapted to suit the needs of individual homeowners—mostly married couples with children—while capitalizing on Hollin Hills’ quirky 1⁄3 – to ½-acre building lots. Goodman’s models were endlessly varied in size, plan, elevation, and roof type, thus artfully skirting any suggestion of a cookie-cutter community.

Focusing on privacy, views, and solar orientation, Goodman ignored convention when placing houses on their lots. There were no uniform setbacks and no head-on confrontations with the street. In fact, most Hollin Hills homes seem to look backward or sideways—in any direction except into their neighbors’ windows and yards.

Though Goodman’s designs aren’t derivative, they show some influence from both Frank Lloyd Wright and Richard Neutra. Based on fixed modules that changed over the years, they were crisp without being sharp, simple but not austere—they might best be described as Soft Modern. Interestingly, for a remote suburb of the automobile-dependent postwar era, Hollin Hills paid scant attention to the demands of the car. There are some carports, but garages are notably absent.

Top Models

The first house plan Goodman offered in Hollin Hills was a split-level, a newly popular house type proven particularly suitable for sloping sites. Although the split-level had been introduced in the 1930s in the Chicago area, the Depression and war years had delayed its national spread until after wartime shortages eased. In the early 1950s it found fans throughout the Northeast, and Goodman deftly exploited its qualities for Hollin Hills. With entry, living, and sleeping areas each on a different floor, the split-level required fairly constant movement between levels, but it perfectly suited the open interior spaces and large window areas that characterize Hollins Hills houses.

Another of Goodman’s initial designs was a small, undecorated, flat-roofed slab-on-grade rectangle with three bedrooms and one bath. Like many early ’50s houses, its living, dining, and kitchen spaces were minimally differentiated, and it maximized the perception of spaciousness by giving visual access to the outside. Yet it was a far cry from the ubiquitous shoebox spec houses of the era.

In Goodman’s version, frame walls with vertical wood siding were lifted out of the ordinary by massive brick chimneys and fireplace walls and long stretches of what are now known as “Hollin Hills windows” across the width of the house.

The third major plan was for a larger, two-story house with an oversailing second floor projecting over otherwise unusable sloping land, thus creating interior space out of thin air. These projections have a sheltering effect for the first-floor windows beneath and create the opportunity for great views.

Materials were simple. Salvaged brick enlivened many of the exterior (and interior) walls, chimneys, and fireplaces; it was later replaced by painted CMU (cement block). Vertically grooved wood panels and horizontal windows created the celebrated 1950s cross axis of a strong vertical architectural element intersecting a horizontal one.

All of the plans had several variations, and were designed to be easily enlarged, generally by lengthening. Using prefabricated roof trusses with spans identical to the original house for these extensions was a labor-saving practice that was economical as well.

Hollin Hills Today

Even large Hollin Hills houses are fairly small by today’s standards. Goodman’s designs recognized the inclination to grow, however, and through the years, residents have been uncommonly respectful of their homes’ original architecture and their neighbors’ privacy. Consequently, although the community now has few completely unaltered houses, additions tend to be well-designed—thoughtful, attractive, and complementary to the original building fabric.

Of the 463 houses in the proposed Hollin Hills National Register district, surveyors identified only a handful that could be called (in Register parlance) “noncontributing resources” because of alterations. Most were disqualified on the basis of size rather than design.

From the beginning, Hollin Hills has been distinguished as much by its sense of community as its forward-looking architecture and remarkable landscape. As professional preservationist and longtime resident Jere Gibber notes, “First and foremost, Hollin Hills is an amazing community.”
That’s exactly what Davenport, Goodman, and Voigt imagined so many decades ago.

Source: Old House Online

Photo Gallery:

No related posts.

Memorial Bend is home to one of the largest concentration of 1950s modern houses in Houston. It was 1955 when builders Howard Edmunds and Robert Puig paid $3,000 an acre for a 200-acre plot of land off of Memorial Drive. Due to a lack of funds, they enlisted the help of three investors to form the Memorial Bend Development Company. One investor was William Norman Floyd, an architect whose work helped define the residential look of Houston from the 1940s until the late 1960s. Floyd designed over 500 houses and commercial buildings in the Houston area, several of which are located in Memorial Bend. Other architects such as William R. Jenkins, Harwood Taylor, Lars Bang and Brooks & Brooks also placed their mark on Memorial Bend. Jenkins and Taylor, during the early years of their careers, both worked for Floyd as draftsmen. It was a commitment to making Memorial Bend unique that enabled these architects to provide Memorial Bend with a character and style not found in other postwar Houston-area neighborhoods. It was also a dedication to good design that attracted notable architects and numerous personalities to the neighborhood.

Earle S. Alexander, Jr., retired architect and partner in the firm of Pierce, Goodwin, Alexander and Linville, moved into the neighborhood when he was just a drafstman. When his wife showed him an advertisement for Memorial Bend, Alexander protested that “nothing was past Camp Hudson,” a Boy Scout camp off of Memorial Drive. Alexander was one of the first residents in “The Bend” and one of many architects who became associated with the neighborhood. Caudill, Rowlett and Scott founders such as Bill Caudill, Wallie Scott, Charles E. Lawrence and Tom Bullock moved into the neighborhood in the late 1950s, following the relocation of their firm to Houston. Other prominent architects such as Harold Oberg of Jenkins, Hoff, Oberg and Saxe; Gunter Koetter of Koetter, Tharp and Cowell and Gilbert Thweatt of Welton Becket & Associates called Memorial Bend home.

It was during the neighborhood’s early years that several of the homes in Memorial Bend were featured in magazines such as American Builder, House & Home, Practical Builder, Better Homes & Gardens and House Beautiful. Floyd’s designs, often repeated throughout the neighborhood with changes in the façades, received national recognition from the press and the National Association of Home Builders. While many traditional houses are also located in Memorial Bend, flat, low-pitched and butterfly roofs, clerestory windows and the postwar spirit abound in our neighborhood. Today, one can walk through the neighborhood and see why early advertisements proudly claimed, “Memorial Bend: Home of Prize Winning Contemporaries… more good Contemporaries than any other subdivision in Houston.”

Source: Memorial Bend Architecture

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We absolutely love Austin when it comes to their forward thinking in architecture and design.  The numerous mid-century neighborhoods testify this began early on in the city’s history.  So it is no surprise when we happened upon this gem built in 1949 and remodeled by Cottam Hargrave (Jay Hargrave is one of Austin’s most prolific mid-century architect) nestled on a half-acre lot in the heart of Travis Heights.  The remodel doubled the living area and the home features concrete, steel & glass in a multi-level, artistic style.  A sprawling deck encompassed and shaded by massive 200+ year old oak trees.  I love trees but could personally do without oaks being that close to the home and prefer a more minimalist landscape.  The roof deck brags of a penthouse and there is even an air conditioned garden shed.   The lower level master suite has private office with a stunning alternating frosted glass window as well as a glass roof.   The unique sculptural steel spiral stairs is stunning and really pulls the home together.

This home is currently listed at a cool 875K via The Good Life Team for those who may be interested in purchasing this wonderful treasure.

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Having lived in Knoxville for four years, I have a pretty firm understanding of what most Tennessee residences look like.  Most have undeniable character and many years of living have been seen in them.  The newer construction typically follows with most of southern America with cookie cutter designs and upgrades to select from.  This is not the case however with the Wheeler Residence (a/k/a Bluff Creek Residence) designed by TWH Architects in Chattanooga.  This home tallies a $50 – $100/month average energy bill… and its 3,200 square feet is lived in by a family of 6.  That is truly revolutionary!

The homeowner Trey Wheeler, Vice President of TWH Architects worked with Ethan Collier, President of Collier Construction, to design his family’s new home and wondered, “what if I could design a highly energy efficient, low-maintenance and financially practical home in a kid-friendly location using all traditional materials?”  Well, the results were nothing short of spectacular.  Here’s how they did it:

• Integrated Project Team {a paradigm shift from start to finish}

“Contrary to what has been a paradigm architect/contractor relationship is that they approached this as a team effort with input from Ethan, from Ethan’s employees, even the subcontractors. They consulted with the insulation crew, with the masons and certainly the heating and air folks. They all worked together and it’s was a team approach.”

• 5 goals {from livability to sustainability}

1. That the design effectively respond to the numerous livability and efficiency issues that the Wheeler family experienced in their previous home.

2. That the home be situated (in terms of location and design) to accommodate an active family of 6.

3. That every aspect of the design and construction make energy sense (from the locally manufactured metal roof to the house color).

4. That the design promote low maintenance and durability.

5. That the finished home be financially practical.

SO LET’S TAKE A CLOSER LOOK

… and zero in on the 3 primary design elements that make this home highly energy efficient – livability, durability and sustainability.

Livability
{putting space to work}

Livability means your home is designed to fit you, your family, and your lifestyle. Space that works with you – not against you – over the long term. Because it’s designed around your priorities, from cooking meals to accommodating guests. Livability means you can stay put without remodeling, adding on or going crazy.

THE TANGIBLES

Go with the flow: Space flows from room to room. Open rooms flooded with natural light welcome crowds, yet there are clear lines between public and private space… and without spatial interruptions.

Park it, not breath it: The detached garage means no VOC (gas fumes) transfer into the home. And with the dark-paneled garage doors facing west, natural heating and cooling completely eliminate the need for additional energy use to heat and cool the garage.

THE INTANGIBLES

Feels like home: the Wheeler residence is designed to reflect the family’s priorities. On the outside, a private mountain bike trail/skills area, replete with dirt jumps, is carved through the woods around the home. On the inside, rooms are designed to optimize space – a kitchen big enough for the whole family and multi-use rooms for out of town guests.

OVERVIEW

Forget excess: Wheeler’s design makes practical use of space and excludes excess so that the family is not heating and cooling unused, unlived in rooms – which goes a long way toward reducing energy consumption, without compromising on comfort and functionality.

So where livability addresses the interaction of people with the built-environment, durability accounts for the interaction of external conditions with the structure itself.

Durability
{simple. solid. strong.}

Just keeping things simple can eliminate a lot of problems – like rot, mold and bugs in your crawl space because you don’t have… well, a crawl space. And a solid design using strong building materials helps the house stand up against the elements. 

SIMPLE

The home’s single story design and minimal height allows for easy maintenance.

The home sits on a concrete slab which means no crawl space – and none of the rot, mold, bugs, air leakage or energy loss usually associated with a crawl space in the southeast.

Easy, long term accessibility is accomplished by eliminating steps from the design. It also means that the Wheelers won’t need maintenance, repair or replacement of steps… ever.

SOLID

Shed roof has no valleys or intersections. In other words, no roof leaks.

Concrete floors are extremely durable and eliminate the costs associated with typical maintenance and repair.

STRONG

Boral Brick has protective pastel coating and a 30-year warranty; is especially designed to accommodate a rain screen siding system which prevents moisture infiltration.

Hardie Siding is a fiber-cement product made with recycled content (wood pulp, cement, sand and water) and resists moisture damage, insects and fire.

Standing seam metal roof is locally manufactured and has a 40 year warranty.

TPO (the practically indestructible thermoplastic polyolefin roof membrane) has a 30 year warranty.

OVERVIEW

From livability to durability, Wheeler’s design incorporates specific methods and materials that extend his home’s life-span – preempting the waste, embedded energy, and costs caused by renovation, repair and maintenance.

Along with a host of energy efficiency measures, these design elements play a leading role in the home’s sustainability.

Sustainability
{& home (eco)nomics}

So what is sustainable design? It is design that values our ecosystem and our economy. Design that conserves energy and resources. Design that halts unnecessary production of building materials. Design that prolongs the home’s life cycle and prevents future waste. Design that asks “what if?” and answers “why not!”

LIVABILITY AND DURABILITY REVISITED

• Livability {without remodeling, adding on or going crazy}

Over 100 million pounds of construction waste and debris is generated every year in the U.S. – the majority of that waste is the result of demolition and renovation. That’s why designing livable homes matters from a sustainability standpoint.

Wheeler’s design makes practical use of space. The large kitchen and multi-use rooms, outdoor recreational space and detached garage resist obsolescence – which means that, unlike many, the Wheelers won’t be remodeling, adding on or going crazy living in the same home over the long term. Simply put, there living space is sustainable.

• Durability {100-year home}

Durable building materials are not only made of recycled content (i.e. metal roof and fiber-cement siding); they are also highly durable – which means the Wheelers will never send their metal roof or fiber-cement siding to the landfill so that it can be replaced by new materials. The home’s concrete floor will never need to be replaced, and because there is no crawl space, they will never need to repair or perform maintenance underneath the house.

They call this a 100-year home – one whose components and systems are designed, built and implemented to last 100 years before needing to be replaced (2 – 4 times the average life expectancy of a conventional home). A 100-year home aims to reduce future landfill waste as well as lessen manufacturing, production and the embedded energy associated with product lifecycle.

ENERGY EFFICIENCY

Passive solar design allows for full-on natural day lighting.

Existing trees permit direct light in the winter and diffused light in the summer.

Standing seam metal roof reflects radiant heat.

Single story design prevents excessive heating/cooling.

Floor system with no crawl space means no energy loss or air leakage.

High efficiency plumbing fixtures conserve water.

Compact florescent lights (CFL’s) consume 75% less energy than conventional incandescent bulbs.

LED lamps used for outdoor fixtures as well as all under-cabinet lighting consume 75% less energy than CFL’s.

OVERVIEW

From livability and durability to energy efficiency, sustainable design not only aims to reduce a home’s regular energy consumption, but also prevent the use of energy to extract, manufacture, distribute and implement building materials in the future, and thus seeks to decrease waste generated by remodeling, maintenance and repair.

What Was Learned
{simple math}

Fact: The average American household spends $1 per square foot per year on energy. Not the Wheelers.

This home’s design and construction save the Wheelers $166/month on energy costs – that’s nearly $2,000/year and $20,000 over the next 10 years (without calculating rate increases).

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When one thinks of modern, the word “toolbox” doesn’t usually come to mind as a keyword.  Well, thanks to Bruce Roadcap Architecture that may very well change the way we think of work benches and man sheds.

The “Toolbox” is a new covered parking, storage, and workbench space replacing a 1920′s single car garage for a bungalow residence in the Houston Heights. The program dictated squeezing covered parking for two cars between a massive pecan tree and the back corner of the property. Saving the original slab helped lower costs, and minimizing new slab additions prevented damage to the large tree during construction.

The project is open on all sides to reduce scale and provide ventilation and natural light. The workbench element is visually separated from the roof and opens completely to the covered slab beyond two pairs of rolling metal doors. These doors are suspended from a laminated wood beam supported on poured-in-place concrete columns, providing lateral support for the open structure. To maximize storage of tools and equipment, wood studs and trusses are spaced 24″ apart. A canvas covers the end truss and is stretched between web members. Bolts, screws, and all structural hardware are oversized and extended to accentuate connections. The small window in the workbench area is sized to the siding and framing module providing a direct view to the kids play area. Wood siding and color match the original 1920 house, while the corregated metal roof recalls the former garage.

AIA Merit Award – 2005
AIA Small Project Practitioners Award – 2005
Published: Celebrate Architecture – June 2005
Published: AIA Small Project Practitioners eJournal – June 2005
Published: AIA Perspective – March/April 2005
Published: Texas Architect – May/June 2005
Published: Houston Chronicle – May 14, 2005
Published: Luxury Home Quarterly- March 2011

Source: Bruce Roadcap Architecture

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If you have a cool 1 million dollars plus, than this gorgeous modern beauty can be yours.  Clean lines, exceptional use of various materials and filled with light.  Puts the soul and mind at ease just looking at the photos (not necessarily the price tag though…).  Additional features are as follows:

Source: Prudential Georgia Realty

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Atlanta architect Joseph Amisano, was a partner of the firm Toombs, Amisano, & Wells and his work defined the progressive period of post-WWII Atlanta.

Born in New York City, Amisano went on to study at Pratt Institute, where he received his Bachelors (1940) and Masters of Architecture degrees (1941). His early practice was in the Manhattan firms of Sanders & Breck and Harrison, Abramowitz & Fouilhoux. In 1942, a job designing facilities for Pan-Am airways brought him to Brazil, where he had his first experience with the built work of Oscar Niemeyer. In 1950, he travelled throughout Europe and the Mediterranean as a recipient of the prestigious Rome Prize.

In 1954, Amisano joined the partnership of Toombs & Wells in Atlanta. Toomb’s reputation for modern design had previously been established through such projects as the 1947 Atlanta Rich’s department store expansion- a four-story steel and glass structure known as the “Crystal Bridge”. Following Amisano’s partnership, the firm gained the commission for the Lenox Square Shopping Center [1954-, altered]. Completed in 1959, the original open-air arcade with its expressive concrete canopy became a central feature of the suburban annexation and growth of metropolitan Atlanta.

In the 1960s, Amisano’s design work included the Visual Arts Center (1962) [now Lamar Dodd School of Art] for the University of Georgia, the original Fernbank Science Center (1963-5), and the Atlanta Memorial Arts Center (1965-8) [altered]. The John Knox Church (1964-5) was one of Amisano’s most celebrated Atlanta projects and won the 1967 AIA Award, the only church in the nation honored that year. Located on Powers Ferry Road, the church was designed as an intimately scaled response to its residential context. The main sanctuary was anchored by a low square base of rough-hewn stone, topped by a high pitched shingled roof. The exterior’s modest use of material belied an expansive interior defined by a timbered roof frame channeling natural light from openings above the altar.

Amisano was recognized as one of the dominant urban form givers of 1960s-80s Atlanta. He remodeled the Federal Reserve Bank downtown and added a garden plaza in the early 1960s. His 148 Cain Street Building and Northside 75/Beta Buildings were not atypical of the period, but his Cities Services Building (1968-70) at the edge of Lenox Square was a refined and taut exercise in late Modern office building design, standing out from the crowd of speculative office towers and commercial architecture in a fast developing city. Amisano’s Peachtree Summit Building of 1975-8, with its open corner balconies exposing to view the building’s powerful structural features of post and slab, became a prominent Atlanta landmark rising above the downtown expressway. And underground, Amisano made an asset of the raw rock and exposed earth walls of his Peachtree MARTA station of 1975-82 which became one of the most notable public spaces in the transportation system. Rugged dynamited geology is juxtaposed to the sweeping architectural vault and high technology of the rail tracks and to the steepest and longest escalators in the South, all masterfully composed within this notable rapid rail station.

In the 1980s, Amisano’s work with the firm included the Robert Woodruff Library at the Atlanta University Center serving Atlanta’s traditional black colleges, and the Second Church of Christ Scientist, Atlanta (1984-6) a poetic expression of light constructed in reinforced concrete (featured in Docomomo’s Fall 2007 Newsletter). Following retirement from his firm, Amisano remained active in design, as evidenced by a colorful proposal for a Cabbagetown Atlanta home in 2004. In that year, Amisano was featured in a public roundtable of Atlanta’s early Modernist architects, co-sponsored by Docomomo’s Georgia Chapter at the Atlanta History Center.

To the extent that an architect may change the face of a city, Amisano’s impact on Atlanta may be said to have been substantial. He designed some of Atlanta’s best known works of the period, an era labeled Late Modern and Brutalist, and the range of this work is noteworthy.

As of the date of this posting there is a current listing available in Atlanta (as seen in some of the photos above) at 1028 Nawench Drive in Atlanta, Georgia which needs renovation.  Could be a wonderful investment for the right person who appreciates this period.

Source: DOCOMOMO US

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We’ve previously written about the very popular Mid-Century neighborhood in Atlanta – Northcrest – and it continues to attract those who appreciate these historic homes and wish to renovate and/or restore them. Northcrest is a large subdivision that was developed from the late 50′s through the mid 70′s. Over half of the homes are Mid Century Modern in concept and execution. Since the neighborhood is between three municipalities taxes are low and the area has garnered little attention. A little known gem sparkling in the heart of dixie – the Northcrest subdivision is located at the outer crux of I85 and I285 (south-east of I85 and north of I285), bordered by Chamblee Tucker Road to the south and Pleasantdale Road to the east.

3597 Eaglerock Drive is on the market for resale and the selling agent came up with a pretty creative way to market the home (which is the exact layout as the one this writer resides in). The photos are nicely garnished with two models who appear to come from the late 1950′s and are busy going about their daily lives eating, talking on the phone, working in the downstairs den, etc. The pictures instantly drawn one in and I will be surprised if someone doesn’t grab this gem up ASAP. Even in this sour market, this beautiful home has been wonderfully updated however the original feel has been left intact. Hats off to the agent for coming up with this inventive idea to show off the history of the home while also accentuating the modern updates.

Property Flyer

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“A true classic. Awesome original mid century modern on 1.1+/- acres. Great floor plan with large rooms and tons of natural sunlight! Rare St Joe brick on the outside. Modernist dream. Move right in or renovate over time. Lot is on the high side of street. Beautiful private lot. Won’t last long.”

Thankfully they had modified the original description which suggested you could purchase the home and renovate it or tear it down and start over!  Tear it down??!!!  The stress returned immediately. The listing agent must have received some complaints because the revised version of the description appeared the day after the email blast.  Which could get me up on my soap box about the necessity to include these gorgeous homes on the Historic National Registry to insure their survival.

Although the listing gives us the basic details of the home – location, square feet, etc. – it fails to identify the builder or the history.  I immediately thought it resembled some of the wonderful homes built by famed Atlanta architect Robert Green (see our article, Robert Green: Atlanta Modern Architect and Icon) however I thought that certainly the listing agent would have highlighted this information if that were the case.  I actually attempted to search Fulton County, Georgia’s deed records online however it does not allow for searching by street address and the subdivsion search using “Chastain Park” came up empty.

So, here is what we do know.  The home was built in 1958 and resides in Chastain Park subdivision which is an umbrella for many smaller neighborhoods.  One of these neighborhoods is Broadland – Hillside which I have a sneaky suspicious is the more accurate location of 489 Broadland Road.   Although the neighborhood is listed on Chastain Park Civic Association’s website (ChastainPark.org), it was not linked to another page or information.

I have listed the additional details below and a virtual tour is currently available.  If anyone has any additional information on the history of this home, please post it in the comments section.

List Price: $599,000.00
Bedrooms: 4
Bathrooms: 3.5
2 Story Home in Chastain Park subdivision
Fulton County, Georgia
2 Car Carport/Driveway
Brick and Frame Construction
Fireplace

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