Brendan - Knob and tube wiring would be a no-no regardless, and wouldn't pass inspection. But rewiring a house that size and with no intent to preserve original woodwork would be fairly simple, especially since knob and tube is mainly in the attic. But I don't see the esthetic question itself irrelevant if someone were to throw AA into the equation. He hated sterile architecture. Sure, we all have to live within our means; and I had to sell my own craftsman style home prior to retirement due to all the constant forest fire prevention work each year it involved, and am now stuck with a basic city stucco box itself needing a lot of remodeling, but at least in a comfortable coastal climate. But up the hill from me are many many examples of classic period architecture, including where Dorothea Lange lived. I've worked on those kinds of buildings, consulted on their remodeling issues, and was deeply involved on the supply side too. And I'm certain the ghost of Ansel wouldn't be interested in haunting that boringly redone SF house.
If it weren't for the SF location, a property like that an hour inland might fetch $400,000. Of course, even paying the 5 million cash, you still never really own the thing, given that the property taxes alone would probably be around 50K per year.
People who do spend that kind of money in this area lean heavily into an almost Zen style of lovely woodwork everywhere. They support a lot of highly skilled craftsmen. Some projects run 20 or more years. I was pretty tight with that crowd. Some of them even studied traditional woodworking in Japan and Beijing first. That style caught on here due to architects like Julia Morgan, Bernard Maybeck, and Frank Lloyd Wright. I lived in a couple of Julia Morgan homes in exchange for labor.
And how does this tie into photography? More deeply than you might think. One of these craftsmen was nephew to Dorothea Lange and son in law to Rondal Partridge, a key assistant to both Dorothea and AA. I got a lot of insider history from him. Similarly, another highly skilled woodworker and builder who was a client of mine had deep ties to the Weston family. Then the fellow who was selling my prints bounced back and forth between a museum career introducing Asian modernist works to the US, and his own passion for fine woodworking, which included Ellison's incredible house and yachts, and then later, had a PBS feature of his joinery skills acquired from spending a year studying the special techniques behind the Forbidden City in Beijing. All these people were highly educated and had a serious appreciation for the "West Coast school" of photography, as well as for maintaining the integrity of the local architectural heritage.
The sizes and shapes of the alcoves in these classic homes determined the size of paintings or framed photos themselves. It's not like in Miami or Vegas where someone goes out and buys something ostentatiously huge and garish for sake of a big blank wall. Spaces are more intimate, and more likely to be surrounded by vintage wooden architectural detail. And by doing my own hardwood framing tailored to each specific image, it gave me an edge. But that was quite awhile back. I've kept up reasonably well with all my still living connections; but at a certain point, family responsibilities inevitably cut into my photo momentum, though I've never slowed down shooting or printing per se.