Spaces July 2018

REVIVAL

OF THE FITTEST DESIGN IDEAS MADE TO LAST

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THE ADDRESS IS

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Visit Tazi Designs New Showroom in Sausalito

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Seattle

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R2_Henry

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Bay Area

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New York

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The Foundation Of Your Home Starts With Us

INTERIOR DESIGN BY ROBERT FEDERIGHI

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CONTENTS S PAC E S S U M M ER / FA L L 2 01 8

96 FE ATUR ES 60 BEACH BABYLON On Stinson Beach, a renovation to last a lifetime.

By Eva Hagberg Fisher Photography by Aubrie Pick

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MI SSI ON ACCOMPL I SHED

Meeting in the midde when it comes to different design ideas.

By Zahid Sardar Photography by Suzanna Scott

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COUN T RY A I RS

A St. Helena weekend home embraces its hillside setting.

By Reed Wright Photography by Paul Dyer

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PL AY L A N D

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A N A RT I ST ’ S PROG RESS

This refreshed Berkeley hills home is overflowing with art.

By Zahid Sardar; photography by David Duncan Livingston

104 CREAT I V E

GROWT H

Two Marin County landscape architects use their yard as a lab.

By Eva Hagberg Fisher Photography by Marion Brenner ON T HE COV ER The owners bought a Potrero Avenue 1880s Victorian and worked with SF Design Build to rethink it.

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SUZANNA SCOTT (C0VER); DAVID DUNCAN LIVINGSTON (LEFT)

Video games and science fiction inform design in this Victorian.

By Zahid Sardar Photography by Drew Kelly

S PAC E S

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Moroso | SMOCK armchair Baxter | LOREN side tables Flos | SUPERLOON floor lamp Living Divani | EXTRA WALL sectional sofa

DZINE | Furniture | Kitchen | Bath | Closets | Lighting | Accessories | Art 128 Utah Street, San Francisco, CA 94103 | www.dzineliving.com | 415.674.9430

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27 33

115

DEPA RTMENTS 20 EDI TOR’ S

WELCOME

22 CON T RI B UTORS 24 L ET T ERS 27 DESI G N SPOT Design in unlikely places. By Zahid Sardar 33 G A L L ERY A roundup of

irresistible objects for the home.

Edited by Lisa Boquiren

33 CLOCKWISE FROM TOP LEFT:

LAS ALCOBAS Blend your

own oils and fragrances at this St. Helena hotel’s apothecary. lasalcobasnapavalley.com MAJORDOME PEDESTAL TABLE Designed in steel by Cédric Ragot for Roche Bobois, it features four bases including T, Y, X and O (shown here). roche-bobois.com ANDY DIAZ HOPE The artist uses mirrors and other materials to critique the way we live. andydiazhope.com GET-TOGETHER by Michael Vanderbyl for JANUS et Cie is made with aluminum and comes in three finishes including textured white vermouth, bronze and metallic grey (shown here). janusetcie.com THE DONUM ESTATE Art at this winery includes Richard Hudson’s 2016 “Love Me.” thedonumestate.com

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45 MA KERS The artist behind S.F.’s tiled stairs. By Reed Wright 48 ON

T HE RI SE Wineries embace experiential design.

By Zahid Sardar

55 VOI CES Minted’s Mariam

48

Naficy. By Laura Hilgers

111 MA KEOV ER Small spaces in Sonoma. By Zahid Sardar 115 PORT F OL I O One artist’s

twisted optimism. By Zahid Sardar

122 L A N DI N G Prague, past and present. By Zahid Sardar

133 I N B LOOM Flowers that really last. By Reed Wright 134 RESOURCES A guide to finding what’s shown in this issue.

138 REA R

WI N DOW

Willis Polk’s Beach Chalet.

By David Weinstein

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S A N F R A N C I S C O | M A R I N | N A PA | S O N O M A

EDITOR-IN-CHIEF Zahid Sardar

EDITORIAL MANAGING EDITOR Daniel Jewett EDITOR Mimi Towle GALLERY EDITOR Lisa Boquiren ASSOCIATE EDITOR Kasia Pawlowska COPY EDITOR Cynthia Rubin CONTRIBUTING WRITERS Eva Hagberg Fisher, Laura Hilgers, David Weinstein, Reed Wright

ART ART DIRECTOR Victor Maze PRODUCTION MANAGER Alex French CONTRIBUTING PHOTOGRAPHERS Marion Brenner, Paul Dyer, Lenny Gonzalez, Drew Kelly, Steve Kepple, David Duncan Livingston, Aubrie Pick, Cesar Rubio, Suzanna Scott, Rachel Styer

ADMINISTRATION / WEB CONTROLLER Maeve Walsh WEB/IT MANAGER Peter Thomas ONLINE EDITOR Donna Glass OFFICE MANAGER Hazel Jaramillo

landscape design 415 757 0794 www.webstermla.com

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MARINMAGAZINE.COM

S PAC E S

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INSERTION DATE: July 2018

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S A N F R A N C I S C O | M A R I N | N A PA | S O N O M A

PUBLISHER Nikki Wood

ADVERTISING ASSOCIATE PUBLISHER Debra Hershon ext 120 | dhershon@marinmagazine.com ADVERTISING DIRECTOR Michele Geoffrion Johnson ext 110 | mjohnson@marinmagazine.com SENIOR ACCOUNT MANAGERS Leah Bronson ext 109 | lbronson@marinmagazine.com Lesley Cesare ext 113 | lcesare@marinmagazine.com ACCOUNT MANAGERS Dana Horner ext 107 | dhorner@marinmagazine.com ADVERTISING ART DIRECTOR Alex French

REGIONAL SALES OFFICES WINE COUNTRY Lesley Cesare lcesare@marinmagazine.com SOUTHERN CALIFORNIA Leah Bronson lbronson@marinmagazine.com NEW YORK Karen Couture, Couture Marketing 917.821.4429

READER SERVICES MAILING ADDRESS One Harbor Drive, Suite 208 Sausalito, CA 94965 Phone 415.332.4800 Fax 415.332.3048 BULK ORDERS For information on bulk orders of SPACES, please call 415.332.4800.

SUBSCRIPTION INQUIRIES subscriptions@marinmagazine.com 818.286.3160

The Land Collaborative Award-Winning Landscape Architecture & Construction . Fine Gardening Lighting . Client-Centered . Residential & Commercial Design/Build Services 415 819 5263 . thelandcollaborative.com . 26 Hamilton Drive, Suite A, Novato, CA 94949

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Volume 3, Issue 2. SPACES is published in Marin County by Marin Magazine, Inc. All rights reserved. Copyright©2018.

Reproduction of S PAC ES content is prohibited without the expressed, written consent of Marin Magazine.

Unsolicited materials cannot be returned. SPACES reserves the right to refuse to publish any advertisement deemed detrimental to the best interests of the community or that is in questionable taste. SPACES is mailed as a supplement to Marin Magazine to select homes and businesses in the Bay Area. SPACES is published biannually by Marin Magazine, One Harbor Drive, Suite 208, Sausalito, CA 94965.

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always rings true and the best interior designers vie for that kind of truth, to avoid the plastic polish of the very new. It’s a fine line, because if affected, such interiors can quickly look posed, as many do despite crafted objects and wicker thrown in against standard-issue modern elements of brushed aluminum, stainless steel and yards of synthetic stone.

HOMESPUN DESIGN

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That’s why in this issue of SPACES we look at how modern environments are enhanced with traditional tile mosaics, tapestry and tole.

We highlight artists’ environments, communal living, and beachside and wine country homes that are comfortable and authentic. In all these places, homeowners have added their own touches and objects, bringing personality and individuality to each. In Napa, Stinson, Fairfax,

Berkeley and San Francisco, singles, couples and families tell their stories and reveal their design secrets. As always, the work of well-known interior designers and landscape architects is shown alongside that of fresh Bay Area talents we’ve discovered.

To understand the backdrop against which such aesthetics develop, we offer wider context with historian David Weinstein’s Rear Window column, in which he revisits the Willis Polk–designed Beach Chalet at Ocean Beach. There, murals from the WPA era echo those of artist Diego Rivera that will soon be the focus of major museum exhibitions.

Meanwhile, in Voices, writer Laura Hilgers brings you Mariam Naficy, the dynamic founder of Minted, which digitally reaches and touches nearly every Bay Area home as well as the nation. Naficy’s underlying mission: to bring naïve art to the masses in the form of greeting cards and frameable works — all created through crowdsourcing.

At the same time, in Landing we look at centuries-old design destinations like Prague, and in On the Rise we view new hybrids forming, at home and elsewhere, that tap into that creative zeitgeist, the search for genuine experiences.

Winery owners in Sonoma and in Canada’s “secret” Okanagan Valley know that crafting great wines is akin to art, and what better way to demonstrate that than to offer their bottlings amid great architecture and art?

Come to think of it, that idea itself is not entirely new. Whether it is the artist’s atelier, a palatial modern setting, or a warehouse full of fine bath and kitchen fixtures, any environment that elevates the senses has the stamp of timeless authenticity.

Z A H I D S A R DA R E D I TO R - I N - C H I E F, S PAC E S E M A I L Z A H I D S A R DA R D E S I G N @ G M A I L . C O M S O C I A L M E D I A FAC E B O O K . C O M / S PAC E S M AG ; I N S TAG R A M . C O M / S PAC E S M AG

AUBRIE PICK (SHOT ON LOCATION AT THE BATH + BE YOND)

E D ITO R ’ S W E LCO M E

S PAC E S

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CO N T R I B U TO R S

LISA BOQUIREN

DAVID DUNCAN LIVINGSTON

STEVE KEPPLE

“Royal, Gilded Treats” (p. 33)

“An Artist’s Progress” (p. 96)

“Sea Change” (p. 138)

Marin-based editor and writer Lisa Boquiren, who was on the steering committee for the American Institute of Architects National Convention, is a design and architecture aficionada who also maintains a marketing consultancy.

A native of the Bay Area, David Duncan Livingston has been photographing for interior designers, architects, magazines and books for many years. He was the sole photographer for more than five interior design books, including San Francisco Style and California Country Style.

Marin resident Steve Kepple spent a decade in the Colorado Rockies as a ski patroller and framing carpenter before turning his long-running photography hobby into a profession. He now captures images of architecture and hospitality. His work has appeared in Marin Magazine, Travel+Leisure and Sunset.

CESAR RUBIO “Petal to the Metal” (p. 133)

EVA HAGBERG FISHER “Beach Babylon” (p. 60) “Creative Growth” (p. 104)

Eva Hagberg Fisher is a writer, critic and scholar. She is the author of two architecture books. Her articles and essays on architecture and development have appeared in Metropolis, The New York Times, Architectural Record, Architect, Dwell and other publications.

Cesar Rubio, a San Francisco– based photographer, has been documenting the work of architects and designers for more than 25 years. His photos have appeared in Architectural Record, Interior Design, Metropolis, Contract and The New York Times.

DREW KELLY “Playland” (p. 86)

MARION BRENNER “Creative Growth” (p. 104)

Berkeley photographer Marion Brenner’s work has appeared in national and international publications, including House & Garden and Garden Design magazines and The New York Times.

REED WRIGHT

“Step by Step” (p. 45) “Country Airs” (p. 78) “Petal to the Metal” (p. 132)

Reed Wright’s work has appeared in Western Interiors & Design magazine and other national publications.

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PAUL DYER “Country Airs” (p. 78)

Bay Area photographer Paul Dyer’s work has appeared in many publications, including Architectural Digest, Elle Decor and House Beautiful. “I like working with architects and interior designers and a good mix of people who bring me to amazing locations and offer a different set of challenges each time,” he says.

RACHEL STYER

LAURA HILGERS

“Saving the Farm” (p. 111)

“Crowd Pleaser” (p. 55)

Feather Weight is Rachel Styer.

After completing her MFA in New York City, Rachel, a California native, returned to set down roots in San Francisco. Her photographs have been published in Suspend, 7x7, the San Francisco Chronicle and The New York Times.

People and place are major subjects within her work, which focuses on the poetic, bold and dynamic.

Laura Hilgers, a regular contributor to Marin Magazine, is a Bay Area writer whose work has appeared in O, Sports Illustrated, Vogue and other publications. A mother of two grown children, she lives in San Anselmo and enjoys the hiking trails of Mount Tamalpais.

Drew Kelly is a photographer currently living in Oakland. A northern California native, he finds his biggest inspiration in the rich and varied landscapes of the West.

His work can be found in The New York Times, The Wall Street Journal and many other publications.

LENNY GONZALEZ “Crowd Pleaser” (p. 55)

Alameda portrait photographer Lenny Gonzalez works for commercial clients IDEO, Stanford Medicine and Glassdoor while maintaining a steady involvement in the local arts scene working for The Thing Quarterly, Kronos Quartet and InterMusic.

DAVID WEINSTEIN

SUZANNA SCOTT

“Sea Change” (p. 138)

“Mission Accomplished” (p. 68)

Dave Weinstein is a longtime El Cerrito author and journalist. He was a reporter and editor for many years at the West County Times and Contra Costa Times. He also wrote a popular series of profiles of Bay Area architects for the San Francisco Chronicle. Today he is features editor for CA Modern.

Suzanna Scott is an interiors photographer based in San Francisco.

Her work draws out the character of a design through naturalistic lighting and staging. Her photos have appeared in a variety of publications such as Dwell, C Magazine and Remodelista.

AUBRIE PICK

Editor’s Welcome (p. 20) “Beach Babylon” (p. 60)

Aubrie Pick is a San Francisco food, lifestyle and interiors photographer, originally from Los Angeles, whose work takes her around the world.

She created images for forthcoming cookbooks by Luisa Weiss, Charlotte Druckman and Guy Fieri.

S PAC E S

6/5/18 10:35 AM

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L E T T E R S TO T H E E D ITO R

READERS RESPOND TO THE WINTER/SPRING 2018 ISSUE Needless to say, we were totally bowled over by the incredible feature you put together on our Sea Ranch house (“Home on the Ranch”).

The photographs were pretty sublime (David Livingston is an amazing talent — and fun) and Zahid Sardar’s quite masterful weaving together of countless random thoughts from both of us yielded a wonderfully personal, and accurate, portrayal of the house. Overall, SPACES seems to be getting better with each issue. Congratulations on crafting such a beautiful, and carefully edited, magazine.

Erich Burkhart and Doug Hudson, Sea Ranch I want to thank writer Eva Hagberg Fisher for the lovely article (“Design Sparring”) and to tell you all how terrific the new magazine looks. I commented to the team that you did a really good job of the layout.

Paul Wiseman, Belvedere

Offering a variety of custom framing options from traditional gold gilded and custom carved wood frames to modern solid acrylic, welded steel and finished hardwoods.

We were thrilled to see our Russian Hill apartment featured in (and on!) the latest issue (“Rooms for a View”). The story captured the intensity of the process that is so necessary to producing the kind of careful minimalism we strive for, and also how livable such conceptually rich, visually spare spaces (pun slightly intended) can be. Thank you for your care, your focused attention, and above all your support of the kind of work we find so rewarding.

Farid Tamjidi and Michael Garcia, S.F. CORRECTIONS Polsky Perlstein Architects, instrumental to the creation of a Kentfield house featured in “Design Sparring,” were not listed in the Resources guide.

The editors regret the omission.

In the story “Aloft, in the Sky” Adele Salierno was incorrectly listed as project architect. She was the project designer.

In Rear Window we incorrectly called the Frank Lloyd Wright–designed building the V. S. Morris Gift Shop; it is called the V. C. Morris Gift Shop.

LETTERS TO THE EDITOR Your comments may

320 Bon Air Center, Greenbrae (415) 461-7688 framecraftersgallery.com 24

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be edited for clarity and brevity. Send letters to SPACES at letters@marinmagazine.com. Please include the town where you live and a phone number.

S PAC E S

6/4/18 10:54 AM

mail@gitastiritzinteriors.com | 415-419-5577 | www.gitastiritzinteriors.com

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INTERNATIONAL ASSOCIATE

5/30/18 9:05 AM

BY Z A H I D S A R DA R

D E S I G N S P OT

RETRO FLASHBACKS, ELECTRIC BIKES & TREEHOUSES Design in unlikely places.

M A D E I N MARIN ,

an organization that showcases unusual decorative arts by Marin County denizens, will have its debut exhibition from October 1 to 25 at the Fine Arts Gallery of the College of Marin in Kentfield. It includes Ido Yoshimoto’s “Forest Floor Blocks No. 1, 2, 3” (shown), made of second-growth redwood, stained black. Yoshimoto, an Inverness arborist and artist, fashions sculptural yet functional wood stools with hand tools and a chainsaw, à la Bay Area artist J. B. Blunk, whose work is at the Oakland Art Museum. marin.edu/fineartsgallery

LAS ALCOBAS, a new luxury hotel just outside the center of St. Helena, feels like a fashionable yet remote retreat overlooking the Beringer vineyards and a wooded creek. Its several buildings include a 1907 neoclassical six-bedroom manor house on a hill within what used to be a working farm, as well as three modern up-to-the-minute structures that contain another 62 rooms with terraces and sophisticated interiors by Italian craftsmen. The Atrio spa, flanking a saltwater pool and housed in one of the new buildings opposite the event barn, is a design destination unto itself, and it contains an intriguing apothecary where you get to blend fragrances and oils for yourself. The lower floor of the mansion serves as a lobby lounge. In back, a gorgeous wood-accented restaurant called Acacia House, named after the manor, is run by star chef Chris Cosentino and partner Oliver Wharton, with an ambitious menu perhaps inspired by the chef’s experiences on Top Chef Masters and Iron Chef America. lasalcobasnapavalley.com

called Faraday — named after the 19th-century English scientist who inspired electric motor technology — was conceived for Oregon Manifest, a Portland-based bike design competition, by a team at design firm IDEO led by Adam Vollmer. He later launched Faraday Bicycles in San Francisco and his “ultimate utility vehicle” won awards. Relatively lightweight, it also has a step-through version, and it looks and rides like a regular Dutch bike. The rod-like battery — the heart of the concept, concealed in the down tube — allows a 20-mile commute. Acquired recently by the European PON Bike Group, which also owns the Dutch Gazelle brand, Faraday Bicyles now has a wider forum. Exclusive bentwood fenders, bike racks and saddles add distinction. Prices online start at about $2,500. faradaybikes.com

A GREAT NEW ELECTRIC BIKE

ON E OF THE MOST unusual Bay Area art collections resides at the di Rosa Center for Contemporary Art in the wine country, and part two of its inaugural 2018 exhibition Be Not Still: Living in Uncertain Times, through 2018, includes works from other collections as well. Shown, Ranu Mukherjee’s Home and the World (still), from a 2015 film, courtesy of the artist and Gallery Wendi Norris, fits into the experimental blend of new works paired with the museum’s collection, all highlighting aspects of the current social and political landscape such as protest movements and issues of immigration and societal health. dirosaart.org

B R I TI SH D ESI GN ER Tom Dixon’s stylish new lighting fixtures called Spot, Stone, Plane, Cut and Melt are made of metal, glass and marble and are all variously rated for hot, wet, steamy conditions — ideal for bathrooms and kitchens. Unveiled recently in Milan, the collection has dark black plated steel, gleaming copper and brass finishes as well as natural stone and pieces can be grouped or used individually. Prices range from about $320 to $800. Shown, Plane, of brass plated steel and glass, $485. tomdixon.net S PAC E S S U M M E R / FA L L 2 0 1 8

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D E S I G N S P OT

of colored and antiqued mirrors are pieced together to form designer Robert Sukrachand’s faceted 45-inch-long Gem mirror, framed with stained hardwood. Shown, a pink and whitewashed ash Gem, available at HSH Interiors in San Francisco, $2,050 (many color options available). hsh-interiors.com

I F YOU THI N K these are disruptive times because of digital technology, you get a sense of what it was like 100 years ago with the onslaught of the Machine Age, when established norms, especially during the 1930s, were rapidly altered.

The attendant angst, euphoria and excitement were reflected in art and objects, many of which now comprise the exhibition Cult of the Machine: Precisionism and American Art, at the de Young Museum until August 12. This American phenomenon, encompassing decorative objects, industrial design, paintings, photographs and even films and cars, reflected the country’s mechanical prowess. Smooth surfaces, curved forms and machine-like geometric compositions, by artists such as Charles Sheeler, Georgia O’Keeffe and Charles Demuth, characterize the era’s streamlined aesthetic.

Shown, Gerald Murphy’s 1925 oil on canvas “Watch”; Auburn Automobile Company’s 1937 Cord 812 Phaeton; and Charles Sheeler’s 1955 oil on canvas “Golden Gate.” deyoung.famsf.org

SIX PLANES

H A R K I N G B AC K to the ways we lived in the past, Keller Court Commons is a new compound of eight two-story homes on about three acres where an old farmhouse once stood in Petaluma. Designed by architects Chris Lynch and Mary Dooley of MAD Architecture for developer Jim Soules, who has touted the concept for two decades, it takes the original California approach of individual bungalows surrounding a shared common green, free of cars. The modest, roughly 1,500-square-foot structures are modern, derived from vernacular farm buildings with shed roofs; some, like the shared commons building, have colorful siding. Soules’ partner Milli Fredricks, an artist, did the interior design. madarc.com, kellercourtcommons.com

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FOGGY B LU ES and the gold of California hills are the basis of the palette used to update the historic 618-room 1904 Westin St. Francis in San Francisco’s Union Square. The hotel now feels fresher than the opulent gildedand-tan edifice of the past, perhaps even Parisian — fittingly for this city sometimes nicknamed the “Paris of the West.” The Dallas firm Forrest Perkins, which technically has a foot in the Bay Area (one of its principals lives in San Francisco), completed the $45 million

renovation, unveiled in April. The changes are dramatic, but history buffs who recall the hotel as a favorite of potentates and royalty like the Queen of England can rest assured: original crown molding, crystal chandeliers and high ceilings remain. However, modern showers, peony pink accents, blue and silver wall coverings, silver-upholstered headboards and fabrics with cloudlike patterns will appeal to clientele more in step with newer nobles like Meghan Markle. westinstfrancis.com

interior designer Barbara Barry’s work and custom furniture might lament the fact that the star Los Angeles designer, originally from the Bay Area, has partially “retired” from the urban spotlight and quotidian clients, to a rural setting. But her work can be viewed in her 2012 book Around Beauty (Rizzoli), where her ideas about natureinspired forms and comfort might, in her words, also give you a “frisson of pleasure.” And now a line of furniture, designed exclusively

for Baker Furniture, makes her work again accessible for many. Shown, her sturdy Bench Press 3316 of metal, wood and leather evokes logs afloat, rafts and a delicately balanced seesaw. Prices vary by finish. bakerfurniture.com

LOVER S OF

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D E S I G N S P OT

A FTER THE CLEA R SU CCESS

of its 2012 boutique Inn at the Presidio, San Francisco’s Presidio Trust has launched its new 42-room Lodge at the Presidio.

Run by Waterford Hotels and Inns, which also operates Sausalito’s Inn Above Tide. The three-story 1890s brick facility, formerly the U.S. Army’s Montgomery Street Barracks for artillery, infantry and cavalry troops, was renovated by Architectural Resources Group.

As at the Presidio Inn, rooms designed by Laura Cook Interiors have modern furnishings of O2 is at it again, installing lofty, artful treehouses in redwood groves. This time, his faceted 22-foothigh Pinecone Treehouse of wood and glass over a steel armature, made for a television commercial, is on temporary display in a Bonny Doon estate near Santa Cruz. For about $200,000 plus shipping costs you can even take this cool getaway home. O2treehouse.com

D E SI G N E R D U STIN FEID ER

T H E R E I S A B USY new bar where restaurant Range used to be on Valencia Street in San Francisco. Appropriately, the ’60s-style hideout is called The Beehive, the brainchild of veterans of The Treasury bar downtown and Range, including chefs Phil West and Arnold Eric Wong and designer Steve Werney.

Interior designer Floriana Petersen and Werney, who also co-authored a San Francisco guidebook, spearheaded the retro beehive-inspired interior. Gilded hex-pattern wallpapers, waxy cast-resin fondue-resistant tabletops, and creative midcentury-style booths, graphics and signage were all produced/hand-assembled at their shared Mission District atelier. Food,

by Byron Gee of Rotunda at Neiman Marcus fame, and cool cocktails in vintage glassware never had a better backdrop. thebeehivesf.com

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combined with authentic memorabilia and artisanal objects that evoke the past. Spectacular views of the Golden Gate Bridge from many rooms, vistas of national park forests and the bay, a fire pit in the communal courtyard, rocking chairs on the porches and reception and dining lounges bring a sense of comfortable luxury to the design. presidiolodging.com

INTERIOR PORTRAITS: At Home with Cultural Pioneers and Creative

is photographer/author Leslie Williamson’s latest foray into the homes of designers, this time in California.

Past and present luminaries include architect Ray Kappe of Pacific Palisades, poet Robinson Jeffers of Carmel, artists Madeleine Fitzpatrick and Evan Shively in Petaluma, and restaurateur Alice Waters in Berkeley. Williamson’s subjects, she suggests, helped make California — typically portrayed as a place of sun and sand — deeper than its mythical self. Rizzoli, $55

Mavericks

D E S I G N I N G W I T H PA L M S , by horticulturist Jason Dewees with photographs by Caitlin Atkinson, contains virtually everything you need to know about palms and their use in gardens.

Based on the San Francisco author’s knowledge and hands-on expertise gleaned at Flora Grubb Gardens, where he works, it is encyclopedic, instructive, and an inspiring coffee-table delight.

Timber Press, $50

DESIGN BY NATURE: Creating Layered, Lived-in Spaces, by fashion designer Erica Tanov with photographs by Ngoc Minh Ngo, has ideas on how to translate flowers, water and wood into elements of interior design. For instance, the skeletal lacy remnants of a leaf inspire gauzy drapes, and actual ferns are used to stamp patterns onto wallpaper. Ten Speed Press, $35 FIGURES IN A LANDSCAPE: People and Places,

by travel writer Paul Theroux, is an entertaining set of essays recalling far-flung encounters in Morocco, Ecuador and Zimbabwe. Conversations with celebrities like Michael Jackson and Elizabeth Taylor and even a New York dominatrix’s thoughts on the virtues of Saran Wrap and the do’s and don’ts of spanking are revealing. Houghton Mifflin Harcourt, $28

don’t own a piece of furniture designed by 20th-century artist Donald Judd, you can now sit in one of eight replicas during Donald Judd: Specific Furniture, an exhibition at SFMOMA from July through November 4. Judd called works beyond sculpture “specific objects,” and Judd’s original architectural furniture pieces, alongside other items and drawings he admired or was inspired by — including works by Alvar Aalto, Gerrit Rietveld and Mies van der Rohe — are the focus of the displays, conceived by architecture and design associate curator Joseph Becker in collaboration with the Judd Foundation. Shown, Judd’s 1984 Armchair design in SFMOMA’s collection, fabricated posthumously in 1998. sfmoma.org

EVEN IF YOU

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E D I T E D BY L I S A B O Q U I R E N

G A L L E RY

ORANGE VASE The limited-edition vase made by Royal Leerdam Crystal is designed by Frank Tjepkema to commemorate the Netherlands’ Princess Beatrix’s 80th birthday.

Inspired by the number eight, its mouth opens up like a royal collar.

About $375. royalleerdamcrystal.nl

ROYAL

GILDED TREATS

Unconventional forms in wood, glass, stone and metal.

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AIIR by GamFratesi for DEDON features injection-molded seating with tapered teak legs plus optional seat and back cushions. Shown here in armchair version in nori and also available in salt, pepper or saffron. Trade pricing upon request at Dunkirk 415.863.7183. dunkirksf.com

TOTEM 3 PENDANT designed by Doyle Cosby for Sausalito-based Boyd Lighting and shown here in coal features 22k yellow gold leaf inside cast metal with LED lamps. Other finishes available. Trade pricing upon request at Donghia San Francisco 415.861.7717. donghia.com

AFTEROOM COAT HANGER designed by Afteroom for MENU is available in either powder-coated zinc alloy or powder-coated-andplated zinc alloy in black or black-brass as shown here. Available for $69.95. store.menudesignshopcom

KENAZ SMALL TABLE features a satin-finished aluminum cast base (shown here in matte gold), polished lacquered wood under top and marble or semiprecious stone top in natural agate, purple amethyst or green onyx (shown here). The base is also available in bronze or silver colors.

Available starting at $8,800. visionnaire-home.com

CT-204 COFFEE TABLE by Antoine Proulx features a wedge of wood atop metal legs. Available in custom sizes, wood and steel finishes. Trade pricing upon request at Sloan Miyasato 415.431.1465. sloanm.com

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DESIGN | SAINT DIZIER DESIGN CONSTRUCTION | NOB HILL CONSTRUCTION

Lighting Design l Control Systems Electrical Contracting l Maintenance & Service

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- aaron rose

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In the right light, at the right time, everything is extraordinary.

285 Bel Marin Keys Blvd., Suite G, Novato artisticlightingcorp.com l 415.382.9500

5/25/18 11:46 AM

G A L L E RY

AVENAL DINING TABLE

by Peter Karel for Randolph & Hein features four-tone oak. Available in custom sizes. Trade pricing upon request at Sloan Miyasato 415.431.1465. sloanm.com

REFLECT LIGHT designed in Healdsburg by Karen Gilbert and Paul Pavlak of SkLO features glass hand-blown in the Czech Republic and brass finish. Available for $1,575 each in three shapes as shown at Arkitektura 415.565.7200. arksf.com

SIDE TABLE designed in San Francisco by Aaron Jones for Galanter & Jones is made from cast stone that is hollow inside. Available for $850 at 415.937.0336. galanterandjones.com

TOWER CHEST by Darryl Carter for Milling Road features two doors each with one adjustable shelf. Made from hardwood solids and veneers and shown here in white brushed lacquer with smooth gray powder-coated metal frame and accents. bakerfurniture.com

MURPHY SOFA by Precedent, shown here in Vance Rose velvet upholstery, features wooden legs with charcoal finish. Available for $1,699. roomandboard.com

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The secret life of sheets

Est. Marin County, 1996 | bellanottelinens.com

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G A L L E RY

TRESTLE TABLE by Ted Boerner features an engineered wood top and split legs, shown in white oak with warm gray finish and Ballet White OC-9 color. Custom options available and made to order by hand. Trade pricing upon request at HEWN 415.962.7833. hewnsf.com

LUNA & KOSMOS LAMP by Alexander Lervik for Design House Stockholm is an all-glass globe pendant with cables and hanging mechanism built into one cord. Shown here with Luna, a powder-coated metal holder in black, sold separately. Trade pricing upon request through Koncept 22. koncept22.com

BOHEME BRIDGE designed by Massimo Zaniboni and Paola Bonazzi features an arched wood frame in natural or solid ash wood with natural rattan caning as shown here or padded back in fabric, leather-like fabric or leather.

Available for $1,055 at Roche Bobois 415.626.8613. roche-bobois.com

NARCISSUS TABLE from Toronto-based Powell & Bonnell features an elliptical black oak base, with plated steel band–wrapped top and an inset clear resin surface with hand-sculpted resin flowers by COO. Custom sizes and finishes available. Trade pricing upon request at Shears & Window 415.621.0911. shearsandwindow.com

ARCADE DAYBED designed

by Simon James for Resident features a wood frame with multi-density feather and foam system shown here in Haakon by Kvadrat.

Other upholstery options available. Prices range from $3,175 to $7,310 at Y Living 800.236.9100. yliving.com

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G A L L E RY

BABY RADIUS CONSOLE by Fernando Mastrangelo Studio is handmade from cast white cement and silica. Made to order in Brooklyn, NYC. Customization available. Starts at $27,500. By appointment only at FM/S. fernandomastrangelo.com

MESH 100 by Francisco Gomez Paz for Luceplan features a steel structure of flexible cables with LED lamps and polycarbonate lenses. Available for $5,950 at Luceplan. luceplanusa.com OLEMA LOUNGE CHAIR by David Sutherland in weathered teak features a semi-reclined, raked back. Cushions sold separately.

Prices start at $1,796 at RH San Francisco 415.865.0407. rh.com

COOPER C-SIDE TABLE pairs a honed white marble top with a warm brushed brass base. Available for $399 online only at Sixpenny. sixpenny.com

FRANKLIN CREDENZA by Bay Area–born Christopher Kennedy is constructed from solid pine and available in a variety of sizes and finishes. christopherkennedy.com

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Finding the right home is more than the square footage and number of rooms. It is about your quality of life and how you live outside those walls. Carey Hagglund Condy is one of the most respected luxury real estate agents in Marin County and one of its most passionate residents. She provides a unique and personal perspective to living in Marin County, with unparalleled knowledge, standard of care and attention to detail to help guide your journey to the perfect home.

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G A L L E RY

PINE TABLE by Simon Legald for Normann Copehagen in solid pine features octangular feet.

Wood finish available in natural or colored stain options, including light gray as shown here. Trade pricing upon request through Koncept 22. koncept22.com

KOSMOS heated chair designed in San Francisco by Aaron Jones for Galanter & Jones features lightweight cast stone seat with powder-coated stainless steel frame shown here in a brass finish. Energy-efficient heating comes through plug-in-ready 120-volt power. Available for $1,700 at 415.937.0336. galanterandjones.com

QUATI TABLE LAMP designed by Carlo Moretti features transparent and frosted Murano crystal, brass pipe and black metal base. Available for $1,500 at Bright on Presidio 415.901.3404. brightonpresidio.com

GARRISON SEAT OR LOW TABLE designed by Toronto-based Stacklab is made from sand-cast tin bronze with mirror-polished finish.

Trade pricing upon request at HEWN 415.962.7833. hewnsf.com CABINET 2 PORTES designed by Maison Christian Lacroix for Roche Bobois features a storage unit and shelf in veneer on plywood, connecting marquetry with repeat on the exterior back atop leg bases and braces in stainless steel with onyx finish. Shown here in white lacquer with Birds Sinfonia digital print on front doors with Bosquet digital print on interior of doors (not shown). Available for $4,695 at Roche Bobois 415.626.8613. roche-bobois.com

SYDNEY SOFA by Jean-Marie Massaud features a frame made with wood by-products, flexible molded polyurethane, pre-covering in polyester and feet in metal matte and glossy brown nickel finish. Final cover is made from a stretched, removable fabric with drawstring stitching. Loose cushions in three dimensions with fabric cover. Trade pricing available upon request at Poliform San Francisco 415.255.0135. poliform.it/en-us/poliform

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6/4/18 2:26 PM

from the CUNAT FAMILY

We invite you to visit our vineyard and winery in the Oak Knoll District, a diverse winegrowing appellation of Napa Valley.

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5/16/18 9:57 AM

BY R EED WR I G HT

MAKERS

STEP BY STEP

PHOTOGR APHS COURTESY OF COLETTE CRUTCHER

A mosaic artist’s inspired fireplaces, hearths and backsplashes have their geneses in her much-touted outdoor masterwork.

Artist Colette Crutcher unpacks finished leafshaped tiles for a mosaic mural. In the background, the atelier where she and sometime collaborator Aileen Barr fire them.

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MAKERS

Clockwise, from bottom left: Close up, the vivid details of a Redwood City fountain composed of shattered as well as custom tiles by Colette Crutcher and Aileen Barr; a close up view of Crutcher and Barr’s first collaborative work: the mosaic risers for a 1928 public staircase on Moraga Avenue at 16th Avenue in San Francisco; a view of the full staircase’s 163 steps.

Colette Crutcher, the climb to fame — of the kind that draws tourists in large buses to see her citywide mosaics and murals — was literally 163 steps high.

It was the vivid tile-and-mosaic mural Crutcher helped create for a hillside staircase on Moraga Avenue at 16th Avenue that first garnered hits online and a top spot on several lists of the best things to see in the city.

Crutcher started creating sculptural mosaics from salvaged tile in 2002 during an arts residency at the Recology dump (formerly Norcal Waste Systems), and she continued using techniques learned there to make public art and murals, as well as decorative panels for fireplaces and backsplashes. “Tile was more durable than anything painted, and it made me want to do more,” she says.

The staircase project started in 2005 with the support of the San Francisco Arts Commission and a call for design proposals from Jessie Audette, a wind energy specialist who had recently returned to the U.S. from Brazil.

Audette had started using a vertiginous 1928 public staircase in her new neighborhood as her private Stairmaster, but soon began to think the utilitarian raw concrete 80-foot-high FOR SAN FRANCISCO ARTIST

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stairs could be tiled and decorated to echo the renowned Santa Teresa stairs she loved to climb while living in Rio de Janeiro.

“That beautiful staircase is bigger, higher and wider, has a massive quantity of tile, and was done over a period of about 12 years by one guy (Chilean artist Jorge Selaron) who was fairly crazy,” Crutcher says.

Well, it turns out Crutcher was almost as crazy.

When Audette and neighborhood collaborators such as Alice Yee Xavier couldn’t choose between Crutcher’s mosaic design and the work of Irish tile-maker Aileen Barr and suggested the artists work as a team, Crutcher quickly agreed. The idea of having an accomplished partner for such a large endeavor, which eventually took a year to complete, “was definitely a good plan,” she says.

The design for the stair risers is a seamless combination of the two women’s individual visions. It includes Crutcher’s waterfall, flowing toward the ocean, and Barr’s seamless landscape incorporating the bay and the skies above, rendered with mosaics made of tile scraps as well as custom tiles made by both artists, who had never worked together before.

“Aileen taught me how to make tiles and I taught her how to do mosaics,” Crutcher recalls.

Like Crutcher’s other murals, the stairs’ design also began with a watercolor painting that served as a guide for the final work. The painting was sliced into 163 strips to form a template for each riser, which was then drawn to scale on paper and transferred to a plastic mesh backing fabric.

“We made alterations to the palette depending on what tile was donated by companies like Heath Ceramics,” Crutcher says. “Heath’s tile is gorgeous, high-fired and vitrified like glass. The blues and greens are amazing and the quality of their glazes affects the way the mosaic looks.”

In the end, the salvaged tile — cut by saws, broken with hammers and nipped into shapes before being glued to the mesh — was augmented by less than $300 worth of new commercial tile.

The rest of the $120,000 that Xavier and Audette raised, from about 300 individuals and a few businesses, paid for city permits, expensive raw materials, the artists’ textured handmade kiln-fired fish-, flower- and star-shaped clay tiles, and professional installers and grouters.

Audette and Xavier convinced neighborhood volunteers to supply labor the pair could not afford — which had the bonus effect of making the staircase beautification a community effort.

“There really hadn’t been a precedent for something like this in the city,” Crutcher says.

“The first people who donated their time and money were really taking a chance that it would happen at all.”

Since that award-winning staircase, Crutcher, her husband, artist Mark Roller, and Barr have done more public projects, including, through the city recreation and parks department, a lauded dragon-shaped play structure for a Mission District playground. But for Crutcher, the smaller private residential commissions she gets are equally appealing, because of the manageable scale and the speed at which she can now produce them. “Even in bathrooms, low-relief tiles like the ones I make now are interesting and fun,” she says.

Still, when people post pictures of cool things on websites and in guidebooks about the city, it is the 16th Avenue staircase that gets featured.

“We were up to our eyebrows in tile when Alice [Xavier] first commented that buses full of tourists would come to see our work, and we just laughed,” Crutcher says. However, Xavier was right. And the world still comes to stare. n colettecrutcher.com, aileenbarrtile.com

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We needed a home away from home.

We’re just like you, part of a community, and know a home isn’t merely a place to live, but a place where one creates a life. We are committed to your interests and to serving the community with a sense of joy and accomplishment.

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5/30/18 9:32 AM

ON THE RISE

BY Z A H I D S A R DA R

FIELDS OF DREAMS

ANTHROPOMORPHIC ROBOTS , drones and other digital helpers from Silicon Valley and elsewhere around the globe will undoubtedly do many useful things, such as driving us around.

But what they can’t yet do is create emotional experiences.

That skill is still the unassailable realm of humans, and wineries in particular are becoming the latest forums for such experiential design.

Two relative newcomers, the Donum Estate in Sonoma and Martin’s Lane, in British Columbia’s Okanagan Valley, are among the best examples of wineries that blend the ancient art of vinification with modern food, architecture and fine art.

Their ideas are not entirely new. For example, Castello di Ama, a 1970s winery in Italy’s Chianti region, began in 1999 to install site-specific art within its vineyards and in the 12th-century hamlet whose buildings it occupies. But ancient stone buildings, no matter how picturesque, cannot offer what modern winery buildings can.

The new wineries — not unlike multifaceted

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museums built during the 1990s — are specifically designed as congregational cathedral-like spaces where wine, paired with food, can be admired and enjoyed alongside and on par with art. The structures are no longer purely utilitarian and “agricultural” but are essentially theaters, where these art forms, served simultaneously and almost ritually, heighten the senses.

AT THE DONUM ESTATE ,

set amid hills and Sonoma wetlands, the mesh of wine, food, art and architecture evolved organically. Winegrower Anne Moller-Racke, the former wife of one of the owners of Buena Vista Winery, which was sold in 2011, helped her ex-husband Marcus found Donum shortly after, on the last 200 acres there that the family still owned.

“My passion was always pinot noir,” says Moller-Racke, who is from a region in Germany where such wine is produced. So that’s what they made, just 150 cases at a time, and quickly garnered the kind of fame that only the best wines command.

“It got nice ratings. We got 95 from the Wine Spectator at a time when ratings were important,” Moller-Racke says.

To build a winery around the brand they created, Moller-Racke found other investors, including Allan Warburg, a Hong Kong–based clothing entrepreneur. Three years later, on a whim, “Allan’s idea to add sculptures to the property was born,” she says.

Within a month of that decision, “Charging Bull” by Arturo Di Modica arrived, and a circle of Ai Weiwei bronzes inspired by the Chinese Zodiac and a giant stainless-steel “boulder” by Paris-based Arik Levy were on the way.

A section of the estate had been a stagecoach stop during the 1870s, and the stone marker remains, alongside accumulating sculptures that now total more than 30 scattered in the rolling landscape. “But it is still farmland,” Moller-Racke says.

In 2015 the winery owners and partners began planning several structures with San Francisco architect Matt Hollis. A recently completed

PHOTOS COURTESY OF THE DONUM ESTATE AND MARTIN ’S L ANE WINERY

Wine is not enough: experiential design is the new brand in wineries today.

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The sculpture park and tasting room at the Donum Estate: Opposite, “Artificial Rock” by Zhan Wang.

Clockwise from top left: “Hombre Caminante, Walking Man” by Fernando Botero; the exterior of the tasting room building and gallery by Matt Hollis; the wine displayed inside; a circle of Ai Weiwei bronzes inspired by the Chinese zodiac underplanted with daffodils within an olive grove; inside the tasting room; “The Care of Oneself,” a steel sculpture by Elmgreen & Dragset.

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ON THE RISE

tasting room on a knoll, where Moller-Racke used to live in a former dairy building, alludes to agricultural board-and-batten buildings with its shed and gabled roofs. “For the siding we variously spaced the battens closer and farther apart, like lines on a topographical contour map, because that building is about the land,” Hollis says. “It makes the flat surface look like it is undulating.” The wine production building still taking shape nearby will evoke water and nearby San Pablo Bay, with rain screens of perforated metal to simulate water drops.

Inside the new tasting room building, gallery-like white-walled rooms showcase paintings, and large windows let in light and views of the land. A new annex, built especially to house a weather-sensitive steel spider sculpture

by Louise Bourgeois, echoes the same design.

“The Donum Estate is definitely a gallery as much as it is a winery compound,” Hollis, who has worked on nearly 40 wineries, including Etude and Inglenook, says. “Here, sculptures seem to drop down regularly from the sky.”

The rest of the striking art situated outdoors needs constant maintenance and could be a distraction, but not for Moller-Racke. “I love the land and the art enhances it,” she says. “It encourages visitors to walk the property, feel the climate and understand the terroir. Even from inside a building that is not an ostentatious chateau, you can feel and taste quality in all its aspects.” An unexpected bonus: in beautifying the site, landscape architect Bob Cleaver introduced a circle of olive trees around Ai Weiwei’s bronzes, so now Moller-Racke also harvests olives to make an olive oil with the winery’s label.

“The fact that I can even call Donum a wine brand is amazing,” she adds. “We are shipping to consumers directly, thanks to the internet. In the past, small wineries like us could not go to market without a distributor.”

The internet has also brought the winery a new clientele of busy tech millennials, who want the intimate, slowed-down experience that small-scale Donum offers in its modern tasting room.

“The land always had a raw beauty but now it is groomed,” Moller-Racke observes. “With new buildings and art, you can ‘taste’ the surrounding marshland and feel the wind. The interplay of everything is exciting. It is a working farm and also a tasting room gallery with a sculpture park.”

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The gravity-flow Martin’s Lane winery near Kelowna, Canada, designed by Tom Kundig, has views of Okanagan Lake. One half of the impressive concrete and Corten steel building is parallel to the horizon and the other echoes the hill slope.

south of Kelowna, a town on the edge of 84-mile-long Okanagan Lake, Anthony Von Mandl is producing fine pinot noir and riesling. But the entrepreneur, who became famous for creating Mike’s Hard Lemonade, has also been methodically helping to elevate the Okanagan Valley into one of the world’s leading wine-growing regions for decades. In 1996, with a then-budding Seattle architect Tom Kundig, he created a postmodern interpretation of a classic European monastery replete with a quadrangle, loggias and a bell tower for his Mission Hill Family Estate winery.

It has become a cultural beacon for the area, with popular summer concerts that bring large crowds for wine, food and music outdoors. A few sculptures amid the vines accent the stately compound that Von Mandl conceived “to stand 400 years,” he says.

Fast-forward to last year, when Von Mandl and Kundig completed what is probably one of the most elegantly modern Corten steel-andglass buildings for Von Mandl’s Martin’s Lane winery, founded in 2014.

UP IN BRITISH COLUMBIA

Martin’s Lane’s first pinot noir vintage garnered 97 points from Wine Spectator and it deserved an equally stellar home. “I really wanted a building that would literally fit into the landscape and reflect the colors of ponderosa pines and dark forest floors surrounding us,” Von Mandl says.

He got that and more.

The new rectangular winery building, embedded into a hillside, is divided in the middle so that one half, cantilevering out, aligns with the horizon and the other cascades down, mimicking the site and echoing the gravity-flow wine-making process Von Mandl now prefers.

To help move grapes downhill through every stage of production, from juice to wine that is finally stored in barrels in the cellar, Kundig devised six levels. An elevator, as well as a showy circular staircase with curved steel railings and wood treads, links several of them. On the lower floors, steel tanks are in uncomplicated square rooms with movable catwalks that will provide flexibility if the design and scale of storage tanks and/or technology change in the future.

Upstairs, vineyard-facing rooms are accented

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ON THE RISE

with warm wood floors and ceilings. A large crank-back window wall — a Kundig signature — faces the lake and vineyards to add to a sense of theater.

“It is all functional and contemporary but everything is designed exquisitely and can be viewed as sculpture,” Von Mandl says.

Several decorative elements, such as a heavy Corten steel front door that opens inward to the darkened concrete-walled foyer, are by Barcelona architect Antonio Puig, whose family is linked to fashion and fragrance brands like Paco Rabanne. In the cantilevered section, where intimate and discrete tasting areas are located, wines are displayed; the dining furniture by Puig’s firm GCA, was crafted of wood and steel in Vancouver. Mysterious-looking, barrel-like tasting booths can be moved around to form different configurations for exclusive groups invited to taste the wines in house.

The designs complement the architecture and also try “to show the story around the wine,” Puig says. “But not every story has to be revealed at once.” n 52

Clockwise from above: A corkscrew-shaped spiral staircase of steel links all six levels of Martin’s Lane winery, which has an entry door and furnishings designed by Antonio Puig; Corten steel signage; the sloped section, which receives grapes from the vineyards up top, has crushing facilities in the middle and storage at the bottom.

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BY L AU R A H I LG E RS

VOICES

CROWD PLEASER

Eve.com founder Mariam Naficy trusted her instincts and went on to form Minted, a new greeting card business that invites lay designers and artists to widen the creative playing field.

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VO I C E S founded Minted.com, the online stationery retailer, in 2007, she “felt a little chicken” about testing her new business model. She was already a successful businesswoman. She’d received an MBA from Stanford and sold her first startup, the online cosmetics company Eve.com, for more than $100 million in cash. But she loved the idea she had for Minted: holding design competitions and letting customers decide which cards should be printed.

“I thought crowdsourcing would be a way to tap into undiscovered artists who were hidden from the normal system and deserved a chance at distribution,” Naficy says. “It seemed like a way to bring constant freshness to the equation.”

But she wasn’t sure anyone would go for it. A few T-shirt companies had tried it, with limited success. When she launched Minted in April 2008, she decided to sell stationery from namebrand retailers, too, just to be safe. In the first four weeks, the company made just one sale.

Business brightened a bit when Minted held its first design competition — and received 60 submissions. One to two orders per week started rolling in for the 22 winning designs and demand snowballed over time. In trusting her original instincts, Naficy, with Minted, had tapped into the zeitgeist. “I thought it was just my friends and I who wanted unique design,” she says. “But social media was starting to barge in and people were interested in expressing themselves in unique ways.”

WHEN MARIAM NAFICY

“I thought crowdsourcing would be a way to tap into undiscovered artists who were hidden from the normal system.”

Minted found its audience, changing the way many Americans create their holiday cards, wedding invitations and baby announcements, while also creating an entirely new market for designers and creative people around the world.

In the process, the company became wildly successful. Minted, headquartered in a stylish former bank in San Francisco’s Jackson Square, grew from 15 to 400 employees. It now generates millions of dollars in sales each year.

The success stems in no small part from Naficy’s unusual skill set. A highly focused entrepreneur, she has both an astute sense for business and a keen eye for design. “It’s super rare to find people who have both,” says Hiroki Asai, 56

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IMAGES COURTESY OF MINTED

a Minted board member and former vice president of global marketing communications for Apple, where he reported directly to Steve Jobs.

Naficy, an overachiever, has been honing these skills her entire life. As a child, she skipped two grades in school, graduating from high school at 16. She attended Williams College, got a job as a banker at Goldman Sachs, and then attended Stanford business school. While at Stanford, she published a book, The Fast Track: The Insider’s Guide to Winning Jobs in Management Consulting, Investment Banking, & Securities Trading.

Naficy grew up in the U.S., Africa and the Middle East as the daughter of a Chinese-born mother and an Iranian-born father, a United Nations economist. From these mobile origins she developed that restless, traveling spirit common to serial entrepreneurs. She also grew enamored of textiles and design. “I was always shopping in bazaars with my mom, haggling

David Becker, Dead Reckoning, 2013, acrylic on canvas; photo: courtesy the artist

Clockwise from top: Wedding suite by Baumbirdy; Pink Hawaiian prints by The One With Wanderlust; mud cloth pillows by Erin Deegan; birth announcement by Lindsay Stetson Thompson; napkins by Erin Niehenk.

David Becker

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VO I C E S and trying to find some gem or treasure in a dusty corner of the market,” she says. “I grew up constantly looking at these objects.”

Though Naficy is not an artist, she comes from a family of them. Her grandfather, an antiques dealer in Shanghai, insisted that all his children receive an arts education. Her mother draws. Her uncle is a graphic designer. And her aunt, May Sun, is a well-known Los Angeles installation artist.

“I have this really strong appreciation for what it’s like to be a creative person,” she says, “and the incredible courage it takes to put a bit of your true soul out on display for everybody to see.”

She also knows how tough it is to earn a living as an artist — and is thrilled Minted has made it easier for people. “It’s almost like we found our revenue before we found our religion,” she says — holding design competitions long before anyone realized these were creating a way for artists to find community, support and a viable livelihood.

Traditionally, card companies have hired in-house designers and illustrators or subcontracted with a handful of people to create their cards. Designers outside major metropolitan areas rarely got a shot. With Minted, anyone can enter the multiple competitions the company runs at any given time and receive critiques from other artists, as well as votes from customers and fellow artists.

“Mariam saw an opportunity to open up the stationery space and allow more voices to be heard and more designers to have their work distributed,” says Jeremy Stoppelman, CEO of Yelp. “She created a democratic platform where anyone can participate in competitions, gain valuable distribution and build their resume.

It’s a really powerful thing to have an open marketplace and ideas.”

“Minties,” as these artists are called, have also formed a large and vibrant community, connecting with and supporting each other through Facebook groups and in-person Meetups around the country. “We have 15,000 active participants,” Naficy says, “and they’re in all 50 states and in 60 countries.” Minties range from full-time artists to lawyers, plumbers and stay-at-home moms who moonlight as designers. And they’re in places such as Tulsa, Oklahoma; the Mormon communities of Utah; and the American Southeast, where “stationery is beloved,” Naficy says.

In 2012, Minted expanded into wall art, and it recently began offering pillows, lampshades, 58

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curtains, and a line of children’s furniture. This move has opened even more doors for Minties.

“When we realized that we had not created a stationery business but this community, that’s when we sought out more venture capital and expanded,” Naficy says. “We were empowering a lot of people to find themselves creatively and get validation and move their careers in a completely different direction.”

Naficy’s steady, calm, forthright manner might suggest the road to success has been easy. It hasn’t. She’s raised $90 million from venture capitalists and battled inequities faced by many female entrepreneurs. “Trying to convince male venture capitalists to fund a business that primarily appeals to women can be a real challenge,” she says. “Invariably, the V.C. calls his executive assistant in and asks her, ‘Have you ever heard of this company?’ Seriously, it happens every time.”

Success has brought a tightly booked schedule. Naficy makes it a priority to spend time with her husband and two children, the second of whom was born the same year as Minted.

She runs half-marathons with Every Mother Counts, Christy Turlington Burns’ nonprofit, and sits on its board. She’s also on the board of Yelp and the Stanford business school’s Advisory Council. “It’s a very regimented and scheduled life,” she says, “and there’s a part of me that’s very entrepreneurial and just wants to not have all the rules. I’d like a day when there’s nothing on my calendar.”

That may be a tall order — and probably one she may not truly want. “She’s a very hardworking, determined entrepreneur, and she cares a lot about the community she’s created,” Yelp’s Stoppelman says. “That’s probably one of the main reasons she gets up every day and hops, skips and jumps into work — so she can provide an outlet for all these incredible designers around the country and the world.” n S PAC E S S U M M E R / FA L L 2 0 1 8

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A layering of sophisticated beach furniture — like an HD Buttercup white chair and a Cisco Brothers light blue chair angled into the corner of the window — offers a sense of breezy ocean-oriented texture in this sun-filled living room overlooking the edge of Stinson Beach.

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A BREEZY, LIGHT-HEARTED RENOVATION ON THE MARIN COAST ADDS WARMTH AND COMFORT FOR GUESTS AS WELL AS THE OWNERS.

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“ T H E R E ’ S T H I S Q U I E T N E S S A N D M E L D I N G O F T WO WO R L D S ,”

Lauren Nelson says, describing the particular magic that is Stinson Beach.

The interior designer, based in San Anselmo, is looking for the words to describe this particular stretch of California coast that’s beloved by locals and visitors alike. She wants to describe the particular specialness: the way in which the bay and the mountain are in conversation, the thin curved slip of beachfront that identifies this area, even from a zoomed-out Google map, as Stinson, the magic of Bolinas — almost its own country — to the north. “It has a roundedness to it,” she says.

When a couple of San Francisco residential clients called to say they’d found a property on the beach, Nelson was “filled with envy and joy.”

The joy came from knowing how amazing Stinson is; the envy because Nelson, who’s lived and worked in the area for years, also knows how hard it is to find a property here: “There’s such a limited amount of land.” The couple lived in the house for two years before asking Nelson to work on

the interior design, a time span that allowed them and their children to get a feel for what they needed from the space.

“We wanted to keep it ready for the next 50 years,” the owner says.

“We also wanted to retain its style.” They worked with architect Steve Wisenbaker on renovations. On the interior design side, preparing the house to withstand changes in weather, owners, lifestyle patterns and the passage of time while also keeping connection to its original beachy ease sent Nelson in the direction of white-painted plywood that became integrated with new tile and cabinetry; functional windows; doors that keep the relationship between indoor and outdoor fluid; and a massive dining room table that can, on some social weekends, accommodate three families.

“We wanted a really warm family home that was pretty forgiving for sandy feet, and dogs, and lots of guests,” the owner says. “We wanted people to feel very comfortable and real and not worry about the messes of people running in from the beach.”

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An outdoor seating area is furnished has sofas from Restoration Hardware and a chair from Frontgate oriented around a custom fire pit, with the feeling of the expansive ocean always at hand. Opposite: A Daniel Grant photograph rests over a Cisco Brothers daybed livened up by an assortment of visually textured pillows.

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In the dining room, a custom Kyle Dunn–designed table complete with Muuto Nerd Chairs rests underneath hanging lights from Cisco Brothers; in the kitchen, counter stools from Hudson Grace sidle up to the counter.

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Hanging lights from Cisco Brothers illuminate the bright white countertop.

A backsplash tile from Fireclay brings a sense of clear pattern and rhythmic order to the bustling space.

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“ We wanted a really warm family home that was pretty forgiving for sandy feet, and dogs, and lots of guests.”

Nelson’s primary goal was to maximize the view of the ocean; in its original state, the house didn’t emphasize openness toward the water. Now, a wall of windows is a visually permeable membrane between cozy coastal interior and less cozy actual coast. The rest of the design interventions were “rooted in the sense of place, it being on the beach,” she says. The finishes are simple but sophisticated: bleached wood, cement tile, painted plywood. “Keeping the raw plywood walls was really important,” Nelson says. “It added texture, and it was one thing that I thought was indicative of the design mantra of the house — to keep it minimalist, the sense of materials not being too precious, but also having this warmth and texture and organic feeling.”

The envelope of the house is so spare and restrained that the furnishings, though subtle, become almost vibrantly alive in contrast. A kitchen backsplash looks like a muted gray from far away but resolves into a densely patterned series of tiles on a closer look. A light blue chair in the corner of the living room draws the eye out through the new window wall to the crisp Pacific Ocean, while darker wood side tables punctuate the airy living space. A Windy Chien knot sculpture above the fireplace is a rendering of the braiding together of lives, histories, pets and families that happens here, and the massive dining room table “captures everyone’s attention because it’s got that nice, imperfect salvaged wood vibe to it,” the owner says. “You have this really clean-looking house, all one color, and that table has so much personality.”

The house is filled with petrified sand dollars, stones, shells and other objects the children have found on the beach. The windowsills are likewise covered in “treasure finds from our beach walks,” the owner says, which in other settings might look busy and overwhelming, but “in a house like this, it doesn’t look like clutter.” Instead, it just looks right — like a melding of worlds. n

Above: A woven Serena & Lily headboard adds deep texture to the main bedroom, reiterated in the hanging light fixture from Selamat Designs.

Left: A wooden stool reminiscent of driftwood materially anchors the light-filled bathroom.

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MISSION ACCOMPLISHED ONE COUPLE’S PERILOUS FORAY INTO THE WORLD OF DO-IT-YOURSELF DESIGN. P H OTOG R AP H S BY S UZ AN NA SCOT T

MOVING EAST FROM SAN FRANCISCO’S popular Dolores Park area toward grittier Potrero Avenue was not a big leap for 40-something film- and design-world executives Kate Shaw and Dav Rauch.

Their old neighborhood, affordable in 1998 when they moved in, had been an outpost similar to the new one. In the back-alley entrance to the two-unit building they’d owned with friends, “we had to step over squatters to get inside the front door,” Shaw recalls.

But by 2012, Dolores Park and the Mission District had become the epicenter of hipness, and the couple’s appreciated equity enabled them to sell their share in the building and then buy their own Potrero 1880s Victorian, close to an elementary school for their sons Silas and Townes.

Although the “new” 2,000-square-foot house, with an illegal unit in the basement, was crumbling, it also came with a dilapidated 600-square-foot back cottage and a large yard, crowded with an ancient climbing rose vine, a sour cherry tree and a neighbor’s overflowing fig tree. It all offered possibilities — an endless supply of homemade Fig Newtons, for instance — and challenges.

They were not afraid of the latter. Shaw and Rauch met in Prague in 1995 and subsequently worked for Lucasfilm; she is now a director of learning for Airbnb, and he, an avid animator, directs product development for industrial design firm Ideo. So, combining their creative acumen and home-making insights, they refinished floors, painted walls and moved in to strategize what would happen next.

Working first with YamaMar Architecture on the cottage design and then with SF Design Build on the rest, they began to play. They dovetailed a new garage into their basement and camouflaged it to look like an existing bay window from the outside so it would not mar the historic facade. Simultaneously, the rear cottage — reclassified as a second dwelling unit — was stripped and redesigned as an open-plan living space with a loft bedroom that became the family’s temporary home and command central for the next year of remodeling.

“It was stressful but fun,” Shaw says. “We were right there and the crew got to be our family. They even tried to teach our boys Spanish.”

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Kate Shaw and Dav Rauch poured low-maintenance black gravel in the backyard and added boardwalks linking the main house to the tiny two-story back cottage. A fruitless cherry tree and a vintage rose vine both existed. In the vestibule a yellow coatrack from Blu Dot is a catchall. Stairs lead up to bedrooms.

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The living room is separated from the open-plan kitchen and dining area by new bookshelves above which Rauch conceals a film projector.

Half the dining room is painted white for Shaw, including the ceiling, and the other half is charcoal gray for Rauch. The live-edge dining table is by Original Timber paired with Eames chairs. Beyond the table, through an opening in the wall where a window used to be, you can glimpse Rauch’s home office and beyond it, the neighbor’s fig tree SUMM E Rtheir / FA Lbackyard.

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A waterfall kitchen island of marble is where Rauch likes to roll out pastry. The inset backsplash behind the stove is also of marble. Open wood shelves laden with Heath vessels keep the Ikea kitchen, fitted with sturdy stainless steel counters, airy.

Opposite page: Ohio Design barstools around the island allow informal dining.

From the dining room, you can see the Fauvist colored encaustic Villa Lagoon tiles that cover the powder room walls.

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“I WANTED LEFT AND HE WANTED RIGHT; I WANTED WHITE AND HE WANTED BLACK. BUT WE FOUND WAYS TO CONVERGE.”

The children did not become bilingual, but they clearly absorbed building — and demolition — lessons.

After a weekend trip when their boys stayed home with a relative, Shaw and Rauch returned to find their old deck railings gone — hacked away by their energetic kids, just 7 and 4 at the time. “It looked like a beaver had attacked the deck and torn it apart it with teeth,” Shaw recalls with a shudder.

Unexpected turns notwithstanding, the first phases of construction went smoothly, in part because building codes overruled aesthetics. There was no arguing with that. However, the interiors became a war of Shaw and Rauch’s different worlds.

Although after living in the space awhile the couple knew what they wanted, they did not always agree on how to get there. “Dav and I have strong feelings about design and execution,” Shaw explains. She grew up in Omaha, Nebraska, and always lived in the same house, whereas Rauch’s parents — serial remodelers in Santa Barbara — had often thrust him on the front lines of innovation and change.

“I wanted left and he wanted right; I wanted white and he wanted black.

But we found ways to converge,” Shaw says.

A common goal: reconfiguring the main home’s rear section, as well as removing a wall between the dining and kitchen area for modern living without giving up any of the Victorian scale and charm.

Still, they spent agonizing hours choosing matching trims, ceiling medallions, replacement windows and doors. Professional team-builder Shaw systematically gathered and organized literally thousands of selections on Pinterest, and handyman Rauch mocked up many of them in situ. They agreed on an eclectic mix of classic and modern fixtures and finishes.

Along with Jessica Johnson of SF Design Build, who sometimes played referee, they also settled on functional ways to make the new spaces feel like the old. These entailed several compromises, including unconventional paint treatments. The kitchen is all white, the way Shaw likes it, and the living room, which has new built-in bookcases, is charcoal gray so Rauch can enjoy a martini in a man-cave darkness suited to the room’s dual purpose as a home theater. “I love watching movies there. They are an extension of telling stories around a fire,” he says.

Meanwhile, the dining room is a Solomonic “baby” divided in two.

It has both white and charcoal gray walls; on the ceiling, the two colors meet diagonally.

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The dark living room with a wood-burning Jotul stove suits Rauch’s taste but also doubles as a home theater. A midcentury bentwood and white-leather chair is a Shaw family heirloom. The gray couch is by Capellini, and the other, covered in green wool, by EQ3. A photograph above, of one of the couple’s boys, is by Jill Greenberg.

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used to be there,” Johnson says. “New old-fashioned paned windows (even the thickness of their mullions was a big consideration for them) help to frame garden and back cottage views and let in light.”

A reconfigured powder room in the porch section has a nostalgic utility sink and boldly colored Mexican encaustic wall tiles in a herringbone pattern chosen by Shaw; it “feels new and old at the same time,” Rauch notes. “The tiles, although visually high-risk, are in a low-risk space.”

The kitchen, perhaps the most important room because “we cook and dine together every night,” Shaw observes, became Rauch’s department: His mother, a professional caterer, had exposed him to “real” kitchens that are durable and made to be fully practical. “My mother’s kitchen was meant for heavy use, and I learned to cook there. I also wanted materials that were not precious and would withstand serious use and remain usable 50 years from now,” he says.

So, stainless steel counters and a commercial-style Wolf range like one his mother had are reprised. Stained hardwood floors, open wood shelving and an island with a Carrara marble top add softer notes but are also practical. “You can easily roll dough on such stone,” Rauch says.

Upstairs are other signs of happy détente. Three small existing bedrooms remain unchanged, but the lower halves of their bare wood doors are each painted with different colors the couple could agree on.

By absorbing part of the hallway, they created a bathroom large enough for the family to crowd in before the boys are rushed off in a cargo bike to school. Its walls of large hexagonal encaustic tiles and its sliding door and backsplashes of cedar can all take a beating. Modeled after a bathroom they used in a vacation home in Buenos Aires, “it also has a claw-foot bathtub, an open curb-less shower and a large communal sink,” Rauch says, with a Cheshire Cat grin. “Bonding happens in banal moments when you brush your teeth together.” n S U M M E R / FA L L 2 0 1 8 S PAC E S

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The great divide continues upstairs in the bedrooms and the family bathroom, where walls and doors are painted or tiled half dark and half light. In the children’s room the bunk bed is by Room and Board. Opposite: The small master bedroom has an inset shelf in lieu of bedside tables with custom onefortythree lights. In the bathroom white hexagonal ClÊ tiles cover the walls. A sliding barn door saves space.

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COUNTRY AIRS

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The large entry door to Jill and Brian Conn’s St. Helena weekend home leads to an open-plan interior with kitchen, dining and living spaces defined by furniture. A wall of doors reveals a spectacular valley view. The deck steps down toward the swimming pool.

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A REFINED YET DURABLE WINE COUNTRY RETREAT BELIES ITS RURAL SETTING.

BY R E E D W R I G H T

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Karen Jensen’s simple architecture is accented with easy-to-care-for potted plants and an entry garden, which gets shade and is the coolest spot for a late afternoon cocktail. In the living room, right, a stone fireplace flanked by custom storage cabinets complements the exposed wood ceiling beams. Interior designer Jennifer Macdonald’s palette of blue and green upholstery enhances the natural materials, which won’t go out of style.

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husband Brian, a hedge-fund professional, enlisted San Anselmo interior designer Jennifer Macdonald and Calistoga architect Karen Jensen to design their St. Helena–area weekend home, it proved a fortuitous match.

The designers each know the area well. And because like the Conns they have school-age children, they knew exactly what was needed: a tough, no-nonsense space that could still be glamorous enough for cocktail parties with guests and friends.

Conn is a practical, sports-loving Midwesterner whose move from Chicago to a Mediterranean-style home in Tiburon was marred by just one thing: Bay Area summer fog. “We love living on the water,” she says, but on weekends they yearned for California’s proverbial sunshine, a tennis court and a pool with a view.

So in 2015 they found a 5.5-acre lot off the Silverado Trail with just the kind of valley views they craved. Its existing 1970s bungalow, pool house and pool, however, were all too small and had to go. The site was too wooded and steep to affordably build a tennis court, but Jensen and Macdonald (who came on board after the building was designed) found ways to capitalize on the location. And so last summer, the Conns finally got their dream space — an understated U-shaped 5,800-square-foot home that incorporates a variety of spaces.

Inspired by vernacular agricultural buildings, it has vertical stained cedar siding and stucco walls. It appears at first glance to be just one story but

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WHEN JILL CONN , a former advertising executive, and her

Karen Jensen’s simple architecture is accented with easy-to-care-for potted plants and an entry garden, which gets shade and is the coolest spot for a late afternoon cocktail. In the living room, right, a stone fireplace flanked by custom storage cabinets complements the exposed wood ceiling beams. Interior designer Jennifer Macdonald’s palette of blue and green upholstery enhances the natural materials, which won’t go out of style.

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husband Brian, a hedge-fund professional, enlisted San Anselmo interior designer Jennifer Macdonald and Calistoga architect Karen Jensen to design their St. Helena–area weekend home, it proved a fortuitous match.

The designers each know the area well. And because like the Conns they have school-age children, they knew exactly what was needed: a tough, no-nonsense space that could still be glamorous enough for cocktail parties with guests and friends.

Conn is a practical, sports-loving Midwesterner whose move from Chicago to a Mediterranean-style home in Tiburon was marred by just one thing: Bay Area summer fog. “We love living on the water,” she says, but on weekends they yearned for California’s proverbial sunshine, a tennis court and a pool with a view.

So in 2015 they found a 5.5-acre lot off the Silverado Trail with just the kind of valley views they craved. Its existing 1970s bungalow, pool house and pool, however, were all too small and had to go. The site was too wooded and steep to affordably build a tennis court, but Jensen and Macdonald (who came on board after the building was designed) found ways to capitalize on the location. And so last summer, the Conns finally got their dream space — an understated U-shaped 5,800-square-foot home that incorporates a variety of spaces.

Inspired by vernacular agricultural buildings, it has vertical cedar siding and cement foundations. It appears at first glance to be just one story but

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WHEN JILL CONN , a former advertising executive, and her

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Window seats add extra lounging spaces in the living areas as well as in the upstairs bedrooms. Facing page: A window seat designed with storage overlooks the swimming pool and the view.

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“ On weekends they yearned for California’s proverbial sunshine, a tennis court and a pool with a view.”

in fact has multiple levels. Only the central section is one level; wings on the west and east sides contain several less visible levels that step down toward a double-infinity-edge pool.

In the central section, a wide steel-and-glass front door opens to a small foyer, and just beyond that comes a stunner: a 1,300-square-foot great room with 17-foot cathedral ceilings and exposed rafters under its gabled roof. It’s jaw-dropping not just for the scale and loft-like open plan but also the uninterrupted valley views — punctuated by a 36-foot-wide bank of retractable French doors that pocket away — from the north wall.

Built-ins flanking the entrance appear symmetrical, but are slightly different and serve different purposes. On the west side, a window seat above storage cabinets is where the Conn boys (Henry, 8, and Oliver, 6) sit and watch their mother at work in the open kitchen. On the east, similar cabinets house a wine refrigerator and a bar with a pass-through window to the shaded entry courtyard, for enjoying cocktails on a hot day.

A formal dining area separates the soapstone kitchen island — which Macdonald, whose firm, Jennifer Robin Interiors, is known for casual style, designed as a large farm table with lathe-turned columnar wood legs — from the family room on the east end. There, more wood cabinets, with beveled fronts concealing entertainment equipment, flank a limestone fireplace centered on one wall.

The great room’s elegant but hardy French oak floors, laid in a herringbone pattern, flow out seamlessly to a wide tumbled-limestone-covered patio, where the boys can play with the two family dogs under their mother’s watchful gaze. Steps descend from the patio to the pool, aligned with the northeast corner of the building.

The west wing has a garage, a mezzanine guest suite and, just below, a pool house that doubles as a rumpus room, with trundle beds for extra guests. In the east wing, doorways along a fireplace wall lead to the boys’ bedrooms and the main-level media room; a short flight of stairs makes a turn to the master suite, which overlooks the pool.

For Jensen, making the hillside building safe for the children was one goal; another was to be cognizant of view corridors for neighbors above, below and adjacent to the site. The fire-resistant stucco and cedar add to the safety factor. Landscape designer Frederika Moller planted low shrubs close to the house, but in the distance left the wooded site as natural as possible.

Windows on all sides open to varied views, and thanks to the unspoiled wooded setting, “sometimes, the house feels like a treehouse,” Jensen says.

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“ On weekends they yearned for California’s proverbial sunshine, a tennis court and a pool with a view.”

in fact has multiple levels. Only the central section is one level; wings on the west and east sides contain several less visible levels that step down toward a double-infinity-edge pool.

In the central section, a wide steel-and-glass front door opens to a small foyer, and just beyond that comes a stunner: a 1,300-square-foot great room with 17-foot cathedral ceilings and exposed rafters under its gabled roof. It’s jaw-dropping not just for the scale and loft-like open plan but also the uninterrupted valley views — punctuated by a 36-foot-wide bank of retractable French doors that pocket away — from the north wall.

Built-ins flanking the entrance appear symmetrical, but are slightly different and serve different purposes. On the west side, a window seat above storage cabinets is where the Conn boys (Henry, 8, and Oliver, 6) sit and watch their mother at work in the open kitchen. On the east, similar cabinets house a wine refrigerator and a bar with a pass-through window to the shaded entry courtyard, for enjoying cocktails on a hot day.

A formal dining area separates the soapstone kitchen island — which Macdonald, whose firm, Jennifer Robin Interiors, is known for casual style, designed as a large farm table with lathe-turned columnar wood legs — from the family room on the east end. There, more wood cabinets, with beveled fronts concealing entertainment equipment, flank a sandstone fireplace centered on one wall.

The great room’s elegant but hardy French oak floors, laid in a herringbone pattern, flow out seamlessly to a wide tumbled-limestone-covered patio, where the boys can play with the two family dogs under their mother’s watchful gaze. Steps descend from the patio to the pool, aligned with the northeast corner of the building.

The west wing has a garage, a mezzanine guest suite and, just below, a pool house that doubles as a rumpus room, with trundle beds for extra guests. In the east wing, doorways along a fireplace wall lead to the boys’ bedrooms and the main-level media room; a short flight of stairs makes a turn to the master suite, which overlooks the pool.

For Jensen, making the hillside building safe for the children was one goal; another was to be cognizant of view corridors for neighbors above, below and adjacent to the site. The fire-resistant stucco and cedar add to the safety factor. Landscape architect Frederika Moller planted low shrubs close to the house, but in the distance left the wooded site as natural as possible.

Windows on all sides open to varied views, and thanks to the unspoiled wooded setting, “sometimes, the house feels like a treehouse,” Jensen says.

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Seating big enough for a slew of friends makes the den a perfect hangout area.

The room can be darkened by drawing the curtains across the windows to watch movies. Macdonald’s firm, Jennifer Robin Interiors, created a desk that provides a spot for work, more storage and a spot for lamps that are placed low so that they do not obscure the view.

Macdonald, who grew up in the Bay Area and was a protégé of the wine country firm Backen Gillam & Kroeger Architects, was equally resourceful in materials use; she felt all she had to do was “layer on to what Karen had started.” She detailed all the cabinetry to cohere with the home’s informal elegance and chose hardy finishes and furnishings. “We did not need to add walls or make any structural changes,” she notes: to make the large spaces visually and literally comfortable, she went for a kind of spatial alchemy, mixing textured surfaces with smooth.

Along with the herringbone floors, she introduced tactile notes with design features like smooth troweled-plaster walls, three-dimensional Ann Sacks tiles for the kitchen backsplash and a heavy jute Christopher Farr rug for the living room. “To blur the lines between inside and outside I also tried to create a color palette of greens and blues that matched the view without overpowering it,” she says.

Large wagon-wheel-like chandeliers from Restoration Hardware likewise help anchor the lofty space and enhance the farmhouse aesthetic, and stain-resistant fabrics — Perennials outdoor fabric on the sofa, for example — can handle heavy wear. “We’ve mixed off-the-shelf and custom pieces and old and new things to stay within a budget — but it also helped make this home feel less formal,” Macdonald adds.

One other trick: for “a more calming effect,” materials such as woods for cabinetry and vanities are repeated. For visual continuity, even the Taj Mahal granite Macdonald specified for a waterfall countertop in the master bath reappears in the kitchen and powder room. Such elements “are not just long-lasting,” she says. “They don’t quickly go out of style.” n S PAC E S S U M M E R / FA L L 2 0 1 8

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Daniel Goldstein’s “Diver” waterfall of crystals is top-lit and above a handcrafted spiral staircase. Dark blue crystals within the waterfall are arranged to look like a woman diving’upward. Opposite page: The spiral comes down to a vestibule outside Scott Taylor’s basement office, home to a stylized sea creature.

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FICTIONAL DUNGEONS AND DRAGONS INSPIRE REAL-LIFE ROOMS IN A SAN FRANCISCO VICTORIAN.

BY Z AH I D SAR DAR

P H OTOG R AP H S BY D R E W K E LLY

WHAT HAPPENS WHEN THE WORLDS of computer and board games collide with reality? You get the kind of individualistic interiors that Scott Taylor, a VP of video game development at Zynga, and his wife, Kristine Boyden, a West Coast president for publicity firm Edelman, orchestrated with artful collaborators, including builder Aaron Gordon, architect Ari Gessler and interior designer Tineke Triggs.

It all began in late 2014 when Taylor and Boyden stumbled on an 1870s San Francisco Victorian with side and back yards, close to the condominium in the Castro that Gordon had only recently remodeled for them. They had no desire to move again but, suddenly presented with an opportunity to have a stand-alone home tailor-made for their creative personalities, they seized it.

Bowden was raised on a cattle ranch near Tahoe, Taylor is from Madison, Wisconsin, and they had each embraced the eclecticism of the Bay Area long before they met online about a decade ago.

Their friends are artists, and they have collected the work of those friends over the years. “We really wanted a place to showcase it,” Boyden says. But rather than a sterile, white museum, “we wanted a backdrop oozing and bubbling with energy,” Taylor says.

The 35-foot-wide property included a separate carriage house behind a two-story Victorian, and the smaller unit became a temporary home for them while the city considered the changes they wished to make. A year’s delay allowed the couple, whose time is often fractured by business travel, to weigh design options and come up with ideas of their own.

As it happened, an old photograph of the house when it was first built, surrounded only by acres of sand dunes, became a kind of design talisman for them. They chose to infuse the otherworldly spirit of that setting into their remodeled home and its modern context.

“We wanted the exterior to remain the same,” Taylor says.

It appealed to his sense of history, and for Boyden, a born raconteuse whose career began with tech startups that wanted their stories told, keeping the original shell was critical to forming any fresh design narrative.

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In the fully refurbished interior crafted by contractor Aaron Gordon, Scott Taylor and Kristine Boyden have reconfigured their Victorian home with an open floor plan, linked by a herringbone wood floor. Clockwise from left: The dining room, which leads to the kitchen, left, has a wall of inset bookcases and a floating steel fireplace contrasted with old-fashioned crown molding and wall paneling; one of the bookcases slides back to reveal an opening that leads to the powder room. Within that concealed vestibule is a blue-and-white backlit work by Daniel Goldstein, “Invisible Man.” In the living room adjacent to the dining table, interior designer Tineke Triggs added sculptural furniture to complement more art in the the couple’s collection.

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In the kitchen, a farm sink, a zinc-topped island and a meat hook hanging on the cabinet just right of the La Cornue stove evoke the building’s history as well as Boyden’s farm country childhood.

The tiled backsplash is by Ann Sacks; the unlacquered brass faucets are by Waterworks. Vintage swing-out barstools fit under the island.

The antiqued brass and glass Synapse pendants are by Avrett.

The Roman shades made of custom Timorous Beasties fabric are designed by Artistic Designs for Living.

However, if they wanted to achieve a larger 3,000-squarefoot home, the interior walls had to go.

Gordon shored up the structure, removing an inadequate basement and the building’s old brick foundation.

Then he dug deeper into the sand to form a subterranean 1,000-square-foot concrete foundation/bunker that has new exits through the east side yard to the street.

Now the bunker contains a guest suite in back, a small laundry room for Taylor’s motorcycle gear in the middle, and up front a man cave/office, which, while lacking the clichéd leather couches to smoke cigars on or ugly mahogany furnishings, has a synthesizer with which Taylor can unleash his inner musician.

“We think of this room as a pit of entropy,” Boyden says archly.

As a symbol of the chaotic sounds that sometimes emerge from there and float up into the rest of the house, Taylor asked for a sculpture resembling a tentacled sea monster from a novel by one of his favorite science-fiction authors, H. P. Lovecraft. San Francisco Opera prop maker Qris Fry, recruited to create a stylized version of the monster, made one of painted CNC-cut plywood. It snakes its way out of Taylor’s studio and toward a new spiral staircase (made by Gordon, of several layers of laminated plywood) that links the basement to the floor above, where an open-plan living space flows toward an eat-in kitchen at the south end.

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In the living area, Gessler, a fan of Arts and Crafts–era architect Edwin Lutyens as well as modernist Mies Van der Rohe, retained the traditional bay windows facing the street.

New windows added on the sides, decorative beams, coves and paneled walls all look Victorian but, to the owners’ delight, Gessler also deftly introduced modern elements such as a cantilevered floating hearth for a blackened steel fireplace that seems like it crashed in from outer space.

For Taylor, who wanted no tidy transitions, it creates the right amount of tension.

While the couple encouraged experimental design, Boyden, the pragmatic foil to Taylor’s playfulness, wanted their additions to be somewhat functional. So new walls and shelving were proportioned specifically for art pieces in the owners’ collection.

And to save space as much as make an elegant transition from the dining room, Boyden suggested a wall of inset and sliding bookcases to conceal the vestibule leading into the powder room. As a surprise, one section of the bookshelf wall slides back to reveal a door opening through which, hanging on the far wall of the vestibule, Daniel Goldstein’s backlit “Invisible Man” is an unexpected treat.

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In the master bedroom, Triggs created a moody, Gothic setting with a textured blue wallpaper by Elitis. The animistic accent chair from Coup D’Etat is paired with patinated brass three-drawer bedside tables from Bernhardt Furniture. The arched Gothic-style bed and headboard are custom, designed by Triggs and fabricated by Matthew Case. The Leopold sconces are modified by Jim Misner and the antiqued brass ceiling fixture is Urban Electric. Custom draperies were made by Georgina Rice.

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For the powder room, Triggs picked Timorous Beasties wallcoverings for the ceiling, reflected in the Oskar Zieta mirror. The bubbling glass tile is paired with a black Hidra sink and custom wire stand. Opposite: Views of the master bath.

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“WE WANTED A BACKDROP OOZING AND BUBBLING WITH ENERGY.”

Triggs’ powder room is yet another extravagantly textured, dark and moody visual thrill. Its shiny black glass wall tiles look like fizzy soap bubbles, reflected in an amorphous stainless steel mirror by Polish designer Oskar Zieta. The ceiling, covered with a Timorous Beasties wallpaper printed with a Rorschach-style pattern, appears to have the eyes of an extraterrestrial creature. Triggs’ offbeat juxtapositions include a free-standing wire frame basket, suggested by Gessler, to hold up the sink.

“There are shared spaces as well as spaces for her and him,” Gessler says.

Pointing to the generous modern farmhouse-style kitchen at the south end of the main floor, he adds, “This is clearly Kristine’s.” It has limestone and zinc counters that are friendly to the touch and will patinate over time.

A breakfast banquette, a eucalyptus wood island with attached cantilevered barstools, and an old-fashioned meat hook mounted on a pantry cupboard, near the La Cornue stove and custom hood, are accents that allude to Boyden’s farm country childhood. A door on the east wall opens to back stairs to the side yard, as if the house were a version of Dungeons & Dragons in which players get escape hatches of their own.

If the architecture was tamed for practicality, the interior design throughout fully reflects both Taylor’s passion for the primeval yet futuristic landscapes of video games and Triggs’ own inner wild child.

The designer plays with textures and colors to heighten the Game of Thrones mood of different rooms, especially on the top floor, where the master suite has a neo-Gothic bed she designed, along with Bernhardt brass-finished side drawers; wall sconces resembling medieval candle stands with fluorescent tubing, customized by Jim Misner; furniture from Coup D’Etat; and midnight-blue Elitis wallpaper.

Leaded-glass windows rescued from a demolished garden shed are reused as skylights in the bathroom, which exudes a black-and-white Victorian aesthetic: the vanity created by Triggs and her team at Artistic Designs for Living has a dark rippled front, and the textured Artistic tiles in the shower are white, complemented by dark Ann Sacks floor tiles laid in the same chevron pattern as the stained oak wood floors throughout the house.

“Scott pushed for playful, experimental approaches, but I am not too far out of my realm here,” Triggs says. “I like unique, edgy designs and these clients really let me play and dig deeper into what I can do.” n S PAC E S S U M M E R / FA L L 2 0 1 8

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AN ARTIST’S PROGRESS AT HOME, A PAINTER COLLAGES TOGETHER THE LOVES OF HER LIFE: ART, BOOKS AND CHILDHOOD MEMENTOS.

BY Z AH I D SAR DAR

P H OTOG R AP H S BY DAVI D D U N C AN LIVI N G STO N

F LOAT I N G I N PA I N T E R A N N H A R R O L D TAY LO R ’ S

colorful, textured canvases, words sometimes crop up like icebergs of meaning. A few of those paintings with their curious mnemonic handles appear in her peak-roofed cottage in the Berkeley hills, where her expressionistic outpourings share the walls with works by friends and mentors, including recognizable Bay Area artists such as Christopher Brown, Richard Diebenkorn and Robert Arneson.

“It is all uplifting for me. The art you surround yourself with becomes a surrogate teacher. The more you look, the more you see,” Taylor, who has also taught art at the Art Institute in San Francisco, explains.

Originally from Sacramento, she returned there after she met her former husband at UC Berkeley, where she had studied art history and French. During college, a yearlong stint in France helped her develop a taste for Provençal food and culture, but all that went into hibernation during the time she was raising her son and daughter and commuting to UC Davis for an MFA under artist Wayne Thiebaud’s tutelage.

When Sacramento felt like a cultural wasteland, she found sustenance in San Francisco and was represented there for a time by the Paule Anglim gallery.

Nonetheless, it was a tug-of-war, because “I also wanted to paint all the time,” Taylor says.

When she got divorced after 33 years of marriage, she was renting a large house designed by William Wurster in Berkeley. Finding an affordable painting studio and home nearby seemed the logical next step. “It was a way of moving forward toward my goal,” she says.

A North Berkeley warehouse became her atelier. And to meet a favorable tax break deadline, “I bought this 1980s house that belonged to a botanist and a history professor, in just seven days,” Taylor recalls. The 1,200-square-foot, twostory home was smaller than any place she had ever lived in, but she didn’t care. “I liked its bay views and the birds that came to visit it,” she says. “I love birds and it had great energy.”

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Facing page: A row of translucent glass doors walls off the entry courtyard from the street, forming an outdoor room at artist Ann Taylor’s three-story 1938 home. Paned bedroom windows overlook the courtyard. This image: The all-white living room, with exposed rafters and white painted floors, is a canvas for a collage of objects, including a ceramic plate in the foreground by artist Christopher Brown and, behind a marble bust, a blue-and-white jar by Berkeley ceramicist Robert Brady.

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The living room leads to a sunporch that is now a small dining room with a large new deck for dining alfresco with views of the bay. Displayed on the wall is art by friends, including several oils on canvas by Christopher Brown and a large reddish oil-on-panel painting by Amy Wilson Faville alongside an ink-on-paper work by Stanley Lewis.

In the center of the wall is a clown portrait by artist Allison Schulnik, next to a watercolor by Darren Waterston; on the right, a cupcake etching is by Wayne Thiebaud.

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With the help of Berkeley architect Andrew Fischer, she gave the L-shaped home and its separate street-side shed a unified contemporary facade, by adding a translucent glass gate between the two structures. A former covered entry porch is now the foyer, through which you enter a central open-to-sky courtyard that leads to the living and dining rooms and a large rear deck, also added on. That outdoor living space has sweeping bay views studded with the San Francisco skyline, the famous bridges, the leviathan new Salesforce tower and equally large cruise ships that sail by.

A small kitchen and breakfast nook also open to the deck.

On the right of the entry courtyard is a master suite. A set of stairs leads down to two spare rooms below the deck.

All the walls, inside and out, are painted a gallery white to emphasize the building’s shape as well as to make it seem larger.

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In the former sunporch Taylor has a created a dining room replete with a crystal chandelier. Stackable chairs from Design Within Reach are paired with Biedermeier-style armchairs. The built-in window seat is a place to watch birds. Above the fireplace designed

by Taylor, a large etching by Kiki Smith is paired with an oil painting on canvas by Jane Corrigan; on the mantel, the ceramics are by sculptor Robert Brady. A steel sculpture on a stand is by Tom Bills.

A totemic birdhouse of wood placed in front of an heirloom French mirror was made by Taylor’s father.

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Beside the fireplace is a red sweater painting by Christopher Brown; a dark oval charcoal drawing is

by Julia Couzens; the etching of a seated figure is by Richard Diebenkorn. Amid other mementos are French candlesticks found at the Alameda flea market.

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“I no longer worry about whether my furniture needs to be covered, matched or perfect. I can add and subtract at will.”

In the dining area, eager to entertain in the manner she had always wanted — informally and surrounded by artist friends — “I tried to fit in as much seating as I could, facing the bay. It makes me happy,” Taylor says.

In the living room with exposed rafters, every surface does double duty as a place to eat or a counter for displaying treasured things. Oversize furniture, Biedermeier-style chairs from her old home and other mementos jostle for attention with an enormous TV monitor (for watching movies with her grown children) next to a fireplace with a voluptuous new white-painted mantel she designed.

A comfortable old sofa invites viewers to lie down if they choose. Paintings of birds and carved bird decoys — some were gifts from her late father, an avid bird-watcher — are scattered among works by Taylor’s favorite figurative artists.

Her own works, while largely abstract, sometimes conceal naïve renderings of flowers, hares, birds and even nests — perhaps as a nod to her love of nature — amid powerfully expressive blobs and streaks of paint.

The room is frequently refreshed with objects brought out of storage, as well as books of art and poetry that consume Taylor when she is not painting.

“I love living in something incomplete like this,” she says.

“I no longer worry about whether my furniture needs to be covered, matched or perfect. I can add and subtract at will — just as I do when I paint. Not knowing what you are going to do next is endlessly interesting.” n

Above: Comfortable sofas in the living room, with their backs to Nano doors that open to the entry courtyard, face the view. Walls are painted with Kelly Moore semigloss tintfree white paint that reflects light evenly.

A door leads to a mezzanine bedroom.

Left of it, “How to Save Your Own Life,” a large 1998 oil-on-canvas, is

by Ann Harrold Taylor.

Above it, a piece in a black frame is by Enrique Chagoya. Left: Displayed in Taylor’s bedroom, a collection of Limoges porcelain is composed of gifts from Taylor’s father.

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A big wraparound deck, designed by Eric Blasen, anchors the southeast side of the house, which was renovated with the help of Douglas Burnham of Envelope A+D. Opposite: The well-used bocce ball court.

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Creative Growth TWO LANDSCAPE ARCHITECTS, WHOSE PROJECTS INCLUDE PRIVATE ESTATES AS WELL AS AT&T PARK, EXPERIMENT WITH A RANGE OF PLANTS AT THEIR HOME BASE.

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P H OTOG R AP H S BY MAR IO N B R E N N E R

6/5/18 1:35 PM

“ WE’RE PLANT COLLECTORS,”

Silvina Blasen says. The landscape architect, who lives in this Marin County home with her husband and professional partner, Eric, means it literally. The two collect rare, unusual and sometimes more common plants — first in their experimental nursery, which makes up only part of this lushly landscaped retreat of a permanent residence — and eventually in locations scattered across the expansive site.

“We kept all the trees, we kept all the ground cover,” Silvina says — even the ivy, though they didn’t love it, because it helped control erosion. But within that framework of trees and ground cover, the pair, who have designed landscapes for local firms like Fougeron Architecture and Aidlin Darling, slipped in a number of surprising — and defining — additions.

“We did a lot of native plants, plants that would take the water during the summer and fall seasons,” Silvina says, addressing California’s long-standing cycle of rains and droughts. Yet the landscaping choices are all precise, specific and part of a whole. The overarching idea was to preserve the feeling of being in a treehouse, framing the home’s sweeping views of Mount Tam while protecting the sense of seclusion pervading this hilly landscape. There’s an ease to the experience of being here, a feeling of having just discovered a secret corner of land at the foot of the beloved mountain.

They’re not sure who designed the house, but the flow between one room to the next and clarity of spatial organization suggest some sort of relationship to Joseph Esherick; they hypothesize either the noted Bay Area architect or someone in his office might have been involved. The couple bought the house in 2012 and, in collaboration with Doug Burnham of Envelope A+D, have been working on some of the interiors; Fisher Architecture renovated the bathroom.

Alongside these changes, taking their time to study and work with the site, the two of them have slowly and deliberately shaped the landscape.

There’s a sense that this is their laboratory for ideas. They met at an architecture conference more than 25 years ago, when Silvina had her own landscape design and construction business in Buenos Aires. They married, moved to Amherst, and quickly realized that the New England winters did not suit Silvina. They knew no one when they first moved to Marin 20 years ago, but in the years since settling in the area, their business has grown to have a staff of six, with such major projects as Marin Art and Garden Center’s master plan, the AT&T Ballpark edible garden, and the Stanley Saitowitz San Francisco Beth Sholom synagogue design.

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Two vintage lawn chairs offer a space to contemplate the incredibly wide variety of plant life introduced by the landscape designers as part of their experiment-at-home approach. Opposite: Plants in the “lab�; edible plants in the terraced garden.

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A garden table and chairs custom-designed

by Blasen Landscape Architecture offer a place from which to reorient toward the rolling Marin countryside and the house’s expansive landscaping.

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“THE IDEA IS TO PRESERVE THE FEELING OF BEING IN A TREEHOUSE.”

On this property, their primary intervention might be in the creation of a sense of procession that leads from street through auto court to house. “When you come in the driveway, you don’t see any architecture,” Eric notes. Instead you pass a sculpture made from the roots of fig trees and enter Silvina’s experimental nursery: home to that extensive plant collection. From there you enter the house, which almost trips down the hillside and is a study in warm woods and stained cedar and custom furniture, all designed to emphasize entertaining and relaxation. A wraparound deck, designed

by Eric, becomes a liminal space between inside and out.

On the back side of the house, a terraced garden, constructed with board-formed concrete, contains edible plants. Beside it, a bench overlooks a bocce court that Eric and Silvina make sure is well-loved and frequently used.

“It’s nice to give something visual to look at and engage the space, but there’s no maintenance,” Eric says of the court.

In the winter the look of the backyard is a bit sparser, but in summer all the grasses grow again and the ground plane of grasses and oak trees shifts.

“When we first purchased the house, we walked through the front door and the window perfectly framed Mount Tamalpais — I thought that the house was sited perfectly and this was the right house for a landscape architect,” Eric says. Even landscape architects don’t always focus on the planted elements when first seeing a house, or not always with this long a lens. In doing so, the Blasens built a home that could grow (in all senses of the word) with them, carefully weaving the aspects they felt mattered — experimental cuttings, a secluded nursery, protection of the view — into a singular space with a sense of restfulness, profound rootedness and visual intrigue.

Summer is here, and spring’s rains have again turned Mount Tamalpais its signature deep green. The trees around the home have filled out to frame the peak with their own rich hues — the result of design considerations reaching far beyond the property’s edges or the experimentation of the past years. n S PAC E S S U M M E R / FA L L 2 0 1 8

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BY Z A H I D S A R DA R

SAVING THE FARM

PHOTOGR APHS BY R ACHEL ST YER / FEATHER WEIGHT

With challenges on just about every side, the architect on this Sonoma remodel decided to build a separate structure and connect it with a glass-paned bridge.

M A K E OV E R

A 1930s farmhouse near Sonoma’s main square came with a water tower and plenty of land around it but it was small and had cramped rooms until architect Tom McElroy added a bedroom wing and opened up the floor plan inside the old home.

IN 2013 ,

Aaron Wong and Jody Culp’s children Greyson and Broxton were preschoolers, and Camden, who is now 4, was still on the way.

Squeezed for space in their tiny 1930s farmhouse near Sonoma’s main square, which Wong’s family has owned since 2000, they reached out to San Francisco architect Tom McElroy for help.

The 640-square-foot master suite addition McElroy designed has made the entire property feel bigger and brand new. Still quaint to look at, with archetypal gabled roofs instead of a hipped roof and new painted clapboard siding over its stucco walls, the expanded 2,260-square-foot wood-frame structure has fresh white walls inside and modern open-plan spaces that do not feel cramped.

“The house was so cute, like a child’s drawing of a house, but it also had tiny dark rooms,” says the architect, who spent nearly three years overseeing the roughly $600,000 project. One of the challenges was that the house S PAC E S S U M M E R / FA L L 2 0 1 8

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M A K E OV E R

was crammed into the corner of a four-acre lot with an heirloom grape vine, an apple tree and olive and palm trees; McElroy thought hard about where the addition would go without disturbing any of that.

“They wanted to take advantage of views of the hills but did not want a second-story addition,” he says. “And we did not want to cover either side of the house that faced the yard, so we expanded it toward the street.”

In the end, the rectangular master suite was built east of the old house and linked to it by a glass-paned bridge with awning windows that let air in. The new bedroom also has windows on all sides, and “because of the wonderful bridge, we can leave our door open and it feels as if we are outdoors,” Wong says.

McElroy created a steep gabled roof for the new suite to mimic the roof above the old front door, which now also sports a more pronounced gable than the one that was there before. “We also added a triangular clerestory window to let in more light,” the architect says. It illuminates the vestibule and the formerly dark interior of the house better than skylights would have done, especially during hot summers, when shade becomes important. For the same reason, the new roofs have deeper overhangs than the original one did.

To reconfigure the interior, the architect eliminated several walls and closets, and the living room was moved from the middle of the house (which is now the den) to the north end.

The living room now faces the expansive yard and hills in the distance, visible through large new windows in the rear wall, where the old kitchen and laundry room used to be.

The new open-plan space, reinforced with a steel beam, also contains a central kitchen and island that are focal points for the young family before and after school.

The modern, multipurpose interiors were completed and furnished by Wong and Culp with help from Cindy George, a family friend. Among the notable “calming, monochromatic” choices they made are accents of poplar wood that lines windowsills and storage niches.

Although they are both busy dentists, Wong and Culp — now seasoned owner-builders — are gearing up for the next remodeling phase, “before the kids become teenagers,” Wong says. The goal: to bring their picturesque old water tower back to life. n 112

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A glass-walled “bridge” links the old and new sections of the house. The old entry porch is made grander with a higher gable roof, deep overhangs and clerestory windows that flood the foyer with light. The new master bedroom, below, built just left of the original entry porch, echoes the old architecture but with improved proportions. The uncomplicated, modern interiors were designed and completed by homeowners Aaron Wong and Jody Culp with the help of Cindy George, a family friend.

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PHOTOGR APHS COURTESY OF THE ARTIST AND THE CATHARINE CL ARK GALLERY

BY Z A H I D S A R DA R

P O R T FO L I O

REFLECTIONS Looking back into the future: artist Andy Hope’s twisted optimism.

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Opposite: Allegory of the Prisoner’s Dilemma, which is the last of a triptych of tapestries Hope created with his wife. This page: Interactive works include a series called Everybody Is Somebody’s Terrorist, composed of hand-knit balaclava masks that can alter our perceptions of anyone wearing them. The Woulds, 2017, created for an exhibition at the Contemporary Jewish Museum in San Francisco, was reshown at the Catharine Clark Gallery.

The immersive forest-like mixed-media piece with recorded birdsongs evokes a fairy-tale forest scape.

“ T H I N G S H AV E N ’ T B E E N N O R M A L , ”

San Francisco artist Andy Diaz Hope said recently, with a touch of irony and a trace of German accent from his immigrant family.

He and his wife and fellow-artist Laurel Roth Hope, a former park ranger, were anticipating a baby, but he might just as well have been referring to the state of the world, a principal theme of his conceptual works made of wood, mirrors and other materials.

Hope started off in Silicon Valley, after studying engineering and design at Stanford, as a product designer at Apple and Microsoft.

Then he worked as a technology consultant and amateur furniture maker in San Francisco.

“I was trying to design furniture for myself,” he says, and it became a creative outlet during the mid-’90s. “But I realized that my designs were becoming more conceptual and less practical. They were a critique on the way we live in the world.”

Making artful objects inspired by topics that mattered to him wasn’t a big leap. Hope grew up in the Bay Area in a multigenerational household where his grandmother was a chemist, his grandfather was a physicist and his mother, a math and art major, was a painter. “Science, engineering and design are linked. Art is not far behind,” he says.

Presciently anticipating higher rents and hard times for working artists in the city, the Hopes and another couple bought three Mission District Edwardian flats with a carriage house in 1998, and that is still where they all live and work.

For a while that work involved transforming scraps from furniture projects in Hope’s studio into art installations. Then, in 2001, while still an engineer at a tech company in San Francisco, he created the Futurator, an interactive device made from an old refrigerator reconfigured with custom software connected to video and audio

P O R T FO L I O

equipment that could “speak.” It encouraged people to imagine, with the help of toys and props contained in the refrigerator, future technologies that might help or hinder their lives.

Using the props, “people composed stories — like in sandbox play therapy — and the Futurator recorded them. It was a mixture of analog and digital technologies,” Hope says.

On a linked monitor, “you could see videos of the stories people composed. You could also see a randomly generated loop of stories others created as well.”

The idea won artistic awards and opened the door to a career in art.

Now he explores topics such as politics, terrorism, health care and mortality. “Little things,” Hope says with a laugh. “I try to offer a counterpoint to mainstream media that often gets it wrong.” For instance, “in 1990 when I traveled from Pakistan to China before the first Gulf War, I was in tribal regions at the border S PAC E S S U M M E R / FA L L 2 0 1 8

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of Afghanistan and met many nice, hospitable people who were uniformly vilified in the press when George Bush was ready to start a war.

That was wrong.”

Perhaps among his most viewed and intriguing works are three cotton tapestries Hope created with his wife. With the help of Oakland’s Magnolia Tapestry Project, their drawings and paintings, converted into large image files, were fashioned into tapestries on computer-controlled jacquard looms in Belgium.

“Early versions of these looms used punch cards, which in their day were the first computerized machines,” Hope says. “However, although our designs were digitized, some of the same old weaving constraints applied. We had a limited 256-color range that had to be created by knots and not by digital printing.”

The first tapestry, Allegory of the Monoceros, was the centerpiece of their 2008 multimedia installation at New York’s Schroeder Romero Gallery called Future Darwinist — which scientists of the future might do well to examine for evolutionary evidence. It inspired a triptych that now includes Allegory of The Infinite Mortal, as well as Allegory of the Prisoner’s Dilemma, created in 2012 during a fellowship in San Francisco at the de Young.

The tapestries aim to make clear — even if history books do not — that human actions degrade the environment. “We want future generations to connect the dots,” Hope says. “Darwin’s theory of natural selection is being replaced by a new concept: human intervention that impacts the governing principles of evolution.”

Confronted by the Hopes’ references to genetics, the loss of biodiversity and the creation of monocultures, “viewers can reach their own conclusions,” Hope says.

For instance, inspiration for Allegory of the Monoceros came from the famed 15th-century Unicorn Tapestries at New York’s Metropolitan Museum that helped to decode symbols embedded in medieval art. Monoceros depicts a garden filled with medicinal botanicals, including opium poppy and a few others with potential for harm. “We wanted our tapestry to reveal subtexts of our current times,” Hope explains.

The tapestry’s central motif — a “tree of life” whose branches imitate Darwin’s first sketch of evolutionary paths — also contains Eden’s proverbial snake. But the snake is two-headed, like the medical industry’s intertwined helical symbol that, ironically, “is derived from the staff of the Greek god Hermes, who protected both merchants and thieves,” Hope says.

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One of Hope’s mirrored geodes that he says are centering devices that force concentration. The viewer is never reflected in them but the fragmented surroundings are.

Endangered species such as the golden toad and honeybees circle genetically engineered corn, and Dolly the sheep and her clone from the 1990s also appear, suggesting a new and perhaps pernicious era of science.

The second tapestry, Allegory of the Infinite Mortal, highlights controversial scientific and religious ideas through the ages, symbolized by a “fountain of youth” spouting LSD, shamanistic animals and Asian demonic avatars as well as images from the Hubble telescope.

Simultaneously it honors those who have advanced our knowledge of time and space, including Ada Lovelace and Charles Babbage, who inspired modern computing, and Brahmagupta, the 17th-century Indian mathematician/astronomer credited with the concept of zero and negative numbers.

The final tapestry, Allegory of the Prisoner’s Dilemma, features a tower composed of monuments such as ancient pyramids, Roman aqueducts, Istanbul’s Hagia Sophia, Angkor Wat in Cambodia and the Chrysler building — edifices that celebrate human optimism and cooperation. But the artists also slyly include the Tower of Babel as a symbol of hubris.

More than a decade ago, New York’s Lyonswier Gallery displayed Hope’s first solo show. Since 2007, his sometimes interactive but always elaborately crafted, kinetic and digitally inspired art has been represented by San Francisco’s Catharine Clark Gallery. This past spring that gallery hosted a re-installation of The Woulds, which the Hopes co-created in 2017 for Jewish Folktales Retold: Artist as Maggid at the Contemporary Jewish Museum. It’s an immersive forest-like environment of wood and mirror sculptures enhanced with ceramic birds, recorded birdsongs and changing light effects to meld fantasy and reality.

“In a way, all my works are ‘centering’ devices,” Hope says. “They invite contemplation about the driving philosophies of our time: spirituality, science and the disruptive changes brought about by the internet.” n

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BY Z A H I D S A R DA R

An iconic view of Prague Castle, the cathedral, and the ever-busy pedestrian-only Charles Bridge stretching across the Vltava River.

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PRAGUE PAST & PRESENT Getting familiar with Czech Republic architecture, glass, food, beer and angst at an annual design fair in the country’s most famous city.

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COURTESY OF CZECH TOURISM (THIS SPREAD AND OPENING SPREAD)

Clockwise from above: The mechanized figures on this 600-year-old astronomical clock in the Old Town Square enact a pantomime every hour; the baroque St. Nicholas Church in Malá Strana was built between 1704 and 1755; the Dancing House, or Fred and Ginger, as Frank Gehry and Vlado Milunic’s 1994 Nationale-Nederlanden building in Prague was popularly called, is now the Dancing Hotel.

Opposite page: The Old Town Square with the twin steeples of Tyn church, which is near the Hotel Josef.

“ P R AG U E N E V E R L E TS YO U G O .

This little mother has claws,” author Franz Kafka said about his hometown when Czechoslovakia broke away from the Austro-Hungarian Empire in 1918, and that may still be true.

After a hundred years of travails that also encompassed the country’s breakup 25 years ago into the Czech Republic and Slovakia, Prague is blossoming — and celebrating — once again. The jaw-dropping, elegant European capital on the banks of the Vltava River is awash with spectacular crystal chandeliers and some of the most astounding Gothic, baroque, art nouveau and cubist architecture spanning more than 1,000 years, but it also has a vibrant restaurant scene, ever-flowing and literally

cheaper-than-water pivo or beer — especially along the riverbank — and new design that pulls you back again and again.

I felt the tug.

Within the span of a month I went first for the 19th annual Designblok fair, which this time had food as its thematic conceit — think gigantic cakes and carousels and joyrides with Vitra furniture as seats — held at the late 19th-century steel-and-glass Industrial Palace (inspired by London’s 1851 Crystal Palace), on the Vystaviste Fairgrounds, in the Holesovice area. And then, I returned for a voyage of architectural discovery, spas and, of course, more food.

Paces away from the spare, nicely restored, functionalist, Soviet-era 10-story Park Hotel,

whose comically stiff staff still seems to suffer from a Soviet-era hangover, Designblok, founded by Jana Zielinksi and Jiri Macek in 1999, in 2017 featured internationally and locally renowned modern talents, including Dutch industrial design impresario Richard Hutten, Vienna-based artist and furniture designer Patrick Rampelotto, and Czech designer Maxim Velcovsky, who recommended the food theme and is the award-winning, mold-breaking art director associated on and off with ace crystal lighting companies Preciosa and Lasvit. With over 300 exhibitors and events at this unique window into Central European design, there was a lot more to see and do, but a freak storm blew a section of the roof off the S PAC E S S U M M E R / FA L L 2 0 1 8

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Clockwise from top: Two hours west of Prague, spa towns like Karlovy Vary were 19th-century getaways, but are now seeing big revivals; the Industrial Palace in Prague was inspired by London’s 1851 Crystal Palace; Čertovka, a water channel in the Malá Strana neighborhood of Prague where the Mandarin Oriental Hotel is located.

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Industrial Palace and after day three brought the five-day fair to a screeching halt.

With time to spare, I left town. Two hours west of Prague, near the 12th-century Loket Castle, the Bohemian spa towns Mariánské Lázně and Karlovy Vary were getaways in the late 19th century, when rejuvenating hot thermal springs bordered by raised colonnaded walkways were the rage.

Karlovy Vary, named after king Charles IV, who founded it around 1350, is seeing a major revival, with the Imperial Sanatorium as a standard-bearer for potentates’ spending a few weeks regrouping.

Spas are of course intended to be therapeutic and so the no-nonsense style of the nurse-like masseuses I encountered at the Savoy Westend Hotel was fitting, but if you are unused to such brusqueness, a shot of

the local Becherovka liqueur and a bit of the paperthin Karlovarské oplatky wafer sets you at ease. The town is also where an international film festival takes place, but a courtyard outside the Grandhotel Pupp adorned with names of Hollywood stars still comes as a surprise. The incredible Moser Glass factory nearby is a design destination with its own gallery.

Back in Prague, taking streetcars and walking the cobbled streets was a good way to explore famed Wenceslas Square, where half a million protesters gathered to shed the Communist yoke in 1989; discover the Soviet-era Zizkov Tower, intended for surveillance; and, not far from it, see the 1920s National Monument on Vitkov Hill, a World War I memorial and former mausoleum that once displayed the macabre embalmed and refrigerated

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corpses of Czechoslovak Communist leaders as propaganda. Now it is a history museum abutting a park with one of the city’s best vantage points, offering views of the Zizkov neighborhood just below as well as the ninth-century fairy-tale Prague Castle complex with its ancient cathedral atop a hill in the distance. Likewise, because of its location, this modernist memorial, identifiable by the 30-foot-tall equestrian bronze statue of 15th-century dissident Hussite warrior Jan Zizka in front, is also visible from all parts of Prague. The memorial museum’s grandiose columns and fine marble staircase are intimidating and its exhibits unsettling, but it is all worth a visit.

A statue-lined late-14th-century pedestrian-only bridge is another gallery of sorts, linking the castle to the Old Town, and one walk across it is never enough, as innumerable tourists who stroll back and forth at all hours across the Vltava will attest. I also headed across it to the Mandarin Oriental Hotel in the Malá Strana area. The remarkable hotel is housed in a 14th-century monastery that has been restored, and its odd-shaped historic rooms, some with views of the castle, combined with the hotel’s stellar restaurant and seamless service, bring Prague into a new era of five-star quality and design.

For more 21st-century hospitality and style, head back across the river and check into the Hotel Josef near the Old Town Square; the boutique design venue has chic top-floor rooms with views of medieval streets and sinister-looking Tyn Church’s twin Gothic-spired towers. Walk from there into the square to find the ever-popular 600-year-old astronomical clock, whose mechanized figures enact a pantomime every hour, along with innumerable bars and cafes, especially the one upstairs at the so-called House of the Black Madonna, a former department store designed in 1912 by Josef Gocar. In the Staré Město area, it is Prague’s first cubist building but obligingly incorporates into its facade a baroque Madonna figure that belonged to an older structure on the site. The building now contains the Cubist Museum on the third and fourth floors, but the fully restored cash-only Grand Cafe Orient on its second floor is the place to be. It offers attentive old-fashioned service and great coffee and pancakes amid Gocar’s interior, which is better than any museum exhibit.

COURTESY OF CZECH TOURISM

CONTEMPORARY ASIAN ARTS

S PAC E S

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BIBBY ART bibbyart.com

Not far from Old Town Square is the House of the Black Madonna, a former department store designed in 1912 by Josef Gocar. Stop in to see the Cubist Museum and then hang out at the Grand Cafe Orient upstairs.

Book your private appointment today.

info@bibbyart.com (415) 309-4152

Lamperti Contracting & Design | San Rafael | lampertikitchens.com

custom cabinetry

For an insider’s view of Prague, I joined two walking tours. The first, Alternative Prague Tours, gave an offbeat view of graffiti art, underground hangouts, a cafe where bitcoin is the only currency, and Communist-era shopping (when you got Western jeans, our guide informed us, you had to wear them in secret, indoors only). But it was Taste of Prague, a walking food tour, that shone a light on what it is like to eat in and be in modern-day Prague.

Our energetic host, Jan, zipped us through some of the best cooked meats, served at a butchery; through 20th-century Lucerna Palace, a performance hall off Vodickova Street where a tongue-in-cheek sculpture of St. Wenceslas riding an upside-down dead horse by David Cerny is suspended and where Jan went for his prom dance; into Lokal, a gastropub serving basic Czech fare and pilsners; and past another enigmatic David Cerny sculpture, a bust of Kafka. We also dipped into Jan favorites such as the cafe Místo and visited the burgeoning Karlín neighborhood, where some of the city’s hippest restaurants are. Eska, recommended by glass company Artel CEO Karen Feldman, an expat American and author of a definitive Prague guidebook, was a streetcar ride away from the center of town; here modern Czech food and a spare Scandinavian sensibility were fused to perfection. Both design and food junkies will find much to love.

Yes Prague, I will be back. n mandarinoriental.com/prague/mala-strana/ luxury-hotel, hoteljosef.com, parkhotel-praha.cz

Color outside the lines.

ICB, 480 Gate 5 Rd. Studio 278D, Sausalito

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Designed for Living Tinder Fire Tables soMa sTones

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BY REED WRIGHT

I N B LO O M

PETAL TO THE METAL

THESE NOT-SO-DELICATE FLOWERS REALLY CAN LAST FOREVER. I F YO U WANT YO UR FLOWERS to last and last, consider some 18th-century-style painted tole — French for sheet metal — in PHOTOGR APH BY CESAR RUBIO

the form of delicate copper flowers painstakingly crafted by two Milanese women for Sue Fisher King in San Francisco. Celebrate the season’s fuchsia and pale pink dahlias, African violets and other blossoms in pots or on stands, along with clematis, strawberries, daisies and four-leaf clover. From $95 to $1,950. suefisherking.com These trompe l’oeil confections are reflected in a beveled mirror that has an elegant Urban Archaeology antiqued-brass frame with rounded corners, at The Bath+Beyond in San Francisco. $805. bathandbeyond.com S PAC E S S U M M E R / FA L L 2 0 1 8

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RESOURCES Did you see something you like in one of our feature stories? This handy resource guide will tell you who made the major pieces in our pages,

BEACH BABYLON

A layering of sophisticated beach furniture — like a HD Buttercup white chair and a Cisco brothers light blue chair angled into the corner of the window — offers a sense of breezy ocean-oriented texture in this sun-filled living room overlooking the edge of Stinson Beach.

A tiled blue and white fireplace from Tabarka Studio offers a hint of visual excitement and rigorous patterning in this 2 S U M Mcreatively E R / FA L Lfree-flowing 2 0 1 8 S PACspace.

ES otherwise

A RENOVATION ON THE MARIN COAST KEEPS THINGS FUN FOR GUESTS AND WARM AND COMFORTABLE FOR THE OWNERS.

BY E VA HAG B E RG FI S H E R

P H OTOG R AP H S BY AU B R I E PI CK

PHOTO CREDIT

Come visit this refined and vetted collection for the discerning homeowner seeking the exceptional and the extraordinary.

what type of item it is and where to find it.

PHOTO CREDIT

Serving Interior Designers and Architects, Celebrities and Fortune 500 CEO’s. Services include custom rug design, cleaning, repair, restoration, resizing, appraisals and auctioneer.

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BEACH BABYLON ARCHITECT Steve Wisenbaker AIA Architects

Recently relocated to Mill Valley’s historic El Paseo building from the San Francisco Design Center after 35 successful years.

and Planners, stevewisenbakerarchitects.com; INTERIOR DESIGN Lauren Nelson Design, laurennelsondesign.com LIVING ROOM Blue chair, Cisco Brothers, ciscobrothers.com; white chair, HD Buttercup,

1 El Paseo Lane, Mill Valley, CA 415.384.8261 • 415.309.3045 rhabib@alexandersrugs.com alexandersrugs.com

hdbuttercup.com; knot sculpture, Windy Chien, windychien.com; tiled fireplace, Tabarka Studio, tabarkastudio.com. DEN Photograph, Daniel Grant, danielgrantphotography.com; daybed, Cisco Brothers, ciscobrothers.com; coffee table, St. Frank, stfrank.com. DECK Custom fire pit,

Pine Street NATURAL INTERIORS

Concreteworks, concreteworks.com; sofa, Restoration Hardware, rh.com; chair, Frontgate, frontgate.com. DINING ROOM Credenza, Custom LND design, lnd-design.com; hanging light fixture, Cisco Brothers, ciscobrothers.com; custom dining table, Kyle Dunn, bayareacustomfurniture.com; Muuto Nerd dining chairs, Zinc Details, zincdetails. net; counter stools, Hudson Grace, hudsongracesf. com. KITCHEN Hanging light fixture, Cisco Brothers, ciscobrothers.com; Wolf stove and Sub-Zero refrigerator, Wolf Sub-Zero Cove, subzero-wolf.com; backsplash tile, Fireclay, fireclaytile.com. BEDROOM Print by Sheila Ghidini, SFMOMA Museum Store, museumstore. sfmoma.org, bed backboard, Serena & Lily, serenaandlily.com; hanging light fixture, Selemat Designs, selamatdesigns.com.

MISSION ACCOMPLISHED ONE COUPLE’S TREACHEROUS FORAY INTO THE WORLD OF DO-IT-YOURSELF DESIGN. P H OTOG R AP H S BY S UZ AN NA SCOT T

MOVING EAST FROM SAN FRANCISCO’S popular Dolores Park area toward grittier Potrero Avenue was not a big leap for 40-something film- and design-world executives Kate Shaw and Dav Rauch.

Their old neighborhood, affordable in 1998 when they moved in, had been an outpost similar to the new one. In the back-alley entrance to the two-unit building they’d owned with friends, “we had to step over squatters to get inside the front door,” Shaw recalls.

But by 2012, Dolores Park and the Mission District had become the epicenter of hipness, and the couple’s appreciated equity enabled them to sell their share in the building and then buy their own Potrero 1880s Victorian, close to an elementary school for their sons Silas and Townes.

Although the “new” 2,000-square-foot house, with an illegal unit in the basement, was crumbling, it also came with a dilapidated 600-square-foot back cottage and a large yard, crowded with an ancient climbing rose vine, a sour cherry tree and a neighbor’s overflowing fig tree. It all offered possibilities — an endless supply of homemade Fig Newtons, for instance — and challenges.

They were not afraid of the latter. Shaw and Rauch met in Prague in 1995 and subsequently worked for Lucasfilm; she is now a director of learning for Airbnb, and he, an avid animator, directs product development for industrial design firm Ideo. So, combining their creative acumen and home-making insights, they refinished floors, painted walls and moved in to strategize what would happen next.

Working first with Yamamar Architecture on the cottage design and then with SF Design Build on the rest, they began to play. They dovetailed a new garage into their basement and camouflaged it to look like an existing bay window from the outside so it would not mar the historic facade. Simultaneously, the rear cottage — reclassified as a second dwelling unit — was stripped and redesigned as an open-plan living space with a loft bedroom that became the family’s temporary home and command central for the next year of remodeling.

“It was stressful but fun,” Shaw says. “We were right there and the crew got to be our family. They even tried to teach our boys Spanish.”

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Non-toxic Furniture • Organic Beds and Bedding Custom Window Coverings • Healthy Home Interior Design Services 415 331 9323 • rowena@pinestreetinteriors.com • 323 Pine Street, Suite A, Sausalito

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PHOTO CREDIT

BY Z AH I D SAR DAR

Kate Shaw and Dav Rauch poured low-maintenance black gravel in the backyard and added boardwalks linking the main house to the tiny two-story back cottage. A fruitless cherry tree and a vintage rose vine both existed. In the vestibule a yellow coatrack from Blu Dot is a catchall. Stairs lead up to bedrooms.

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MISSION ACCOMPLISHED ARCHITECTS SF Design Build, sfdesign.build (main house); YamaMar Architecture (cottage)

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VESTIBULE Coatrack, Blu Dot, bludot.com.

DINING ROOM Dining table, Original Timber Co., originaltimber.com; barstools, Ohio Design, ohiodesign.com. KITCHEN Cabinets, IKEA, ikea. com/us/en; custom cabinet doors, Dunsmuir Cabinets, dcabinets.com; custom shelves, Ohio Design, ohiodesign.com; marble counters, Fox Marble, fox-marble.com; stainless counters, Stainless Supply, stainlesssupply.com; appliances, BSC Culinary, bscculinary.com.

LIVING ROOM Reverie sofa (olive), EQ3, eq3. com/us/en; sofa (gray), Capellini, cappellini.it/ en; lamp, Blu Dot, bludot.com; wood-burning stove, Jotul, jotul.com; Acacia side tables, John Dufficy, johndufficy.com; ceiling medallions,

Your MARIN Window & Door Replacement Specialists!

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Lorna Kollmeyher, lornakollmeyer.com.

BATHROOM Claw foot tub, Rejuvenation, rejuvenation.com. CHILDREN’S BEDROOM Bunk bed, Room & Board, roomandboard.com.

MASTER BEDROOM Reading lights, OFT,

(415) 924-3300

onefortythree.com; bed frame, Ohio Design,

Windows . Patio Doors . Entry Doors

ohiodesign.com.

The large entry door to Jill and Brian Coon’s St. Helena weekend home opens to an open plan interior with kitchen, dining and living spaces defined by furniture. A wall of doors opens to a spectacular valley view.

The deck steps down toward the swimming pool.

Co-owners Rachel Blum and Jaclyn Blum-Guelfi

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PHOTO CREDIT

COUNTRY AIRS

PHOTO CREDIT

2100 Redwood Hwy, Larkspur I www.bayareawindowfactory.com

A REFINED YET DURABLE WINE COUNTRY RETREAT BELIES ITS RURAL SETTING.

BY Z A H I D S A R DA R

P H O T O G R A P H S BY PAU L DY E R

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COUNTRY AIRS ARCHITECT Karen Jensen Architecture, jensen-architects.com; INTERIOR DESIGN Jennifer Robin Interiors, jrobininteriors.com.; LANDSCAPE ARCHITECT Frederika Moller Landscape Architecture, fmland.net; GENERAL CONTRACTOR Total Concepts, totalconcepts.net GREAT ROOM Chandeliers, Restoration Hardware, restorationhardware.com; Christopher Farr jute rug, DeSousa Hughes, desousahughes.com; Lawson Fenning chaise

"Our Favorite Knives."

-Saveur

lounge, lawsonfenning.com; reclaimed-wood coffee tables, Custom Furniture Design, customfurnituredesign.com; sofas, Dmitriy & Co., dmitriyco.com; drink tables, Julian Chichester, julianchichester.com. KITCHEN/ DINING ROOMS Island stools, Palecek, palecek. com; soapstone island with integral sink and drainboard, M. Teixeira Soapstone, soapstones. com; custom bleached maple slab dining table,

Napa Valley Knife Art. Lifetime Guarantee.

designed by Jennifer Robin Interiors and Statsky Design, jrobininteriors.com,

1380 Main Street, St. Helena, CA | NewWestKnifeworks.com S PAC E S S U M M E R / FA L L 2 0 1 8

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RESOURCES

Ajna Living Outpost

Live Better, Outdoors

statskydesign.com; dining chairs, Palecek, palecek.com. MEDIA ROOM Custom sectional, designed by Jennifer Robin Interiors, jrobininteriors.com; coffee table, Pfiefer Studio, pfeiferstudio.com; custom sofa console, Matthew Chase Woodworks, matthew

Ajna Living Outpost is an outdoor lifestyle boutique featuring all-weather furnishings from Ajna Living, Fermob and Palecek, outdoor decor, and more.

chasewoodworks.com; console lamps, The Future Perfect, thefutureperfect.com; chairs at console, Kara Mann, karamann.com; fringe ottoman, V Rugs & Home, vrugsandhome.com; Wallpaper behind monitor, Phillip Jeffries, phillipjeffries.com.

Let us help you create your own backyard oasis, so you can live better, outdoors.

Daniel Goldstein’s “Diver” waterfall of crystals is top lit and above a handcrafted spiral staircase. Dark blue crystals within the waterfall are arranged to look like a woman diving’upward. Opposite page: The spiral comes down to a vestibule outside Scott Taylor’s basement office, home to a stylized sea creature.

FICTIONAL DUNGEONS AND DRAGONS INSPIRE REAL-LIFE ROOMS IN A SAN FRANCISCO VICTORIAN.

BY Z AH I D SAR DAR

P H OTOG R AP H S BY D R E W K E LLY

WHAT HAPPENS WHEN THE WORLDS of computer and board games collide with reality? You get the kind of individualistic interiors that Scott Taylor, a VP of video game development at Zynga, and his wife, Kristine Boyden, a West Coast president for publicity firm Edelman, orchestrated with artful collaborators, including builder Aaron Gordon, architect Ari Gessler and interior designer Tineke Triggs.

It all began in late 2014 when Taylor and Boyden stumbled on an 1870s San Francisco Victorian with side and back yards, close to the condominium in the Castro that Gordon had only recently remodeled for them. They had no desire to move again but, suddenly presented with an opportunity to have a stand-alone home tailor-made for their creative personalities, they seized it.

Bowden was raised on a cattle ranch near Tahoe, Taylor is from Madison, Wisconsin, and they had each embraced the eclecticism of the Bay Area long before they met online about a decade ago.

Their friends are artists, and they have collected the work of those friends over the years. “We really wanted a place to showcase it,” Boyden says. But rather than a sterile, white museum, “we wanted a backdrop oozing and bubbling with energy,” Taylor says.

The 35-foot-wide property included a separate carriage house behind a two-story Victorian, and the smaller unit became a temporary home for them while the city considered the changes they wished to make. A year’s delay allowed the couple, whose time is often fractured by business travel, to weigh design options and come up with ideas of their own.

As it happened, an old photograph of the house when it was first built, surrounded only by acres of sand dunes, became a kind of design talisman for them. They chose to infuse the otherworldly spirit of that setting into their remodeled home and its modern context.

“We wanted the exterior to remain the same,” Taylor says.

It appealed to his sense of history, and for Boyden, a born raconteuse whose career began with tech startups that wanted their stories told, keeping the original shell was critical to forming any fresh design narrative.

213-309-5110

2

80e Main St, Tiburon

PLAY LAND

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PLAYLAND ARCHITECT Ariel Gessler Architects, arielgessler.com; GENERAL CONTRACTOR Aaron Gordon Construction, agcsf.com;

www.ajnaliving.com

INTERIOR DESIGN Artistic Designs for Living, adlsf.com STAIRWELL Beaded sculpture by Daniel Goldstein, danielgoldsteinstudio.com; custom spiral staircase, Badger Sheet Metal Works, bsmw.com; Aramis sconce, Arteriors, shopcandelabra.com. DINING ROOM Chandelier, Ironies, ironies.com; dining table, custom designed by Tineke Triggs, adlsf.com; dining chairs, Noir, noirfurniturela.com. LIVING ROOM Pod coffee table, Avrett, avrett.com; black leather chair, Brabbu Design Forces, brabbu.com; KITCHEN Fireclay sink, Rohl, rohlhome.com; Pendant lights, Avrett, avrett. com; Custom zinc island designed by Tineke Triggs, adlsf.com; sink fixtures, Dornbracht, dornbracht.com/en-us; stove/hood, La Cornue, lacornue.com/en BEDROOM Brass-finished side drawers, Bernhardt Furniture Company, bernhardt.com; custom wall sconces by Jim Misner, jimmisnerlightdesigns.com; wallpaper, Elitis, elitis.fr/en; custom new-gothic bed by Tineke Triggs, adlsf.com; side chair, Coup D’Etat, coupdetatsf.com. POWDER ROOM

Bradanini & Associates L A N D S C A P E

A R C H I T E C T U R E

415-383-9780

Ceiling wallpaper, Timorous Beasties, timorousbeasties.com; black glass wall tiles, Voguebay, voguebay.com; stainless steel mirror, Oskar Zieta Tafla, zieta.pl/tafla. MASTER BATHROOM Hanging lights, by Kim Misner,

www.bradanini.com

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jimmisnerlightdesigns.com; mirror custom

O D S ARCHITECTURE

designed by Tineke Triggs, adlsf.com; chandelier, Noir, noirfurniturela.com; vanity,

BAY AREA MODERN

custom designed by Tineke Triggs, adlsf.com; Amiata bathtub, Victoria + Albert, vandabaths. com/us; floor and shower tiles, Ann Sacks, annsacks.com.

Caption ullanda essimporum vendebit pe dolorem incimus pre aborendam ipsa qui sit pari volupta dolenimint de perchitat dest, corem as nimi, quia sinctat quatquidem vent lant ea pro tem ad exeribus dem doloritaes illorerro mi, sit as et et aut eictur, officip icitam voles dit omnihillese volupta veles et untibu.

AN ARTIST’S PROGRESS AT HOME, A PAINTER COLLAGES TOGETHER THE LOVES OF HER LIFE: ART, BOOKS AND CHILDHOOD MEMENTOS.

BY Z AH I D SAR DAR

P H OTOG R AP H S BY DAVI D D U N C AN LIVI N G STO N

F LOAT I N G I N PA I N T E R A N N H A R R O L D TAY LO R ’ S

Caption ullanda essimporum vendebit pe dolorem incimus pre aborendam ipsa qui sit pari volupta dolenimint de perchitat dest, corem as nimi, quia sinctat quatquidem vent lant ea pro tem ad exeribus dem doloritaes illorerro mi, sit as et et aut eictur, officip icitam voles dit omnihillese volupta veles et untibu.

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PHOTO CREDIT

colorful, textured canvases, words sometimes crop up like icebergs of meaning. A few of those paintings with their curious mnemonic handles appear in her peak-roofed cottage in the Berkeley hills, where her expressionistic outpourings share the walls with works by friends and mentors, including recognizable Bay Area artists such as Christopher Brown, Richard Diebenkorn and Robert Arneson.

“It is all uplifting for me. The art you surround yourself with becomes a surrogate teacher. The more you look, the more you see,” Taylor, who has also taught art at the Art Institute in San Francisco, explains.

Originally from Sacramento, she returned there after she met her former husband at UC Berkeley, where she had studied art history and French. During college, a yearlong stint in France helped her develop a taste for Provençal food and culture, but all that went into hibernation during the time she was raising her son and daughter and commuting to UC Davis for an MFA under artist Wayne Thiebaud’s tutelage.

When Sacramento felt like a cultural wasteland, she found sustenance in San Francisco and was represented there for a time by the Paule Anglim gallery.

Nonetheless, it was a tug-of-war, because “I also wanted to paint all the time,” Taylor says.

When she got divorced after 33 years of marriage, she was renting a large house designed by William Wurster in Berkeley. Finding an affordable painting studio and home nearby seemed the logical next step. “It was a way of moving forward toward my goal,” she says.

A North Berkeley warehouse became her atelier. And to meet a favorable tax break deadline, “I bought this 1980s house that belonged to a botanist and a history professor, in just seven days,” Taylor recalls. The 1,200-square-foot, twostory home was smaller than any place she had ever lived in, but she didn’t care. “I liked its bay views and the birds that came to visit it,” she says. “I love birds and it had great energy.”

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AN ARTIST’S PROGRESS ARCHITECT Fischer Architecture, fischerarchitecture.com DINING ROOM Dining chairs, Design Within Reach, dwr.com.

WWW.ODSARCHITECTURE.COM · (510) 595-1300 · INFO@ODSARCHITECTURE.COM

Creative Growth TWO LANDSCAPE ARCHITECTS, WHOSE PROJECTS INCLUDE THE LIKES OF AT&T PARK, EXPERIMENT WITH ALL TYPES OF PLANTS ON THEIR MARIN HOME BASE.

BY E VA HAG B E RG FI S H E R

P H OTOG R AP H S BY MAR IO N B R E N N E R

This image: A big wraparound deck, designed by Eric Blasen, anchors the southeast side of the house, which was renovated with the help of Douglas Burnham of Envelope A + D. Opposite: The well-used bocce ball court.

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CREATIVE GROWTH LANDSCAPE ARCHITECT Blasen Landscape Architecture, blasengardens.com; LANDSCAPE CONTRACTOR Curtis Dennison Landscape, curtisedwarddennisonlandscape.com; GENERAL CONTRACTOR Olson Brothers, Inc., olsonbrosinc.com GARDEN table, chair and fountain, Blasen Landscape Architecture, blasengardens.com.

World’s Finest Outdoor Furniture San Francisco Design Center Mon. - Fri. 9:30 - 5:00 Items pictured but not listed are from private collections, or no additional details

415.863.7183 dunkirksf.com

are available.

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BY DAVID WEINSTEIN

SEA CHANGE Willis Polk’s Beach Chalet began as a dream to enliven Ocean Beach.

would have loved the Beach Chalet. A “bon vivant,” as one obituary described him, and a “light-hearted lover of the beautiful,” in the words of another, Polk died at age 57 in 1924, 10 months before construction finished on this stylish onetime bathhouse/ restaurant that today is one of only two dining locations directly overlooking San Francisco’s Ocean Beach. It was his last building.

For decades one of San Francisco’s best-known and most prolific architects, Polk was a visionary who made a mark on the city with late 19th-century shingled houses that, simultaneously rustic and sophisticated, helped create the Bay Region Style.

He designed office blocks and towers; the PG&E substation whose facade now decorates the Contemporary Jewish Museum; and many fine houses, including Filoli in Woodside. Polk was overseeing architect of the Panama-Pacific Exposition in 1915 and the reconstruction and restoration of Mission Dolores in 1920.

The architect, who was caught by one newspaper columnist dancing in his seat along to a WILLIS POLK

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performance by Anna Pavlova, loved nightlife and would have appreciated how the Beach Chalet’s upstairs restaurant has become a lively watering hole.

Beyond the bar and restaurant, the downstairs former bathhouse and lounging area have a new life as Golden Gate Park’s visitor center and a de facto art museum thanks to slice-of1930s-life frescoes by Lucien Labaudt, mosaics

by Primo Caredio, and sensuous wood carvings

by Michael von Meyer, done for the WPA and installed in the mid-’30s.

Polk was a visionary who dreamed of redesigning the city following the 1906 quake. He had eyes on Ocean Beach, which he complained was ignored except by people taking “joyrides at night.” He proposed an esplanade with towers and piers, a miniature railroad overlooking the sand and grand homes facing the surf.

“The beach should be made a place for recreation … and the people should be given every opportunity to enjoy it,” he told the city park commission, which 14 years later engaged him to design the Beach Chalet.

Willis Polk’s Beach Chalet features textured stucco, low-arched doorways and frescoes by Lucien Labaudt, mosaics by Primo Caredio and carvings by Michael von Meyer.

The historical image from the day after opening day (far left) shows that things haven’t changed much. The above historical image is from 1946.

The style of the restaurant, which opened May 30, 1925, is hard to categorize. The building was dubbed “Moorish” by the San Francisco Chronicle; when it was placed on the National Register of Historic Places in 1981 it was called Spanish Colonial. With thick, textured stucco, low-arched doorways, paired and unadorned columns, terra-cotta roof tiles, and rough-hewn interior beams, the downstairs does suggest an adobe.

Polk was always a rhythmic designer, and the play of the windows against the paired columns and arches of the second-story restaurant’s ocean-view wall is beautiful. The simplicity and straightforward functionality of the upstairs suggests Polk’s most farsighted creation — the Hallidie Building on Sutter Street with its curtain wall of glass from 1917, about 40 years before glass-walled offices became common.

For decades, starting with what the Chronicle called “lewd shows and gambling parties” in the early 1950s and after being shuttered and abandoned in 1981, the Beach Chalet was a dump. It was restored in the mid-1990s and the Beach Chalet Brewery and Restaurant opened in 1997. Get there early if you want a window seat for the sunset. n

STEVE KEPPLE (NEW); S .F. HISTORY CENTER, S .F. PUBLIC LIBR ARY (HISTORICAL)

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