San Francisco Architecture in The Age of Eclecticism

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San Francisco is changing, but it’s still recognizable. The Victorians, The Edwardians, and The Queen Annes that played host to the summer of ’67 are still here, protected and grand, but that doesn’t mean that the city should be frozen in time. There is a new urbanism, a new spirit, and a new industry, but the form and fabric of the old city remains.

In an era of housing shortage, rising rents and climate change, urbanism is the answer. It’s time to expand upon all that is good about San Francisco.

San Francisco architecture has always shifted with the demands of time. We’ve responded to earthquakes, housed soldiers, and been an example of tolerance and progressive thinking. In the context of 21st century America, California, and the San Francisco Bay Area, the Contemporary Architecture that is being created is, just like its Victorian grandparents, uniquely San Franciscan, suited to its place, climate, and the urban fabric. It’s the current interpretation of “place,” but just as native as its precedents.

In this moment, the eclectic blend of classic and contemporary architectural styles, and their mutual influence on each other, what are the benefits?  Here are some examples.

Creates A Better Urban Experience

Architecture plays a vital role in defining local culture. It gives a particular sense of place that becomes more and more vital in today’s homogenized, corporatized world.

Many urban theorists believe the only hope for density is verticality. They, rightfully, sing the praises of skyscrapers in reducing traffic and urban sprawl. San Francisco will add housing and office space in these types of structures, and indeed a great build up of residential and commercial space is underway around the new Transbay Terminal, but it must also add space at the neighborhood scale.

The National Trust for Historic Preservation sheds some light on the matter. The study concludes that cities with the most diverse range of buildings create the best urban experience. The way forward would be to integrate classic architecture in San Francisco with modern updates. When created carefully, sensitively, contemporary buildings add a layer of diversity and interest to the old city, while respecting and enhancing it.

Historic Buildings Attract Creatives

Artists and creative types are notoriously averse to sterile, placeless designs. If San Francisco modern architecture hopes to draw, and captivate, the creative class, it needs to build on its heritage and legacy.

Nearby Silicon Valley attracts plenty of business people, software developers, and entrepreneurs.  The resulting innovation takes place inside of the labs, think-tanks, and VC firms, but outside there is an equally bleak reality marked by repetitive and generic sub-urbanism, the antithesis of a vibrant artistic culture.

If San Francisco hopes to maintain its position as a haven of innovation, builders should be keeping 1968 in mind as well as 2018 and 2050.

Preserves Local Identity

San Francisco is full of memorable, distinctive architecture. It’s one of its most noteworthy features, right along with its rolling hills and functional cable cars and trolleys. It’s like no other place on Earth, having weathered serious disasters, it’s resilient and has a quickly-shifting culture. Architecture in San Francisco needs to reflect that.

Consider the recent renovation of San Francisco’s Ferry Building. The 104-year old building was converted into public space, featuring a 5-story atrium. The Ferry Building’s design is a testament to the creativity that can come from honoring the historic with a modern sensibility. This famous San Francisco building will live on, repurposed and ready for the 21st Century.

Updating San Francisco’s architectural heritage for modern times will help preserve its past and ensure its future.  Modern architecture is one of San Francisco’s most relevant cultural exports.  Working in this rich environment, San Francisco architects are envisioning futures across the globe. We need to do more of it here.

Looking For Architectural Services In San Francisco?

At Levy Art + Architecture, we’re passionate about both the past and future of San Francisco architecture. We love San Francisco’s history and mythology.

We’re committed to bringing that heritage into the future. If you’re looking for architectural services in or around San Francisco, contact us today.

Based in San Francisco, California, Levy Art & Architecture specializes in commercial and residential projects, with the goal of creating an innovative architectural design consistent with the client’s vision, sensitive to the context and the environment.  A  team of professionals with extensive experience and multi-disciplinary backgrounds handles a wide range of project at every scale.

6 Ways to Incorporate Green Design into your Home

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Environmental sustainability has never been a more critical issue for humanity. With building, and building operation, contributing nearly 50% of global C02 emissions, the role of sustainable architecture has never been more important. As more people realize the importance of decreasing their carbon footprint, green design and construction are projected to become one of the fastest growing markets worldwide.

The good news is that with such a high demand, and progress in building and material science, there are a number of easy to implement and inexpensive approaches you can take to incorporate sustainable design features into your new or renovated home. In this article, we’ll look at 6 great ways you can integrate eco-friendly design in your home construction.

1. Work with the Environment, Not Against It

One of the most direct ways to construct green buildings is to keep the natural conditions of your building site in mind, what is called “passive design.” When optimizing natural light, heating, and cooling, the orientation of your house is vitally important.

In the Northern Hemisphere, south-facing windows will collect natural heat from sunlight in winter.  Avoiding or providing exterior shades for west-facing windows will help keep your home cooler in the hot summer months. Strategically placing windows throughout the house will allow for cross-breezes and natural ventilation, saving on energy usage. Yards without fences will allow for local wildlife to move freely.

An experienced green architect will design a building based on these principals and the specifics of the shape of the land, prevailing winds, and existing vegetation for your future home. This will make it genuinely “of its place.”

2. Purchase Sustainably Grown and Harvested Lumber

Forests are carbon sinks and provide habitat for all variety of wildlife. From the rainforests of South America to the arboreal forests of Canada, forest management is a critical issue worldwide. We have seen the increase of wildfire and devastation in the American West.   Traditional clear-cutting of old growth forests does irreparable harm to the ecosystems and the watershed. These are a non-renewable resource that must be protected for the “ecosystem services” that they provide.

We, as consumers, need to vote with our pocketbooks. Sustainably grown lumber is “certified” by either the FSC (Forest Stewardship Council) or Green Cross rating systems. Engineered lumber products, large dimension pieces made up of factory assembled small diameter logs, work and act better than sawn timber while leaving large trees standing. Check to make sure that your forest products are certified and that engineered products are manufactured with non-toxic adhesives.

3. Install Green Insulation

Insulation is especially important in green design. Great insulation reduces the amount of energy needed to heat or cool your home. Placing weather resistant, insulation on the exterior of the structure helps to reduce “thermal bridging,” where heat is transferred through the structural elements.

Some insulation companies create insulation out of recycled materials, generally recycled cotton denim from jean manufacture, or recycled newspaper known as “cellulose.” Others are working with bio-based foam from mushrooms. These are the preferred selections since fiberglass insulation can lead to long-term health issues for installers and is oftentimes manufactured with formaldehyde. With green insulation, you can reduce your home energy usage while keeping usable materials out of the landfill.

4. Specify LED Lighting

LED lights are extremely energy efficient. They use significantly less power than regular incandescent bulbs and last up to 40 times longer. Their longer lifespan means less electronic waste.

They also create virtually no heat, meaning that they won’t warm up your home in the heart of summer. Even better, they are small and bright.  With advances in color rendition, they offer a new set of design opportunities.  You can work with an architect or designer to get creative with new ways you incorporate LED lighting into your home.

5. Design with Water Saving Fixtures

There is a large selection of plumbing fixtures that reduce flow, while providing improved water pressure, mixing balance, and scald control.  Horizontal axis washing machines use less water and get clothes cleaner. In California, where water is a perennial issue, these types of fixtures are required by law, partly to save water, partly to address the “water energy nexus.” Fully 20 percent of the energy that we use in California is for moving and purifying water. Even if you live in an area where water is abundant, using less of it will save money and reduce environmental pollution.

6. Cap it with Solar Panels

Solar panels are another staple of sustainable architecture. Prices have dropped precipitously as demand has risen and production has grown. Since they collect energy from the sun and convert it into electricity, they can significantly reduce your reliance on power from the city grid. There are more and more options for battery storage, fueled by the electric care industry.

In fact, solar panels are regularly used with advanced battery technology to create net zero energy homes, where the only power used is created sustainably, locally, and without any reliance on utility provided energy.

Wrapping Up

When building a new home, it is easier than you may think to incorporate green design elements. From water saving to solar panels, the sky, or the ground, is the limit. You can have the home you want and feel good about it while helping to preserve and enhance the environment for future generations.

Want to find out how your new home can be built sustainably? Contact us to learn more.

Based in San Francisco, California, Levy Art & Architecture specializes in commercial and residential projects, with the goal of creating an innovative architectural design consistent with the client’s vision. A team of professionals with extensive experience and multi-disciplinary backgrounds handles a wide range of projects of every scale.

The Role of Sustainable Architecture in San Francisco

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By Ross Levy
Principal

We are all aware of the issues with housing in California. It is hard to find and expensive once you do. That is enough of a challenge for most of us, but there is a larger and more nuanced set of issues that are intimately related to what we build, where we build and how we build it.

The underlying issue is that sprawl consumes viable natural land, land that sequesters carbon in the subsoil micro-biome. Compounding that problem, this type of development reinforces auto-centric patterns of living that lead to greenhouse gas emissions, contributing to climate change.

Impact on the Environment

Buildings, their construction, and operation, constitute nearly 50% of our global Co2 emissions. The challenge of our time is the climate. We need to make the most of existing infrastructure by leveraging it, creating more density while at the same time envisioning more livable cities.

This is a big part of what The Greenhouse gas legislation, CA AB32, signed by none other than Republican Governor Arnold Schwarzenegger, was intended to address.  Following along have been further administrative actions, most recently and quite controversially, SB 827, sponsored by The Assemblyman from San Francisco, Scott Wiener, that will provide for “as of right” entitlements for high-density development along transit corridors.

Architects as Environmental Protectors

As architects, we are public artists. Our designs are reviewed and criticized by government agencies and by the public at large. We work in “contexts”; natural, urban, rural, sub-urban, dense and sparse, all of them unique and all of them sensitive.

In the context of San Francisco, a city with a rich history and strong sense of identity, how do we grow responsibly while maintaining our character and integrating new environmental technology? This is a uniquely architectural problem. It demands design solutions that are of the highest caliber, addressing a number of complex problems at the same time.

The first is the form of The City.  We can create “new” architecture that is compatible with the “historic fabric” if we first consider mass and modulation.  By this, we mean that the City, each block, has a definable rhythm of shapes and forms. Recognizing that, we can design to create and support that pattern, while also integrating design that is relevant to our age and our environmental evolution.

Our society, its built remnants, has been produced by a process of accretion, built up over time.  We work in this continuity of time to produce structures that solve today’s problems; structures that are “net-zero” or “net-positive” energy generators, buildings that are carbon sinks rather than carbon emitters, and forms that support the historic or natural environment.

That seems clear enough, but there are a variety of opinions about “context” and “contextual.”  Unfortunately, public agencies, such as San Francisco Planning, do not always share our vision of progressive architecture. To be fair, they, like any public agency, have multiple constituencies that they serve, and many political masters. We have always, and will always, work with our colleagues in public administration to, not only build a better city and a better planet but also to educate the public and to influence the Building and Planning Codes so that they are more closely aligned with the realities of our day.

Taking Action

I have personally been serving on a committee, The SFAIA PPAC, and its affiliated organization, SFDAG, in the interest of this ongoing dialogue.  We are grateful to SF Planning for their time and open minds.  It is this kind of approach that has yielded some success and respect for the work that we do.  We have every intention of continuing.

Contact us to learn more.

Based in San Francisco, California, Levy Art & Architecture specializes in commercial and residential projects, with the goal of creating an innovative architectural design consistent with the client’s vision. A  team of professionals with extensive experience and multi-disciplinary backgrounds handles a wide range of projects of every scale.

“De Haro” featured in The Looker Magazine

HOME DESIGN: SUMMER 2015

AERIE

BRINGING THE PARTY HOME

A POTRERO HILL RELIC GETS A MAKEOVER IN NEON AND GLITTER.

Words by LAUREN MURROW

IN THE KITCHEN OF Heather Forbes and Steve Sacks’s Potrero Hill home, color-changing LEDs trim the counters and a disco ball twirls overhead. A new Dutch-inspired electric hoist on the front of the house is capable of raising 880 pounds— “a lot of beer and party supplies,” jokes their architect, as well as groceries and laundry. Traditional barstools have been swapped out for custom wooden swings. “We discovered swings like these in a bar in Tulum 15 years ago,” remembers Forbes, “and we never really forgot about it.” Their kids—Cameron, 11, and Jasmine, 9—eat breakfast at the counter every morning, gliding to and fro between bites.

Clearly, this is a house that was built to party. That comes as no surprise to those who know the couple: he a former DJ and bar owner and she a print-loving interior designer. “We wanted a home with a sense of humor,” says Forbes, founder of Sayde Mark Designs. And from the original glitter art to the octopus-print wallpaper, self-serious it’s not.

Built in 1903 and bought in 2001, the original house was dark and closed off, with no view to speak of. So the couple enlisted Ross Levy of Levy Art & Architecture to blow the roof off, topping their abode with a new third floor and tacking on a trio of terraces. The living room adjoins the grill-equipped roof deck through sliding glass doors. In the bathroom, a pair of outward-facing French doors create the effect of an indoor-outdoor shower, where one can enjoy views of Sutro Tower while they shampoo.

As a finishing touch, the family christened their new home with a fresh coat of accent paint: lemon yellow in front, hot pink in back—which is visible from the peak of Bernal Heights Park. “People either love the paint job or they say nothing,” laughs Forbes. “But who cares? We think it’s fun.”

IMAGE CAPTIONS

  1. Owner Steve Sacks and his kids, Jasmine and Cameron, in their kitchen. Architect Ross Levy wrapped the living and dining area in a wave of French oak.
  2. The custom stairwell is flooded with light by an east-facing window.
  3. The family gravitates toward neon hues. “This is one of those houses that’s a true expression of the people living in it,” says Levy.
  4. Levy designed a trio of decks in back. “Every floor has an outdoor element,” he says.
  5. Even in a house surrounded by stunning views, this windowless halfbathroom is a main attraction. “I looked through hundreds of wallpaper swatches,” says owner Heather Forbes. “But as soon as I saw this, I was sold.”
  6. The east-facing office connects to the open kitchen.
  7. “We used to cram dinner parties around a 4-person table,” says Forbes. This one, from HD Buttercup, seats 14.

View the original magazine spread. View the original in plaintext.

Phenomenology & Formality: a critical commentary

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Case Study: The New East Span of the Bay Bridge

We’ve been talking with our friends and colleagues and it seems that there is general agreement that the best experience of the new East span of the Bay Bridge comes as you travel east through the Yerba Buena Island tunnel.  The approach is along the lower deck of the old west span where you are prepared by the staccato rhythm of beams, girders and chevrons overhead.  These give way to the concrete beam roof in the tunnel itself which, then, transitions to the smooth, cast concrete undercarriage of the upper deck of the new span.  This is where dynamics, the phenomenology of space and experience come into play.
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As you leave the tunnel the upper deck peels away curving subtly to the North to reveal the monumental, white tower.  The tower, actually a cluster of four columns, bound together by seven “link beams,” is at its most dramatic here, appearing immediately and at full scale within the normal range of vision, it is more vertical, most imposing, white, striking and elegant from this vantage. That impression is set up by the approach and the curved movement of the upper deck.  The entire experience is based on high speed travel as it relates to physical form.  Blog-BayBridDes-2

More than the formal elegance of the tower itself, described by the Architect, Donald Macdonald, in his book Bay Bridge, History and Design of a New Icon, it is the serial experience that really makes the impression.  The critic Mitchell Schwarzer described this cinematic experience of space in his book Zoomscape.   “In this thought-provoking book, he argues that the perception of architecture has been fundamentally altered by the technologies of transportation and the camera.”  Here time and movement are the fourth dimension and they are employed as tools for understanding and, potentially, for defining design.  As realized through the windshield at fifty five miles per hour the verticality of the tower is made more present by the curving sweep of the roadway surface, which is itself a product of the perception of a traveler moving through space.  The proportion and the component parts of the tower are made more precise by their relationship to the monolithic, subtly beveled underside of the elevated roadway.

Unfortunately, there is a contrasting experience when travelling the bridge from East to West.  Passing through the tolls on the Oakland shoreline, the tower is barely visible in the distance.  The actual length of the viaduct, the physical distance, is a part of the issue, but the bigger problem is the architecture, which works against the potential experience of an east to west trip across The Bay.
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The particular problem is the design of the light standards.  These objects are highly aestheticized miniatures of the tower itself.  They are formal by-products, “Key elements from the tower come off the structural system onto the other features of the main span and viaduct.” (p 78) There are illustrated diagrams that detail the geometric and proportional similarities and “the progression of the light fixtures from the East Oakland touchdown to the tower of the main span.”  The logic is clear and there is ample precedent for making design decisions in this fashion.  The problem is that the experience is lost in the mix.  The light standards obscure the main tower and undermine the experience of the bridge.

I make these points, not only as a critique of the bridge, but also as a commentary on design and process relative to the “zoomscape.”  The experience of traveling the bridge serves to underscore important issues about how architecture is conceptualized, taught, and ultimately experienced.  We have shied away from design that is premised in experience, because we lack the tools, both the representational and critical tools, to describe and discuss design as experience.   The visual is prioritized, and has been since the advent of classical ordering systems.  We are trained to study form by graphic composition, so much of the dialogue is carried out in two-dimensional media, drawings, photographs, magazines and the internet.  Even three dimensional models, whether real or virtual oftentimes represent “privileged views,” without providing cognitive access to the experience of the proposal.  Perhaps we need to find other ways of representing our ideas; sound recordings, animated films, immersive environments, so that we can study and design from a dynamic vision of space and spatial experience.  We make physical objects, but not as an end, it is their use, inhabitation, or occupation that is the intended goal.  They are inhabited over time, by occupants who move and change their point of view.   Just bearing this in mind, designing as much with the gut as with the eye will yield tangible results.  If we can embed this understanding in our process and methodology, we will be that much further down the proverbial road.

2014 – International Year of Family Farming

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The United Nations declared 2014 the International Year of Family Farming (IYFF) to highlight the importance of family and smallholder farmers. Food Tank is partnering with the U.N. Food and Agriculture Organization (FAO) to commemorate IYFF, and will feature weekly posts and other media highlighting the innovations that family farmers are using to alleviate hunger, poverty, and environmental degradation along with the campaigns and policies that support them.

The International Year of Family Farming honors over 400 million family farms in both developed and developing countries, defined as farms that rely primarily on family members for labour and management. Such farms produce the food that feeds billions of people. In many developing countries family farms make up on average up to 80 percent of all farm holdings.

But small and medium-size family farms are suffering across the world. One bad harvest, a rejected bank loan, or too much or too little rain can drive farms out of business.

“The most effective way to combat hunger and malnutrition is to produce food near the consumers, precisely what family farming does, not the large itinerant investors,” explains Jose Antonio Osaba (WRF), Coordinator of the IYFF-2014 Civil Society Programme.  Food Tank acknowledges the crucial importance of family farming and its potential to help create a more sustainable and just food system.

Forthcoming reports by FAO and Food Tank suggest that through local knowledge and sustainable, innovative farming methods, family farmers can improve yields and create a more nutrient-dense and diverse food system. Family farmers are key players in job creation and healthy economies, supplying jobs to millions and boosting local markets.

During 2014 Food Tank will be releasing a variety of materials for the International Year of Family Farming, including a research report that will come out early next year, a series of weekly articles on Food Tank’s website, and a petition encouraging support of family farmers across the world. Today we are excited to release a new video highlighting the importance of family farming in alleviating hunger and poverty!

Over the next year, let’s remember that farmers aren’t just food producers – they’re business women and men, they’re teachers in their communities, they’re innovators and inventors, and they’re stewards of the land who deserve to recognized for the ecosystem services they provide that benefit us all.

Monterrey Design Conference

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For those of you who attend The Monterey Design Conference, you know how illuminating it is, one of those rare instances where professional development is an actual intellectual exercise.  2013 was no exception.  The thing that stands out in my mind was the degree of subtlety that was on display and the emphasis on the phenomenology of space in opposition to more formal or graphic expressions.  Perhaps this is best characterized by the “spirit in the prosaic” or the exercise of finding “the great within the small”, and by so doing “elevating the ordinary to the status of architecture” as Marlon Blackwell explained.   Listening to him talk I realized that there is a fundamental humility that comes from working in less urbane areas of The United States and that it serves a less esoteric approach to design.  Marlon works with small budgets in modest locations and creates sublime results without any of the pretention that is associated the academic practice of architecture.

Brian Price’s brief presentation followed a similar trajectory, a new and more experimental practitioner, he has already realized that we are often best served by “working through subtraction…. re-framing familiar things.”  He was eloquent as he discussed the need to find new forms of engagement, a very important comment on the nature of architectural practice in this, still new, century.

Anne Fougeron’s work is a testament to dedication and persistence.  Her lecture titled  “Work: A Decade” charted a trajectory in both scale and invention that is something to aspire to.  I was surprised to learn about her education as an art historian, but knowing that allowed me to understand her work through a new lens.  She made references to Dan Flavin and James Turrell, artists  who work in the abstract medium of light.  This has direct implications for architecture where the medium is space, a material enclosure that has density and presence.  Sealed containers that reject, limit, modulate or allow the introduction of light (and other environmental phenomena) as a fundamental “function.”  Only someone with an understanding of, and appreciation for, art can appreciate the power of working with this all-present, but immaterial medium.  It clearly informs her approach to architecture which is more about being than seeing.  A very important message in this era of instantaneous image circulation and consumption.

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Site of the AIACC Monterrey Design Conference

I had the unique opportunity to attend The Monterey Design Conference at the same time as I was attending The Carmel Ideas Festival.  The Ideas festival is a gathering of authors, some as well known at The New York Times’ David Brooks or the author Jane Smiley.  They each speak for twenty minutes to an audience of interested lay people about a diverse set of subjects.  As you might expect, they are very good at delivering their thoughts in a concise and compelling fashion.  Without being overly critical, I was left with the impression that we, Architects in general, need to get a lot better at communicating our ideas.  As wonderful as the projects that were presented were, the presenters often fell into simple narration of the images on the screen, sometimes losing track of the rhetorical agendas that the titles and introductions to their talks suggested.

With that criticism in mind, the highlight of The Conference for me was the Saturday session with Jack MacAllister.  Jack spoke for almost an hour, in front of a single image, without notes and without allusion.  Granted he has sixty years of experience to draw from, but his “Top 10 list for Architects” was both valuable and entertaining.  His common sense advice was, all too often overlooked, is the sort that can only come from a deep and varied career.  The way he told his story, and I use the word story intentionally because I am convinced that we need to become better story tellers, made his professional trajectory easy to comprehend.  Working from the details at The Salk Institute, to founding firms, to advising, his impact has become larger and larger as he has touched more and more people with his knowledge and wisdom.  At this late stage, he is a curator of architects, perhaps more influential than ever.  His easy, unscripted, communication underscored that message.

The Conference was a success, and reflecting on it, I have to inquire about the agenda of the organizers, Larry Scarpa, Tim Culvahouse and Robert Ivy among them.  Are these thought leaders working to help to usher in a new era in our field? With lecture titles like “Material/Immaterial” with work by Odile Decq whose projects evidence the expressive potential for small modulations within a regulated field, I believe that the message is clear.  Space is the medium in which we work, phenomenology is the mode of experiencing that medium and whether or not one can find the language for expressing it, everyone responds to it.  Architectural discourse has been on a juggernaut from form follows function, less is more, structuralism, post-modernism,  to  de-constrcutivism and out the other side.  Perhaps The 2013 Monterey Design Conference was styled to remind us about what the real “stuff” of architecture is.  To demonstrate that there is ample intellectual potential in contemplating and working from that “stuff” and to re-focus our endeavors in this time of growing environmental concern.  There has never been a moment where the world needed our thoughts and talents more, let’s hope we can rise to that challenge.

Ross Levy AIA LEED BD&C CGBP