A Burst From the Past

Cold cuts at eye level
Major appliance manufacturer General Electric launched a number of industry firsts in the mid-'50s while advertising its products' modern appeal. The GE Wonder Kitchen featured a built-in range, dishwasher, disposal, and washer and dryer under a single countertop. The sleek wall-mount, side-by-side refrigerator/freezer, right, has the look of kitchen cabinetry.

Bursts of color
As bright shades debuted in 1950s kitchens, cooks could now choose appliances in hues of yellow, pink, blue or turquoise to help modernize their family gathering spot.

Working for you
This colorful kitchen is worth your minute of study. There are no wasted steps in serving meals or in cleaning up: A drop-leaf cart carries food from range and refrigerator to table in one trip. The folding doors of the dish cabinet open easily to place contents within easy reach. Featured in the House Beautiful April 1957 issue.

Mint green accent
This 1950s magazine illustration features a mint green oven that matches the slanted rafters, a polished brass pendant light, and elegant wood cabinetry. Note the white-brick wall – a predecessor to the metro tile – and the trendy gold-colored hardware, which can be seen in many modern homes today.

Domestic bliss
This magazine illustration features powder-blue units and contrasting copper-colored appliances. Note the archetypal sunburst clock, the under-cabinet dining nook, and of course the beaming housewife. An early ancestor of the industrial trend, the image reveals the roots of the exposed brick wall.

Pink is everywhere
It’s the 1950s. The war is over, and the United States is enjoying a wave of unprecedented prosperity. Millions of GIs returned, eager for the comforts of home that they had been missing, and everyone settled down to a kind of nationwide nesting. Record numbers of homes were being built in the newly developed suburbs, and the center of all those homes was the kitchen.

 

2021 Top Ten San Francisco Residential Sales

2021 was a banner year for $15,000,000+ properties in San Francisco’s prime single family home market. Numerous examples on this list were transacted privately. Now more than ever, CAENLUCIER’s Private Sales network and our proprietary sfPAS® market analytics are delivering remarkable results to our valued clientele.

2920 Broadway - $43,500,000

2582 Filbert Street - $32,000,000

3524 Jackson Street - $29,000,000

3355 Pacific Avenue - $28,000,000

3414 Washington Street - $24,950,000

490 Avila Street - $19,750,000

2590 Green Street - $19,500,000

150 Glenbrook Avenue - $17,500,000

2820 Scott Street - $17,450,000

2523 Pacific Avenue - $15,100,000

INTERVIEW: OGRYDZIAK PELLINGER ARCHITECTS

Experiences In Space

By CAENLUCIER

Driven by a humanistic approach to design theory and a willingness to push beyond conventional boundaries, Luke Ogrydziak and Zoe Prillinger guide their adventurous clientele along the journey of bringing an idea to life. This husband and wife partnership has created a progressive San Francisco-based office that has undertaken projects ranging in scale from institutions to private homes, as well as interior and object design. Founded in 2000, OPA is idea-driven and committed to finding design solutions that both expand the possibilities inherent in architecture and resonate within their particular context. We sat down with Luke and Zoe recently to learn more about their practice and passions in life.

LUKE OGRYDZIAK & ZOE PRILLINGER

LUKE OGRYDZIAK & ZOE PRILLINGER

CAENLUCIER: What is your current state of mind towards your practice? 
Luke Ogrydziak & Zoe Prillinger: Our projects are always exploring new ground, so we’re excited to see some that are about to be realized as they begin construction. Architecture can be an excruciatingly slow profession in many respects—but construction is always exciting and fun. Our projects are forward-looking, and our latest introduce elements of organic materiality that we think will be compelling. This has been a breakout year for us in terms of international media coverage. So, we are curious to see what new projects might emerge this fall.

CL: When did you know that architecture would be your life’s work?
LO: Freshman year of college. I took an introductory design studio and was hooked.
ZP: Luke and I were in studio together at university. He was an amazing designer from the start—really operating at a different level.  I made a dramatic but committed swerve from classical archaeology into architecture in high school. Alphabetically quite similar disciplines, but otherwise unrelated!

CL: How did your formal architectural studies shape your outlook towards design?
We both went to Princeton, which has a strong emphasis on history and theory. So, we learned to complement our time in studio designing with time away from the studio thinking. We were educated to “read” cultural productions of various historical periods such as architecture, art, and literature. In this sense, architecture as a discipline is always reworking its language, and returning to confront the same issues at any point in history. Within this context, we try to do work that is meaningful, and will hopefully itself be historically relevant.

SHAPESHIFFTER | RENO, NV

SHAPESHIFFTER | RENO, NV

CL: What’s your intellectual process when beginning a design project?
Every project is a different journey. It starts dreamily, with the client, the site, the aspirations, and there’s a very pleasant period when ideas that aren’t quite fully formed start to emerge out of the mist. Recognizing and testing the good ones comes next. Through a combination of looseness and discipline, we clarify a project narrative and refine it throughout the process.

CL: When you dream of a perfect client, what qualities do they have?
Curiosity and confidence in their own opinions.

CL: When you collaboration with each other is at its best, what does it look like?
It’s a best idea wins situation, but also a bit of a mind-meld. Luke and I have been working on projects together since we were eighteen, so we worked out the competitive skirmishing long ago. We have very different strengths, but I trust his opinion almost implicitly. If he likes an idea that I’m excited about but still feels tenuous, that means it’s worth pursuing. He knows he can trust me to keep an eye on the big picture and sift out distractions. We both want to do work that’s worth doing, and together we cultivate a joint sense for what will be rewarding or meaningful.

CL: What do you see on the international design stage that inspires you?
LO: For me the most exciting thing right now is a much more nuanced integration of emerging technologies into the design process. New methods of fabrication are creating possibilities we could barely have imagined several years ago.
ZP: I enjoy the new forms and approaches that arise from the fusion of regionalism and contemporary architecture that we’re seeing from less-developed countries in Africa, Asia, and Europe. They breathe life into what can at times seem a weary discipline.

SOFTIE | STRAWBERRY POINT, MARIN COUNTY

SOFTIE | STRAWBERRY POINT, MARIN COUNTY

CL: What building do you wish you had designed?
LO: Kunsthal Rotterdam by OMA

CL: Which architects from the past inspire you?
Francesco Borromini, Karl Friedrich Schinkel, Le Corbusier, Adolph Loos, Alvar Aalto, Kazuo Shinohara.

CL: Of your contemporaries, whose work is interesting to you?
LO: Jürgen Mayer, Ensamble Studio, Ryue Nishizawa

CL: Does OPA have a signature design viewpoint?
Yes. Our design work explores new architectural languages—extensions of Modernism transformed both by conceptual narratives and current technologies. We like architecture that has life, that is slippery and changeable, that is incalculable, that comes with surprises, and that continues to surprise as something never fully grasped. It’s a feeling, not an image.

CL: You are involved with jury panels. What do you look for when assessing a contest submission?
Does this project represent a legible, intelligent position that is relevant to our current world? Does the project take risks?

TELEGRAPH HILL | SAN FRANCISCO, CA

TELEGRAPH HILL | SAN FRANCISCO, CA

CL: Next stop on your travel list?
We are just back from Italy (Rome and Naples). Our next stop is Australia!

CL: What is your favorite weekend getaway?
Santa Cruz and the Monterey Peninsula.

CL: Favorite restaurants?
Cotogna San Francisco and Acunzo in Naples

CL: What are you currently reading?
LO: The Enigma of Reason by Hugo Mercier and Dan Sperber
ZP: Rome by Robert Hughes, a pile of stuff by Stefan Zweig

SOUTH PARK | SAN FRANCISCO, CA

SOUTH PARK | SAN FRANCISCO, CA

VISIT OPA WEBSITE

Photo credits: Bruce Damonte, Joe Fletcher, Tom Griffith

Restored City Hall Dazzles Ess Eff

It isn’t the “Taj MaWillie” that wags say he was aiming for, but a beaming Mayor Willie Brown presided Tuesday over the reopening of a restored City Hall that reflects both his own appreciation of the finer things in life and San Francisco’s belief in itself as the nation’s most beautiful city.

Surrounded by a bevy of dignitaries, Brown cut a blue-and-gold ribbon and ushered crowds of curious citizens into the elegant Beaux Arts building shortly after noon. It was the first time most had been inside since the national landmark closed four years ago for a $300-million seismic retrofit and badly needed face lift.

Most streamed straight toward the light-filled rotunda. Visitors snapped photographs and craned their necks to ooh and aah over its ornately carved ceiling.

“I think it is absolutely magnificent,” exulted Lauree Walter Watkins, a 60-year-old street musician and native San Franciscan. “This dome is now the Picasso of all the domes in the world.”

The renovation literally stretched from the building’s foundations to the 24-karat gold-leaf torch atop the gleaming, near-black dome.

Miles of oak paneling, tons of marble and limestone floors and walls, and hundreds of elaborate chandeliers were cleaned and polished. Acoustic ceilings were torn out to reveal the original marble. Concrete was removed to reopen skylights, giving the building an airy feel it hasn’t had for decades. In all, 50,000 pieces of stone and 25,000 pieces of hardware were removed, restored and put back in place.

The meticulous attention to historical detail is earning rave reviews from architects, preservationists and citizens, and kudos for the mayor.

The restored gilded dome

The restored gilded dome

“I’m so glad Brown had the strength to bring her back,” said Gladys Hansen, the city’s archivist. “She is a grand old lady, and she got a good cleaning.”

Built in 1915, the building was designed by Arthur Brown Jr., who learned classical French Renaissance design at the Parisian Ecole des Beaux Arts. His inspiration for City Hall was the Church of the Val-de-Grace in Paris.

The San Francisco structure’s elegant lines and monumental size--it has 500,000 feet of interior space--were meant to serve as a dramatic symbol of the city’s rebirth after the devastating 1906 earthquake and fire.

“It came at a time when this city was wanting to boast,” Hansen said.

Reflecting San Francisco’s sense of itself, Mayor James Rolph Jr. ordered up a City Hall with the nation’s tallest dome. He liked to crow that at 306 feet, it stood 16 feet taller than the dome of the U.S. Capitol. (In fact it stands about 12 feet taller, but the point was made.)

For 80 years, City Hall anchored the Civic Center, which contains the nation’s largest and finest collection of Beaux Arts public buildings.

But the 1989 Loma Prieta earthquake badly damaged the building, cracking its marble walls and dangerously weakening the dome that towers above the Civic Center. City employees worked around a maze of scaffolding and temporary braces until January 1995, when 1,300 workers moved out and reconstruction commenced.

The Federal Emergency Management Agency paid for $105 million worth of retrofitting, and San Franciscans passed two bond measures to pay for the rest.

But in a city filled with passionate preservationists, City Hall’s rebirth was not without controversy.

Brown stirred a storm of protest in April 1996, when he unveiled a plan to permanently banish some departments to satellite buildings and replace them with lavish, more spacious offices for the mayor and supervisors, reception halls and conference rooms.

Critics charged that he was turning City Hall into a party palace, a showplace for officials rather than a building for the people’s work. In June 1998, voters embarrassed Brown by repudiating his vision, passing a ballot measure that required the city to move most departments back into the building after the restoration. Brown was forced to content himself with using $500,000 in private funds, which had been donated for public art, to reapply gold leaf to the dome and wrought iron trim to the building’s exterior.

“I knew that this was not Taj MaWillie,” Brown said in his dedication remarks. “This was your building and my building. . . . Join me in coming to visit your new home.”

Most of the workers are back, in spacious offices suffused with natural light that are wired for computers and cable television. There is a child care center in the basement and wheelchair access throughout the building.

On the ground floor, to the north and south of the rotunda, lobbies that had become rabbit warrens of civil servants’ offices have been restored as skylighted gathering places for public events and exhibits.

On Tuesday, docents told tales of the hall’s colorful history.

Mayor George Moscone and Supervisor Harvey Milk were gunned down by former Supervisor Dan White here in 1978. Rioters protesting the failure of a jury to convict White of murder in the case smashed the glass front doors and damaged the building’s facade. In 1954, Marilyn Monroe wed Joe DiMaggio here. President Warren G. Harding’s body lay in state in the rotunda in 1923.

Perhaps the most significant aspect of the renovation is the seismic retrofit. Engineers chose to install the same base isolation system that will be used to protect Los Angeles’ own City Hall, now undergoing a $300-million reconstruction, from earthquakes.

Workers demolished the foundation of San Francisco’s City Hall down to the bare earth and the building’s 600 bare steel columns. Each column was then jacked up and a base isolator, made of rubber and stainless steel disks, was installed. Each isolator is 3 feet in diameter and 2 1/2 feet tall, and designed to move up to 27 inches.

A moat slightly wider than 27 inches was dug around the building, giving it room to move in a quake. In addition, walls and the dome were strengthened with steel. Tony Irons, director of the renovation, says the structure should be able to withstand an 8.3-magnitude earthquake.

Robbie Thornton, a native San Franciscan, credited Mayor Brown, whose taste for expensive suits and Borsalino hats is legendary, for the sumptuous restoration.

“I came here today to see my dream come true,” Thornton said. “I’m a flashy guy, and City Hall looks flashy to me, classy and flashy, just like the mayor.”

Los Angeles Times
By Mary Curtius
January 6, 1999

1980s Flashback

Whether you were in Elementary or High School, in the workforce or you were not even born, we thought it would be fun to have an 80s flashback! Enjoy! (Hover over image to read caption)

Lasting Love and Landmark #251

GLAZER-KEATING HOUSE 1110 TAYLOR STREET

GLAZER-KEATING HOUSE
1110 TAYLOR STREET


Built in 1906 shortly after the Great Earthquake and Fire, this Neo-Georgian dwelling served as the Coachman's House to the Flood Mansion, which still stands atop Nob Hill at 1000 California Street.

On October 16th 2002, the dwelling was finally designated by its owner, Dr. J Henry Glazer as: ZELDA d'ANGLETERRE GLAZER'S MEMORIAL LODGINGS, and such donated in his late wife's memory to the University of California , San Francisco for use and support of brain cancer research.



Dr. J Henry Glazer's love is clearly depicted in this tribute to his beautiful wife Zelda. The heartwarming history of their relationship and the reason he donated this classic home to help UCSF continue research to the horrible disease that took his wife's life.

A book simply called 1110 Taylor Street, San Francisco was also produced to explore the historic home and it's contents. It's a wonderful jaunt down memory lane and a fitting compliment for the historic neighborhood of Huntington Square.

A book simply called 1110 Taylor Street, San Francisco was also produced to explore the historic home and it's contents. It's a wonderful jaunt down memory lane and a fitting compliment for the historic neighborhood of Huntington Square.

Untangling the History of Christmas Lights

Edward Hibberd Johnson not only added flash and color to Christmas trees when he introduced electric lights in 1882, he saved lives in the process.

Early-Propp-Light-Set.jpg

As Christmas approached in the waning days of 1882, Edward Hibberd Johnson joined his fellow New Yorkers in decking the halls. Then as now, Yuletide traditions ran deep, and the 36-year-old once again undertook the annual ritual of decorating the parlor of his Manhattan home with a majestic evergreen. For this particular Christmas season, however, Johnson decided to freshen the cherished holiday tradition with a state-of-the-art innovation—electric lights.

Nearly three years had passed since Thomas Edison demonstrated the first practical light bulb, and few people were better acquainted with the emerging electrical technology than Johnson, the Wizard of Menlo Park’s trusted business associate. As a manager of the Automatic Telegraph Company in 1871, Johnson had shrewdly hired the 24-year-old Edison, but the whiz kid proved so brilliant and entrepreneurial that in short order their roles reversed and the boss became an employee for the famed inventor. Johnson worked as a vice president of the Edison Electric Light Company, and he was chief engineer for the electric generation system that Edison had unveiled in lower Manhattan that September.

Now at Christmastime, Johnson prepared to make some history of his own. For centuries—according to some folklore all the way back to the 1500s when Protestant reformer Martin Luther wished to replicate the wintertime sight of stars twinkling among the evergreens—people had used wax candles to illuminate their Christmas trees. The candles may have been beautiful, but they were obviously a huge fire hazard. Every year as year the holiday approached, without fail newspapers printed tragic stories about Christmas trees accidentally catching fire and houses burning to the ground, sometimes with deadly consequences.

By replacing candles with electrical lights, Johnson not only greatly reduced the risk of Christmas trees going up in flames, he added flash and color as well. According to a reporter from the Detroit Post and Tribune who visited the home of Edison’s right-hand man, 80 brilliant red, white and blue hand-wired bulbs “about as large as an English walnut” lit up Johnson’s Christmas tree. An additional 28 lights sparkled on two wires mounted on the ceiling.

Johnson’s electrically lit tree was revolutionary—literally. It spun in a circle six times a minute on a little pine box as its lights flashed in “a continuous twinkling of dancing colors.” An electric current drawn from Edison’s main office powered the lights and the crank that rotated the tree. “I need not tell you that the scintillating evergreen was a pretty sight,” gushed the newspaper reporter. “One can hardly imagine anything prettier.”

Unbeknownst to Johnson, he also launched the annual Yuletide tradition of trying to one-up the neighbors with dazzling Christmas light displays. Once electrical power spread to Manhattan’s Gilded Age mansions, the city’s prominent socialites coveted the novel lights to showcase their Christmas trees at their ornate holiday parties. Those first bulbs, however, lacked screw-in sockets and required the tedious process of wiring each lamp individually, a task that few had the knowledge or time to undertake. As a result, members of high society spent as much as $300 per tree to hire electricians to install lights on their conifers and be on call in case a bulb burned out or broke.

High society spent as much as $300 per tree to hire electricians to install lights on their conifers and be on call in case a bulb burned out or broke.

The White House Christmas tree became electrified in 1894 when President Grover Cleveland’s daughters were delighted by the evergreen that the Wheeling Register described as “very beautifully trimmed and decorated with tiny parti-colored electric lamps in place of the old time wax candles.” For most of the country, however, candles still remained the primary means of illuminating trees because of the limited availability of electric power and the cost and hassle of the Christmas lights themselves. That began to change at the turn of the 20th century when the General Electric Company started to produce and sell electric Christmas lights that did not require the services of an electrician to wire. The company accentuated the safety advantages of electric lights in their advertisements in popular magazines of the day such as The Saturday Evening Post and Harper’s Bazaar. “No danger from the lights on Christmas trees when Edison Miniature Lamps are used,” boasted the copy of one ad next to a dramatic drawing of a candle-lit tree engulfed in an inferno.

 In 1903, General Electric began to offer Christmas lights in eight-lamp strings, called festoons, that featured pre-wired porcelain sockets, miniature glass bulbs and a screw-in plug that attached to a wall or ceiling light socket. The $12 price for a three-festoon set was beyond the reach of most consumers, but department stores in some cities made the lights available for rental for $1.50.

By the 1940s when electrification had become standard in rural America, electric lights had replaced wax candles on most Christmas trees, and the danger of trees bursting into flames had been replaced by the annual frustration of untangling gnarled webs of Christmas light strands. For that, thank Johnson, the man who has been called the “Father of Electric Christmas Tree Lights.”

INTRODUCING: 3467 Pacific Avenue

PRESIDIO WALL TRADITIONAL
6 Bedroom | 6 Bath | Single-Family Home
Offered at $8,950,000

3467 Pacific Avenue is a rare generational opportunity to own a home along the Presidio Wall, one of San Francisco's most coveted locations. Originally built in 1909, the property was renovated and expanded in 1991 under the direction of Butler Armsden Architects. This six-bedroom residence is advantageously nestled on a 41' wide flat lot with gracious interiors benefiting from tremendous natural light and a visual connection to the captivating south garden. A thoughtful, four-level floor plan welcomes comfortable daily living with views of the Golden Gate Bridge towers emerging from the neighboring Presidio forest. With immediate access to the Presidio Wall Playground, the shops and restaurants of Sacramento Street, and abundant recreational opportunities in the Presidio, this stately home offers an inspiring locale to enjoy a true San Franciscan lifestyle.

Whisper Listings Can Mean Deals to Buyers, but Most Benefits Go to the Seller

Exclusivity and pinpointing the perfect price are the biggest perks of these under-the-radar offers.

When it comes to purchasing luxury real estate in the U.S., there are myriad ways a buyer can score a deal. To one person, a deal is simply purchasing a good property at a lower-than-expected price, and feeling like they got a bargain. To another, a deal means buying the absolute perfect property at exactly the right price. To a third, a deal might mean getting a property at a fair price without having to endure a bidding war or deal with a drawn-out negotiation.

In each of these cases, these sorts of “deals” can be found when buyers work with an agent to purchase what’s known as a whisper listing, meaning a property that never hits the open market via the MLS, or Multiple Listing Service. These off-market listings—also known as pocket listings—have always been around, but they’re becoming more common, said James Harris, a director at the Los Angeles-based realty firm, The Agency, noting that up to 30% of his clients buy or sell inventory in this way.

“Times are changing and the world economy is changing,” he said, “and today, people are trying to be more protective of their privacy than in years past.” But privacy isn’t the only appeal of a whisper listing. “People have also realized that having something exclusive holds more value than having something public,” Mr. Harris continued. Plus, there are benefits to sellers, like the ability to pinpoint an ideal price point without accruing days on market, or just testing the market’s waters before going all in.

The same benefits of an off-market listing apply to other areas around the world with luxury real estate, specifically when buyers and sellers are in the public eye, and have an increased need for privacy, or when the market is incredibly tight, and a certain type of in-demand inventory is scarce. “The success of a whisper listing is often dependent on how scarce the product you’re selling is,” said Leonard Steinberg, the New York-based chief evangelist at Compass.

Here is what both buyers and sellers need to know about how a whisper listing can work in their favor. In the past, whisper listings were really just in-the-know real estate agents sharing intel with each other about who might want to sell—or be willing to sell—even if they haven’t yet listed their property.

That still happens, said Mr. Steinberg, noting that, “a good agent knows all of the inventory in a market really well—not just what’s for sale, but everything that’s out there—for this reason.” With 22 years in the business to his name, he understands all of the inventory that’s out there, not just the 5% to 10% of inventory that listed “for sale” at any given time, he said. “I like to think that every property in the world is a potential whisper listing,” he said, meaning that almost every owner is likely to sell if they’re offered the right price. “If you come in, unsolicited, and offer someone with a $1 million home, $2 million, it’s going to take a lot of energy for them to not entertain that.”This is why it’s so important for a buyer to work with a knowledgeable agent, he said.

For Sellers: A Testing Ground to Pinpoint the Perfect Price

The real benefit of the “Coming Soon” feature on Compass’s website and a listing on The PLS or other off-listing websites is for sellers to test the market specifically related to price point. “If I meet a seller today and they think their home is worth $5 million and I think it’s worth $4 million,” Mr. Harris said, “they can test their $5 million price on The PLS and see if they get any action.” If they don’t get much interest or schedule any showings, they can consider that feedback, and re-consider price before hitting the MLS.

The same can be true of any word-of-mouth listing, even if it isn’t posted on one of these websites. If a broker shares a new listing with their colleagues, and they get feedback that the price point is ridiculous and way too high—or alternatively, that the price seems too good to be true—they can adjust. “The thing about the MLS is that it can be a seller’s best friend or their worst nightmare,” Mr. Harris said, noting that the “best friend” aspect speaks to its massive reach, while the “worst nightmare” bit happens if someone incorrectly prices a property and starts accumulating days on market. “That can be extremely detrimental to the sales process,” he said, “as the longer you’re on the market, the harder it becomes to sell a property.”

Mr. Steinberg agreed. “In this market, properties listed above $5 million are selling far, far more slowly than they used to, and no one likes to accrue days on market,” he said. “Keeping a listing ‘hush hush,’ or semi ‘hush hush’—or even getting it out there as the loudest secret on the planet, as long as you don’t officially list it—can have value.”

In Most Cases, the Open Market is Still Best
Even as whisper listings may be getting more common—at least at first to test price points—Mr. Steinberg said he still thinks the open market, where there is greater reach for a seller and an ability to connect with a global marketplace, is the best way to go. “The open market is traditionally the smarter way of exposing a property to the best audience,” he said, and in turn, getting more offers and a higher price. For buyers, too, purchasing from the open market means you’re less likely to overpay, because you can see what the market dictates is fair and right. “Usually when something is a whisper listing, you can expect to pay more for it,” Mr. Steinberg said. “When there’s no competition, you just can never be certain you’re paying the right price.”

Originally Published on September 20, 2019
By Anne Machalinski in Mansion Global

30+ Years of Bay Area Real Estate Cycles

Below is a look at the past 30+ years of San Francisco Bay Area real estate boom and bust cycles. Financial-market cycles have been around for hundreds of years, from the Dutch tulip mania of the 1600's through today's speculative frenzy in digital-currencies. While future cycles will vary in their details, the causes, effects and trend lines are often quite similar. Looking at cycles gives us more context to how the market works over time and where it may be going -- much more than dwelling in the immediacy of the present with excitable pronouncements of "The market's crashing and won't recover in our lifetimes!" or "The market's crazy hot and the only place it can go is up!"

Note: Most of these charts generally apply to higher-priced Bay Area housing markets, such as those found in much of San Francisco, Marin, Central Contra Costa (Lamorinda & Diablo Valley) and San Mateo Counties. (Different market price segments had bubbles, crashes - or adjustments - and recoveries of differing magnitudes in the last cycle, which is addressed at the end of this report.)

Regardless of how recent cycles have played out, it is vital to understand how extremely difficult it is to predict when different parts of a cycle will begin or end. Case in point: In 2012, a Nobel-Prize-winning economist stated that home prices might not recover "in our lifetimes," when in fact, the recovery had already (just) begun. In late 2015, when financial markets entered into a period of nasty volatility, IPO activity stopped in its tracks, and high-tech hiring slowed, a well-respected Berkeley economist prophesied there would soon be "blood in the streets" of San Francisco - however the market recovered and grew significantly more heated through mid-2018. Boom times can go on much longer than expected, or get second winds. Even when the financial markets enter a period of "irrational exuberance," that period can go on much longer than seems possible, with huge jumps in home and/or stock values.

On the other hand, negative shocks can appear with startling suddenness, triggered by unexpected economic, political or even ecological events that hammer confidence, quickly spinning optimism into fear. (The world has become staggeringly complex and interconnected, with a huge number of spinning plates at any given time.) This can lead to other market dominoes falling, the reversal of positive trends in growth, investment and employment, which may then balloon into a period of decline, recession, stagnation. These negative adjustments can be of varying scale. They can be in the nature of an extended but temporary period of high financial-market volatility and investor caution, such as caused by the Chinese stock market drop/oil price crash/Brexit vote in mid-2015 through mid-2016. It can be a definitive, era-defining financial-market crash or speculative bubble bursting, such as in 2008. Or the down cycle can occur gradually, like a slow leak in an over-pumped football.

As of early March, it is not yet known which category the coronavirus - a true "black swan" event - will fall into, whether a dramatic, but relatively temporary period high volatility, or the trigger for a plunge into an extended market recession in stock and housing values.

Going back thousands or even tens of thousands of years, human beings have tried to predict the future, and whether using priests, oracles, astrologers, pundits, economists, analysts or "experts" of every stripe - and currently having their "authoritative" forecasts headlined every day in the media - we show no aptitude as a species for having the ability to do so with any accuracy. We can't even remember the mistakes of the recent past - which is one reason why we don't seem to be able to escape cycles - much less foretell what's going to happen tomorrow.

Confidence plays an enormous role in financial and real estate markets, and in every period of irrational exuberance, there are many who vociferously argue that the exuberance is NOT irrational. Unfortunately, it can be very challenging to determine the point at which rational confidence shifts into irrational exuberance, but when irrational exuberance abruptly shifts into fear, a stampede for the exits can follow - as an old English saying puts it: "They run all away, and cry, 'the devil take the hindmost'." In retrospect, the duration of periods of irrational exuberance, when market gains often accelerate into the stratosphere, seems utterly incomprehensible. Such are the pleasures of hindsight.

All the major recessions in the Bay Area in recent decades have been tied to national or international economic crises, which can take a wide variety of forms. Absent an enormous natural disaster, it is unlikely that a major, negative market adjustment (or "crash") would occur due simply to local issues. However, local issues can certainly lead to less dramatic market adjustments, or exacerbate a downturn caused by a macro-economic event. The SF earthquake of 1989 intensified the national recession that began at that time; our greater exposure to dotcom start-ups did the same with the national dotcom-bubble/Nasdaq crash.

Market Cycles: Simplified Overviews

Up, Down, Flat, Up, Down, Flat...(Repeat)

The chart below graphs ups and downs by percentage changes in home prices at each turning point.

image-asset.png

Smoothing out the bumps - temporary periods of volatility with their ups and downs - delivers the simplified overview above for the past 30 years.
Whatever the phase of the cycle, up or down, while it is going on people think it will last forever. Going up, "The world is different now, the rules have changed, and there's no reason why the up-cycle can't continue indefinitely." Well, it turns out that the rules do indeed still apply and up-cycles always end. And then when the market turns and goes down: “Homeownership has always been a terrible investment and the market probably won't recover for decades” (or even "in our lifetimes" as the Nobel-Prize-winning economist said in 2012). But the economy mends, the population grows, people start families, inflation builds up over the years, and repressed demand of those who want to own their own homes builds up. In the early eighties, mid-nineties and in 2012, after about 4 years of a recessionary housing market, this repressed demand jumped back in (or "explodes" might be a good description) and prices started to rise again. (The dotcom bubble adjustment caused a hiccup, but no lasting recession in home values.)

The nature of cycles is to keep turning.
All bubbles are ultimately based on irrational exuberance, runaway greed, criminal behavior or, not uncommonly, all three mashed together. Whether exemplified by junk bonds, stock market hysteria, gorging on untenable levels of debt, a corporate ponzi-scheme mentality, an abandonment of reasonable risk assessment, and/or incomprehensible or dishonest financial engineering, the bubble is relentlessly pumped bigger and tighter - awaiting the trigger event that will play the role of pin. And since human beings appear utterly unable or unwilling to learn the lessons of past cycles, it is kind of like the movie "Groundhog Day," except that in the movie at least, Bill Murray actually grew wiser over time.
The 2008 crash was truly abnormal in its scale, and much greater than other downturns going back to the Great Depression. The 2005-2007 bubble was fueled by home buying and refinancing with unaffordable amounts of debt on a staggering level, promoted by predatory lending practices, promises of endless appreciation, and an abysmal decline in underwriting standards - and then eagerly facilitated by smug, rapacious, Wall Street flimflammery and self-abasing credit ratings agencies. Millions came to own homes they could never afford to pay for and the rot was distributed throughout the financial system. The market adjustments of the early 1990's and early-2000’s saw declines in Bay Area home values in the range of 10% to 11%, which were bad enough, but nothing compared to the terrible 2008 - 2011 declines of 20% to 60%.
This is important context when contemplating the next adjustment: It doesn't have to be a devastating crash. It can be more like some air being let out of an over-pressurized tire instead of a blowout on the highway at high speed. It depends on many different factors.


1996 to Present

(After Recession) Boom, Bubble, Crash, Doldrums, Recovery

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This next cycle looks similar but elongated. In 1996, after years of recession, the market suddenly took off and continued to accelerate til 2001. The dotcom bubble pop and September 2001 attacks created a market hiccup (a short-term 10% decline, but only for high-price tier houses, and for condos), but then the subprime and refinance insanity, degraded loan underwriting standards, mortgage securitization, and claims that real estate values never decline, super-charged a housing bubble. Overall, from 1996 to 2006/2008, the market went through an astounding period of appreciation. (Different areas hit peak values at times from 2006 to early 2008.) The air started to go out of some markets in 2006-2007, and in September 2008 came the financial markets crash.

Across the country, home values typically fell 20% to 60%, peak to bottom, depending on the area and how badly it was affected by foreclosures -- most of San Francisco, with relatively few foreclosures, got off comparatively lightly with declines in the 15% to 25% range. The least affluent areas got hammered hardest by distressed sales and price declines; the most affluent were usually least affected. Then the market stayed flat for about 4 years, albeit with a few short-term fluctuations. Tied to a rapidly recovering economy, supply and demand dynamics began to significantly change in San Francisco in mid-2011, leading to the market recovery of 2012.

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The Recovery since 2012 (per Case-Shiller)

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This chart above looks specifically at home price appreciation since 2012 when the current market recovery began. Generally speaking, the spring selling seasons have seen the most dramatic surges in appreciation. It's not unusual for appreciation to slow or flatten in the second half of the year.
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San Francisco Median Sales Price Appreciation

The charts below look at median sales price movements in San Francisco County itself over the shorter and longer terms. These do not correlate exactly with Case-Shiller - firstly because C-S tracks a "metro area" of 5 Bay Area counties, and secondly, because C-S uses its own proprietary algorithm and not median sales prices. Median sales prices are often affected by other factors besides changes in fair market value (such as significant changes in the distressed, luxury and new-construction market segments; seasonality; buyer profile; and so on).

The Current Recovery: 2012 - Present

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San Francisco's Urban Castle

Julius Castle at 302 Greenwich Street: Landmark #121 2012 Photo Credit Chris Carlsson

Julius Castle at 302 Greenwich Street: Landmark #121
2012 Photo Credit Chris Carlsson


How did this urban castle come to be? It all began on March 20, 1923 when Julius Roz, a local Italian restaurateur, began work on the castle-like structure perched on Telegraph Hill.

A Colorful History

The story begins in 1886 with the cliffside site as the location of Michael Crowley’s two-story grocery store. Years later, the John Mini family built their home there only to have it destroyed by a fire around 1918. In 1924, less than a year after construction on the Castle began, food service was underway. A thus established Julius’ Castle as one of the oldest San Francisco restaurants at its original location with its original name.

With Julius Roz’s collaboration, civil engineer and architect Louis Mastropasqua designed this amazing structure. Combining fairytale elements, such as pointed arched windows and medieval-style battlements on the upper balconies, a mix of Gothic Revival and Arts-and-Crafts influences lived side by side. Interior wood paneling was reputedly purchased by Roz from the city’s 1915 Panama Pacific International Exposition. The words “Julius’ Castle” on the redwood facade were added by Mr. Roz in 1928. A legend was born!

At the time, Montgomery Street was little more than a dirt trail wide enough for one vehicle. Because the street was so narrow, a turntable was installed in 1931 at the dead-end in front of the castle for employees to turn patrons cars around to parked them. During Prohibition, Julius’ Castle became a speakeasy for the carriage trade. Its patrons watched the Bay Bridge being constructed and completed in 1936. Regulars also witnessed the apparition of Treasure Island as it was dredged from the bottom of the bay for the World’s Fair of 1939-40. They also saw the wartime fleet moving in and out during World War II.

When Julius Roz died in 1943, the property passed through several owners including music promoter and restaurant owner Jeffrey Pollack (Nick’s Lighthouse). Before Pollack acquired it in 1980, the hillside icon gained landmark status. For 26 years, the gregarious proprietor hosted an intoxicating mixture of celebrities from entertainment, commerce, and politics. According to Pollack, table 34 was the for the city’s mayors. Huey Lewis, JourneyRobert RedfordSean Connery and local characters, Melvin Belli and Herb Caen, were just a few of his loyal patrons. Even thieves appreciated the castle, when, in 1986, they stole its most expensive cases of Bordeaux from Pollack’s wine cellar.

Today, its current owner, Paul D. Scott, waits in the wings, poised to rouse the sleeping beauty. An attorney by trade and resident of Telegraph Hill, Scott purchased the property in 2012. He moved to the neighborhood in 1995 and dined at Julius’ Castle on Christmas. It was love at first sight. “There was a wow factor as you took in the view,” Scott recalls. “The interior was old-school, and the combined effect was unique.”


Julies Castle 1940s

Julies Castle 1940s


Proprietor, Julius Roz

Julius Roz July 29, 1928

Julius Roz July 29, 1928

Julis Roz was born in Turin, Italy, around 1868. He arrived in San Francisco in 1902, working in various North Beach restaurants as a bus boy and waiter. Later, he became manager of several eateries, including the Dante Restaurant at 536 Broadway. At Julius’ Castle, he was all things to the restaurant: buyer, chef, and maître d’. A 1939 city guide comments on Roz’s cooking: “To taste his fish sauce supreme, his tagliarini and his banana soufflé is to have a glimpse of an epicure’s heaven.”

He was friends with many other local business persons and residents, including artist, newspaperman, and owner of the “Compound,’’ Harry Lafler. This “colony” consisting of five or so artists cottages was just across the street from Julius Castle. Thus Roz’s association with Bohemian North Beach.

Roz lived in the apartment above the restaurant with his wife, daughter and two dogs, from which he was inseparable. Elmer Gavello, of Lucca’s restaurant, describes seeing Roz with his dogs. “I’ll never forget him driving down Union Street in North Beach in a yellow Chrysler Imperial convertible. He always had the convertible’s top down and two beautiful collie dogs in the rumble seat, which had its own windshield and side windows to keep the wind off the dogs.

…Should you get lost on the way up the hill, the small boy by the roadside will give you directions as only a small boy can. Many Italian eateries display their national colors of red, green and white. Here you can eat them in the form of red, green, and white tagliarini. As you arrive, and during your meal, Sandy will greet you with a smile and tail wag as Sandy is a collie dog. He will ask to play with you. Sandy has played with such celebrities as Jackie Coogan, Lon Chaney and Douglas Fairbanks. Yes, indeed, your host Julius Roz, has received radiograms from ships at sea on their return, asking that reservations be made for passengers as soon after their ship docks as is possible. Lunch from 12 to 2, $1.50 — Dinner from 6 to 9, $2.00.”
— Bohemian Eats of San Francisco” by Jack L. and Hazel Blair Dodd

The Architect, Louis Mastropasqua

Louis Mastropasqua was born in Brescia, Italy, near Milan, in 1870. Graduating in 1899 from the Italian Royal Polytechnic School, he specializied in civil engineering and architecture. He studied architecture and art during his travels in Japan, China and Africa before his 1902 arrival at San Francisco. He didn’t speak any English, but quickly learned the language and established himself. He was believed to be an architect in the Italian community, especially after the building boom following the 1906 earthquake and fire. In the 1923 Crocker Langley City Directory, his office address at 580 Washington Street was listed as architect and civil engineer professional location.

Charles Bovone House 68 Macondray Lane Built 1893Architect Louis Mastropasqua designed this small set of apartments, which was originally a residence. The design combines Colonial Revival elements (curved bay, modillioned cornice and general plan) a…

Charles Bovone House 68 Macondray Lane Built 1893

Architect Louis Mastropasqua designed this small set of apartments, which was originally a residence. The design combines Colonial Revival elements (curved bay, modillioned cornice and general plan) and Craftsman elements (natural shingle cladding, the flared bay and the lost window-surrounds).


Layman's "German" Castle

Historic records indicate Mastropasqua’s collaboration with Roz on the unique design of the Castle. It was, in part, inspired by Frederick O. Layman’s wooden castle, which had stood nearby atop Telegraph Hill between 1883 and 1903. Layman built the “German” castle as a business venture and cable car terminal for his proposed observatory and restaurant. Both the cable car line, whose operations ceased in 1887, and the castle became known to residents as “Layman’s Folly”.

The structure was destroyed by fire in 1903. As Roz and Mastopasqua had arrived in San Francisco from Italy in 1902, they were able to ponder the first “Castle” on Telegraph Hill. Apparently, this gazing was inspirational, and twenty years later Julius’ Castle was created.


Film Noir

The House on Telegraph Hill” – 1951. 20th Century Fox, Director: Robert Wise

According to film archives, 20th Century Fox used the front of Julius’ Castle in this movie. Creative changes to the structure’s image were made, so that it would look like the entrance to a stately home. These alterations to the exterior were created by building a facade around the castle.

The Raging Tide” (1951) Universal International Pictures, Director: George Sherman

One scene from this movie shows Shelly Winters running out of Julius' Castle, pausing on the entrance steps for an emotional dialogue. City lights are the backdrop. In another scene, Winters is having brandy at the bar in Julius’ Castle talking to a bartender.

The House on Telegraph Hill

Epilogue

According to Eater SF, Julius’ Castle plans to open its doors late this year. Right now Scott is interviewing candidates, some of whom have “more of a footprint in managing restaurants” than others. “But we’re not limited in our thinking,” says Scott. He’s casting a wide net. Anyone he works with will have to be open to tackling the project as “a consultant/management entity,” and will have to “respect the history of the building.”

“Because I own the building, and I am also in the neighborhood,” Scott says, “I am very sensitive for it to continue to fit in the neighborhood as well as fill its traditional role in San Francisco.” In other words, folks hoping to open a white wall/blonde wood/minimalist spot should seek greener pastures.

Once he finds his operator, Scott says that it will be full steam ahead to finalize plans for the interior and figure out a suitable menu. “Things always take longer than you expect,” Scott says (a phrase that should probably be embroidered on the San Francisco city flag). “But if all goes well, we should open some time next year, and people can start making memories with us all over again.”

Let’s HOPE!!!!

The Murphy Bed. A Love Story!

William Lawrence Murphy was the son of a 49’er gold rush prospector. He was born in 1876 near Stockton, California in the small gold rush town of Columbia. Prior to moving to San Francisco in his early 20s, Murphy had various jobs that included a being a horse-breaker, a small-town sheriff, and a stagecoach driver.

When he moved to San Francisco, he rented a small walk-up studio apartment at 625 Bush Street. Fans of Humphrey Bogart’s classic film, The Maltese Falcon, will remember its location as the spot where Sam Spade’s partner, Miles Archer, was shot. William began tinkering with hideaway beds when he found his one-room apartment too small to entertain friends or a particular young woman.

William was falling for a young opera singer named Gladys M. Kaighin. Courting customs at that time would not permit a lady to enter a gentleman's bedroom. So according to family legend, William Murphy had a blacksmith help him mount a mechanism that would make it possible to flip his bed into a closet. Once the closet door was closed, his bed disappeared, turning his once cramped quarters into a proper parlor. He had a strict moral code and he didn’t want to spoil any chance of winning Gladys’ heart. It worked! In 1901 William married Gladys and had one son.

Today the original Murphy Bed company is still run by the Murphy family. Clark W. Murphy is 3rd generation and has been the CEO since 1983.

A CBS segment on the history of the murphy bed, first created in the San Francisco area. What makes a murphy bed a murphy bed? August 4, 2010

Who did something similar before William L. Murphy?

Though the Murphy Bed history is mostly credited to William L. Murphy, several others had already experimented with space saving bed designs, and beds with similar functions had also been produced. The first documented catalog featuring folding beds was put on the street by Sears and Roebuck in 1895. According to one source Thomas Jefferson and Paul Revere also used Murphy Beds. Entrepreneur and inventor Sarah Elisabeth Goode (1855 – 1905) was the first African American woman to receive a United States Patent in 1885, for her bed. It could be folded up, and it looked like a desk with room for storage.


FUN FACT | 625 Bush and the Maltese Falcon

According to The Dashiell Hammett Tour, columnist Warren Hinckle collaborated with innovative, advertising copywriter, Howard Gossage, to place a plaque on the movie site. When Gossage died in 1969, Hinckle stored the plaque and forgot about it. About five years later someone spray painted "Miles Archer was shot here" on a sidewalk at Bush and Stockton. Hinckle remembered the plaque and retrieved it. On February 12, 1974, it was placed on the wall at Burritt Street by three compatriots: James Kennedy, the owner of the building, Marino Nibbi, a contractor, and City Supervisor Quentin Kopp.

Andrew Mann - Andrew Mann Architecture

Andrew Mann

Andrew Mann

CAENLUCIER: What is your current outlook on your practice?

ANDREW MANN: We’re busy. The office is involved in a number of exciting projects, including estates in the greater Bay Area, residential renovations in San Francisco and even a religious and cultural center in the South Bay. The latter is a very different building type for us, providing an opportunity to learn and grow.  And, all of our projects are collaborative endeavors with the designers, landscape architects, other architects, contractors and consultants with whom we work.  We like those types of enriching experiences.

CL: You worked with William Turnbull, Jr.after your graduate studies. How did your viewpoint towards design develop during your tenure at his firm?

AM: From Bill, I learned what it truly meant to be an architect, both in terms of design and as a professional. His work was rooted in a sense of place – climate, context, views. And that always informed the design ideas he developed.  His buildings were spatially rich, but honest and straightforward in their materials and construction – the perfect balance of complex and simple. And, Bill had an incredible sense of integrity in terms of his work, his relationships with his clients and how he treated his employees. He was a great mentor and I carry those lessons with me in my own practice.

CL: Talk about your connection to earlier generations of Bay Area architects and how the vernacular they left behind informs you today.

AM: The Bay Area has a rich architectural tradition of which William Turnbull, Jr. was just one contributor. I am interested in the architects that came before him, of his generation and those that came after, that like him, created work that was rooted in the same sense of place. There’s a lot to learn about form, detail, quality of light and the use of materials. I look to that for inspiration and aim to make my work part of that tradition.

CL: Do you bring a signature style to your work?

AM: The firm’s architecture is not defined by a specific style. The aesthetic of our projects ranges from warm modern to pared-down traditional. What defines them is an attention to the quality of natural light and an attention to crispness of line and detail.  When one looks at our portfolio, those characteristics are what unifies the body of work.

 CL: How do you approach the abstract design qualities of a new project?

AM: In the most straightforward sense, my job is problem solving. We start with an understanding of a client, their needs for their home and how they live.  We then take that and overlay the context of the site and see how that informs our generation of design ideas. The abstract qualities are the elements we develop that organize this information and generate architectural form. This might be the views through a building to the landscape beyond, or how natural light enters and enlivens the spaces, or how rooms are organized or the overall shape of the building. That’s hopefully where the spark occurs and allows us to develop more than just a functional solution, by creating a home for our clients that sparks joy and pleasure in their everyday lives.

CL: Discuss the fascination that architects have with stairways.

AM: Most often, as one moves through rooms, the experience is horizontal; stairways are the one place within buildings in which occupants have the opportunity to experience moving through space vertically. That changes one’s perspective and provides architects with the opportunity to design complex volumes with interesting views and perspectives. Stairways also typically just have the function of movement – one often doesn’t need to worry about furnishings or glare issues as one would in a living room or bedroom, for example. This allows for an opportunity to explore the use of natural light in different and more dramatic ways. And stairways are often the place in a house the unifies all of the other rooms and really creates the heart of the home.  

MEADOW ESTATE ANDREW MANN ARCHITECTURE

MEADOW ESTATE ANDREW MANN ARCHITECTURE

CL: If you could design a particular piece of furniture, what would it be and how would it look?

AM: I would design a dining room table. I recently had the opportunity to create the table for our new conference room and enjoyed the process of integrating form and function. What interests me about a dining table is that it’s about creating community and connection with those gathered around it through the generosity of food.  For me, a table has to be beautifully made, with perfect proportions, and provide a comfortable place to sit. My table would be made from wood, where the character of the material, the structure of the construction and the craft with which it was made were all inherent in its design.

 CL: You are involved with The Sea Ranch design committee. Talk about the importance of this work today and how it relates to the original design team’s ethos.

AM: The Sea Ranch is a very special place, with its groundbreaking approach to development through the relationship between the built environment and natural environment. The role of The Sea Ranch Design Committee is to review all proposed changes by property owners to buildings or landscapes and to evaluate how those changes fit with the ideals defined in the association’s Design Manual. The original buildings, with their rustic modern vocabulary, were constructed from the vernacular materials readily available at the time, primarily redwood, western red cedar and douglas fir. As time has passed, these materials have become more expensive and less available. And, climate change has impacted the area, creating an increased risk of wild fires, so buildings and landscapes need to be designed within that new context. The committee now grapples with how to foster creativity, encourage the use of new materials, be responsive to changes in climate and the resultant changes to building codes, while staying within the framework of the original vision. It’s an exciting undertaking.

CL: What would you be if not an architect?

AM: I would have loved to have been an artist, either painting or drawing. Architecture is a great way of balancing my desire to express myself visually with my interest in real-world problem solving, but it would be fun to just create.

CL: What are you reading?

AM: I have three books going right now.  I was recently in Charleston, South Carolina and realized that I wanted to learn more about the history of our country and how the institution of slavery has shaped us. To explore that, I’m reading Jill Lapore’s These Truths: a History of the United States.  To understand the city that I live in, I am also reading Season of the Witch: Enchantment, Terror and Deliverance in the City of Love, by David Talbot.  It’s about the tumultuous social history of the transformation of San Francisco between 1967 and 1982 and how that created the city we know today.  And, for a diversion from history, I’m reading The American Short Stories 2018, edited by Roxane Gay. I really like the short story format and how narrative unfolds in that context.

CL: Favorite weekend getaway?

AM: I would have to say The Sea Ranch. A swim in the pool, a walk along the bluff, good food and conversation with friends. The warmth of the sun, the cool ocean breeze, and the sound of the surf. The best.

CL: Top three bucket list items?

AM: A couple of years ago, I had the opportunity to travel to Machu Picchu, one of my bucket list destination. It was truly awe-inspiring. I don’t have my list ranked, but here are three others: Rome - I would love to live in the Eternal City for six months or so.  It’s my favorite city, with so much art, architecture and history layered upon one another.  It would be great to spend my time there sketching. Oh, and the food…. The Russia of my ancestors – I would be very interested to travel to see the towns in Eastern Europe from which my family emigrated.  I don’t suppose there is much to see, and any physical fragments of that earlier world are long gone, but I would like to get a feel of the place. And, I’d love to go to St. Petersburg. It’s a Baroque city conjured up from the marshes. It’s always intrigued me. Angkor Watt – It would be fascinating to go see this monument that is so important to the Cambodian culture. Like Machu Picchu, it’s a place that has held mystery for me since I was a child.

Angkor Wat

Angkor Wat

CAENLUCIER would like to extend our gratitude to Andrew Mann for his collaboration with us on this feature.

VISIT ANDREW MANN ARCHITECTURE HERE…

Top Ten Sales of 2019

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Life at the top with CAENLUCIER

2019 saw continued strong sales activity in San Francisco’s prime single family home market above $10,000,000. Of these top ten sales, six properties were transacted privately under the expert guidance of residential professionals. Now more than ever, UHNW market participants are benefitting from their agents opportunity network, valuation expertise, and discreet transaction practices.


For further details on any of these sales, please contact CAENLUCIER at info@caenlucier.com

San Francisco Historical Home

Telegraph Hill Tavern and “Tea Party"
31 Alta Street, Telegraph Hill

From shipyard overlook to Prohibition era speakeasy, 31 Alta is a house with rich history, including stories of wild parties and resulting police raids. But perhaps its most impressive claim: that it’s the oldest surviving home in San Francisco.

In 1852, Captain Andrews built his home on the Eastern slope of Telegraph Hill, perched for a direct view of ships sailing into the shipyards below. The home remains virtually unchanged after over a century, during which San Francisco itself metamorphosed. Entire neighborhoods disappeared while others appeared; steep streets were graded over the hills; Coit Tower and a forest of skyscrapers grew in the distance.

A survivor of both the 1906 earthquake and subsequent great fire, 31 Alta traded hands several times prior to the 1920s but the most infamous inhabitant of throughout the last century was a reputed Russian noble, Myrtokleia Sawvelle who, according to David Myrick’s San Francisco’s Telegraph Hill, converted the brick dining room and kitchen into a “night club.” Myrick reports that printed cards were sent to a prospective clientele announcing her Telegraph Hill Tavern as having “all the atmosphere of the Montmarte with a Marine view.”

31 Alta, seen in this photo from the 1850s.

31 Alta, seen in this photo from the 1850s.

Apparently the views from the double balcony were even more striking than they are today. A photograph taken during the 1850s shows the broad, open view from Alta street before it was paved in the 1930s. Today that view is partially blocked by all the rest of the buildings now occupying the north side of Alta: modern architecture’s answer to straightforward utility. According to Myrick, Myrtolkleia (who came to be known as Myrtle) served tea at two in the afternoon, followed by dinner at six and supper after ten; while a Sunday morning brunch was offered from eleven to two.

On that eventful night in February 1927, Myrtle’s guests must have been carousing on the balconies and howling at the moon late into the night. However, the neighbors on Telegraph Hill were not putting up with it that night. The constabulary were called, and the Black Maria arrived to escort Myrtle and her party to the city jail for the rest of early morning.

Myrtle not only had considerable skill in the culinary arts and the charm to be a gracious hostess, but she was also a pro at public relations. While the press headlined the story “Wild ‘Tea Party’ Raided”, her account painted for the reporters a not unusual evening of tea and art appreciation. Apparently, Myrtle was giving a private exhibition of a new work of art by Elwood Decker described as “an esoteric blue damsel charging through a red fog.”

We were sitting around admiring Elwood Decker’s new painting,” relates Myrtle Sawvelle’s account in the press. We weren’t even drinking anything but tea and I was making a pan full of biscuits for a little supper when the police came and made us all get in that black wagon. Some of the guests who arrived late were making quite a bit of noise but we didn’t realize that this was disturbing anybody, she said. We are going to start all over again with a tea room and this time there will be no nights in jail.
— Myrtle Sawvelle

According to Myrick, it was not to be. Her food was exotic, her liquor was good — but her timing was poor because her teas were taking place during Prohibition. Her homemade brews landed her in jail again for 90 days, and she was promptly appointed jailhouse cook. Tackling her new job with gusto, Myrtle became the heroine of her fellow inmates. Her fellow prisoners never ate so well, in or out of jail, and it was a sad day when she was liberated. A year later, Myrtokleia retired to Carmel.

The current owner has owned the home since 2002 and placed it on the market for $3,800,000 in 2010 and again in 2011 for $1M less. The home did not sell and now seems to be used as a rental.

A few photos from when the home was on the market.

Holiday Cheer Throughout the Decades

For its first century as a city, San Francisco celebrated the holidays with all the energy it could muster. With each tragedy, war and building boom, the holiday spirit seemed to be growing along with the city. The traditions arguably peaked in the 1950s, when optimism, good financial times and hometown spirit combined for some of the most magical Decembers in San Francisco. Through the good and bad times, San Francisco has always embraced the holiday spirit as depicted in the stories and quotes in this column.

Late 1800s

Yesterday was (meteorologically speaking) another dismal day, with drenching rain and miry street crossings, suggesting anything but cheerful reflections,” The Chronicle reported in 1869. “Yet the streets were full of men and women whose countenance showed no sympathy with the untoward surroundings.
— The Chronicle

By the 1870s, the newspaper was advertising multiple Christmas tree lots in San Francisco, including one owner who boasted he was cutting down the best of the “virgin redwood forest” in Marin County. There were early reports of charity, and boardinghouses served roast beef and plum pudding to miners and other men who were away from their families.

Jewish families were rising in economic and philanthropic clout at the end of the 19th century, and the city’s holiday celebrations started to reflect their traditions. The earliest coverage of Hanukkah was respectful (if not well researched) and never divisive.

The first Chronicle article to use the word Hanukkah, in 1897, was headlined “Hebrew Festival of Lights Observed — Children Assemble to Light a Taper.”

“‘The Festival of Lights,’ a pretty biblical celebration, replete with religious sentiment and forcibly recalling a heroic period of Hebrew history, was inaugurated yesterday at the Mission-Sabbath school,” The Chronicle wrote.

Rabbi Jacob Voorsanger’s speech to the congregation was also excerpted, and seemed to be aimed at the gentiles in the crowd as much as the Jews: “Maccabee was a hero, fighting for liberty as George Washington fought. The lesson of the Hebrew hero should grow strong in your hearts, making you faithful Jews and loyal citizens. Yours is a beautiful religion. You should be proud of being Hebrews. If you are true to your country your country will be benefited in good men and women.”

Early 1900s

Who could believe that there would be another merry Christmas in San Francisco for many a year?” The Chronicle editorial staff wrote after the 1906 earthquake and fire. “And yet the first return of this day is the merriest Christmas of all. It is something to think of. It is something to be proud of. It is something to pass on to our children and our children’s children, as a glorious exemplification of the way in which a heroic people meet a great crisis.
— The Chronicle

The April 18, 1906, earthquake and fire destroyed most of downtown, and many other businesses and homes. But if anything the holiday spirit grew in its wake. In the years that followed, as the city rebuilt and prepared for the Panama-Pacific International Exhibition of 1915, new traditions seemed to be added in the city every year.

In 1907, different charities decorated 12 large outdoor trees in San Francisco, with the aim of having one within walking distance of children in every city neighborhood. (The Chronicle called it “a perfect orgy of Christmas tree-ing.”)

1920s

There will be half-orphans there that are boarded with their mothers, whole orphans, and children who were sick or poor or abandoned,” an unnamed reporter wrote of one tree celebration on Nob Hill. “There will be children of all ages up to 14, and of all sizes and colors and creeds and nationalities, and all interested in Santa and sharing the Christmas joy.
— Unknown

Radio in the 1920s added hype to the holiday; many stations were sponsored by department stores, bringing more commercialization to the season. The KPO “Christmas party” on Dec. 24, 1929, included Christmas carols, a live visit from Santa Claus and “a Bavarian yodel number with jingle-bell accompaniment.”

1930s

Santa Claus again is making preparations for a visit to San Francisco, according to a radio-gram just received from the North Pole,” read one 1932 story, which ran in the news section next to articles about real-life crimes.
— The Chronicle

By the 1930s, Chronicle reporters were taking the ethically questionable (but well-intentioned) approach of reporting about Santa Claus as if they had interviewed him, or had a correspondent embedded in his workshop full of elves.

1940s

Christmas in San Francisco is quickly assuming all the traditional holiday color,” The Chronicle reported in 1949. “The city’s fire stations, normally prosaic brick structures with cavernous entrances, now have charmed themselves into Christmas wonderlands for the second year.
— The Chronicle

The end of World War II brought more families, more money and an all-time high for holiday revelry. Macy’s took its window displays to new levels of memorable. The City of Paris Christmas tree, rising at least four stories in the middle of the Union Square store, was a holiday destination for generations of children.

But the arrival of Santa Claus down Market Street was the focal point of the holiday excitement. In an era before Elvis started shaking his hips and before Willie Mays came to town, Santa Claus was the biggest rock star in the city. Thousands of children would line the streets as Santa arrived at the Emporium by carriage, helicopter and (most San Francisco of all) on the top of a Muni bus.

1950s

He appeared at the brink of Nob Hill, sitting in a chimney atop Muni’s No. 514, filled with a throng of happy children and an engineer at the controls of the public address system to broadcast Santa’s cheery, preseason greetings,” The Chronicle reported in 1952, on the eve of an election. “A torrent of multicolored balloons spilled from the top windows of the Emporium, and as he paused, Terry Gould, a Cub Scout of Pack 30 presented Santa with an ‘absentee ballot.’ Then the crowd, following behind Santa, surged into the store and up to The Emporium’s Christmas roof playground.
— The Chronicle

Possibly the greatest holiday tradition in San Francisco history, which lasted just three years from 1948 to 1950, was the decorating of the city’s firehouses. San Francisco Fire Department stations transformed their facades — turning the buildings into presents and toy factories and giant letters to Santa. Neighbors pitched in, building props and sewing costumes. Muni offered San Francisco children free tours of the finished product.

It was more than a playground. The Emporium had rides on the roof, including a carousel and giant slides. One year, the store on Market between Fourth and Fifth streets used a giant crane to lift a cable car to the top of the building.

The tradition ended, in true San Francisco fashion, with a battle between the unions and the city. After the citizens failed to pass a proposition that included a firefighter pay raise, the organizers decided decorating fire stations was too expensive. There were no fire stations decorated in 1951.

1960s and 70s

Santa Claus continued his parades through the 1960s and 1970s, but with television, “Star Wars” and arcade games stealing the hearts and imaginations of children, the sight of St. Nick became less of a novelty. The first mention of Kwanzaa was in 1977; once again treated respectfully, even if the celebration honoring African American culture was oversimplified.

The new Transamerica Pyramid in the 1970s transformed itself into a large red-and-green Christmas tree, and then stopped, according to Herb Caen, because of the high cost. There’s a bright light on top of the Pyramid now, and smaller buildings downtown have added colored lighting. But it’s all hard to see anyway, because newer construction blocks the view.

Today

Progressive change was arguably positive for the city, but not as good for the San Francisco holiday spirit. Families have traditions, but there are fewer celebrations that unite San Francisco as a city. Union Square still has an ice rink. The San Francisco City Hall Christmas tree still exists (now named the more politically correct World Tree of Hope).

One of the last great traditions is one of the best: The Embarcadero Center rims each of its four buildings with lights, looking like a pile of shining presents near the waterfront. Take a ferry to Alameda or Larkspur, and you can pretend San Francisco is still embracing the old days, when Christmas in the city was the most important day of the year.

Or you can just read the old clippings. There are messages from previous generations, practically begging us not to forget to count our blessings and celebrate the season.

Special thanks to the Chronicle and Peter Hartlaub. These are excerpts from an article he wrote in 2015.

Landmark #119 and the Murder Mystery??

If you set out to unravel the facts behind one of San Francisco’s most gruesome murders, you’ll find yourself with a handful of details most likely culled from old ghost stories.

The tale always begins with Richard Craig Chambers, a silver baron from the Midwest. With his wealth, he moved to San Francisco and built the palatial home at 2220 Sacramento Street. Richard and his wife moved in in 1887. When Richard died in 1901, a few years after his wife, two of his nieces inherited the home.

It was an unhappy arrangement. The nieces did not get along. In some variations of the story, one niece built the house next door to get away from the other, Claudia Chambers. It is Claudia who meets the most unfortunate end — and under murky circumstances. Most sources say she died in a “farm implementation accident.” Many agree she was sawed clean in half. A few say it was no accident, that a deranged family member faked the accident in order to murder Claudia.


2220 Sacramento

Regardless of the circumstances, the Chambers mansion became synonymous with ghost stories. Ghost tours today still stop outside the home, warning curious looky-loos of Claudia’s spirit, which manifests itself in the form of flashing lights and shadows in the windows.

But the historical record says something else altogether: that almost none of this happened at all.

The truth behind the Chambers mansion

The first mistake becomes apparent immediately. There is no Richard Craig Chambers, the name universally attached to the historic San Francisco home. His name was Robert, as dozens of newspaper articles and census records attest. Some accounts also claim he was a U.S. Senator; Chambers never served in the Senate, although he was the Plumas County sheriff from 1858-62.

 He made his fortune as the superintendent of the Ontario silver mine near Park City, Utah. He eventually sold the mine to George Hearst, father of the newspaper magnate; by the time the mine tapered off, it had yielded $50 million in silver and lead.

Robert and his wife Eudora were well-known fixtures in San Francisco society but, for reasons lost to time, the pair never had children. Sometime before Eudora’s death in 1897, they took in two of Eudora’s nieces, Lillian and Harriet. If your interest is piqued by the mention of two nieces, they’ll become pertinent later on.

 Robert died of appendicitis, just short of 70, on April 11, 1901. The Chambers estate, valued at $1.5 million at the time, was split between Robert’s brothers and sisters. The house went to his sister Ada Chambers Martin, who appears to have lived in it with her husband until their deaths in the early 1910s. After that, the home passed to another Chambers sibling, Margaret.

 Those are the facts, backed up by newspaper accounts and property records. A further dive into census records and city directories turns up no trace of anyone named Claudia Chambers which, at least, should reassure anyone worried she was sawed in half.

A good ghost story, though, has some threads of truth, used to weave together the tale. And it seems Claudia’s haunted soul does have a model in reality: Eudora Chambers.


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The history of Eudora Chambers

We know little about Robert’s wife Eudora, save for a few sad episodes recounted in the San Francisco Call. In May 1893, Eudora went missing from 2220 Sacramento St. Her friends and family searched for her, but the 40-year-old had vanished without a trace. A week later, a man found her wandering the beach near Mussel Rock, “very weak and helpless.” Although she’d been missing for seven days, the family doctor said she showed no signs of exposure. The doctor speculated she’d been taken in at some point during her lost days.

Eudora went missing from 2220 Sacramento St. Her friends and family searched for her, but the 40-year-old had vanished without a trace. A week later, a man found her wandering the beach near Mussel Rock, “very weak and helpless.”

Her strange behavior comes tragically into focus seven months later when the Call ran an article with the headline, “Mrs. R.C. Chambers Tries to Commit Suicide.” On New Year’s Eve, a train engineer near Valencia Street noticed a woman walking perilously close to the tracks. As the train approached, he saw her throw herself in its path. Remarkably, she was thrown clear of the tracks, suffering non-fatal injuries to her head and hip.

“From persons who are acquainted with the family it is learned that Mrs. Chambers is thought to be slightly unbalanced mentally,” the paper callously reported.

Three years later, Eudora was dead. Her cause of death is not known.

Then there is the matter of Eudora’s nieces, Lillian and Harriet. There was indeed conflict with the nieces but not between each other. After Robert’s death, Lillian and Harriet filed suit against his family, alleging they deserved a cut of the estate. According to the lawsuit, Lillian and Harriet were taken in by the Chambers after their own parents died and had been raised "like [their] children." On the condition Robert’s will would provide for them after his death, the sisters handed over their tract of land in Butte County.

After Robert’s death, Lillian and Harriet filed suit against his family, alleging they deserved a cut of the estate.

Because they "were treated with such kindness after the marriage and after the death of Mrs. Chambers ... they had no hesitancy in complying with Chambers’ request they deed the property to him," the Chronicle reported.

Upon his death, however, Lillian and Harriet learned there was no such provision. They sued the Chambers, hoping for at least the land in return, but after some years and several appeals, the nieces lost their case.

They never again lived in the house on Sacramento Street.


Last Sold November 8, 2013 for $4,085,000 by our very own Joseph Lucier.


The Chambers mansion, today

As for the mansion, it’s had a few incarnations since housing the Chambers family. In the late 1970s, it was turned into a 15-room luxury bed-and-breakfast. Among its many celebrity guests were Robin Williams, Barbra Streisand and John F. Kennedy Jr. At night, the Mansion Hotel hosted magic shows (flashes of light in the windows, anyone?) and private concerts (once, Liberace performed).

In 2000, the Mansion Hotel was sold to a private developer and turned into two townhouses. The real estate site Zillow estimates they're worth about $6 million each. Today, the mansion is nearly hidden from the street by bushes and trees, easily missed by anyone walking to or from Lafayette Park. 

For those hoping to find answers beyond the grave, there's one last footnote: There is no grave. An obituary indicates Robert was buried at Laurel Hill Cemetery, a defunct graveyard that was moved to Colma in the 1930s. At that time, the graves were dug up en masse, although occasionally forgotten coffins are found during present-day renovation projects.

Eudora Chambers' final resting place is a mystery.

Credit: Katie Dowd, SFGATE Monday, October 22, 2018

Profoundly low interest rates here to stay

Profoundly low interest rates are here to stay

After more than a decade of economic expansion, and despite everything from tariffs to tax cuts, it seems this is as high as US interest rates go. Meanwhile, the European Central Bank is debating whether to reduce its negative rate still further. Until this month, it was possible to imagine that pre-financial crisis levels of 4 to 5 per cent might eventually return. No longer.

According to their own projections, Fed officials believe rates will settle at 2.5 per cent in the long run. Subtract their 2 per cent inflation target and the real reward for capital is going to be a miserable 0.5 per cent. The equivalent rate in Europe and Japan will almost certainly be much lower. Such low levels of interest rates are a profound change from the past. (The federal funds rate was 6.5 per cent, and the real rate was about 4 per cent as recently as 2000.) Although interest rates touch almost every aspect of economic life, the developed world remains deep in denial about the consequences. Here are eight themes for investors and policymakers to ponder.

First, there is an intimate link between long-run interest rates and long-run economic growth. Perhaps capital is less relevant to the digital economy, but for interest rates to max out at such low levels sends an alarming signal about the prospects for future expansion.

Second, monetary policy is broken. In 2008-09, the Fed cut rates by 5 percentage points and it was not enough. Today it has far less room to respond to a recession. The Bank of Japan, which made no move on Tuesday, has all but given up trying to hit its 2 per cent inflation target. The ECB is in danger of going the same way. The world is dismally unprepared for a downturn: two of the world’s most influential central banks may start the next recession with their policy rate already below zero.

Third, if monetary policy is broken, fiscal policy must step in. That means either governments must approve higher spending and tax cuts in response to a recession or else give the central bank a fiscal tool in the form of “helicopter money”, essentially printing money to spend or distribute to the public. Alternatively, governments could set higher inflation targets and use fiscal policy to reach them now. That would give their central banks more room to cut when they need it.

Fourth, lower interest rates make debt more sustainable. This is particularly true for public debt, because countries actually borrow at these low risk-free rates, and somewhat true for private debt. For many countries, it makes sense to borrow more in order to invest. Predictions of financial crisis based on past levels of debt-to-gross domestic product are likely to be misleading.

Fifth, capital stock should rise relative to output. Investments that were once unprofitable now make sense: road upgrades to save a few minutes of time; expensive, niche drugs to help a few hundred people; or extra years of study to earn a graduate degree. Such projects may feel irrational. They are not.

Sixth, any asset in fixed supply is now more valuable, because its future cash flows can be discounted at a lower rate. A monopoly supplier of water or electricity, land in a city centre or the back catalogue of Disney: the capital value of these assets must rise, so their yield matches the lower interest rates. This trend is related to recent movements in wealth inequality. It also puts investors at risk of identifying financial bubbles that do not actually exist. One vital policy response would be to slash the return on capital allowed to utilities.

Seventh, demand for housing will rise. It is, after all, the main capital asset that most people use. There are two potential outcomes. Where it is possible to build, permanently lower interest rates will trigger an increase in the housing stock. If it is not possible to build, then houses will behave like assets in fixed supply, and soar in price. Thus falling interest rates make planning and zoning rules a crucial economic issue.

Eighth, low interest rates make it harder to save. In particular, they make it harder to save for a pension, and harder to live off whatever capital accumulates. This fact has been obscured by the one-off rise in price for scarce assets, many of which are owned by pension funds. But future returns are likely to fall. The result will force workers to accept some combination of later retirement, higher taxes, bigger pension contributions or lower incomes in old age.

It is possible that this bout of low interest rates will end. Perhaps the Fed is mistaken and it will have to raise rates sharply in the future. Perhaps a burst of technological progress will raise growth and boost demand for capital. But no one can choose to make that happen: this is not some perverse plot by Fed chair Jay Powell and ECB president Mario Draghi to make life miserable for the world’s savers. The long-run real interest rate balances the desire to save and demand to invest. Central banks are its servants not its masters. The trend towards lower real interest rates has lasted for decades and is as likely to continue as to reverse. With central banks moving to ease, it is time to stop waiting for rates to recover and face the world as we find it.

Written by Robin Harding
Published in the Financial Times
July 30, 2019

Mead Quin - Mead Quin Design

Mead Quin

Mead Quin

CAENLUCIER: How did you come to the profession of interior design?

Mead Quin: I stumbled into it. After studying Fine Arts at Vanderbilt University, I worked for years as a professional portrait artist. Life circumstances necessitated a change, and I found myself drawn to the field of interior design because of its creative qualities. I find there are many similarities between composing a painting and composing a space.

CL: How has your design work benefited from your scholastic training as a fine artist?

MQ: I approach a room as I would a canvas, using line, shape, color, value, texture and form to compose space. I have no formal training as a designer and rely completely on my intuition and artistic skills. My amazing team fills in with technical brilliance and helps me pull it all together. It’s quite fun!

“Anything Loro Piana. I would design an entire home with only Loro Piana textiles if I could.”

CL: Talk about your Pacific Heights project with Andy Skurman and how you two married your contemporary design feel with his classical architectural sensibilities.

MQ: Working with Andy Skurman was an incredible opportunity and inspiring from start of project to end. He is a brilliant architect, meticulous in his work and immensely respected in our industry. Our client, while appreciating classical architecture, wanted Andy to reach for a contemporary interpretation of it. Between the two of us, we were able to create a space that honored the classical “heart” of the space/building while feeling contemporary and fresh for the young family living in it.

CL: You recently worked with homeowners who have a noteworthy art collection.  How do you approach interiors to seamlessly integrate artwork?

MQ: When working with client’s who value art, interiors become the backdrop. They set the stage. I love finding ways of creating rich and livable spaces that support the art in one’s home rather than detract from it. It can be tempting as a designer to make your own “art” the story. I, however, find myself gravitating to design that considers the human first, no matter what is most important to them, whether it is the way they live or the art they collect.

CL: Looking to the past and present, who are some designers that inspire you?

MQ: John Pawson is always the front runner. I adore his minimalist approach. The attention to detail, line, form, necessity, and palette inspire my work. When wondering how to edit wisely and reach essence, I often pull his work out for guidance. I also love Joseph Dirand. Another minimalist at heart with a manner that is relaxed, elegant and poetic. If given the opportunity to hire anyone I want to design my own home, he’d be a front runner. Ilse Crawford for her human centric design. Rose Uniacke for her brilliantly understated interiors, use of color and antiques.

CL: Where are you getting your design inspiration from these days?

MQ: Salone del Mobile in Milan is at the top of my list. The convergence of brilliant designers, manufactures, thinkers and makers in one of the most beautiful cities is the epitome of artistic inspiration. The beauty literally takes my breath away. The fair is wonderful, but the city streets are indescribable, crawling with inspiring moments at every turn.

Full Floor Apartment - Pacific Heights

Full Floor Apartment - Pacific Heights

CL: You visited the Salone del Mobile in Milan earlier this year.  What were your impressions from this season’s trends and offerings?

MQ: Outdoor living. Furniture so beautifully designed, it could/can be used for indoors. It felt as though manufacturers were really understanding the value of connecting with nature, outdoor living, by designing comfortable, well-made and beautiful furniture to enjoy it in. Another theme was sustainability. Considering how production impacts our environment and how to minimize waste were key themes among many artists, especially at Rossana Orlandi… a must, must visit on your next trip to Milan. Most inspiring was the commitment to quality and good design while staying cognizant of how production and consumption impact our planet.

CL: Are there any furniture lines that you have an affinity towards?

MQ: There are so many wonderful lines. Flexform, a family owned Italian manufacturer, is at the top of my list. Everything is handmade and of the highest quality. The designs are beautiful, the craftsmanship exquisite and longevity exceptional. When working with clients, I cannot emphasis enough how important it is to purchase the highest quality possible. Buying well-made furniture that has timeless characteristics is better for our planet and easier on your wallet (long-term). I could go on… A smaller, local shop I’m enthralled with is Gary Hutton’s furniture. Some of his simple, metal tables are my very favorite. They are beautiful designed and crafted, have great proportion, are understated yet have impact. I just love them.

CL: What would your fantasy project be?

MQ: A home on the ocean. The sea is my happy place… there is nothing more beautiful to me than the large expanse of water, the cadence of the waves making their way to shore and the soft shades of blue, grey and green fluctuating with the time of day. It would be a dream to work on a home situated at the ocean’s edge with a client who wanted to experiment with softening the lines between indoors and out.

CL: Favorite weekend getaway?

MQ: Right now, honestly, home. Life is full. There is nothing better than getting to Friday and knowing I have a whole weekend at home. I love resting, reading, working on our space, spending time with friends and family, walking to the local farmers market, sleeping in, starting the day with coffee, ending it with wine, enjoying all that Oakland has to offer in between. It’s a pretty good life and I’m grateful.

CL: Favorite restaurants?

MQ: Bartavelle Café in Berkeley. A sweet, little, European-inspired café, positioned between Acme Bread and Kermit Lynch Wine Merchant, is hands down my favorite food in the East Bay. I could eat the Persian Breakfast, full of herbs, soft cheeses, cucumber and house made jam every day for the rest of my life and be happy. They are serious about their coffee, discerning about their wine and make a killer olive oil cake. It’s a must try and a can’t go wrong.

CL: What are you reading?

MQ: I am rereading Healing Spaces by Esther Sternberg. She is a scientist who explores environmental influences on mental and physical health. I am fascinated with the notion that the space we create can impact health and happiness in profound ways. In the book she suggests, “people who have learned to associate a place with a positive feeling – or with hopes that the place will heal – will benefit from simply being in that place.” This excites me more than anything else about the work we do… that we might be creating homes in which our clients can thrive, feel happy, heal, connect with nature, find solitude and community, etc. is what drives me to keep learning, exploring and creating.

Quintessential Mead Quin Design

Quintessential Mead Quin Design

CAENLUCIER would like to extend a BIG thank you to Mead for her work on this feature with us.

VISIT MEAD QUIN DESIGN HERE…