September 05, 2016

TASTEMAKERS

September 05, 2016/ Joseph Lucier

Inspired Design Enhances Daily Life

By Joseph Lucier

San Francisco has always been known as a city of bold moves, be they social, political, or found in our noteworthy personalities around town, but restraint bordering on insipidity seems too often plague San Francisco's architectural landscape. Love it or not, fervent opposition is a native trait of the City's residents, but it has been hurdled before to yield landmarks known the world over. The Transamerica Pyramid, designed by architect William Pereira in 1969, comes quickly to mind as detractors during planning and construction sometimes referred to the design as "Pereira's Prick". John King of the San Francisco Chronicle summed up an improved opinion of the building in 2009 as "an architectural icon of the best sort - one that fits its location and gets better with age." Yet where is the opposition found today towards “safe bets” that developers deliver to planning and, thus, usher to the marketplace when current economic opportunities could equally fuel cutting edge design, top quality materials, and high caliber construction meant to inspire buyers and residents alike?

This high/low conundrum begs the proverbial question between developers and consumers of who is the chicken and who is the egg. While we were all Millennials at one point, albeit as Baby Boomers, Gen Xers or Gen Y, who likely entered the market without a well-defined sense of taste, the question remains; can the risk of higher investment for quality materials coupled with exciting architectural design be delivered by developers and applauded by consumers? In the late 1990’s the architect David Baker and Holliday Development redeveloped the Clock Tower building at 461 2nd Street as uniquely designated “live/work” lofts. This 1907 building, originally constructed for the Max Schmidt Lithograph Corporation, offered a new product to buyers who excitedly embraced the exposed brick and timber components and were introduced to open plan New York loft living. Not only was the live/work designation tenaciously fought for by the developers, these lofts were cool! The market responded positively leading to further investor confidence with the 1996 redevelopment of the Oriental Warehouse at 650 Delancey Street, ultimately adding more high quality housing stock of lasting integrity.

David Baker's innovative clock tower lofts — **David Baker's innovative** clock tower lofts

Fast forward to 2014 with Stanley Saitowitz’ 8 Octavia Street rising from a triangular lot left bare after the destruction of the Central Freeway. Saitowitz is a big thinker and a bright spot in the city’s architectural discourse. He feels that "architecture is a frame, an open field which facilitates the dreams and desires of the inhabitants. In this way architecture can be viewed as an instrument, a way to extend the exuberant parts of life, a tool for liberation." In an ocean of floating milk toast that the SF Planning Department often unwittingly finds itself wading through, 8 Octavia gave the City an opportunity to embrace the shock of the new. DDG's (the developer) investment of economic and intellectual capital paid off hopefully inspiring future sentinel attempts to stave off less inspired designs imposed on residential marketing firms. With 47 units and a ground floor retail component, 8 Octavia had the ability to spread out risk on the balance sheet, but what is to be done to support San Francisco’s tastemakers burning desire to express a bold move residing on a singular property?

stanley Saitowitz design at 8 octavia — **stanley Saitowitz design** at 8 octavia

As the ante moves up in the world of luxury single family home redevelopment, we re-engage the chicken vs. egg paradox with all of the eggs falling into one basket. I certainly applaud any developer who puts on his investor’s cap to accurately assess the economic factors and consumer tastes required to make a profit, but tastemakers must unflaggingly resolve the uncertainty of being rewarded for a project that rigorously takes on new design theory, uses exotic (and expensive) materials, and boldly informs the market on what THEY consider important. Do we really have to see yet another $8mm+ spec house with a bowling ball plan entertaining level punctuated with a Carrera marble kitchen island leading to a wall of glass Nano doors with no sense of progression, no mystery, and therefore, no true allure and passion? Please say no! Real estate agents wave their hand to the tune of hundreds of thousands of additional dollars saying that the developer “offers a blank canvas” for the new buyer to make the property their own. Let us encourage developers to play offense and personally take on these blank canvases instead of kicking them down the road to the marketplace.

uninspired formula developer product delivered to 2015 market — **uninspired formula** developer product delivered to 2015 market

I believe there is a market for the tastemakers who are willing to risk investment and inform San Franciscan's on what is chic and how inspired design can enhance daily life. Baker and Saitowitz have shown that we collectively await developers willing to show us what can be and what we can embrace. Developers willing to harness the winds of innovation, creativity, and technology, the true lifeblood of the San Francisco Bay Area, will be patiently rewarded by those seeking the allusive framework of high quality design and construction during these interesting times.

September 05, 2016

Glenn Rescalvo - Handel Architects

September 05, 2016/ Sotheby's International Realty/ Joseph Lucier

A New Millennium Elegance

In a forest of cranes punctuating our rapidly evolving skyline, the hand of Glenn Rescalvo of Handel Architects shines through. Rescalvo's signature Millennium Tower ushered in a new era of elegant high rise design in 2009 and set a high watermark for the building boom that was soon to come in San Francisco. As a native San Franciscan, Glenn's knowledge and love of the city's diverse neighborhood culture gives developers the necessary viewpoint to build informed architecture that responds to and enhances the lives of the city's residents. With projects in over fifteen neighborhoods including The Pacific at 2121 Webster, the new Millennium Partners tower at 706 Mission, and the boutique 240 Pacific located in the historic Jackson Square district, Glenn is charged with a diverse stewardship as his native environment takes new shape.

Our time together with Glenn at Handel's Market Street offices reveals a man who has a deep love for his hometown of San Francisco, a dreamer's vision for shaping the city's modern skyline, and a grown up kid influenced by his father's passion for exposing him to great architecture at a young age.

CaenLucier: When did you know that you wanted to be an architect?

Glenn Rescalvo: I knew quite early in life that I loved design, especially the lines and shapes of cars like Porsches and Corvettes as well as the designs of modern objects coming out of Italy and Germany. I actually thought of going into industrial design at one point, but because my father was an architect, I was very exposed to building design and construction and it soon became part of my day-to-day life. Where we traveled was usually chosen by the availability of great architecture. At the age of seven my father took me to Brasilia to see Oscar Niemeyer's incredible work. It is something I will never forget.

CL: As a native San Franciscan, how do you feel your “home town” status reflects your approach as an architect during this historic boom?

GR: Being a native San Franciscan has its pluses and minuses. First of all, I'm very passionate about this city. I love the topography, the climate, and the culture of what true San Francisco stands for. Yet many times I'm frustrated that we don't take better care of it and help it grow to become an even greater city. Having the opportunity to live in New York, I was able to witness how government and private interest can work together to create positive change. I don't see enough of that process in San Francisco and I really hope that we can improve upon it.

As an architect here, I always strive to help improve the level of architecture, but, just as importantly, I am passionate about improving the pedestrian realm. Creating great architecture is rewarding only if the project responds appropriately to its contextual place. Collectively as city, we need to improve on our streets, sidewalks and green spaces. New York City has done an amazing job of bettering its streets and providing green spaces throughout the city. I hope that, as we continue to grow, our goals will include improving the public realm through a mix of government and private development.

CL: Is San Francisco’s skyline getting more interesting with the Transbay Terminal Authority specifically overseeing the design approval process as opposed to the SF Planning Department being involved?

GR: Absolutely! The skyline has improved tremendously, yet it is critical that these selected authorities continue to maintain the level of integrity and respectfulness to the design profession as they have done so far. To this point, I truly miss the existence of the San Francisco Redevelopment Agency which, in my personal opinion, was a tremendous tour de force allowing for great placemaking for creative architecture to occur. The Yerba Buena Gardens district is an excellent case in point. Ten years from now, I believe the Transbay Terminal district will be another "jewel" of the city.

CL: Tell us a little bit about your latest work with Chris Jeffries of Millennium Partners at 706 Mission.

GR: Millennium Partners has been at the forefront of elevating high-rise luxury residential living for many years and with each project that they develop in San Francisco, the concept, the programming, and the amenities are redefined. 706 Mission will be the latest Millennium project in San Francisco. What will make this project unique from the Four Seasons and the Millennium Tower is that this development will not rely on a flagship hotel or an enormous numbers of units to support itself. With only 142 units in 50 floors, 706 Mission will be the most exclusive residential tower in town. Chris Jeffries is a true visionary and sees opportunity in areas of the market that are considered non-existent. Many developments believe luxury is only about materials and views; that is only half of it. Design and service is the other half which is what makes Millennium projects so successful and memorable. We are very excited about 706 Mission, it will truly be one of San Francisco’s most impressive buildings.

CL: How has your work with Millennium over the years benefited from the intimacy of a long term relationship?

GR: Our relationship with Millennium Partners goes back over 20 years and, in that time frame, we have designed numerous projects throughout the country with them. Personally, it has been one of the most rewarding and meaningful experiences as an architect to be able to work collaboratively with a client that has vision, embraces good design, and believes in the spirit of trust and collaboration. Over the years together, we’ve worked toward perfecting luxury residential living. With each new project, we build on what we’ve learned collectively from the past.

CL: What scale of residential design are you most enjoying working on at the moment?

GR: It’s difficult to say. I really love designing tall buildings and the gesture they can make to a city's skyline and urban form. More recently, we have been involved on much smaller scale projects. They have been very rewarding and exciting to work on, primarily because of the scale and interplay of spaces and the involved detailing.

CL: When you dream of creating the perfect residential project where would it be, how would it look, and what materials would you use?

GR: Blessed with amazing topography, San Francisco offers so many great opportunities for creating beautiful architecture. If given the choice of where to design a residential project, I would choose a site in Sea Cliff overlooking the Pacific Ocean, Mt. Tamalpais, and Golden Gate Bridge. It doesn't get any better than that! The design would be contemporary with clean lines, but not cold or ultra-static. I would use a combination of natural materials ranging from a variety of woods, polished and raw concrete and vernacular stones. The design and material would embrace the landscape and the two would become one. Room locations, window placement, and outdoor spaces would all be established based on the movement of the sun and prevailing winds. Large overhangs with floor-to-ceiling glass space would also be key features.

CL: Tell us about working with Trumark Urban on their new project, The Pacific at 2121 Webster.

GR: This was our first project with Trumark. In this particular case, I would have to say that the stars were aligned. Both Trumark Urban and Handel Architects saw this development as a unique opportunity knowing it had to be executed extraordinarily well on all levels. One of the key factors to the success of this development was the fact that there would never be an opportunity to build anything this tall in Pacific Heights ever again. Not only was this an existing 9-story structure, it was structurally sound with a parking garage and 12' floor to floors offering with extraordinary views of the Golden Gate Bridge, Mt. Tamalpais, and the Pacific Ocean. With all of these factors, the process of team work and collaboration was quite seamless. Not only did the architecture need to be unique and refined, but, given the demographic and the quality one would expect to find in Pacific Heights, it was just as important that the interiors evoke a certain level of sophistication and elegance. Trumark has been great to work with as they visualized the end product and never hesitated. They simply wanted to make this project better than anything on the market, which certainly made our job very rewarding.

CL: Jackson Square is such a beloved historic district in the city. What decisions did you make to integrate 240 Pacific into its L shaped lot and maintain a dialogue with the surrounding buildings?

GR: When we began designing 240 Pacific, we knew that we needed to be extremely sensitive and cognizant of the history and urban fabric of the district. We wanted our design to embrace the location's history and elevate the quality of the neighborhood by creating a design that was contemporary yet sophisticated and contextual. Historically known as the Barbary Coast, this area of San Francisco was one of the oldest neighborhoods in the city. The site sits on the northeast corner of Pacific and Battery where the Old Ship Saloon, dating back to 1851, anchors the corner. The Saloon became one of the key components to a variety of design decisions made for the project. The use of masonry brick for the exterior facade relates the project to its neighbors. We felt it was extremely important to maintain a level of continuity not only with the Old Ship Saloon at foreground of our project, but with most of the existing neighboring structures in the district. As we developed the design, we strategically proportioned the window openings and materials to resemble that of the surrounding environment.

CL: Where do you like to spend time away from work?

GR: I either like to be in the mountains skiing or on the ocean. When I travel to other cities - as great as it is - my mind is always working, absorbing images and ideas, and I'm not really relaxing. When I'm either in the mountains or on the ocean, I have more time to reflect and be inspired.

CL: Favorite restaurants?

GR: Cotogna and Spruce.

CL: What are you reading now?

GR: The White Eskimo by Stephen Brown and The Four Quartet by Joseph Ellis

CL: What would you be doing professionally if you were not an architect?

GR: Early on I really wanted to be a veterinarian. I love animals and always had a way with them. Maybe next time around!

CL: Blondes or Brunettes…?

GR: Diversity is the best way to live life, but final answer...brunettes.

September 05, 2016

Orlando Diaz-Azcuy - ODADA

September 05, 2016/ Sotheby's International Realty/ Joseph Lucier

The Refined Sophisticate

Upon entering Orlando Diaz-Azcuy’s atelier in the old Brooks Brothers Building, one is transported into a world of symmetry, refinement, and shades of neutrality that provide a dreamlike atmosphere where impossibilities become suspended. The bustle of Union Square below echoes his homeland of Cuba from where he immigrated before earning a Bachelor’s degree in Architecture from the Catholic University in Washington DC, and Master’s degrees in Landscape Architecture and Urban Planning from University of California at Berkeley. Orlando made his way into early prominence during his partnership with Arthur Gensler where his trained eye and keen knack for integrating custom materials into high profile designs gained him recognition as Designer of the Year by Interiors Magazine. Beginning his own firm in 1987, Orlando eventually transitioned from commercial work into the world of private residences from earlier relationships with John Levin of the Folger & Levin law offices downtown and his relationship with the Haas family. Navigating through the traditional interior demands of the city’s beau monde to his signature contemporary vernacular was a patient process. In time, Orlando’s deft sense of spatial relationships and his ability to incorporate traditional pieces into contemporary interiors made him the last word in a luxury tier where true sophistication is understood by so few. Current clients reside in New York and the Hamptons and anticipate the completion of residences at 181 Fremont in San Francisco.

Our recent time together with the impeccably mannered Orlando revealed a man who still lives to caress blank paper with pencil, tells a story with the twinkle of creative wit, and relaxes looking back over a career where his talents and life intermingled to result in timeless designs.

CaenLucier: What inspires your creativity in the design process?

Orlando Diaz-Azcuy: Everything. But peace of mind and quiet are essential. I must be happy where I am designing. If not, I put my pencil away. I design a lot in the middle of the night.

CL: You still like to create ideas with the intimacy of pencil on paper. How have you seen technology aid and enhance the design process over the years?

ODA: Because I am of an older generation, eventually it will become as second nature to designers as the pencil has been to us. It all depends on the speed of your ideas and ability to illustrate them quickly on the computer.

CL: You and Arthur Gensler had a very successful business relationship for years. How did it begin?

ODA: I was working for EPR (Environmental Planning and Research) in the early Seventies and designed the McDonald’s in John Portman’s Embarcadero Center. The restaurant got a national recognition award that year. Arthur was looking for a designer at the time and hired me. We ended up having very good fortune together doing most of the law offices in town, the first United Airlines Red Carpet Room, the San Francisco International Terminal, Wells Fargo and Levi’s Plaza. At Gensler’s 50th Anniversary event, Arthur was kind enough to say to the room how valuable my contribution had been to the success of the firm.

CL: What prompted you to go out on your own after so much time with Gensler?

ODA: I was approached by Hickory Business Furniture while at Gensler to help them transition their look from traditional to more contemporary without their clientele abandoning them. The product did very well. However, within an AIA membership, a professional could not design furniture and sell it to their clients. Arthur and I made an agreement and rented a top floor in a nearby building to design furniture named ODA Design. That’s how I began. The first summer, I decided not to go back to managing people. The first collection was so successful that I had plenty of money and I told Arthur that I was not going to come back. There was no animosity and I did not take any clients from Gensler.

CL: How was the transition of going out on your own?

ODA: Initially, no one would hire me for residential work, because it is such a traditional town. I even began with my own residence at 1050 Green Street in 1982 using more antiques in this traditional French building. I knew French and English furniture as well as my competitors did, but that is not where my heart was. Then I started doing something that no one was doing, which was taking new buildings, new interiors and placing a few antique pieces to give a soft feeling that can’t be discerned as traditional or contemporary, but it feels good. This look started coming into vogue. You started to see designers like Peter Marino and others in New York starting to move in this direction. That is how I established my name here. If someone wanted a comfortable, understated elegant house with no draperies or tassels…go to Orlando.

CL: How have you refined your alchemy of informing modern design with traditional elements and furnishings?

ODA: Design is evolution and incorporation of all times.

CL: Which designers/architects that have preceded you do you admire?

ODO: A long list. Everyone gives you a little something as inspiration, but there are the ones that you relate to. For me, Josef Hoffman, Adolf Loos, Luis Barragan, Walter Gropius, Mies van der Rohe, Richard Meier.

CL: How were you selected to work on Jay Paul’s 181 Fremont project?

ODA: I was introduced to Jay through the architect, Heller Manus. Jeffrey Heller and I had worked at together at Gensler.

CL: What has your involvement been like working with Jay Paul?

ODA: Very early on, I told the Jay Paul organization that the integrity of my designs had to be followed. I must participate in any modification or deviation from the original design. So far, it has been an excellent relationship.

CL: How would you compare or contrast 181 Fremont Street to 15 Central Park West, as both are pulling the center of established luxury to other parts of town.

ODA: 181 Fremont is about luxury of materials, the quality and quantity of space, while 15 CPW is acquired status by the social/business connections of the developer and the business profile of the tenants.