Step Inside a Parisian-Inspired San Francisco Home

It was a nondescript Edwardian stucco building that brought interior designer Lauren Nelson and architect Stephen Sutro together for their first design collaboration. The project began with a circa 1925 building in such disrepair that it was ultimately brought down to the studs. Working closely with the clients, Nelson and Sutro brought a Parisian sensibility to the space, showcasing its soaring ceilings and delicate moldings, and playing with juxtapositions of era, texture and color. “From the onset, the vision for this project was influenced by contemporary French interior design; there is an innate sense of style, effortless elegance, and a mastery of blending classic and more modern pieces,” notes Nelson. “We went for feminine details mixed with a high contrast palette and touches of glamour. But as the project evolved, we all sought to balance that formality with a casual California sensibility.”

Starting with a north/south orientation and maximizing the window openings at both ends to allow for light to penetrate deep into the center of the house, the main living level was transformed into a nexus for family life that now includes casual and formal rooms that can flow together seamlessly or be separated by pocket doors. A magnificent sculptural staircase, inspired by an image of an English Victorian newel post (provided by the client), serves to connect all four floors, as well as adding a “traditional yet slightly whimsical touch,” says Sutro. Stained oak floors, windows with an industrial-chic sensibility, and large slabs of Negro Marquina stone enhance the serenity of the space.

True to Parisian sensibility, the interiors are a mix of classic and contemporary, where crown accents, wall paneling and vintage light fixtures meet a mostly monochromatic palette and carefully curated furnishings. The entry sets the stage: A spare foyer features a cool, dark gray Pietra marble floor, a custom chevron-paneled door, and a selection of the owners’ graphic prints and illustrations.

Photographs by Aubrie Pick

Photographs by Aubrie Pick

Photographs by Aubrie Pick

Photographs by Aubrie Pick

From here, the stairway curves upward to the dining room, where a stunning table—handcarved of solid blackened maple—is surrounded by custom brass chairs in a Pierre Frey black mohair-velvet and an Osborne & Little stripe. An enormous black-and white photograph of a Scottish Highland cow (“a humorous image that appealed to the owner and me instantly,” says Nelson) adds an unexpected, cheeky touch.

The sensibility is slightly more formal in the living room, which is a study in neutral tones with crisp, high-contrast blues and greens that are also found throughout the home. Again taking design cues from contemporary French interiors, the room boasts sleek finishes: Walls in Benjamin Moore’s Boothbay Gray set the stage for a Schumacher teal velvet-swathed sofa, while a custom Lindstrom rug (Nimbus, in custom hues) complements brass chairs covered in a tonal, geometric Mary McDonald for Schumacher print. Above the bespoke marble mantel hangs a luminous seascape, a commission by painter Louise LeBourgeois.

Upstairs, the master bedroom features subtle silk Weitzner wallcovering, Cowtan & Tout silk-embroidered drapes and a greige, velvet-wrapped headboard that contrasts with a custom walnut faceted bedside table. A dressing table devoid of clutter adorns one corner of the room and is paired with a streamlined Jonathan Adler chair.

In a masterful transformation, Sutro turned a two-story San Francisco residence into a space that now measures just over 5,500 square feet and spans four airy, light-filled floors, while Nelson created an environment that is modern, not overly decorated and layered with California ease. The result is a warm, vibrant house that accommodates casual family gatherings and formal entertaining in high style. Concludes Nelson, “I think this home speaks to the clients, their personalities and their sense of place.”

A version of this article appeared in the June/July 2017 issue of SFC&G (San Francisco Cottages & Gardens) with the headline: Vive La France!

Step Inside a Nature-Inspired Modern Stanford Home

Photographs by Matthew Millman

A stately ash tree anchors the yard of this Stanford property,” explains Joshua Aidlin, cofounder of San Francisco–based architecture firm Aidlin Darling Design, “and, in fact, it became the focus for the entire project.” Taking inspiration from the Eames House, the Pacific Palisades home of iconic designers Charles and Ray Eames, Aidlin conceived an L-shaped home that wraps around the expansive tree and is “not your typical suburban house,” he notes.

The building was a 1950s ramshackle bungalow when the clients acquired it, but has been transformed into a minimalist masterpiece. It all began with extensive client meetings followed by a campout, “to get a feel for the nuances of the site at all times of the day,” says Aidlin. “The clients have a very sophisticated eye and are also very private people.” The intent was to build an informal, light-filled home with a modest street presence—and one that would capitalize on the southerly views of the Stanford hills beyond. Using a series of strong north-south anchor walls, and combinations of natural, cost-effective materials—plaster with planes of cedar wood, concrete, bamboo flooring—the firm achieved a streamlined, utilitarian space with a decidedly midcentury modern feel.

On approach, the property is a naturalist’s dream: The landscape design is by Monterey-based Bernard Trainor, whose aesthetic isn’t overly groomed, and the grounds feature indigenous plants and drought-resistant wild grasses throughout its Zen gardens and walkways. Because of the shade afforded by the signature ash tree, the architects were also able to create a two-story glass façade “that makes you feel as if you’re living in a tree house,” says Aidlin.

The transition from inside to outside is made seamless through decks—particularly the sweeping one off the living room that features a sitting area protected by a cantilevered roof. Iconic Butterfly chairs and a simple Vitra cork stool invite lingering, while the ash tree once again figures prominently by providing ample southern shade during the warm summer months.

As in many family homes, the combined kitchen/living room/dining area is the nexus of daily life: A sophisticated yet practical mix of brushed stainless surfaces, custom cherry cabinetry, and a Corian island designed to withstand spills and homework sessions are key to the family-friendly space. Durable bamboo flooring connects these rooms and adds a rich, textural element to the bedrooms and bathrooms as well. The study overlooking the backyard and an understated media room both have a pared-down aesthetic.

While most of the materials and colors employed are soothing neutrals, there are occasional vibrant pops including a deep blue central staircase “that was inspired by the saturated blues and greens of Sol LeWitt’s work,” explains Aidlin. Bathrooms feature grass-green tiles with translucent Bendheim etched glass, and window treatments are virtually absent from the entire house. “The master bedroom has custom wooden louvers. But for the most part, we just relied heavily on the shade from the surrounding trees,” says Aidlin. “This project was about building an effortless, spare suburban home to a specific site.”

A version of this article appeared in the June/July 2016 issue of SFC&G (San Francisco Cottages & Gardens) with the headline: Nature Study.

Tour an Airy Hillsborough Home

The desire for streamlined, lighthearted living drew an active, outdoorsy family with three teenagers to this home in leafy Hillsborough, says interior designer Heather Hilliard. Built in the ’90s in a postmodernist style, the 7,800-square-foot house was transformed by Hilliard and architect Stephen Sutro from a warren of small, underutilized rooms into an elegant, light-filled space.

After taking the structure down to the studs, Sutro and colleague Brooks McDonald devised a new layout to maximize flow around a central axis, and the outdoors were drawn in via the addition of walls of glass doors to the family room, living room and kitchen. Modern stepped crown molding, millwork and new oak flooring were also added to create a “rich, layered look,” explains Sutro. Outside, the original yellow stucco was replaced by a warm gray hue “to make the corners crisp,” Sutro notes, a new metal roof was added, and landscaping updates included refreshes to the pool and tennis court.

Perhaps the most significant stroke is the new foyer, where a sweeping, circular staircase connects the first and second floors, creating a dramatic entrance. Hilliard hung sculptural, overscaled Tom Dixon Mirror Ball pendants in the 24-foot-high space. “The pendants connect the spaces, and their scale is unexpected,” says Hilliard. “It’s a rhythm we used throughout—beautiful pieces interspersed with ample negative space.” An oversized pivot door designed by Sutro also “creates a welcoming sense of arrival,” she adds.

Extending from the entry is a hall painted in Farrow & Ball’s crisp Wimborne White, a hue chosen to “create a gallery-like setting that offsets the couple’s art collection,” says Hilliard. The focal point of the space is Katy Stone’s Constellation—a wall-mounted work in metal that casts changing shadows throughout the day.

To accommodate the family’s preference for low-key entertaining, Hilliard and her associate Phebe Apgar Williams created two separate arrangements in the living room. One is a seating area anchored by a sofa in a textural bouclé weave from Zinc Textile that they paired with white Mongolian chairs and custom ottomans. The designers also showcased large-scale works by female artists including Cynthia Ona Innis, Amy Kaufman and Suzanne Caporael. The opposite end of the room features a gaming area centered on a custom billiard table and a custom leather cabinet for cue storage. Bold blue drapery panels in a Jim Thompson silk add a luxurious yet thoroughly modern feel to both spaces.  

Just off the living room, the office is connected to bustling family activity, but glass pocket doors also afford it privacy. The cozy, clubby space has built-in cases lacquered in deep blue, and the walls are clad in blue tone-on-tone Phillip Jeffries grasscloth. Hilliard also designed a custom desk in varying shades of indigo. The blue story continues in the ever-so-slightly formal dining room, where C&C Milano linen sheers glow indigo when backlit, and a cloud-like Ted Abramczyk fixture seems to hover above an Antoine Proulx dining table.

One of the most dramatically altered spaces is the combined family room and kitchen, which now has 10-foot ceilings that maximize views of the terraces and plantings beyond. Many meals are enjoyed at an island topped with a Golden Laza slab. “This stone looks like a watercolor, with warm touches that are subtle and diffuse,” says Hilliard.

Upstairs, the relaxed sensibility continues. Giant Sea Urchin pendants from Coup D’Etat illuminate the playroom, where large swivel chairs, a homework table and a massive screen accommodate both studying and family movie night. Just down the hall are the children’s rooms and the master suite, a study in serene grays and blues.

“There is a lot of joy with this family,” says Hilliard. “I think this home reflects that spirit.” Adds Sutro: “The house is a balance of contemporary quality with friendly, modern elements. Above all, it isn’t too precious.”

A version of this article appeared in the June/July 2016 issue of SFC&G (San Francisco Cottages & Gardens) with the headline: Breathing Room.

Inside a Stylish Healdsburg Getaway

Photographs by John Merkl

“This house is all about patterns and color, unexpected materials and unique works of art—but not in overwhelming amounts,” says Jeff Schlarb of the Healdsburg home that he and wife Tray have lovingly renovated. Designed as a weekend getaway for the couple and their two young daughters, the 16-acre Sonoma County compound is where the family relaxes and entertains with competitive bocce games, barbecues with friends and even tented affairs in the sprawling backyard that overlooks the valley beyond. “This is a country house—an exaggerated cottage, really,” says Schlarb, “and we created it to be a forever place for our kids.”

The duo behind San Francisco design firm Green Couch, the Schlarbs were drawn to the 1982 house with its a retro pool (“It’s early ’80s, but with a ’70s hangover,” says Schlarb) and light-filled guesthouse. The couple embarked on the year-long renovation project with the goal of “replacing things in kind,” says Schlarb, so that new windows and horizontal cedar siding, though used to create a modern architectural aesthetic, were in keeping with the original house.

As with any home, the kitchen is the epicenter of family life. “It’s an easy space to be in,” notes Schlarb, “whether we’re cooking breakfast or drinking Champagne with friends.” The adjacent great room is another favorite sunny gathering spot and is filled with meaningful pieces. The photograph, for example, was taken by a friend just outside of Schlarb’s hometown of Kansas City, Missouri. “It’s of a wicked funnel tornado that she could see from her front door, and she took it on her phone!” says Schlarb, who also loved the pixelated look of the photo when it was blown up to its current size.

The family’s dining room is a study in whimsy and color. “We wanted a cozy, intimate space with wood beams,” says Schlarb. The two-tone, wallpapered space features a unique mix—a classic hunt pattern by Phillip Jeffries coexists with an urban toile motif by Timorous Beasties in muted shades of blue. Zele chairs in buttery soft leather surround an industrially-inspired dining table, while geometric artworks by Bay Area artist Aleksandra Zee and a rope sculpture bought at the West Coast Art Fair spark lively conversations.

Upstairs, the master suite is more in keeping with Tray’s love of light, airy colors, and wide-plank oak floors set the stage for the soothing oasis. The couple’s all-white bedroom has a dreamlike atmosphere highlighted by a bed with turned-wood posts from Noir; thick Mark Alexander window treatments in Tunis Snow and a whitewashed brick fireplace. A woven cotton carpet and blue Brentano throw pillows add subtle touches of color, while rattan chairs paired with a trio of garden stools creates a sitting area that evokes outdoor living.

This serene atmosphere extends to the master bathroom where linen drapes “create a soft, romantic environment,” says Schlarb, while a bold Elitis wallcovering and a stark, black stone floor give the room drama. The stand-alone bathtub is original to the house, and the PentalQuartz sink and bathroom fixtures were custom made to match.

Every furnishing, finish and fabric has been lovingly considered by the Schlarbs, and the result is a highly personal retreat for their busy family. “In San Francisco, we are in close proximity to our neighbors, but in Healdsburg, we have endless land and space to work with. We often center around the fireplace, or jam with friends,” notes Schlarb. “This home was built for memory creation.”

A version of this article appeared in the April/May 2016 issue of SFC&G (San Francisco Cottages & Gardens) with the headline: Modern Pastoral.

The New Spa at Sonoma's Farmhouse Inn is a Rustic-Chic Retreat

Set in the heart of the Russian River Valley, the Farmhouse Inn has been a favorite of oenophiles, gourmands and sybarites alike since its acquisition by siblings Joe and Catherine Bartolomei in 2001. Set amidst Sonoma’s wineries, and with a Michelin-starred restaurant on the picturesque premises, the property’s recent $8 million renovation includes a brand new spa that is making Forestville worth a restorative detour. Led by noted Healdsburg designer Myra Hoefer, the renovation was one of the iconic decorator’s final projects before her passing earlier this year. Hoefer brought her signature easy elegance to the inn and spa, giving it a grace that echoes sweeping valley vistas. 

At the entry to the spa, a stacked Napa fieldstone hearth and water features transition guests into a more tranquil state of mind. “This is the spot where people are drawn to sit and relax,” explains the inn’s marketing director Meghan Smith. “There is no rush here.” While beginning their repose, guests can peruse the personal apothecary cart, which holds organic and wild-harvested essential oils like bergamot, birch and cedar, all waiting to be hand-mixed to their specifications.

Drawing on farmhouse vernacular, San Francisco's SB Architects designed a modern stable to house the new spa. The firm designed a dramatic 16-foot peaked roof, a sliding barn door at the entry to the treatment area and a charming Dutch door to front the reception room. A slatted wall along the main passage also creates a breezeway that keeps the spa divinely connected to the outdoors. Hoefer’s selection of clean white beadboard for the walls and cabinetry completes its rustic-chic look.

Along the main hall, a succession of four "stalls" serve as treatment rooms, complete with hand-drawn equine murals by local artist Tina Wainwright. Continuing the play on equestrian life, each room also features a body pillow filled with fragrant herbs and alfalfa used in the spa’s Roll in the Hay treatment. And when the massage or facial is complete, guests can retire to their individual, private outdoor space with chaise longue and shower, perfect for reclining and relaxing under the wine-country sun. Adds Smith, “The rooms face out to the western hillside, which adds to the bucolic atmosphere.”

The spa’s products and treatments have been thoughtfully curated by Francis & Alexander—the firm behind the Spa at Auberge du Soleil—and include ginger-honey scrubs derived from owner Catherine Bartolomei’s nearby farm, as well as cucumber-scented sunscreens and lotions courtesy of San Diego suncare company Coola. The spa menu focuses on organic ingredients, many sourced from the inn’s own gardens.

Since unveiling its redesign, the Farmhouse Inn has earned accolades, but ultimately, its atmosphere is testament to Myra Hoefer’s legacy of quiet, timeless style. “We are lucky to live here,” notes Smith, “and Myra’s subtly chic design has capitalized on the natural beauty that surrounds us.”

A version of this article appeared in the November/December 2015 issue of San Francisco Cottages & Gardens with the headline: Stable Treatment.

A 19th-Century Carriage House is Transformed into an Artful Setting for Two Young Collectors

We didn’t want a pristine, untouched space,” says Anamarie “Pink” Pasdar of the 2,800-square-foot carriage house in the Mission that she and her husband, former Apple executive Iain Newton, spent more than a year renovating. “The fact that we didn’t need a car to be in the center of the action was another plus. After years spent living in New York and London, this particular house—with its funky ’70s bohemian vibe and great flow—just felt like home.”

Pasdar and Newton are art collectors, avid travelers, busy parents, cooks and hosts. His family from the U.K. visits frequently, as do the couple’s friends from around the world. So a house with communal spaces for entertaining and a guest room were requisites. After just one meeting, architect Patrick Flynn of Envelope Architecture + Design was selected to realize the duo’s vision for a home that would patina over time. “We wanted materials and finishes that would wear well as they aged—floors that would be enhanced by scuff marks, not flawed,” says Pasdar.

Following LEED guidelines and sourcing locally wherever possible, the couple also worked closely with interior designer Ilaria Ventriglia Burke to create a series of clean, bright spaces that employ natural colors and materials, as well as stark white walls that show off their collection of works by contemporary artists Banksy, Jeremy Evans and Andre Razo to brilliant effect.

In these communal areas, Ventriglia Burke (“an incredibly definitive, Neapolitan decision-maker,” says Pasdar) was able to help the couple incorporate the furnishings, art and mementos gathered from their far-flung adventures. The dining room is a perfect case in point: Floors made of reclaimed wood from an Oregon hops factory coexist with a Milo Baughman table and an eclectic conglomeration of cocoon-like Hannes Wettstein leather chairs by Cassina, as well as with Shaker-esque wooden versions by Britain’s Ercol. Playful 1920s-era crystal chandeliers cast a gentle glow throughout the space where, as Ventriglia Burke points out, “every piece tells a story, and the room is a total mirror of who they are.”

In the lofty master bedroom, it’s all about the high-low mix: A pair of locally made chairs comfortably coexists with Paul Evans side tables of inlaid wood and mirror. An old Sherwin-Williams paint sample board-cum-installation makes for an unexpected centerpiece, while the original fireplace—complete with a disco ball rumored to be from Studio 54 and given as a birthday gift by Newton to Pasdar—adorns the hearth. Artworks include prints from San Francisco gallery Ratio 3 and a series of small, abstract works by Andre Razo that hang next to the minimalist, Matthew Hilton-designed leather bed frame. A ladder serves as functional objet d’art leading to a loft-like storage area above.

A respect for the original structure and its materials carried over to the kitchen where warm bay-laurel floors and gray soapstone and granite countertops set a practical-yet-sleek culinary stage. Even the stairs have stories to tell, and each serves as a gallery for photographs, drawings and prints. “One staircase was stripped down to its original, acid-green paint,” says Ventriglia Burke. “We initially tried to find a runner to cover it, nothing was as beautiful as the original, worn wood.”

Dara Rosenfield Designs a Nob Hill Pied-á-Terre for Carpet Couturier Mark Nelson

"I wanted a luxury hotel suite,” says couture carpet designer Mark Nelson of his first Bay Area home, a petite pied-à-terre atop Nob Hill. He achieved the look and feel of a sumptuous little suite with the help of noted Bay Area interior designer Dara Rosenfeld. Together, the duo transformed a 450-square-foot space into a jewel box of urbane textures and hues, finally giving New York–based Nelson—who for years has traveled regularly to San Francisco to provide exquisite bespoke carpets to the A-list of the city’s interior designers—a stylish residence in San Francisco.

Longtime collaborators and friends, Nelson trusted Rosenfeld’s aesthetic so completely that he put in a bid on the light-filled property sight unseen, based solely upon her recommendation. (A devoted foodie, Nelson was also seduced by the building’s proximity to b. patisserie and Bi-Rite.) The result of their six-month collaboration is a sophisticated space that is serene, intimate and, importantly, turnkey, for the bicoastal designer.

“I grew to love this city—the serious design community that share my aesthetic, my group of friends, all of the fantastic restaurants,” says Nelson. “I wanted a place here to call home.”

To maximize usable space, Rosenfeld conceived of a custom series of hidden closets, utilitarian cubbies and a Murphy bed—complete with bedside tables—that seamlessly merges into the wall. Recessed lighting casts a sleek glow, while custom-made, wall-to-wall European carpets (in a weave that, says Nelson, “looks like a sisal, but with more depth”) were chosen to make the room appear larger. And a stylish, art-filled work niche features a cantilevered walnut desk, with all cords and cables neatly tucked out of the way.

Since the home looks out onto city rooftops, “I wanted colors and finishes that mimicked the light of the dusk in San Francisco,” says Nelson. Rosenfeld adds, “The term ‘greige’ is often overused, but the color works beautifully here, especially when paired with hints of plum and lavender.” She began by wrapping the space in a smoky gray Soie wallpaper by Elitis, and then extended the colorway into sumptuous fabrics: drapes in Osborne & Little’s Oscura woven strié fabric in a khaki hue; sofa upholstered in DeLany & Long Neptune Velvet in Driftwood; and a set of dining chairs in a fine mohair—“our ultimate treasure-hunt find,” says Nelson.

An eclectic mix of contemporary pieces and fine antiques gives the apartment its unique flair. A clean-lined Paul Evans coffee table with silver and gold accents serves as a focal point for the room; a 1950s T.H. Robsjohn-Gibbings slipper chair provides a swank spot for reading; a classic Paul McCobb dresser adjoins the sofa; and a striking 1960s French amethyst lamp sourced from Lebreton Gallery adds texture and subtle hue.

“I trust Dara implicitly, so this was the easiest transaction ever,” says Nelson of the renovation. “I was looking for an understated, comfortable environment—with nothing flashy—that I could call my home away from home. This apartment is the yin to my New York yang.”

A version of this article appeared in the September 2015 issue of San Francisco Cottages & Gardens with the headline: Little Luxuries.

Designer Kimberly Ayres and Architect Ken Linsteadt Create a Picture-Perfect Mill Valley Home

Photography by John Merkl

On a charming, tree-lined street in Mill Valley sits a home that melds a traditional, East Coast shingle-style aesthetic with Northern California ease and accessibility. “The house is located in a neighborhood of Craftsman bungalows and clean-lined cottages,” explains architect Ken Linsteadt, “and the owners wanted a casually elegant home that would fit nicely into the tight-knit community.”

The result is a 3,100-square-foot, cedar-clad house where, notes Linsteadt, “a subtle, weathered-gray and white palette is predominant.” With interiors by noted Bay Area designer—and Kelly Wearstler alumna—Kimberly Ayres, the property has a classic feel, but features a mix of contemporary furnishings and unexpected flourishes of color. The surrounding landscape also plays a starring role: “All of the main public spaces flow out to the sun, garden and creek beyond,” explains Linsteadt of the L-shaped house that forms a south-facing courtyard.

This study in contrasts and exquisite finishes begins in the airy entry foyer and continues down a soothing, central front hall featuring floors hewn from French white oak and layered with an oriental rug “that is elegant, yet has a fresh, modern graphic at the same time,” says Ayres. Pendant fixtures by Palmer Hargrave are also new, but their design pays homage to the past. Ayres delights in blending antique elements with modern pieces, and nowhere is this more felt than in the family’s living room, where an exquisite 19th-century French limestone fireplace serves as the focal point. A sumptuous sofa swathed in a classic chocolate-brown Bennison fabric is juxtaposed with velvet cushions in a bright cerulean blue by Travers, while a custom chair in a striking shade of coral adds yet another punch of color.

The dining room is an extension of Linsteadt and Ayres’ approachable design philosophy and feels “cozy and communal,” says Ayres, “not overly formal or underutilized.” Chocolate-brown grasscloth by Phillip Jeffries wraps the room, giving it an intimate atmosphere. Upholstered Henredon chairs—as well as a pair of RH armchairs customized by Ayres—provide plush, comfortable seating, and a bay window functions as both a buffet and rotating gallery space for the family’s porcelain.

Upstairs, the master suite is painted in muted hues. “They wanted a quiet, calm oasis overlooking the trees,” says Ayres, who focused on integrating family pieces—a Baker bed and upholstered headboard; a dresser that was stripped and refinished—while enhancing the space with bespoke Italian bed linens and throws by Sue Fisher King. “Although there are classic design elements and materials, it has an approachable feel at the same time,” explains Linsteadt. “I think it strikes a nice balance.”

A version of this article appeared in the September 2015 issue of San Francisco Cottages & Gardens with the headline: Charmed Life.

4 Bay Area Paper Makers Championing the Art of Correspondence

The texture of handmade paper, the loops and bowls of a friend’s distinctive handwriting, the appreciation of the time and care taken in sending: These are just a few of the great pleasures of receiving a physical note. However, as the letter—and even the blithe summer postcard—has long been superseded by the Facebook post, it has become even more meaningful to receive a thoughtful, handwritten missive or invitation. Fortunately, a coterie of Bay Area artisans is carrying on the civilized tradition of the fine stationer. Embellishing sumptuous stock with letterpress, engraved imagery and hand gilding, San Francisco papermakers bring together age-old processes with innovative techniques. Following are four Bay Area ateliers championing the art of correspondence.

Julie Holcomb
A Bay Area icon—she has been a fine printer for more than 30 years—Julie Holcomb is a specialist in custom letterpressing and hand-drawn calligraphy. Emeryville-based, Holcomb brings a minimalist aesthetic to the bespoke invitations, stationery and calling cards she creates for clients like Chez Panisse and Pentagram. Using mould-made, 100-percent cotton paper that is crafted for her in a single, thick layer—versus the multiple, laminated sheets used in inexpensive stationery—Holcomb creates warm, elegant printed matter that is weighty and subtly textured. Hand-applied edging in rich metallic and enamel foils is a studio signature. By appointment only, 3601 63rd St., Emeryville, 510-654-6416,

Dependable Letterpress
A disciple of Julie Holcomb, founder Joel Benson operates a Heidelberg Press out of his five-person Portrero Hill studio. Benson produces exquisitely simple blind deboss business cards, die-cut save-the-dates and holiday greetings—many with hand-painted edges and perforations—all with a tasteful, graphic sensibility. Uncoated tree fiber papers also lend Dependable Letterpress’ personal stationery a tactile quality. 610 22nd St., Suite 247, 415-503-0981.

Rhiannon Alpers
Artisan/owner Rhiannon Alpers is a true papermaker, letterpress printmaker and bookbinder with a strong focus on crafting paper stock using cotton, linen and plant fibers. Her custom papers feature poetic elements ranging from tulip stems—which lend a textural feel—to vibrant bird of paradise petals that yield rich, maroon hues. Alpers shares her craft via studio workshops including “Papermaking: Exotic Fibers” (July 11) and “Sculptural Papermaking” (July 30 and August 29). 1890 Bryant St., Suite 308.

Twig & Fig
Berkeley’s Gourmet Ghetto is home to this retail paperie and print studio that specializes in fine wrapping papers and intricate, laser-cut invitations inlaid with wood, plastic and metal filigree. In addition to custom, couture creations, Twig & Fig stocks papers sourced from around the globe (Gmund from Germany, Arches watercolor paper from France, and air-dried Lama Li varieties from Nepal, to name a few), as well as wax seals and elegant Manuscript fountain pens. The design loft offers a serene space to peruse papers and sip fine teas. 2110 Vine St., Berkeley, 510-848-5599.

A version of this article appeared in the June/July 2015 issue of San Francisco Cottages & Gardens with the headline: The Art of Correspondence.

A Spare, Industrially Inspired Home by Aidlin Darling Design Melds Seamlessly into the Mill Valley Landscape

Photography by Matthew Millman

Achieving a meaningful connection with the site of a future home is more than lip service for San Francisco architecture firm Aidlin Darling Design. A recent project saw co-founder Joshua Aidlin and associate principal Kent Chiang camping out on the property in order to truly understand it: to feel how the wind shifted throughout the day; to hear what the acoustics were like at sunset; and to see how the moon rose at night. It was only then that they proceeded to work with their clients to develop an idea that has, says Aidlin, “resulted in a timeless building that represents their values on this very specific piece of land.”

The 4,000-square-foot home in Mill Valley is sited to leverage sweeping views of the layered valley vistas and iconic Horse Hill in the distance. “The great benefits of this particular property are its two optimistic anchors,” says Aidlin of the landscapes to the north and south. “The clients wanted a very private home that engaged the garden in every way,” he adds. The program also needed to accommodate the owners’ passions for art collecting and cycling. “A courtyard house was the perfect solution for this family,” says Chiang.

To achieve the desired connection with the garden, the architects designed the main living space—housing the vaulted living room, dining room and kitchen—to be transparent to the outside. A sliding glass wall opens to a gracious deck, patio, gardens and the solar-powered reflecting pool in the distance. Passively cooled rooms, including a writer’s studio, gym and art court, all radiate from this central area. The garage also does double duty as the bike shop, featuring an impressive hanging rack that holds 8–10 bicycles, and plenty of space for fine-tuning and repairs.

But eyes aren’t always turned to the outside. To showcase the clients’ art collection, Aidlin and Chiang chose simple, raw materials to create an industrial, loft-like look. Matte black corrugated siding, waxed steel surfaces, poured concrete floors and white plaster walls—on which to exhibit the work of emerging, experimental artists—all figure prominently.

The interior design, by Sausalito-based Susan Collins Weir, is intentionally spare, focusing on curated vignettes of furniture, objects and textiles. Floor-to-ceiling drapes in Great Plains fabric ripple and fold in response to corrugated steel surfaces, all “in neutral hues that are sympathetic to the architectural materials, textures and scale being used,” notes the designer. In the dining area, the reclaimed eucalyptus worktable of British sculptor David Nash—complete with the artist’s chain-saw markings—now serves as an immense dining table. Classic elbow dining chairs by Carl Hansen, a pair of exquisite leather Poul Kjaerholm lounge chairs, and a vintage Carl Auböck side table are just a few of the pieces that have also been carefully selected by Collins Weir. And, as a nod to the couple’s love of cycling, she sourced a chair by Max Lipsey that is “comprised of industrial bike parts, but refined at the same time.” The overall effect is “a house that lives effortlessly,” explains Collins Weir, and that is at once both comfortable and cutting edge.

Seamlessly fusing architecture with art and the surrounding landscape, the home ultimately focuses on design for all the senses. “We are on the human side of modernity,” notes Aidlin. All the more reason to sleep out underneath the starry California sky.

A version of this article appeared in the April/May 2015 issue of San Francisco & Gardens with the headline: The Open House.