20th Street Residence by SFOSL

This rooftop house extension by Californian architects SFOSL has a metal bridge at its entrance and a facade that folds open.

20th STREET by SFOSL

The architects weren’t permitted to adapt the volume of the derelict house, so instead designed a rooftop living room that is barely visible from the street but offers residents a view out over the San Francisco bay.

20th STREET by SFOSL

“The box on top incorporates the maximum allowable zoning volume,” said architect Andreas Tingulstad. Other restrictions included a necessary 4.5 metre setback from the facade and a maximum total height of 10 metres.

20th STREET by SFOSL

A perforated screen folds down over the south-facing facade of the new room to prevent it overheating during the day.

20th STREET by SFOSL

“The operable sunshade is perforated by an abstraction of the blocks’ facades, integrating the context of the neighbourhood into the building,” explained Tingulstad.

20th STREET by SFOSL

A wooden staircase provides a route down to rooms on the first floor, while the metal bridge stretches back to meet a patio that steps down to the same level.

20th STREET by SFOSL

The exterior of the house is painted black to set it apart from its white, grey and cream-coloured neighbours.

20th STREET by SFOSL

Other American houses we’ve featured on Dezeen recently include a country house clad in shimmering aluminium panels and a writer’s hideaway clad in black-stained cedar.

20th STREET by SFOSL

See more stories about residential extensions »

20th STREET by SFOSL

Photography is by Bruce Damonte.

20th STREET by SFOSL

Here’s a project description from SFOSL:


20th Street – San Francisco

The client came to us with a derelict home on 20th Street by Potrero Hill.

20th STREET by SFOSL

The client’s had a basic need for an upgrade but also more space – to achieve this it soon became evident that expanding up through the roof was our only way.

20th STREET by SFOSL

This would not only meet their needs, but could potentially take advantage of the view overlooking the San Francisco Bay.

20th STREET by SFOSL

The existing 1575 sq. ft became 2225 sq ft – the private domain would remain on the 2nd floor – while the public functions would rise to an addition on the roof – a classic but clear programmatic division.

20th STREET by SFOSL

We chose to fully comply with all the zoning regulations, and let that be the solution to our design strategies.

20th STREET by SFOSL

We maneuvered through many City issues, but managed to solve the project requirements within the required setback of 15 feet, extending 32 feet in height, all within 175 dollars per sq ft.

20th STREET by SFOSL

We were not allowed to change the existing façade other than replacing windows and cladding due to the fact that the city had designated this block as historic.

20th STREET by SFOSL

Ground floor plan – click above for larger image

Although we felt that the building itself had no particular historical significance – it was first and foremost a volume – but we felt the block could make sense. We proceeded by distilling the façade components in order to highlight the common denominator of the individual houses.

As the home faces south, the new dining and living space would be excessively hot in the sun during the San Francisco’s Indian summer. We naturally wanted to capture as much of the view as possible, but also ensure that privacy and cooling issues were resolved.

20th STREET by SFOSL

First floor plan – click above for larger image

The extension would become an outdoor / indoor space enabling the free roaming from the deck in front, through the public space and back to a formerly unappreciated terraced garden in the rear. We wanted as big of an expanse as possible, but simultaneously we wanted to allow for privacy – the solution was a flexible sunscreen. By perforating the skate-ramp cladding with a pixilated image of the street we combined the city setback guidelines, the shading- and the privacy strategy with the City’s wish to embrace the character of this block.

20th STREET by SFOSL

Second floor plan – Click above for larger image

The once obsolete and underutilized backyard was given new meaning by enabling a continuous loop in-between the private and public functions. The new indoor stair and the outdoors catwalk bridge now connect the private and secluded 2nd floor to the living area on the 3rd level. This allows the owners’ two dogs a free passage to the rear yard 24-7. Our only other injection apart from the color black and the bridge connection was an aim of the highest possible degree of floral diversity – to give the backyard that oasis feeling.

20th STREET by SFOSL

Roof plan – click above for larger image

For the interior we embraced the client’s love of raw construction materials. They especially wished for many visible and unpainted wooden surfaces combined with brightness and gloss. We recycled wooden roof joists and custom-built a shelving system. PSL beams were used for the stair connecting the old house to the new, and OSB sheets connected the 2nd floor to the entry.

20th STREET by SFOSL

Section – click above for larger image

To weave the house into the urban fabric the building was clad in the inexpensive Ramp Armor material, used to make skateboard ramps. This material, with its precision, makes the building autonomous and differentiates it from the neighboring houses – while simultaneously enhancing the original design by pinpointing the primary components of the original vernacular – in that sense the building once and for all reaches its full potential within the historic envelope.

Sustainable Design is imperative to us. For this project we installed solar panels, and reused existing materials and minimized new materials to minimize waste. Our take on sustainability is foremost about the use of square footage. In every project – and maybe especially in this renovation and extension, every square foot has been thought through in its intention and objective. If we detect a spatial blind spot – we make sure it goes away or comes to life.

20th STREET by SFOSL

Front elevation – click above for larger image

Architect: Casper Mork Ulnes, Andreas Tingulstad, Grygoriy Ladigin.
Location: 1330 20th Street, San Francisco
Year Completed: 2012
General Contractor: Natal Modica Construction, Inc.
Engineer: Double D Engineering
Metal Work: Defauw Design & Fabrication
Landscape Architects: Flora Grubb
Area: 2225 sq ft (remodel + upward extension)

The post 20th Street Residence
by SFOSL
appeared first on Dezeen.

Private Residence by Garcia Tamjidi

Slideshow: Californian architects Garcia Tamjidi have completed a studio apartment in San Francisco that looks more like an art gallery or showroom.

Private Residence by Garcia Tamjidi

Designed for a couple who race motorcycles in their spare time, the apartment has yet to be furnished and currently features a motorbike as its central showpiece.

Private Residence by Garcia Tamjidi

Other pieces of art and sculpture are sparingly located around an open-plan living room that is split into two tiers.

Private Residence by Garcia Tamjidi

A group of closets are clustered at the centre of the space to provide storage for the entire apartment.

Private Residence by Garcia Tamjidi

We’ve noticed a trend in minimal white apartments recently. Find all our stories about apartments here to see for yourself.

Private Residence by Garcia Tamjidi

Photography is by Joe Fletcher.

Private Residence by Garcia Tamjidi

Here’s some more information from the architects:


Private Residence, San Francisco, California

Designed for a couple whose hobby is racing motorcycles and setting world land speed records, this flat becomes a private retreat from an adrenaline charged lifestyle.

Private Residence by Garcia Tamjidi

Originally a two bedroom, one and a half bath condominium, the floor plan was stripped of all but completely utilitarian necessities.

Private Residence by Garcia Tamjidi

Organized around a very long double-sided storage wall, retracting fabric scrims are used to create more private areas.

Private Residence by Garcia Tamjidi

The interior view, a place to relax, meditate and dream, provides a counterpoint to the openness of city and water views.

Private Residence by Garcia Tamjidi

Project Size: 1,325 square feet
Project Completed: January 2012

Private Residence by Garcia Tamjidi

Architect: Garcia Tamjidi Architecture Design
General Contractor: M J Moore Design and Construction

Furniture: B&B Italia Terminal 1 Day Bed by Jean-Marie Massaud
Art: Sleep 25, Sleep 26 by Gottfried Helnwein, courtesy of Modernism, San Francisco, California

Private Residence by Garcia Tamjidi

Fixtures:
Sink: Sabbia by Boffi
Faucet: Liquid by Boffi
Watercloset: Aquia by Toto
Shower: Just Rain by Dornbracht
Bathtub: Iceland Monoblock by Boffi Bathtub Filler: Liquid by Boffi
Powder Room Sink: Zone by Boffi
Powder Room Faucet: Square Rub by Agape Kitchen Sink: Super Single by Blanco Kitchen Faucet: Vela by MGS
Oven/Range: by Meile

Architecture by Julius Shulman

Julius Shulman est un photographe américain né en 1936. Étant notamment connu pour ses clichés de maisons et bâtiments californiens, ce dernier nous permet de découvrir des images mythiques de la culture de son pays. Une série de visuels se dévoile dans la suite.



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Manifest Destiny! by Mark Reigelman

Manifest Destiny by Mark Reigelman

Brooklyn artist Mark Reigelman has installed a wooden hut in an unusual city location – suspended on the side of a San Francisco hotel like a bird box.

Manifest Destiny by Mark Reigelman

Reigelman claims that the Manifest Destiny! project demonstrates the rights of the urban explorer to find an unoccupied parcel of space in which to make a city home.

Manifest Destiny by Mark Reigelman

Lights visible through the windows give the impression that someone is home.

Manifest Destiny by Mark Reigelman

Electricity to power these lights is generated from a solar panel mounted onto the roof.

Manifest Destiny by Mark Reigelman

The project was constructed in collaboration with architect Jenny Chapman and engineer Paul Endres and will remain in place until October.

Manifest Destiny by Mark Reigelman

Photography is by Cesar Rubio.

Manifest Destiny by Mark Reigelman

Here’s some more words from Reigelman:


Concept

Manifest Destiny! is about our God-given imperative as modern explorers, to seek out parcels of unclaimed territory and boldly establish a new home front in the remaining urban voids of San Francisco.

Overview

Manifest Destiny! is a temporary rustic cabin occupying one of the last remaining unclaimed spaces of downtown San Francisco—above and between other properties. The cabin is affixed to the side of the Hotel des Arts, floating above the restaurant Le Central like an anomalous outgrowth of the contemporary streetscape. Using a 19th-century architectural style and vintage building materials, the structure is both homage to the romantic spirit of the Western Myth and a commentary on the arrogance of Westward expansion. The interior space of the tiny house can be seen day and night through the curtained windows, a lonely beacon in the city’s dense landscape, and an incongruous, haunting vision from below. The installation will remain in place and be slowly transformed by the elements through October 2012.

The cabin is a temporary site specific installation in San Francisco, California. The project was commissioned by Southern Exposure and funded by the Graue Family Foundation.

The project will be on view through October 28th 2012.

Artist

Brooklyn based artist Mark Reigelman in collaboration with architect Jenny Chapman and engineer Paul Endres.

Details

The cabin is approximately 7′ wide x 8′ deep x 11′ tall and sits approximately 40′ in the air. The cabin frame is made of welded aluminum while the exterior is finished with 100 year-old reclaimed barn board from Ohio. The rear roof has a 3′x4′ solar panel which charges during the day and lights the cabin interior at night. The cabin weights over 1,000 lbs.

Frisco Bus Stop Infographic

JFL ha disegnato questa divertente infografica su consigli e personaggi che popolano gli autobus di San Francisco. All’interno del post trovate la versione completa.

Frisco Bus Stop Infographic

Frisco Bus Stop Infographic

A History of the Sky

Une captation de Ken Murphy sur le toit du musée de la science “l’Exploratorium”, capturant tout le long de l’année le ciel toutes les 10 secondes, le résultat a été monté sous la forme d’une vidéo en mosaïque, chaque morceau représentant une journée dans l’ordre chronologique.



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San Francisco Fog

Des superbes clichés par le photographe Terence Chang, spécialisé dans les shootings avec expositions longues. Une série avec différents lieux de la baie de San Francisco magnifiquement recouvert d’un épais brouillard, d’une manière imprévisible. A découvrir dans la suite.



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SFMOMA Expansion by Snøhetta

SFMOMA Expansion by Snohetta

Norwegian architects Snøhetta have unveiled their design for an extension to the San Francisco Museum of Modern Art (SFMOMA), which will double the gallery’s exhibition and education spaces.

SFMOMA Expansion by Snohetta

A glass-fronted gallery along Howard Street will create a new entrance to the museum on a part of the site currently occupied by a fire station.

SFMOMA Expansion by Snohetta

From here a five metre-wide pathway will lead up a set of stairs and across a public square towards Natoma Street.

SFMOMA Expansion by Snohetta

The new buildings will be over 15 metres taller than the existing SFMOMA building, which was completed by architect Mario Botta in 1995.

SFMOMA Expansion by Snohetta

Read more about Snøhetta’s competition-winning entry in our earlier story on Dezeen Wire.

More stories about Snøhetta on Dezeen »
More stories about galleries on Dezeen »

Here are some more details from the press release:


SFMOMA unveils preliminary designs for its expansion

Expansion Will Double Exhibition and Education Space

Design Transforms SFMOMA and Neighbourhood
Opening New Routes of Public Circulation and Access
With New Entry and Pedestrian Promenade

May 25, 2011—The San Francisco Museum of Modern Art (SFMOMA) today unveiled the preliminary design for its expansion that will double the museum’s exhibition and education space while enhancing the visitor experience and more deeply weaving the museum into the fabric of the city. The new building will both transform the museum and enliven the city by opening up new routes of public circulation around the neighbourhood and into the museum. Completion is projected in 2016.

Developed by architectural firm Snøhetta in collaboration with SFMOMA and EHDD of San Francisco, the over 225,000-square-foot expansion will run contiguously along the back of the current building and extend from Howard to Minna streets, allowing for the seamless integration of the two structures. The new building will provide SFMOMA with a greater public profile and an openness that will welcome visitors and project the museum’s role as a catalyst for new ideas, a center for learning, and a place that provides great art experiences for Bay Area residents and visitors.

On its east side, the building will feature a sweeping façade and an entrance in an area that is currently hidden from public view and largely unused. This will be achieved through the creation of a mid-block, open-air, 18-foot-wide pedestrian promenade running from Howard Street through to Natoma Street that will open a new route of public circulation through the neighbourhood and bring Natoma Street, currently a dead end, to life. The public promenade will feature a series of stairs and landings terracing up to an entry court that extends from the new east entrance, providing additional public spaces.

The building also introduces a façade on Howard Street that will feature a large, street-level gallery enclosed in glass on three sides, providing views of both the art in the galleries and the new public spaces. At this time, the museum is also exploring the creation of a number of outdoor terraces, including one on top of its current building. The Snøhetta building will rise fifty feet higher than the Botta building, and its roofline will be sculpted to frame the skyline of the buildings beyond it to the east when viewed from Yerba Buena Gardens. The new entrance will be accessible from both Howard and Natoma streets and will align with the new Transbay Transit Center being built two blocks east of the museum. This entry will complement SFMOMA’s current Third Street entrance, which will be revitalised to enhance visitor flow and access.

On Howard Street, the glass-enclosed gallery and pedestrian promenade will be located on a site currently occupied by Fire House 1 and its neighbor at 670 Howard Street. SFMOMA is designing, financing, and constructing a new, replacement fire station on nearby Folsom Street, representing a gift to the city of more than $10 million, that will provide the Fire Department with a state-of-the-art facility that will enhance emergency response time.

The planning of the expansion continues as an intensive collaborative process of museum leadership, trustees, visitors, other stakeholders, and the design team. The design of the interior spaces and integration of the two buildings will be unveiled at the end of this year.

Says SFMOMA Director Neal Benezra, “This is a transformative design for the museum, the neighbourhood, and the city. The new resources we are creating for SFMOMA are a response to the incredible growth of our audiences over the past 15 years and increased public demand for the museum’s programming. The welcoming and luminous character of Snøhetta’s design and its embrace of the surrounding neighbourhood further SFMOMA’s role as a center for learning, interaction, and inspiration for the people of San Francisco and the region.”

“Our design for SFMOMA responds to the unique demands of this site, as well as the physical and urban terrain of San Francisco,” says Snøhetta principal architect Craig Dykers. “The scale of the building meets the museum’s mission, and our approach to the neighbourhood strengthens SFMOMA’s engagement with the city. Pedestrian routes will enliven the streets surrounding the museum and create a procession of stairs and platforms leading up to the new building, echoing the network of paths, stairways, and terracing that is a trademark of the city.”

SFMOMA has raised more than $250 million toward a projected $480 million campaign goal for the expansion, including $100 million for the museum’s endowment. The project also encompasses an expansion of the permanent collection, which forms the foundation of the museum’s programming. This past February, SFMOMA launched a multiyear campaign to further strengthen the collection, which has more than doubled in size to 27,000 works since the museum moved to its current home in 1995. In September 2009, the museum also announced that the Fisher family would share its renowned collection of contemporary art with the public at SFMOMA. The museum holds one of the foremost collections of contemporary art in the world and the leading collection of modern and contemporary art on the West Coast.

SFMOMA first announced plans to expand its building in April 2009, spurred by growth since it moved to Third Street in 1995. The move catalyzed incredible growth in the museum’s audiences, educational programs, exhibitions, and collections. Over the past 15 years, SFMOMA’s annual average attendance has more than tripled to some 700,000, membership has grown to 40,000. SFMOMA has also developed one of the strongest exhibition programs in the world, organising groundbreaking shows that travel internationally, including recent surveys of the work of Diane Arbus, Olafur Eliasson, Eva Hesse, Frida Kahlo, William Kentridge, Sol LeWitt, Richard Tuttle, and Jeff Wall.

Snøhetta on SFMOMA
In describing the design concept, Craig Dykers stated:

SFMOMA sparked the dramatic transformation of San Francisco’s South of Market district when it transformed a run-down neighborhood into a cultural anchor for the city in 1995. After 15 years on Third Street, SFMOMA is now further invigorating the city by opening up a place that has been out of sight and out of mind.

SFMOMA’s expansion will enliven the neighbourhood through a generous plan that frees connections between well-known surrounding streets and more hidden urban spaces. The building will encourage people to enjoy the intimate small streets as much as the heavily used thoroughfares of the district. The new building does not push tightly against its property lines; instead it creates new public spaces and pedestrian routes through the neighbourhood along with open views of the surrounding streetscape. By organising the complex configuration of the museum’s expansion site into a unified whole, the new SFMOMA will promote connections to portions of the city that are already becoming more publicly accessible with the construction of the new Transbay Transit Center. Having been a partner to the creation of the cultural hub around Yerba Buena Gardens, SFMOMA will now further enliven the entire neighbourhood as an urban destination.

Formally, the new SFMOMA is designed to engage with the skyline that surrounds it. Its sculptural identity is found in a formal language that embraces and invites the silhouettes of its neighbours to participate in the dialogue of the new urban identity of South of Market. SFMOMA’s new, low slung shape will create a horizon in the skyline that connects rather than segregates the different parts of the city that border it.


See also:

.

Opera House Oslo
by Snøhetta
Petter Dass Museum
by Snøhetta
MAXXI
by Zaha Hadid

Displacement

displacement

Created from a mix of vintage Super-8 footage and abstract effects, San Francisco artist Alex Kopps’ ‘Displacement’ documents an obscure surf subculture that emerged in the 70s, as well as the aesthetic culture that accompanied. Watch the trailer after the jump.

A little background on the film: The ‘subculture’ that Kopps documents was resultant of/inspired by the surfboard designs of George Greenough, which were later refined by Greg Liddle. Back in the 60s, when longboards were the standard, Greenough instead designed and rode short kneeboards. Beyond ‘Displacement’, Kopps has created a diverse body of work ranging from more short films to paintings and books. See more on his site.

Click here to view the embedded video.

Stem Cell Building at UCSFby Rafael Viñoly Architects

Stem-Cell-Building-at-UCSF-by-Rafael-Viñoly-Architects

This medical research building at the University of California in San Francisco by Rafael Viñoly Architects projects out from a forest hillside, supported on steel truss stems that fan upwards from the ground.

Stem-Cell-Building-at-UCSF-by-Rafael-Viñoly-Architects

Designed to accomodate 125 individual biology laboratories for scientists studying stem-cell treatment, the building has one laboratory floor split into four levels, which step down half a storey at a time as they descend the hill.

Stem-Cell-Building-at-UCSF-by-Rafael-Viñoly-Architects

Offices are located above each level, connected by a stepped circulation route on the exterior of the building which also bridges across to the adjacent medical centre.

Stem-Cell-Building-at-UCSF-by-Rafael-Viñoly-Architects

The building has south-facing glazing to maximise natural light into the laboratories and offices.

Stem-Cell-Building-at-UCSF-by-Rafael-Viñoly-Architects

More from Rafael Viñoly Architects on Dezeen »

Stem-Cell-Building-at-UCSF-by-Rafael-Viñoly-Architects

More medical buildings on Dezeen »

Stem-Cell-Building-at-UCSF-by-Rafael-Viñoly-Architects

The following is from the architects:


Stem Cell Building at UCSF by Rafael Viñoly Architects:

San Francisco, California: Rafael Viñoly Architects’ design of the Ray and Dagmar Dolby Regeneration Medicine Building at the University of California, San Francisco has been completed.

Stem-Cell-Building-at-UCSF-by-Rafael-Viñoly-Architects

The project is targeting LEED Gold certification. DPR Construction served as the design-build contractor and the Smith Group served as executive architect. The University held a grand opening celebration of the building on February 9, 2011.

Stem-Cell-Building-at-UCSF-by-Rafael-Viñoly-Architects

Located on a steeply sloping urban hillside, the Dolby regeneration medicine building presented the design team a unique challenge: executing a horizontal structure on an uneven site.

Stem-Cell-Building-at-UCSF-by-Rafael-Viñoly-Architects

RVA responded by creating a beautifully sinuous, serpentine building that makes use of every foot of available space.

Stem-Cell-Building-at-UCSF-by-Rafael-Viñoly-Architects

The main floor functions as one continuous laboratory divided into four split levels, each stepping down a half-story as the building descends the forested hillside slope, and each level is topped by an office cluster and a grass roof with wildflowers and plants.

Stem-Cell-Building-at-UCSF-by-Rafael-Viñoly-Architects

Exterior ramps and stairs, taking advantage of the temperate climate, provide continuous circulation between all levels, and the facility connects to three nearby research buildings and UCSF Medical Center via a pedestrian bridge.

Stem-Cell-Building-at-UCSF-by-Rafael-Viñoly-Architects

The building structure is supported by steel space trusses springing from concrete piers, minimizing site excavation and incorporating seismic base isolation to absorb earthquake forces.

Stem-Cell-Building-at-UCSF-by-Rafael-Viñoly-Architects

Inside the building, the transitions between the split levels are designed as hubs of activity. Break rooms and stairs located at these interfaces increase the potential for chance interaction – a goal for promoting a cross-pollination of ideas among the scientists –  and interior glazing maximizes visual connectivity between the lower labs and the upper offices.

Stem-Cell-Building-at-UCSF-by-Rafael-Viñoly-Architects

To further promote collaboration, the laboratories occupy a horizontal open-floor plan, with a flexible, custom-designed casework system that enables the rapid reconfiguration of the research program.

Stem-Cell-Building-at-UCSF-by-Rafael-Viñoly-Architects

Abundant south-facing glazing fills the open laboratories and offices with natural light and views of the wooded slope of Mount Sutro nearby.

Stem-Cell-Building-at-UCSF-by-Rafael-Viñoly-Architects

Green roof terraces impart environmental benefits and an outdoor amenity for building occupants and campus community.

Stem-Cell-Building-at-UCSF-by-Rafael-Viñoly-Architects

Visible from surrounding campus buildings’ upper floors, the terraces create a welcoming transitional space where the dense campus meets the forest.

Stem-Cell-Building-at-UCSF-by-Rafael-Viñoly-Architects

The Ray and Dagmar Dolby Regeneration Medicine Building is the headquarters for The Eli and Edythe Broad Center of Regeneration Medicine and Stem Cell Research at UCSF, which extends across all UCSF campuses.

Stem-Cell-Building-at-UCSF-by-Rafael-Viñoly-Architects

The Center encompasses 125 labs made up of scientists exploring the earliest stages of animal and human development.

Stem-Cell-Building-at-UCSF-by-Rafael-Viñoly-Architects

The goal of these studies is to understand how disorders and diseases develop and how they could be treated based on the knowledge of, and use of, stem cells and other early-stage cells.

Stem-Cell-Building-at-UCSF-by-Rafael-Viñoly-Architects

The Institute’s mission is to translate basic research findings to clinical research and on to patient care.

Stem-Cell-Building-at-UCSF-by-Rafael-Viñoly-Architects

Scientists in the Institute will work closely with clinical researchers at UCSF Medical Center, located nearby, to translate discoveries into therapeutic strategies.

Stem-Cell-Building-at-UCSF-by-Rafael-Viñoly-Architects


See also:

.

United States Senate
by Rafael Viñoly
Cleveland Museum of Art by Rafael ViñolyMedical Centre
by Doblee Architects