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Aluminum Clad Residential Units in San Francisco

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It may not be to Queen Anne's tastes, but 1234 Howard is true to its context.
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  "You need to score concrete to relieve cracking. We laid the concrete this way because it emphasizes the linearity of the space," says Saitowitz of the corridor leading to a shared mail room, an elevator, and a garage.  Photo by Dwight Eschliman.
    "You need to score concrete to relieve cracking. We laid the concrete this way because it emphasizes the linearity of the space," says Saitowitz of the corridor leading to a shared mail room, an elevator, and a garage. Photo by Dwight Eschliman.
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  The "nighttime" quarters of the penthouse unit, clad almost exclusively in white, are the analog to the dark-toned "daytime" space. The bedroom, like the rest of the unit, is sparsely furnished with an Extrabed by Fabien Baron for Cappellini.  Photo by Dwight Eschliman.
    The "nighttime" quarters of the penthouse unit, clad almost exclusively in white, are the analog to the dark-toned "daytime" space. The bedroom, like the rest of the unit, is sparsely furnished with an Extrabed by Fabien Baron for Cappellini. Photo by Dwight Eschliman.
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  A unit facing Natoma Street looks on to what was once housing for the area's factory workers.  Photo by Dwight Eschliman.
    A unit facing Natoma Street looks on to what was once housing for the area's factory workers. Photo by Dwight Eschliman.
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  The master bedroom opens to a private courtyard and illustrates Saitowitz's vision for open space and ample cross breezes. "Typically all lofts and apartment units are quite deep, and they just have light coming in from one direction," says Saitowitz of his plan for 1234 Howard. "So here, they basically have light along their long dimension."  Photo by Dwight Eschliman.
    The master bedroom opens to a private courtyard and illustrates Saitowitz's vision for open space and ample cross breezes. "Typically all lofts and apartment units are quite deep, and they just have light coming in from one direction," says Saitowitz of his plan for 1234 Howard. "So here, they basically have light along their long dimension." Photo by Dwight Eschliman.
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  The master bathroom is outfitted with Kohler fixtures and custom pieces.  Photo by Dwight Eschliman.
    The master bathroom is outfitted with Kohler fixtures and custom pieces. Photo by Dwight Eschliman.
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  In the master bathroom, an oversize tub is graced with a generous skylight above it.  Photo by Dwight Eschliman.
    In the master bathroom, an oversize tub is graced with a generous skylight above it. Photo by Dwight Eschliman.
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  The penthouse boasts an enclosed walkway and a private courtyard—perfect for those sunny San Francisco days that would be warm were it not for the wind. The open space cutting through the center of the building is broken up by transparent footbridges and shared courtyards, which allow residents to traverse the void while still receiving copious light.  Photo by Dwight Eschliman.
    The penthouse boasts an enclosed walkway and a private courtyard—perfect for those sunny San Francisco days that would be warm were it not for the wind. The open space cutting through the center of the building is broken up by transparent footbridges and shared courtyards, which allow residents to traverse the void while still receiving copious light. Photo by Dwight Eschliman.
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  The central open space at 1234 Howard is traversed by footbridges and shared courtyards.  Photo by Dwight Eschliman.
    The central open space at 1234 Howard is traversed by footbridges and shared courtyards. Photo by Dwight Eschliman.
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  The library is formed simply by two custom bookcases enclosing the space.  Photo by Dwight Eschliman.
    The library is formed simply by two custom bookcases enclosing the space. Photo by Dwight Eschliman.
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  The "daytime" living quarters in the penthouse are dark, from the floor to the furnishings. The dining table is by Jasper Morrison for Cappellini (with an Aalto vase by Iittala on top). The chairs are by Ag Fronzoni also for Cappellini.  Photo by Dwight Eschliman.
    The "daytime" living quarters in the penthouse are dark, from the floor to the furnishings. The dining table is by Jasper Morrison for Cappellini (with an Aalto vase by Iittala on top). The chairs are by Ag Fronzoni also for Cappellini. Photo by Dwight Eschliman.
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  The penthouse living room is furnished with Ile Club by Piero Lissoni for Living Divani. The Metropolitan Riverside Park City Lights rug is by Merida.  Photo by Dwight Eschliman.
    The penthouse living room is furnished with Ile Club by Piero Lissoni for Living Divani. The Metropolitan Riverside Park City Lights rug is by Merida. Photo by Dwight Eschliman.

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