Five San Francisco house extensions designed to contrast the original architecture

These five houses in San Francisco are traditional in the front and have contemporary extensions in the back.

The California city is known for its hilly terrain dotted with charming, historic houses, and a number have been enlarged with rear extensions that contrast the home's original architectural style.

Read on for the examples of contrasting extensions:

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Alamo Square Residence by Jensen Architects

This Victorian house was renovated and extended by local studio Jensen Architects. The addition features perforated aluminium panels and contemporary interiors to match.

The street-facing facade, dating back to 1889, was restored as well, and Jensen Architects was awarded the San Francisco Historic Preservation Commendation Award for the project by the American Institute of Architects.

Find out more about Alamo Square Residence ›

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Gable House by Edmonds + Lee Architects

Another Victorian home in San Francisco's Noe Valley neighbourhood was painted stark white on its front side to hint at the contemporary addition in the rear that comprises a pale-grey boxy volume with a rooftop terrace.

Called Gable House, it is complete with a new garden and patio to entertain outside by Edmonds + Lee Architects.

Find out more about Gable House ›

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Cut Out House by Fougeron Architecture 

Also in the neighbourhood of Noe Valley, this residence features glass walls on its rear side that slant in opposite directions.

Fougeron Architecture opted for colourful interiors like an orange-painted stairwell, blue walls in the kitchen and accents of pink and yellow.

Find out more about Cut Out House ›

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29th Street Residence by Schwartz and Architecture

Local studio Schwartz and Architecture renovated this home by lifting the existing structure and adding another storey beneath it, in addition to the extension at the back.

An exposed steel structure has glass doors that open to the garden in the rear, while the front facade is finished in a grey cladding reminiscent of the home's original style.

Find out more about 29th Street Residence ›

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19th Street by John Lum Architecture

This cottage-style home by local studio John Lum Architecture is in San Francisco's Eureka Valley neighbourhood.

Nearly the entire house was rebuilt from the ground up. The new structure at the rear has floor-to-ceiling windows, and larger floorplates and higher ceilings inside than the original design.

Find out more about 19th Street ›

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Beatbox Like a World Champion with This 13-Step Tutorial by Butterscotch

Sure, you can spend your time during quarantine reading a dozen books or scrubbing your cabinets, but what about learning to beatbox from a world champion? Vocal percussionist Butterscotch recently released a 13-step tutorial that guides novices through various beatboxing techniques, from the basic baseline and snare—or what she calls Boots and Cats—all the way to singing and live looping. And for those who have a hard time keeping a beat, the musician even outlines a breathing technique that makes it easier to stay steady. Check out Butterscotch’s Instagram to keep up with her impressive musical projects. (via Kottke)

 

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Worrell Yeung contrasts wood pillars and grey marble in Chelsea Loft

New York architecture studio Worrell Yeung has brought new life to a former artist's studio in the city, stripping paint off wood pillars and adding a large kitchen island.

Located in Manhattan's Chelsea neighbourhood, the project is a two-bedroom apartment that spans half of a floor in an early 20th-century building.

It was previously occupied by an artist and art handler for the Museum of Modern Art and had not been updated in nearly 40 years. Seafoam green paint coated historic wood pillars and the ceiling was clad in tin tiles.

Worrell Yeung's overhaul of the 2,200-square-foot (204-square-metre) apartment involved stripping back these finishes, painting the walls and ceiling white and adding in reclaimed pine wood floors from Madera.

"Timber columns and beams, cast-iron capitals, and wood timber ceiling joists were left raw and exposed, particularly in the generous living area, to maintain the spirit of the New York artist's loft," said the studio.

The studio designed a new kitchen in between two of the pale wooden columns. The island is covered in Ceppo di Gre marble and forms a centrepiece of the open-plan Chelsea Loft.

"There was a strong desire to express the island's 'object-ness' by keeping it very elemental in form, yet still arranging the stone planes to invite comfortable congregation with these square stone niches that embed into the wood floor," said Worrell Yeung co-founder Jejon Yeung.

The studio has designed two other New York apartments – a penthouse in Downtown Brooklyn and two-storey unit in the NoMad neighbourhood – where the kitchen island is also a key feature.

Chelsea Loft includes an open-plan kitchen, dining and living room, joined by a smaller sitting area and a powder room. On the opposite side of the home, a master bedroom has a walk-in closet and bathroom, while a children's bedroom is complete with a bathroom clad in yellow tiles.

"The organising design strategy of this renovation was to maintain contiguous public living zones and extend daylight as far as it can reach by minimizing partitions and concentrating private rooms on the north side of the apartment," said the studio.

The interior decor was created with Jean Lin, the founder of local design collective Colony. It includes a black dining table by Brooklyn studio Vonnegut/Kraft, several tables from Washington studio Grain, and numerous pieces by Cassina including a red velvet sofa, rattan coffee table and Utrecht chair.

Other details are vintage Marcel Breuer Cesca dining chairs, black stools by Hollis and Morris, Noguchi light fixtures, and a collection of artwork owned by the clients, ranging from figure drawings and paintings to abstract pieces.

"The design and overall material experience of the home very much reflect the client's playfulness and complements their eclectic art collection," said Max Worrell, who founded the studio with Yeung in 2014.

Rounding out the design are exposed pipes, white-pigmented ash wood closets and casework, and kitchen cabinetry in dark-stained ash wood.

Worrell Yeung has also built a black barn north of the city in the town of Ancram.

Photography is by Eric Petschek.

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Project credits:

General contractor: Bednarz Construction
Interior designer: Jean Lin, Colony
Lighting designer: Lighting Workshop
Mechanical and electrical engineer: Engineering Solutions

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O'DonnellBrown promotes outdoor learning with The Community Classroom

Glasgow studio O'DonnellBrown has designed and built an open-air classroom, which will host learning workshops after the coronavirus shutdown is over.

The Community Classroom in Glasgow is an adaptable and demountable wooden structure, designed to encourage both children and adults to reconnect with nature.

Completed at the end of 2019, it had already hosted several community-based events before the coronavirus breakout in Europe. Once the shutdown is over, it will be erected at Operation Play Outdoors, an organisation that hosts learning activities.

There are also ambitions for it to tour local schools, so that as many children as possible can enjoy the benefits of outdoor learning.

O'DonnellBrown co-founder Jennifer O'Donnell believes the project has gained new relevance, as people stuck at home start to reevaluate different aspects of their lifestyle.

"Coming out of this, creating spaces that are connected to nature, and that can bring communities together again, will become all the more important," she told Dezeen.

"We know that learning does not need to take place in a traditional classroom, evidenced by all the children currently learning remote from their schools, and the outdoor environment has massive potential for learning."

A self-initiated project, O'DonnellBrown came up with the idea for The Community Classroom after completing its own studio, The Greenhouse. Occupying a mock Victorian conservatory, this space allows the team to directly experience the changing seasons.

"As a team we quickly recognised the profoundly positive effect that our studio space was having on our collective sense of wellbeing, and seeing the crossover with our education and community projects," said O'Donnell.

"We wanted to push our ideas for what a healthy and inspiring learning space could be further still."

The structure comprises a simple kit of parts, made from standard timber sections bolted together. These form a series of two-column modules, which support the wooden roof above.

O'DonnellBrown has also designed a series of plywood modules that slot in and around this structure, providing seating, workshops, shelves and display surfaces. This makes it easy to adapt the space to different activities.

A lightweight sheet provides a waterproof layer on the roof, and can also fold down to create additional weather protection around the perimeter. This material is translucent, creating interesting lighting effects in the early evening.

Children's charity Barnardo's Works supported the project, helping O'DonnellBrown find young people to help build the prototype structure.

The Community Classroom is one of several recent designs for outdoor learning spaces. Other include Urban Room, built by University of Reading students, and Pinecone, a portable structure by Czech designers Atelier SAD and Mmcité1.

O'Donnell hopes that, as people "collectively find our way through the fog of Covid-19", projects like these will help to bring communities back to together.

"We hope that The Community Classroom can become an adaptable resource to help schools deliver progressive outdoor learning experiences, and with these experiences, give children and teachers the emotional and mental wellbeing benefits that can come from being outside in the fresh air," she concluded.

Photography is by Ross Campbell.

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Project credits:

Architect: O'DonnellBrown
Structural engineer: Design Engineering Workshop
Collaborators and sponsors: Three Four Five Joinery, RIAS, St Gobain

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Studio EO's marble and glass Drill Vases are "part chaos and part control"

Stockholm's Studio EO marries handblown glass with fragments of discarded marble found in quarries to form its colourful Drill Vases.

Described by the creator as "an exercise in improvisation", the Drill Vases were born after Studio EO founder Erik Olovsson visited a quarry in the Carrara region in Italy.

Here he found small, discarded fragments of marble and started to collect the stones, before reworking their exterior form with a hammer and chisel.

These "unpredictable and chaotic" pieces of marble are then precision-drilled to form an opening from the base – the process from which the collection takes its name.

A heavy, hand-blown glass cylinder is inserted into each of these drilled openings. The cylinder is made specially to fit the differently sized holes, by first being blown into wooden forms that are the same size as the drilled openings.

"I have always been fascinated with the stone yards and all the beautiful stones that are laying around there," Olovsson told Dezeen. "I found each of these stones interesting in its own way, and after a while I had whole collection of them."

"Some of the stones already had holes drilled in them, and the rest I drilled holes into with the idea of pairing them with a glass cylinder later on."

"Some stones will probably never be used and some are waiting for a project that suits just them," he continued.

The designer explained that some of the stones are quite fragile and break during the drilling, so the tricky part of the creation process is to re-shape these broken parts with a hammer to make them fit for purpose.

"The geometry of the handblown glass provides a sense of order and control in comparison to the spontaneity of the marble," said Olovsson. "A contrast that elevates the brute nature of the marble further."

Olovsson made the glass vases in an array of colours to match the vibrant hues found in the marble fragments – which include a midnight blue Lapis Lazuli stone, a deep green Verde Alpi marble and a light brown Travertino Noce stone.

While the designer chose to match the colour of the glass element to the shade of the stone in some pieces, in others he has deliberately paired seemingly clashing colours.

For instance, bright orange marble is paired with brown glass for one vase, and pink glass with purple-hued stone. Other pieces see vivid teal glass combined with contrasting brick-hued stone, and lilac glass paired with forest green marble.

Olovsson has a long relationship with marble and glass, which spans back to a previous project of his from 2016 titled Indefinite Vases, the designer told Dezeen.

"It felt natural to me to explore these materials further – to really focus on the stone and show the imperfections and rough surfaces," he explained.

For the 2016 project, the designer juxtaposed bulbous, hand-blown glass containers with wedges of granite, marble and onyx to create vases that appear to be melting over their geometric stone bases.

Other projects of his have seen him design a shelving system that functions like a giant shape-sorter toy, made up of 25 stackable blocks that each feature a geometric void shaped like the item it might hold.

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