Making of a Monograph

In 2021, Feldman Architecture released our first monograph, Immersed: The California Houses of Feldman Architecture, published by Oscar Riera Ojeda, which serves as an in-depth look at 20 years of our defining residential work. Publishing a book is both a challenging and rewarding process, a monumental task that asked us to consolidate, edit, organize, and create. We enjoyed and learned a lot over the year long journey and wanted to share for those interested in publishing generally or in crafting their own book. This project kept us busy during quiet COVID times and allowed us to emerge post-pandemic with a better vision for the future of Feldman Architecture.


Engaging a Publisher
We started this process much like many of our other endeavors – by researching, asking questions, and seeking recommendations from our peers. After phoning a few friends with successful, recently published books, we met with a longlist of highly recommended publishers for informational interviews. This step proved fruitful, especially in understanding the specific role a publisher can play – they each specified different levels of involvement in the writing, graphic design, and promotional processes. We also received example RFPs to reference, and from there, were able to draft our own and thoughtfully outline the scale and scope of the project. The publishers we interviewed sent us boxes of books, which also proved extremely helpful – specifically in how we wanted to thematically tie together and organize our varied repertoire of projects. Ultimately, we decided to work with Oscar Reira Ojeda Publishers, whom we felt deeply understood our work, our vision, and approached publishing a book in a similar way to how our team approaches architecture.


Envisioning and Outlining
Alongside Oscar and his team, as well as our trusted communications and media consultants, we started our engagement by exploring the ways in which we could present our best residential work, focusing on showcasing and memorializing the first twenty years of Feldman Architecture. After sifting through a wide range of architectural monographs and identifying what we found successful, our team explored and discussed how we could effectively organize and pare down our project library to the most holistic representation of our studio. We decided to group our shortlist of featured projects into three sections: Urban, Suburban, Rural. We also worked to identify our target audience, focusing on general interest, design enthusiasts, and potential clients by emphasizing the work of the amazing photographers we have invested in over the last 20 years, as opposed to focusing on technical drawings and details. Lastly, we targeted a release date of winter 2021 to coincide with the holiday season and, of course, gift giving!



Selecting Projects
It was a challenge to select projects to showcase what we felt best defined not only our work, but also our growth as a studio. It became clear that we wanted to highlight a range of sensibilities represented by the work of each FA partner, emphasizing our dedication to designing responsively to client and site, instead of with a pre-prescribed aesthetic. Initially, we had selected just 12 projects, but quickly realized that there were key case studies missing, and the book grew from what was seemed already overwhelming 250 pages to 373 – much longer than we ever anticipated. We also enjoyed sharing older, milestone projects like Butterfly House and Caterpillar House next to newer projects like Urban Oasis and Surf House – reflecting on our growth and progress provided a fruitful exercise and served to further clarify our path forward.


Photography and Graphics
After finalizing an outline and project selection, we needed to solidify all the photography and graphics that would populate the book under a tight deadline – Surf House, Urban Oasis, and Atherton Pavilions needed to be photographed during the peak of the pandemic. We worked around both rainy and smoky days to capture the magic of these homes, often times with extended two-day shoots, and we were delighted with the results.

We decided to include a floor and site plan for each project, which we updated to maintain visual continuity between projects and live up to our current graphic standards, while still being true our stylistic voice at the time they were initially drafted.

As we continued to churn out content, Oscar’s team selected photos from our library and drafted graphic layouts with fresh eyes. We worked side by side to continuously edit, shift, and evolve, inspired by their new take on our projects and graphics. Our publisher encouraged us to include photos that were previously not shared publicly, making the volume more comprehensive and allowing the stories of the homes to be better understood.


Essays and Interviews  
To finalize all content for the book internally, we updated and standardized each project text to maintain a consistent tone and voice, highlighting design intention, sustainability strategies, materiality, client vision, among other key points. We enlisted the help of respected industry voices Daniel P. Gregory and Aaron Betsky to contribute to the book, inviting them to tour featured projects and draft honest and thoughtful essays about our work, contextualizing it within the greater arch of CA modernism. Their essays shined new light on our work, and highlighted aspects and similarities between projects that were previously unconsidered.

We also invited our longtime collaborators, Bernard Trainor, Brian Groza, and Roman Alonso to contribute short essays focused on the subject of collaboration, which we felt added a necessary perspective to the volume. Lastly, talented interviewer Vladimir Belogolovsky sat down with Jonathan to discuss his path to architecture as well as the growth and development of the studio, adding a personal and reflective chapter to the book.


Materiality and Paper
Alongside Oscar’s team, we sifted through a varied collection of paper samples, excited to experiment with materiality. We loved the idea of a cloth cover and worked with the talented printer to identify a fabric that would not only be durable, but also maintain the purity and rich color of the cover photo. After many iterations of title layout, font, and sizing, we aimed to prioritize simplicity and legibility, electing to keep the back cover completely free of text, therefore opting for a paper insert plastic wrapped to the back of the book displaying promotional information. Seeing our photographer’s work printed at a high resolution further inspired us and contrasting the book’s materiality with the materiality of our projects added an unexplored and exciting dimension to our work.


Finalizing and Proofing
After all the layouts, graphics, and texts were finalized, the manuscript underwent a series of internal and external reviews, catching small typos and edits at every step. To wrap up the project, Jonathan drafted his conclusion, reflecting on not only on the first twenty years of Feldman Architecture, but also on his aspirations for the next twenty. This step also included the long and important process of making sure all our talented collaborators, consultants, and staff were properly credited for their work.


We finally released Immersed: The California Houses of Feldman Architecture on December 1, 2021. Upon receiving 750 prerelease copies to our office (and figuring out how to store them) we gave away around 200 copies to staff, collaborators, contributors, friends, peers, media, and consultants. We pitched the book to relevant and interested publications, and organized promotional events and panels, including an AIASF virtual panel with Bernard Trainor moderated by Daniel P. Gregory, as well as a book release party at the Flexform Showroom in SF’s design district. A year later, we still feel proud of the book, and are excited to share it with new friends, clients, and consultants. On to the next project!


Design and Process: Fresh Geographies

The Feldman Architecture team is excited to be expanding our breadth of work geographically, continuing to take on new projects outside of the San Francisco Bay Area. As our designs are centered around sensitivity and responsiveness to both site and context, expanding to fresh locales asks our team to become familiar with new climates, topography, and landscapes. From adjusting roofs to accommodate for snow in Oregon, to paying extra attention to fire resiliency in arid Southern California, read about a few in progress projects below and the beautiful and diverse sites that inspired their designs.

Recent empty nesters looking to relocate from Portland to Bend contacted our team to design an escape fit for their eventual retirement. Needing space for themselves and two dogs, as well as private guest rooms for visits from children, they imagined a home that supports their active lifestyle – specifically accommodating a lap pool and home gym. The responding design reacts delicately to the complex site, shielding occupants from neighbors to the northeast while opening towards views to the south and west as a single-story winged form that thoughtfully blends into the surrounding forest.

The home’s private wing stretches to protect an outdoor lap pool and sitting area, acting as a shield from strong winds and a visual barrier to the neighboring property. Forming an L shaped plan, the public wing runs perpendicularly, housing a living, dining, and kitchen area that opens onto an outdoor patio and firepit, creating a warm outdoor living space for cool Oregon evenings. A protected windowed bridge connects the public and private, creating a sense of transition and compression between the two spaces.

We’re excited to be designing in the Pacific Northwest – stay up to date on our progress here!


A LA-based couple with a toddler approached our firm with an ocean-facing, lush, hillside property in Santa Barbara in search of initial design concepts for a modern, yet timeless, retreat. The original home was a funky getaway and gallery for art collectors in the 60’s, and offered unique moments, but lacked a thoughtful layout and siting that takes full advantage of the property’s views and forested hideaways. Our team approached the site with fresh eyes and a new vision, working with an arborist to identify the critical root zones to protect the mature, healthy, oak groves, and conducted an in-depth site analysis to fully respect Toro Canyon Creek, which fosters a verdant riparian ecosystem that hugs the eastern edge of the site.

The site’s steep topography challenged our team to delicately site each structure in accordance with a variety of landscapes, encapsulating a Majorcan sun-drenched quality from southern ocean views, as well as the woodsy, intimate tree-house mood of the northern end of the property. The design breaks up programming into clusters of plastered forms gathered around a central, protected courtyard – which allows the home to engage with multiple site topographies while maintaining a feeling of intimacy.

Read more about the project here.


Our first Aspen project, located in Snowmass Village, is a ski in ski out remodel – walking distance from the base of the ski resort. The owners, a young outdoorsy couple with two dogs, relocated from the Bay Area to reconnect with their generational roots in the Inner Mountain West, specifically the Roaring Fork Valley. In 2020, they purchased a residential duplex, and alongside our team, are embarking on a remodeling the space to better meet their needs. Our vision focuses on visually and physically improving indoor outdoor connections, customizing the plan and spaces throughout with a focus on improved energy efficiency. The couple is excited to engage with our interiors department in sourcing and selecting modern, sustainable, and unique furnishings.


Nestled in a beautiful 272-acre property in Three Rivers, CA, the Lone Sequoia Ranch main residence sits above the Kaweah River, which gracefully cuts through the expansive site. The property acts as a getaway for an active extended family that often welcomes weekend visitors. As connoisseurs of the outdoors and all the gear that comes along with it, the family is looking to build a multipurpose ranch barn on the property that serves as a garage/workshop and houses an excavator and a Swiss Pinzgauer. Accompanied by a lounge area to take advantage of sweeping river views, at the upper level, quads and motos will be housed with direct access to the adjacent dirt track.

The main residence has a rustic, eclectic feel and a large butterfly roof – the proposed barn draws from the original aesthetic, complementing the existing structure. The new barn, designed with fire resiliency as a priority, uses all non-combustible materials on its exterior including corrugated corten steel cladding, a metal roof, steel trellis, and concrete patios. These resilient and warm toned materials play off the rugged surroundings and topography.

Process Case Study: Atherton Renewal

A young family approached our firm with an Atherton home in desperate need of a remodel. The estate, built in 1995, mixed a variety of conflicting architectural elements – steeply sloped roofs, complicated massing, and pronounced dormers evoked another era. “It was overwhelming at first,” remembers Chris Kurrle, Project Principal – the neotraditional architecture made itself apparent in the lack of natural light in each space, the small aperture of all portals and windows, and lack of connection to the surrounding site. The façade was heavily ornamented and the front roof sat at an angle, coming at a cost to the functionality of the interior spaces, creating sharp 45-degree angles, and truncating rooms on the second floor.

The lush and verdant grounds were defined by a heritage live oak that marked the site near the entrance, as well as an overgrown rose garden on the southern edge of the property – yet the structure’s original layout turned its back to every distinctive landscaping moment. A lack of outdoor living spaces further detached indoor and outdoor, and in the rear yard, an awkwardly short, deep pool alongside a pool house felt oddly disconnected from the main house.


The intervention focused on cleaning up, simplifying, and modernizing the façade, introducing meaningful natural light into the home, expanding all glazing sizes, and enhancing views to the surrounding landscape. “The project leverages the bones of the existing building, stripping away all that is superfluous, breathing in a new sense of life,” said Kurrle for California Homes Magazine.

The renovation widens and lengthens cramped spaces, streamlining the overcluttered entry sequence and creating a better orchestrated flow without modifying the home’s programming. The proportions of the original entry created a dark, heavy space – the new design introduces natural light by both expanding vertically as well as punching out the floor into the basement level, creating a bright three-story volume. At the upper level, a mezzanine walkway allows free and open circulation. Inserting new glass walls and a trimming back the previously overhanging Juliet balcony floods the upper office with daylight from the entry skylight.

Transitioning the entry staircase from rectilinear to curved minimizes dead space and naturally accommodates uninterrupted clean, white walls adorned with delicate wood paneling, adding visual texture. The curves of the staircase create a sensation of floating and eliminate the need for landings between levels. The three-story shape of the stair hall is mirrored by an elliptical skylight supporting a multi-tiered chandelier and mimicking the cascading movement of the daylight above.

Additional lighting in the space is strategic and sparse, maintaining the purity of the clean curved wall, free of additional ornamentation. The custom chandelier, designed in collaboration with the interior designer and the lighting fabricator, Allied Maker, floats rods between a foundational metal ring and the skylight’s opening. Numerous studies allowed for precision in the number, placement, and size of each pendant, and directed the experience of the chandelier from multiple viewpoints.

To the south of the entry, the original living room was walled off from the garden, the space on the property that receives the most natural daylight. The renovation opens this southern façade by inserting a wall of folding glass doors, reimagined by BAMO to evoke a greenhouse. To reinforce an indoor-outdoor connection, the team modified the grade of the living room to be level with the outdoor patio, with Slate stone slabs extending from interior to exterior seamlessly. Removing the original ceiling to expose an A-Frame shape gives the space verticality and introduces naturally textured light wood paneling.

Like the Living Room, the renovation remedied a dysfunctional, narrow kitchen layout previously disconnected from the sprawling backyard, inserting a wall of sliding doors that open onto a new, shaded back patio. A trellis unifies the space, extending the indoor kitchen directly into an outdoor dining space.

A new rear trellis is carefully placed as a device to streamline the back façade, masking discontinuity between upper and lower-level fenestrations. The clients envisioned a solution that shaded the space during the hottest points of the day without creating striping, asking for a technically complex and aesthetically pleasing installation. A series of 3D computer studies tested slat angles, depth, and positioning, resulting in a trellis that protected the space from western exposure and glare, providing comfort at every point of the day.

Working alongside a team of trusted consultants allowed us to find success in this complex and technically challenging project. BAMO, the interior designer, was integral in crafting the vision alongside the homeowner and setting the tone for the project. As our team drafted the initial floorplans, BAMO overlayed furniture layouts and set material palettes that heavily influenced both the interior and exterior architecture and allowed for a wonderful collaborative back and forth as we refined the vision. “The Feldman team quickly understood the challenges of the project’s schedule and existing condition. Their fresh design and inventive planning were both bold and practical, efficient yet elegant and was the key component in realizing and exceeding the client’s vision,” Michael Booth, Principal at BAMO.

Ground Studio, the landscape team, was involved and walking the site with us on day one, sharing reactions and initial thoughts about the configurations of the rear yard, as well as the driveway and auto court, which was successfully manipulated and shaped to improve the entry experience.

Plath & CO, the builders, were introduced to the project after the team had formulated and finalized floor plans, and greatly helped polish the significant framing, sequencing, and excavation challenges, playing a key part in completing the project in record time. From presenting cost implications at the right time, to balancing a large-scale project with many technical challenges with cost and speed, the project could not have been completed so successfully without such an amazing team.

Photography by Matthew Millman.

Living Building Challenge Series: An Introduction

In December 2016, Feldman Architecture pledged to the AIA 2030 Commitment and created an Action Plan as a road map to designing carbon neutral buildings by the year 2030. In our Action Plan, originally published in 2018 and updated annually, our studio selected a series of goals to focus our sustainability initiatives around over the next 3-5 years, one of them being designing and building a Living Building Challenge certified project. 

The Living Building Challenge is an ever-evolving certification program enacted by the International Living Future Institute. The program is considered the world’s most rigorous proven performance standard for buildings. The regenerative design framework aims to create spaces that, like a flower, give more than they take – connecting occupants to light, air, food, nature, and community. LBC certified buildings are self-sufficient and remain within the resource limits of their site and create a positive impact on the human and natural systems that interact with them.

The Living Building Challenge consists of seven performance categories, or “Petals”: place, water, energy, health + happiness, materials, equity, and beauty. Based on the building’s performance in these categories, 3 certification pathways are available to pursue, Living Building Certification, Petal Certification, and Zero Energy Certification.  

Feldman Architecture is excited to announce that as of this summer, Curveball will be our first project to attempt to achieve a Living Building Challenge certification. Situated in the Santa Lucia Preserve, a 20,000 acre land trust, the design for Curveball prioritizes sustainability, flexible spaces, and connection to the outdoors, artfully placing two gently curved forms on an open pad within a grove of oaks folded into a steep site. The design respects the existing landscape, and orients public and private spaces towards both distant views, as well as intimate moments with dense tree canopies.

Prioritizing fire resiliency and sustainability, our design envelops the building in durable, low-maintenance modular weathering steel panels and aluminum windows. The eroded material aesthetic reinforces the conceptual merging of architecture and landscape, and a green roof seamlessly emerges the structure from the hillside.  

With Curveball, we aim to achieve full Living Building Challenge certification, however, as this is our first attempt at working within the constraints of this rigorous program, we may pursue a Petal or CORE certification. At this point in the process, the potential challenges include access to solar energy in a densely treed site, access to water, and materials selection – the design may not include any redlist items.  

We are fortunate to be embarking on this certification process with a group of extremely talented consultants, listed below. We look forward to sharing our progress along the way, highlighting our challenges and successes with our community. We hope our journey encourages others to engage with regenerative design, as well as to crowdsource best practices in the certification process.  

Landscape Architect: MFLA
Structural Engineer: Daedalus Structural Engineering
General Contractor: RJL Construction
Mechanical and Energy Consultants: Positive Energy 
Civil Engineer: L&S Engineering
Surveyor: Whitson Engineers
Geotechnical Engineer: Haro Kasunich & Associates
Sustainability Consultant: Corey Squire, Department of Sustainability
LBC Consultant: Phaedra Svec, McLennan Design
Water Systems Consultant: WaterSprout
Planting Advisor: RANA  

2022 JEDI Committee Check-In

This year – the JEDI (Justice, Equity, Diversity, Inclusion) Committee has been busy with a variety of in office initiatives and mentorship opportunities, and we’re excited to share an update with you. In this post, we will highlight a few things we achieved, and few we still hope to accomplish – and find more information on past work in our last update here. We’re proud and excited by the work we’re doing and would love your feedback and suggestions – as always, please feel free to reach out.

At the onset of 2022, after working with DEI consultant Humanize Us All, we identified a few key internal initiatives the studio could implement to make Feldman Architecture a more equitable and transparent workplace. HUA recommended our studio consider implementing affinity groups – which resonated with the JEDI Committee, and we discussed, researched, and called upon outside counsel to help us develop a strategy that would best serve our firm. We then implemented a two-part strategy – first forming ERGs (Employee Resource Groups) based on positions held by staff: a Designer, Job Captain, and Project Manager group meet monthly to discuss challenges, questions, and ideas, and then present biannually to the executive team to be solved, addressed, or just heard. So far, we’ve found this to be a very successful tool for internal mentorship and career growth. Our second initiative took the form of monthly open office discussions, surrounding a variety of identity-based topics our staff can discuss on a voluntary basis. So far, as an office, we’ve had discussions with the following themes/identities: International Staff, Parents and Caregivers, and Mental Health in the Workplace. All staff have been invited to each session, and thus far have resulted in fruitful and healing discussions that encouraged new connections and growth. We’re excited to continue to grow and develop these initiatives in the coming year – reach out if you have suggestions or ideas for monthly open office discussion topics!

Secondly, this year, the JEDI Committee has been very focused on furthering our staff’s participation in mentorship opportunities, which involved dedicating a budget to staff mentorship and volunteer hours and crafting a plan for which organizations we donate our time to. This year, two staff members acted as mentors with ACE Mentorship San Francisco Chapter, one staff member volunteered through SF NOMA Project Pipeline summer camp, we hosted a high school intern from the SFUSD, and one staff member mentored a high school student through AFSF. We’ve enjoyed exploring local organizations exposing specifically underserved youth in our community to the architecture and design industry and are looking forward to more volunteer work in the coming year.

A few other accomplishments to note: the JEDI Committee invited David Godshall from Terremoto Landscape to speak to our studio for a Third Thursday about the community-based activism their firm is pioneering, began researching and discussing the potential of a Feldman Architecture Scholarship Fund, solidified our internal complaint form, and continued working on expanding and creating a more inclusive hiring process. Next year, we’re excited to check a few more things off our list, including creating an internal KPI metrics tracker for our DEI initiatives and progress.

CRAFT: Aaron Robinson

How did you first start honing your craft? What originally drew you to woodwork in general and cabinetry specifically?
I grew up in the antique business, my dad owned a furniture refinishing and restoration operation, and my uncle owned a 7,000 sq-ft antique collective here in Santa Cruz. We mainly dealt in early American furniture like Shaker, Empire, and Art Nouveau in Oak, Mahogany, and Walnut. Even my grandparents were in the business, restoring, dressing, and dealing in antique porcelain dolls and some ephemera. Growing up between both shops, furniture was a big part of my life. There was always something to fix, sand, stain, or spray, a new vignette to set up in the store, or another antique show to travel to with a truck full of furniture and collectables to sell. My biggest influence was everyone around me making things, fixing things, taking things apart and making different objects. They were all artists of some sort – painters, sculptors, mechanics, pattern makers, and a lot of wood workers – I always had someone around that could show me how to make or fix anything. I quickly developed confidence – even if I didn’t know how, I could figure it out.

When I was a teenager, clients started asking my dad to build one-off pieces of furniture, or even a whole kitchen, and custom cabinetry started organically out of that. Back then, all the work was furniture quality cabinets – hand cut dovetails, hand shaped raised panels, carving, turning – all by hand or with basic tooling. It wasn’t until I worked for wood shops later in my 20’s that I worked with a CNC machine or any large-scale industrial machine. CAD drawing wasn’t on anyone’s radar back then.

I started my own small shop when I was 25 years old, focusing mostly on built-in cabinetry: media centers, bookcases, mantles, etc. A few years later, I was offered a job building for a high-end cabinet shop nearby. It was great money and better hours, which worked well with a new daughter at home. For a while, I bounced around until I landed at a prominent Bay Area shop that gave me the opportunity to learn to draw with the computer program I still use now, some 15 years later. That was the breakthrough for me. I was able to develop a new skill and really create my own career in cabinet design and engineering.

How does your early career and previous experience in the industry influence your work today?
Growing up around furniture, particularly Mission and Arts & Crafts furniture, had a big influence on my style and taste – the clean lines and subtle angles were always very attractive to me. Being in my dad’s orbit and learning about specific designers like Gustav Stickley and Charles Mcintosh was also influential. Working in the shop with him and emulating their designs helped me get a feel for not only style, but also proportion and function.

Tell me about your process. How closely do you work with clients?
Describe your relationship with the architect and contractor.
I really love collaborative projects. The jobs where everyone – the builder, architect, designers, and especially the homeowner – are all working together to create the best version of something. I like to get involved in a new project as early as possible, before framing, which allows us to take our time refining the design through the redline and iterative process.

I’ve always tried very hard to act as a partner in the process, which contractors appreciate. They know they can rely on me to help guide a homeowner through the cabinet process, freeing them up to focus on the long list of other pressing tasks that need their attention. I also think the quality of my drawings are especially helpful to this process – I’m able to supply very accurate scaled drawings of all the cabinetry, including floor plan views, cross sections, and elevations with detailed notes and photo references of the convenience hardware and pre-installation items. Most helpful to a homeowner is getting to see near photo quality renderings of the final cabinetry designs.

Who is on your team? Is collaboration important to your process?
I currently work with two custom cabinet shops – first with BFD Cabinets (I’ll let that sink in) – Brown Felicetta Design is the best shop I’ve ever worked with. Dave Brown runs the shop day to day, and Vince Felicetta runs the business, operates the CNC, and does his own sales. They’ve invested heavily in the best machinery and an even better staff. Victor, the shop foreman leads the fight, and Bob, Juan Pablo (JP), Sergio, Marc and Rich can build anything I can come up with. Emeterio gives everything that finishing touch. Lastly, we have an awesome group of site carpenters – Shawn, Bryan, Jesus, Zabdi, and Roman – that can handle anything we throw at them. We have an amazing team where everyone seems to have the same idea about what we do. Doing good work begets good results, client satisfaction, appreciation, self-satisfaction, and of course a good living. Without their collaboration, none of what I do would be possible.

When BFD is too busy, Coastal Woodworks, out of Salinas, is a small shop run by James Copsey and Larry Williams. They’re two Salinas Firefighters that love woodworking so much they that opened their own shop. They’ve invested in some of the best tooling and machinery – and excel at crafting first class work.

Tell me what it’s like to run a small business. What challenges have you faced and what has been rewarding about that?
Claiming that running a small business is hard is cliche, but it’s fully accurate! Most days, I’d rather poke myself in the eye with a sharp stick than “run a business.” Draw, meet with clients, build furniture, that I LOVE! But running the day-to-day stuff – filing paperwork, bidding jobs, scheduling work, and collecting money!? Ugh, Kill me now! Even with all that, being self-employed is the best, if you can do it. Being completely self-reliant on generating an income isn’t for everyone – there can be long periods between checks as projects develop or finish up. Managing client, family, and especially my own expectations is key. I don’t always get it right, but through good management, I’m able to make my own schedule and find ways to balance my work, life, family, and solo pursuits.

At this point, almost 30 years in, I think I’ve made a pile of mistakes and created a lot of challenges for myself. I’ll continue to make more, unfortunately, but of all the mistakes I’ve made, I’ve not only been able to fix, but I’ve been able to learn how to do better. After the initial frustration, I take comfort in the fact I was able to identify my shortcoming and make an adjustment. Beyond that, there have been so many ups and downs. I’ve made it through recessions, housing bubble bursts, shop moves, and now COVID. These hurdles have taught me that everything will be okay, don’t panic. Do good work and take care of your people and they will take care of you.

Which new technologies have influenced your work as of late? How do you think they will change the industry going forward?
The new pre-finished veneers and various laminates are all pretty exciting. Many of the new wood textured laminates are so spot on that, without touching them, you wouldn’t know they aren’t wood. The solid color acrylic panels, my favorite being the ultra-matte products, are amazing – several are made with a “self-healing” coating. When scratched, most Magic Erasers work well – for more severe scratches heat makes blemishes disappear. Most of the solid colors are available with a “zero joint” edge banding that creates an essentially seamless panel. If you’re thinking of designing a kitchen with a flat flush solid color door, you’d be crazy not to use these products. A bonus is that many of these materials are laid up on a core made from recycled materials and newer high tech green resins – making them not only sustainable, but also extremely water resistant. I think real wood and exotic veneers will always be in style, but if you could use a sustainable product that’s equal if not better, why wouldn’t you?

Our studio deeply values working with makers and artisans who are experts in their craft. What is special to you about high-quality, custom goods?
Everything we do is one of a kind. Even if we use the same materials and hardware, every project we do is different and unique. We’re able to create beautiful custom spaces that meet our client’s needs, and while many of these needs are similar, everyone has their own individual need according to how they’ll live in their space.

I love visiting a home I’ve worked on and seeing the family using the pieces we’ve created. That’s a special feeling. Somebody once said to me, “a new kitchen is a game changer,” – that captured it for me.
Pictured to the right: Aaron with our San Mateo clients in their recently finished kitchen. 

Design and Process: Stairs

A staircase often acts as the spine of a home, connecting public and private spaces delicately and effortlessly. Our team finds joy in detailing stairs, whether they are meant to be architectural focal points, or designed simply to perform their programmatic function. Often overlooked, we collected a few of our favorite stair moments to showcase how a well-designed staircase can transform a space, preserve a view, or blend seamlessly and subtly into the backdrop.

Atherton Renewal
A new, light-filled entry and expanded stair is the heart of the home and one of the primary sources of daylight in this Atherton renovation. The graceful curves of the staircase create a sensation of floating and eliminate the need for landings between levels. The three-story shape of the stair hall is mirrored by an elliptical skylight supporting a multi-tiered, custom chandelier and mimicking the cascading movement of the daylight above. Lighting elements at the base of each tread maintain the purity of the clean curved wood paneled wall, free of sconces or ornamentation.

Before the renovation, the original staircase at Atherton Renewal embodied a traditional grand entry with no access to natural daylight, and clunky corners that closed off the space from adjoining rooms. The renovation maintained the original skylight’s aperture and placement, while punching open the lower floor to access the basement, creating a dramatic three-story volume, and giving the newly updated lower-level access to natural light

The custom chandelier, designed in collaboration with the interior designer and the lighting fabricator, Allied Maker, securely floats rods between a foundational metal ring and the skylight’s opening. Numerous studies allowed for precision in the number, exact placement, and size of each pendant, and experience of the chandelier from multiple viewpoints.


Surf House
At Surf House, a floating stair gently minimizes the disruption of views, giving occupants and passersby alike a glimpse of Pacific blue from the home’s entry. The central stair is thoughtfully oriented so that its underside, which is less visually obtrusive, faces the entry and arrival sequence. Open risers and an offset stringer serve as strategic design details that help maximize transparency.

Monterey Cypress, a robust, resilient, regal wood, is accustomed to the site’s coastal California climate and when left unfinished, weathers to a sophisticated grey– the wood also therefore quickly becoming a focal point of the home’s design, both interior and exterior. Monterey Cypress treads, accented by steel, both melt the stair into its surroundings and add material interest.


Spring Ranch
At Spring Ranch, the rammed earth walls, visually, structurally, and thematically tie the building to the site and create a soft, patterned, organic color palette. The interior palette of wood, glass, steel, and stone compliment the rammed earth’s organic textures and colors. Natural light filters into living spaces through slated screens made of reclaimed wood, creating moments of visual interest while protecting the home from direct sun during hot summer months.

The main living areas feel open and airy with 22-foot-high ceilings, while still visually connected to private areas via a dramatic second floor catwalk. The steel and wood stair floats up towards the catwalk, preserving views of the textured rammed earth.


The Farm
At The Farm, Jonathan Feldman and his wife Lisa Lougee were determined to create a contemporary, sustainable, and functional home for their family, yet the modern aesthetic of Jonathan’s work as an architect at times came into direct confrontation with Lisa’s more transitional design sensibilities. Thus, they were faced with the challenge of fusing contemporary elements with the traditional character of a classic Edwardian home.

Before the ambitious remodel, the house was a closed-off box. The new design opened the floor plan, flooding the interiors with natural light through a new central stair topped with expansive skylights. The stair itself served as a nod to Jonathan’s modern design sensibilities, introducing stainless steel and glass to a wood interior, allowing light to filter through the skylight above.


Woodpecker Ranch

Woodpecker Ranch, a Woodside remodel, endured a complete transformation, with its most extreme conversions redefining the entry to the house as well as adding a level of uniformity to the exterior façade. One of the most challenging requests from the homeowners was to clarify the arrival sequence of the home, both from the exterior and interior, while looking for ways to improve the curb appeal. The architectural team prioritized simplifying the decorative stair in the entry and composing a uniform exterior color palette.

To visually unclutter at the entrance, the architects designed a transparent open riser stair with tapered treads and a wire mesh rail. The selected materials blend into the surrounding finishes of raw concrete, aluminum framed windows and rustic wood which allow for the stairs to subtly blend into the space. The stair appears both visually transparent and material neutral at first glance, allowing the eye to see past the adjacent courtyard, to the distant axial alignment of the pool and heritage oak beyond.


Lantern House
With the simple direction to create a suburban home that was edgy yet livable, the design complemented crisp, geometric forms with warm, inviting materials to create the glassy, open, and light Lantern House. The home centers around an open plan of public spaces on the main level, all connected by a cedar board ceiling that extends into an outdoor living space. A vertical stair tower fit with a floor to ceiling window links the orthogonal forms of the house’s façade and interior spaces, transitioning to private dwellings on the second floor.

Staff Spotlight: Parker Klebahn

Q: Where are you from?
Born and raised in San Francisco, west coast best coast!

Q: Where did you go to school?
I went to Lick-Wilmerding High School here in San Francisco and then I went to Syracuse University in upstate NY, where I studied Architecture and European History. After living on the East Coast for five years it was time to come back to San Francisco!

Q: Tell me about your family.
I have a younger sister who is currently in college in New York, and my parents are both in education here in the Bay Area. I also have two black labs, Atlas and Stella!

Q: What is the most interesting aspect of architecture to you?
I have always deeply appreciated the emotional connection that architecture creates between the designer and the client. I think that this is especially prevalent and important in the kind of work we do, single family residential. Working with clients to craft great spaces for their families is a beautiful and powerful thing to do every day, which I feel often gets lost at larger scales and especially in commercial architecture. Creating spaces to enrich and galvanize our clients’ lives is extremely rewarding!

Q: What makes our office unique?
There are many things that make FA unique – firstly, it’s an unbelievable group of people to work with every day, and everyone is super talented and driven. There is such a high level of commitment amongst the whole office to promote a healthy, positive, and fun studio culture. Having worked here as an intern for two summers it felt very much like I was coming home to FA as opposed to starting a new job!

Q: Did you pick up any new hobbies during quarantine?
My dad and I started smoking our own barbeque! We had a smoker in the backyard for a solid 8 or 9 years and never used it, so we started trying to smoke our own brisket. It was pretty bad the first go around, but we improved a lot in our next attempts – now I think that it’s better than anything you can get in the Bay Area!

Q: What’s your favorite part about coming to work? (in person or virtually)
Everyday at FA is fun, even when we have an intense deadline, it’s still always a blast! This is also helped by the espresso machine and the liberal amount of quality snacks in the kitchen. And of course, the team makes it worthwhile!

Q: What are the top three things on your bucket list?
I would really like to visit Antarctica! I’ve been fortunate enough to make it to 6 out of the 7 continents and would love to cap it off.