This spring, despite facing challenges to our business, our projects, and our workflow- we have found joy in our collaboration with Gaile Guevara Studio on Pan‘Orama House – an airy California retreat that contrasts thoughtful industrial details with warm, expansive views. For the past few months, Gaile and her dedicated team have been sheltering in place in Pan‘Orama House, directing and coordinating shipments, unpacking and installing, organizing, and fully stocking the home with her impressive library of sustainable lifestyle products.
Gaile and her team bring deep knowledge in sourcing healthy, reusable, and compostable goods of all shapes, sizes, and uses for each of their clients – going above and beyond the typical interior design scope. Her library of products, brands, and suppliers is remarkable – and she shared some of her favorites with us.
“When we source a product, we want to be able to truly believe in not only the product we are providing our clients but also the company itself. We focus on three things- the impact on the earth, the quality of the product, and the quality of the people.”
The Stasher Bag by Kat Nouri perfectly exemplifies all of the above – a sustainable replacement for single-use plastic bags developed and designed in the Bay Area. And as an added bonus – a portion of every Stasher sold goes straight to high-impact nonprofits like Surfrider and 5Gyres – organizations dedicated to preserving and rehabilitating our oceans.
Lindsey Theobald, our Director of Interiors, and I were lucky enough to catch up with Gaile last week as she walked us through some of the processes and products she is incorporating into the installation process at Pan‘Orama House. With more time (and a delayed delivery schedule) Gaile has had the opportunity to give this project the finishing touches and extra love that it deserves – a treatment she is rarely able to provide with busy schedules and fast-paced deadlines.
“We’ve been pretty lucky to let our inner OCD love for food come out with testing all the products. With being limited to not having cleaners or movers, having the opportunity to audit and unpack the Client’s inventory while also organizing has allowed us to really dive into how we can help reduce over shopping and reducing food waste. Setting up a zero-waste program is our biggest challenge – figuring out how to help families’ transition to sustainable products.”
Gaile was able to give us an in-depth Zoom tour of the master bath, fit with sustainable products of all shapes and sizes; essential oils and plastic-less floss from Public Goods, compostable Band-Aids from Nutricare, as well as other favorites from companies like, well kept, by Humankind, Skagerak, and Texidors.
We are excited to continue working with Gaile on more projects, – including Floating Bar House in Los Altos Hills, which is currently under construction. “We love working with FA because we can be involved from the very beginning of the project- we can work as a unified team to deliver on the client’s vision.” Gaile and her team are already deeply involved in the spatial planning and interior architecture at Floating Bar House – we can’t wait to show you how it turns out!
As Shelter in Place Policies are lifted, Gaile Guevara Studio wants to help support all those who have been of service as front liners to ensure our communities are safe and healthy. Before everyone returns to their regular routines and consuming, they’d like to provide some simple solutions to help pave the way forward to more sustainable consumption. In efforts to show their appreciation for the suppliers who are leading the way with helping educate around sustainable alternatives, Gaile Guevara Studio is offering remote consultations – providing new clients access to their suppliers, resources & special discounting. Proceeds from the design consultations will be put towards custom care packages to front liners in The Nursing Ward at Manhattan Hospital and Westcoast Care in BC Canada. Get in touch for a consultation at email@example.com!
Our sustainability committee is off to a productive and eventful 2020! Last week, FA Associate Ben Welty attended the Carbon Positive ’20 conference in LA, organized by Architect Magazine and Architecture 2030, meeting with some of the top studios and professionals in the nation to discuss reducing and offsetting carbon in the design world. Below, find some nuggets of wisdom from Ben – who made sure to keep us updated back in San Francisco on lessons learned.
- The original goal of carbon neutrality by 2050 is too late. If we don’t zero out our carbon emissions by 2040 and avoid a 1.5C increase in average global temperatures, we will experience a climate change that is irreversible.
- Everybody here knows we can accomplish our goals. And we’re intent to go back to our communities with this shared knowledge and make a difference. Fortunately, the design and construction industry still has the power to affect change. We drive policy decisions, advancements in technology, and public awareness.
- The production of Cement (the binding agent in concrete) accounts for 8% of total global emissions. Steel production accounts for 7%. China has poured more concrete in the last four years than the U.S. did in the 20th century. Alternative production methods will be key to us reaching our goals.
- While we’re trying to eliminate fossil fuel use in the building industry-we’re still using fossil fuel-based products (rigid insulation) to reduce our reliance on coal and natural gas. Expanded Polystyrene (EPS) is essentially the same material we legislated out of the food packaging industry 30 years ago.
- Hemp seems poised to play a big part in reducing our CO2 emissions moving forward as states continue to loosen hemp regulations.
- Women accounted for roughly 40% of newly licensed architects in 2019. 50% of this conference’s speakers are women, and by my estimation at least 50% of the attendees are women. So while still
underrepresented in the field their contributions in battling the global climate crisis outweighs their male counterparts.
On another note, it’s been 3 years since Feldman Architecture first committed to the 2030Challenge– joining more than 1,000 firms across the nation in a pledge to create only carbon-neutral buildings by 2030. This January, our firm was the first to report our annual progress on carbon neutrality to the AIA 2030 Commitment Design Data Exchange (DDx), enabling others to learn from our work. We hope that in sharing our processes and challenges, we can encourage transparency and prioritize leadership in reducing our carbon footprint. Stay tuned for our annual detailed report on our 2030 Action Plan, to be published soon!
By Serena Brown
A few months back I was given the opportunity to tag along on a site meeting to Los Altos Hills. My purpose was to interview David Toews, BayWest Builder’s superintendent on site at the Round House. I’ve been interested in this project since I started at Feldman Architecture due to its unique circular shape, and the innovative ways the various teams have tackled the challenges that come with a perfectly round form; notably David’s creation ‘The Tool’.
For the first hour or so I had free reign to explore the home, snapping photos and admiring the views. Once the meetings had finished and the walk-through was complete, David was happy to sit down with me and discuss his background in construction, as well as his excitement for this particular project. Despite his current construction expertise, David grew up in a musical family. His father was a brilliant composer who started the Cabrillo College Music Festival, though for reasons unknown encouraged David away from the musical path. David joked that he “wasn’t sure if it was due to the difficulty of the business or [his] lack of musical talent!”
At age six he was given his first tool set, which he promptly got taken away by his mother after sawing through a support beam on his front porch. During his early teen years he attended an alternative high school / college and turned his attentions toward the medical industry. He decided at 17 that medicine wasn’t for him after dropping out of college to pursue other interests. At 19 he entered his first carpentry job, but wasn’t yet thinking of it as a trade. Shortly after, he was taken under the wing of Ed Powell as a carpenters apprentice and his career in construction really began. From Ed he learned not only the hands-on skills associated with construction, but also the values behind his way of business. As a child he had spent time with his uncle learning how to build architectural models, paint with watercolors, and generally learning how to problem solve. The time with his uncle had a huge influence on his later life, and his time with Ed reminded him of those experiences.
Following his tenure with Ed Powell, David went on to work at Pressman Construction where he learned about business management but felt the company didn’t extol the same values he’d admired in Ed. In 1986 he started his own company, built on core tenants he believed in, and ran it for 30 years. He proudly kept his clients happy but admits that despite being a good builder, he wasn’t a very good businessman. Thus, his company closed in 2016. For the past three years he’s worked under the leadership of Derek Gray, which he happily says allows him to focus on what he loves most—building.
The Round House is situated up in Los Altos Hills with views of the Bay from the kitchen and living room. The clients fell in love with this quirky circular home and later made the decision to remodel. Since the house is a perfect circle, David stressed that geometry and strict calculations were important from the get-go. He felt from the beginning that the house needed a compass to guide its construction. He told me that when he’s planning out a job, he views the building in layers, starting from the foundation all the way through framing and steel work. Getting each layer done right is what causes a project to succeed. After seeing the plans for the Round House, long before starting the project, he had a dream about the Sundial Bridge in Redding and in the morning the idea for the perfect tool dawned on him. Derek approved of his plan and after telling the owners, architects, and subs, told him he’d better build it!
‘The Tool’, a cross between a trammel arm and compass, is 16ft tall with a 45ft long boom. Its function was to properly measure the circumference of the house during the construction of its foundation and walls. It helped the team keep track of the vectors in plan and make sure each wall lined up with its counterpart. The name for ‘The Tool’ was inspired by a Russian carpenter who worked for David many years ago. He put together a complex piece of furniture without any fasteners; the through dovetail mortise and tenon connections were locked in place using a small block of wood that tapped the parts into position. He said if you were to take it apart, save the ‘TOOL’, which he had written on the piece of wood. David laughed when he said the name stuck with him and thought he’d pay homage to the work ethic of the man who thought of it. And of course, he still has the ¼ x ¼ x 4” ‘TOOL.’ David said that while he was building it his “heart said it’ll work but [his] mind was still questioning it.” Finally though, “it just took flight.”
Now that the project is past framing, the team no longer has use for ‘The Tool’. David likened it to a “dragon friend in Game of Thrones” and was sad to take it down. He hopes that he won’t have to dismantle it, and is looking at donating it to somewhere like a children’s museum. If anyone knows a good place to display it, please let us know!
When asked about the challenges he faced in this project, David had only positives to share. He mentioned how exciting it is to work on this type of job, and how he’s constantly excited to jump out of bed in the morning and come to work. You can tell that David is truly following his passion, and that problem solving is in his nature. He believes in constantly learning, adapting, and holds the view that ‘information doesn’t just fall from the sky, [he] was very fortunate to have mentors to pass on knowledge that had in turn been passed on to them.”
I want to extend a huge thank you to David for taking the time to speak with me and share his story regarding this fascinating project, and his storied career path and passions. Make sure to check back On the Boards for updates as construction on the Round House should be finishing up later this year!
By Ben Welty & Jess Stuenkel
Over the years the folks here at Feldman Architecture have participated in many rewarding pro-bono experiences, primarily brought to the attention of the office by an individual with a desire to lend a hand within the community. We have participated in CANstruction, Rebuilding Together, AFSF Student Mentorship, and The LEAP Sandcastle Contest. But in 2017 we decided to create a dedicated budget for our pro-bono work and look for non-profit organizations that were in need of architectural services. We look to the 1+ Program for insights into setting up our budget and getting us connected. It didn’t take long until we were set up to work with two amazing non-profit organizations that needed space upgrades. Playworks, who works to bring out the best in kids through play, and CUESA whose mission is to cultivate a healthy food system through community & education.
For over two decades now Playworks has been assisting schools and youth programs make the most of recess by providing resources to promote safety, engagement and empowerment while demonstrating the power of “Play.” Our partnership with Playworks began in 2016 after we connected with them via 1+, an organization that connects non-profits with architects offering pro-bono work. Headquartered in Oakland, CA, Playworks had outgrown their 9,000+ square foot national office and were in need of a larger space, with a caveat being that they had a strong desire to remain in their Jack London Square neighborhood. Knowing that it would take an indefinite amount of time to find a new space, it was decided that we’d first focus on improving the quality and efficiency of their current space by replacing their dated cubicles with sit/stand workstations that provided additional capacity while promoting more social interaction throughout the workplace. However, this would only be a temporary fix as the search continued for a new home.
Over the course of the next year and a half we assisted in the assessment of potential office locations, eventually landing on a 16,000 square foot collection of former warehouse spaces a mere three blocks away from their current digs. On a strict budget but with the need to compete with tech and other local industries to attract talented and qualified employees, we kicked off the project in late 2017 with the goal to provide a workplace that honored their culture and values and, as Playworks describes it, a place to “experience play as a professional.” Scheduled to open in early 2019, their new headquarters will offer just that – open office spaces with high ceilings, exposed roof structure and skylights; casual “living rooms” to serve as informal breakout spaces; a mesh “area” with bleacher seating for all-office gatherings and a glass rollup garage door opening onto an interior courtyard; and a large assembly space for training their coaches and holding other Playworks and community events. What began as picking out desks and chairs has turned into what will be the firm’s largest office project to date. And one of the most rewarding as well!
Video Link: https://www.youtube.com/watch?v=F5BVhJIK5eA&feature=youtu.be
In addition to running three major farmers markets in the Bay Area, including the Ferry Building Farmers Market, CUESA has a cute teaching kitchen nestled behind large sliding doors in the south arcade of the Ferry Building. The small kitchen has a big presence as an informal space that brings together kids, communities, chefs and farmers. CUESA uses this space to teach kids about where their food comes from, and teaches them the glory of fresh fruits and vegetables. They provide a direct connection between farmers & the community and present high-class chef’s to anyone willing to gather around and listen. The kitchen space itself has been in use for many years, and is made up of donated equipment and love. In collaboration with NG Associates we have taken on the project to reimagine what this little kitchen space can be and how it can better serve its community. We are in the early stages of the project, but are very excited to begin!
This winter, CUSEA held their annual fundraising Gala which I was graciously able to attend with my partner Chris. I was overwhelmed by the support for CUESA and the amazing food prepared by some of the best chef’s in the Bay Area, all who donated their time. The excitement and commitment to the cause was palpable and the night was loads of fun. If you’re interested in learning more about CUESA, check out this short film about the kids’ food program, and keep your eyes peeled for any public events CUESA presents as they are bound to be delicious.
Video link: https://www.youtube.com/watch?v=uMlEAy7VR58
By Serena Brown
A few weeks ago, our office made the journey across the Bay Bridge to visit a project nearly 10 years in the making. Four houses sit atop a large lot in the East Bay Hills, soon to be occupied by four siblings, along with their families. Originally the site of their childhood home, the lot was cleared and divided to accommodate the new individual structures. Inspired by the five sects of traditional Chinese medicine, each of the four houses embodies a different theme. From left to right, the elements assigned to each are metal, earth, water, and wood. The fifth element, fire, is represented by the fire pit in the shared backyard
We began our tour in the Water House and were immediately introduced to the embodiment of its name—a beautiful water feature running the length of the front door to the kitchen. Following the trough, the floor plan then opens up into the great room, designed with floor to ceiling glass walls and striking white cabinetry. Our designers were able to take their time exploring the house; opening cupboards, meandering through rooms, and enjoying the view. The palette of the Water House is minimalist and clean, with white walls, dark hardwood, and black railings throughout.
By contrast, the Wood House next door feels warmer, its palette consisting of lighter wood panels and honey-colored floors. Its namesake is obvious, a tall wooden wall running the length of the stairs, fitted with subtle strips of light. Adjacent to the wooden wall is a large glass panel spanning both floors, a beautiful detail our designers appreciated in more than one of the four houses. An interesting feature in the living room took a bit of explaining at first glance. The architect had designed a customized sliding mount which was fabricated as a frame for a future commissioned piece of art. By sliding the painting to the left, they’re able to entirely cover their television, transforming the wall into a unique statement piece.
During our tour, the owner of the Wood House explained the process by which they assigned lots to the four siblings. When the project first broke ground, her two year old son was given the task of pulling slips of paper labeled ‘A’, ‘B’, ‘C’, and ‘D’ out of hat and handing them to his aunts and uncles. Each slip was connected to a corresponding lot. Whatever letter they received was theirs to inhabit. It seemed like a random and fair system to me!
Next on our tour was the Earth House, aptly represented by a large boulder placed at the foot of the stair in the foyer. The stone was selected by one of the owners amongst the dozens of large boulders unearthed by the excavation for the new homes. He collaborated closely with our design team on many of the more artistic features, many of which are found in his house, the final stop on our tour.
Despite being assigned the element metal, the owner of the final house took inspiration from a different aspect of nature: the sky. Named Sky House, the structure boasts a beautiful floating meditation room, countless skylights, and a roof deck with phenomenal views of the bay. A custom light fixture in the main stairwell was created to represent the steps on the journey after death, the lights creating a path leading up into the heavens.In the meditation room, tucked away at the top of the stairs, two large glass panels replace a section of the floor, giving the illusion of hovering between the earth and the sky. A glass folding door opens up onto the upper deck, adding to the outdoor connection.
The four houses share a backyard, connected by a series of wooden decks and walkways. Behind the Water House sits a pool, surrounded by drainage troughs and newly planted greenery. The owners already have plans for family dinners and shared holidays on the outer deck. The owner of Sky House is especially excited to have the opportunity to watch his nephews grow right outside his door. The individual who seems most pleased by the four-house development is the sibling’s mother, who now has her children and grandchildren all within arm’s reach. During our tour I was inspired and reminded of the closeness of my own family, my mother being the oldest of five siblings. Like this family, we too make efforts each year to spend holidays together and to visit as we scatter further across California. It was wonderful to observe not only the beautiful houses this family has created, but also the close bond they so obviously share. I’m looking forward to seeing the houses fully complete within the next few months as punch lists are wrapped up and personal touches are added in. Special thanks to the family for allowing us to tour and for sharing their special story with us all!
By Mike Trentacosti
As architects/designers, we are trained and trusted with designing, drawing, and supervising the construction of our projects. Very rarely do we find ourselves on a job site rolling up our sleeves and picking up a hammer. This is a dichotomy in our profession that I have often questioned. How, as architects and designers, are we expected to know how to properly draw our buildings if we have never built one ourselves? How are we to detail properly if we do not know the construction sequencing that must take place in order to build that detail correctly and for it to function? Rarely do we as architects get to design, draw, and construct our projects ourselves. So when the opportunity arose recently for me to go help a fellow architect and close friend build his own project, it was an experience I could not pass up.
It all started with a phone call a little over two years ago, from one of my closest friends I had met while studying environmental design at the University of Colorado. During that call, we discussed his plans to purchase a piece of land just off of Highway 1 somewhere between Port Orford and Golden Beach, on the iconic Pacific Northwest coast of Oregon. At the time I had no idea where this was, but judging from the photos he had sent me, the land looked like something out of a movie. Towering redwoods intermixed with that famous Pacific Northwest rain forest. Fog in the mornings and crystal clear blue skies in the afternoon. It was truly magnificent. At the time of the call, I had just returned from a design-build studio praxis where we built a tiny structure, and I was yearning for another opportunity to get my hands dirty and pick up a hammer. As the months passed though, I didn’t hear anything from him and began to wonder if he had followed through on his plans to purchase the property after all.
Finally, a few months ago, I got the call. “Hey buddy, I purchased the land! I’m going to start designing an accessory structure soon, stay tuned.” At that point, I had no idea when the project was finally going to get started, but I knew it was an opportunity I’d wait for. After that phone call, we started having monthly design charrettes over the phone or through face-time, and as they went on the project began to come to life. Next thing I knew, May was rolling around and the dates had been set. My buddy Cam was going to be taking off from his job from late July into early August, with the bulk of the work coming sometime during the final week of the build. So with that information I began to plan my trip. Over another phone call we discussed options of where I should fly into; the land being so remote that there are only a few realistic options for getting to it. Portland was 5 hours north, so that was out. Eugene was three hours northeast, so that was also out. Which left me with my only option. I was to fly into a small remote airport just south of the Oregon/ California border. I reluctantly booked my flight, unsure of what I was getting myself into, and set my plans to travel to Oregon.
As the trip rapidly approached, I began to dive deeper into the project. Phone calls became more and more frequent. We began to construct a list of materials, tools, and a building schedule. The site was still in flux but would be chalked out later. Itineraries were set and the team was rapidly coming together. The build team was to consist of three friends from architecture school, one artist, and myself. A dream team, if you will. Some of us had building experience while others had little to no experience. So right from the get go, I knew it was going to be a learning opportunity for all of us.
Before any of us knew it, it was time to get the project going. I made one last phone call to Cam to wish him the best of luck and let him know that I would be seeing him very soon. As the weeks leading up to my departure approached and passed I began to wonder what was going on with the build. I had reached out to Cam a few times during the weeks leading up, but I was often left in the dark on the build. After our brief conversations, I was frequently left to ponder whether the build was actually even happening or if everything on site was okay. But really, he was keeping me in the dark to ensure that he got the most out of my reaction when I first saw the project. Finally the day came for me to leave. As I sat at my gate about to board a small 20 seat “puddle jumper”, the thought crossed my mind one more time, “What the heck have I gotten myself into?” I gave Cam one last call, confirmed he was going to be there when I landed, and boarded my flight.
My plane ride was only about 45 minutes, so I found myself in this small remote airport in Crescent City California before I knew it. Of course Cam wasn’t there when I landed, so there was a brief moment of concern, but I found a small picnic table out front of the airport and plopped myself down and waited. After about ten minutes of waiting, I finally saw Cam rapidly approaching. I threw my bag in the back and jumped in. The first thing I noticed was how dirty he was. He was sitting there in the driver’s seat covered in a thick coat of dirt, carpenter pencil behind his ear and a smile on his face. “What’s up buddy… you ready?”
I thought I was ready, but boy was I in for a treat. We departed on our hour and half trip up the coast to the property and for the entirety of the journey I was left in awe of the pure beauty, power, and surrealism that the Pacific Northwest coast has to offer. Once we finally got to his property, it was dark out, so unfortunately I wasn’t fully able to take in full view of the land just yet. I jumped out of the car, greeted my buddies, grabbed a beer and demanded that Cam show me the site. Until this point I had only seen a couple pictures of the project, so I had no idea what state the build was at, nor did I have any real clue as to what the project looked like. With some convincing, we finally began our short but strenuous hike down to the site. As we approached the bottom of the hill he made me stop and slowly turn my light on to what was the building. At first glance I was astounded. But this was still when it was dark out. Therefore I was only able to take in what my headlamp could shed its light on. But there it was, tall sleek V columns protruding up out of the structural framing, with the roof sloping upwards, gently returning back to the hills beyond. I turned back to Cam, and with a smile on his face he said “wait till the morning bud”. We hung around the site for a couple more minutes then climbed back up the hill and hung out around camp, catching up with some old friends for the remainder of the night.
The next morning I was the first one up and eagerly unzipped my tent, only to find one of the most breathtaking views I’ve ever witnessed. For an hour or so, I was the only one up, and I just sat there and took in the view. After some coffee, a few stories, and laughs, we all slowly made our way down to the site. As I climbed down the hill, this time with a handful of lumber and my tool belt strapped to my back, I began to get the full experience of the site.
Little by little, step by step, the building started to unveil itself to me, only to be finally framed by the backdrop of the Pacific Ocean. The building was perfectly sited on the corner of a hill gently touching back to the land. I sat there for a few moments in absolute awe. I practically dropped all the lumber. I turned back to Cam, who just smiled back at me. Not a word was said between us in that interaction but somehow we both knew what the other was thinking.
Finally, I collected myself and got down to it. I discussed with Cam my role on the build and we got right to it. I was in charge of hanging all of the slatted 2×2 members that were to wrap the entirety of the building. Cam and I sat there for a few minutes discussing and drawing out the sequencing of the design and detailing of the rain screen. Then, piece by piece, we assembled the slatted wall. As we went along, we experienced ups and we experienced downs. Mistakes were made and lessons were learned. That’s the beauty of building. It’s never perfect but it’s what you take out of the process that stays with you longer than the successes of the build. I think those are some of the most important lessons that I was able to take out of this project. Every build is different, each offering its own hardships and lessons, but it’s overcoming those challenges that ultimately helps you progress as a designer and builder.
Over the few days I was on site, we experienced quite a few of these challenging moments. We would work from sunup till past sundown. We worked until we weren’t able to see in front of our faces and we were only able to build what was lit by our headlamps or lanterns. It was as true of a learning experience that I have ever had.
Then as quickly as it started, it ended. The last day of the build was upon us. There was a lot left to do. When we woke up that morning, there was an unspoken determination amongst us that the goal of the day was to progress the project as far as we could before we had to wrap up to shoot the project with whatever light remained. When the day finally wrapped up, we rushed to clean up the site. Then we all of took one collective moment before the shoot to sit on the deck as a group, enjoy a cold beer and soak in everything that had led up to this moment. It was in that moment that I turned around and caught Cam in a moment of reflection. It’s moments like that as an architect that you strive for. He sat back and soaked in what he was able to not only design but create with his own two hands. This as an architect is the moment in which you realize you were able to take a drawing, consisting of only lines, and turn it into something real. That moment where you see your true potential, where you realize you took a pile of raw lumber, pieced it together, and turned it into a true sculpture; when you see the idea you imagined finally come to fruition. That night, we wrapped up the photo shoot, cleaned up the site some more, and just sat on the deck and enjoyed our last moments with the structure*
The next morning, we all woke up at the crack of dawn, grabbed a couple more pictures of the project, packed up our belongings, and said our goodbyes. As we left the land and drove up the coast, I spent those moments reflecting on what I had learned from this trip. It was at that time that I reflected on the power of building. I think as architects, we often take building for granted as we only get to experience it from a one sided perspective. When we get the rare opportunity to experience the other side, it is the lessons that we draw from those success and failures that ultimately make us better designers and architects.
*This project is still ongoing as it is planned to evolve over time with its program
Designed By: Cameron LeBleu
Photography By: Maxwell Justman