News from Jeff King & Co

Y2Y Gallery and Jeff King & Company present Cymaglyph Vizwrap: Visual Alchemy of Matthew E. Jones. Following the traditions of our yearly winter light show, Matthew will exhibit a combination of 2D media and digital projections that activate the interior of Y2Y Gallery with moving color and texture.

CYMAGLYPH VIZWRAP
Projection Show by Matthew E. Jones
Opening Reception: February 9th, 2012 from 6-8pm
Nightly projections through March 9th from 5-10pm

ARTIST STATEMENT

Cymaglyphic Vizwrap is a play on cymatics: the study of visible sound and vibration. When looking at the world, imagine for a moment that everything is a snapshot in time where all events in one field of view (including the table, chair, desk, ceiling fan, and coffee cup) are just clouds of atoms that will eventually crumble and fall to pieces. Within this mindset, we harness more power as individual parts of a cloud of time than as physical bodies stuck in a space/time sandwich. The tantric mantra is the same as the 3D printer, codifying what is already there, allowing form to emerge from chaos.

A cymaglyph is a term to describe the impressions left in our modal phenomena of cymatics. These glyphs, or drawings, may invoke a feeling or a thought. With my artwork, I am trying to discover what I have hidden from my own conscious mind. Through my private sketches, I am able to hear the words I draw as feelings. This led me to project the glyphs in literal terms, just as one may project his feelings onto others. I am using advanced computer logic to trace these scanned illustrations, making the resulting image a bit more contrived but still human enough.

Through the use of video projectors and advanced spatial mapping software, these computer-altered drawings take on the role of Plato’s “demiurge,” shifting the focus from the inventor/scientist onto the artist/spiritualist. As the study of cymatics rubs off onto the more traditional views of physics and geometry, we will be awarded a greater boost in confidence that we are indeed the creators of life. We will be clued in that the symbols are more than meets the eye; they do indeed hold great value.

We hope to see you Thursday, February 9th for the opening of Cymaglyph Vizwrap! This event is free and open to the public.

RSVP on Facebook.

Welcome back to our Q&A series with Bay Area architects and interior designers. Today we catch up with Marnie Wright, a San Francisco interior designer, to get her perspective on residential remodels.

Marnie Wright has had substantial experience over the past 30 years with residential, corporate, and institutional clients. Ms. Wright was a partner of Fisher Wright Interior Design from 1985 to 1990, prior to which she was an interior designer at Gensler and Associates. Ms. Wright graduated from the California College of Arts and Crafts in 1979 with a B.A. in Environmental Design. Her work has been published in The New York Times Magazine, The World of Interiors, Milwaukee Sentinal San Francisco Magazine, and Mountain Living Magazine.

Jeff King & Co: Where do you look for design inspiration?

Marnie Wright: I love women’s fashion and I’ve always noticed that it influences what happens in design. I look at materials, textures, and colors that are current and I think about how it would translate to interiors. When you dress people, you use designs that are becoming to them and make them look and feel good. In people’s homes or office spaces, you should do the same thing. You should compliment people.  

The first thing I look at every morning is the blog Remodelista: it’s a tool that I use a lot now, it’s such a great resource. In terms of magazines, I love the British Elle Decoration and the Australian version of Vogue Living. They are fun to look at and inspiring.

Q: Improvement is the motivation behind all remodels. How does your design improve a client’s experience in their home? How do you know you’ve provided a good design?

A: Hopefully they’ll tell me that! Usually clients call and tell me how happy they are and how my design improves their space. I love the problem solving aspect of doing remodels. In San Francisco that usually means opening things up and making the home flow and function better.  

 Q: In an urban environment such as San Francisco, you’re often dealing with preexisting structures. What are the greatest challenges creating a new design in an existing home?

A: The biggest challenge is keeping cost down. With any kind of renovation, you’re going to run into unforeseeable issues. Redesign can also be challenging for clients because they have to deal with the two worst things: 1) making decisions and 2) spending lots of money. I guide them through the decision-making to ensure they get the best topical product they can. There are so many options and choices that it can be overwhelming for some people.

In terms of the space itself, it’s fun when there are limitations on the redesign because it gives me some parameters. The problem-solving aspect makes it more challenging.

Q: As we live in them today, kitchens are often times the most important room in the house. They can also be the most complex and expensive rooms to remodel. How do you design a kitchen for the 21st century homeowner?

A: It’s the heart of the home really. It’s where everybody always tends to hang out. In a lot of older houses, the kitchens were more secluded and cut-off. Now because of the way we live, making kitchens part of the living space is important.

It’s also nice to have a separate work area adjacent to, or part of, the kitchen. It’s tricky because you don’t want things to get greasy, but it’s nice to have that adjacency. It’s two places people spend a lot of time at.

The trickiest part with kitchens is always finding the right materials to use. Some people don’t want countertops to ever show marks, scars, or mars. For some, it’s finding the perfect countertop that will never stain. Other people want material that ages and looks like it’s been used. Kitchens need to be durable because they are such a high-use space, the materials are important. How it holds up to grease, how the floor reacts when you drop stuff on it, how hard it is to keep clean. The material end is fun. It also affects how it all looks. Is it warm and cozy or sleek industrial?

Q: Bathrooms can be simple and functional for one person or a place of retreat and spa for another. How do you approach bathroom design for each type of client? What are a few of your favorite elements to include in a bathroom?

A: I love bathrooms! Whenever I can, I put in radiate heat flooring: it’s such a nice feature to have warm feet in the bathroom. People are naked a lot in the bathroom, and you want to be comfortable (which for me is warmth).

The lighting is really important, especially for us women to put on our makeup. One thing some people like is having a small television in the bathroom. When you’re getting dressed it’s nice to watch the news if it’s not too intrusive.

Q: Outside of kitchens & baths, what is your favorite living space to design? How do you make this space stand out?

A: The living room is really important. That’s where you are if you aren’t in the kitchen or bathrooms. It’s expensive buying rugs and nicely upholstered chairs, so I tend to keep those pieces generally neutral. It’s expensive to recover a sofa. I’d rather keep big pieces neutral and keep accents of color; pillows, accessories, paint, and things that you can change around.

You want the living room to be durable and not too precious. I hate going into places where everything is so precious you can’t sit on a chair. These days, with stores like Crate & Barrel and West Elm, you can buy coffee tables and side tables that aren’t expensive and are easy to change around. But a good sofa is something to invest your money in.

Again, lighting is really important so you can have different moods. Table and floor lamps are good so you can have light just where you are; it creates coziness. Lots of books is always great, it feels like a home.

Q: In the San Francisco design community, are there any trends you hope to see disappear in the near future?

A: One thing I don’t like is the slipcover. It always looks sloppy to me. I know it’s an inexpensive solution, but I hate when you have to stuff the corners back in every time you get up from a chair.

Another thing is that sometimes, in design magazines, there’s so much crap in these rooms. It gets to that precious phase of “where do I put my drink down?” There’s no space left here. It’s a delicate balance: you want your stuff around that makes it uniquely your space without being over-cluttered and overdesigned. It’s too precious. Too contrived. Certain designers have a style that is so strong, their places all look the same. That doesn’t reflect the owner. I like that challenge personally.

Thanks for the great interview, Marnie!

See Marnie Wright Design for more inspiration.

Read our first interview in the series: Q&A with architect Malcolm Davis!

Inspiration: Whole House Remodel
We recently moved a family into their “brand new” 19th century home. A wall was knocked out between the typical Victorian parlor and living room, and we used beautiful casework to maintain definition between the spaces.

Living room looking toward Liberty Street

Living room (looking away from Liberty Street)

Dining room (looking toward living room)

Kitchen

View before & after photos in our website portfolio: Liberty Street Remodel

Inspiration: SF Residential Remodel

Jeff King & Co custom built this kitchen for a family that enjoys cooking and entertaining, but also values simplicity and a modern aesthetic. Behind all those shiny white cabinets are a hard piped espresso maker, speed racks, and more.

View of the kitchen from the back deck

New kitchen designed for cooking and entertaining

Custom bread drawer

Cabinet-enclosed, hard-piped espresso maker

See before & after photos in our website portfolio: De Haro Street Remodel

We thought it would be interesting for our readers to better understand what motivates, inspires and challenges architects and designers when they are designing for residential clients in the San Francisco Bay Area. As a result we developed seven questions and asked two architects and two interior designers to respond.

Our first installment is from Malcolm Davis, principal at Malcolm Davis Architecture. Malcolm is a Bay Area native with an intimate understanding of its regional building styles and climates. Educated at UC Berkeley, his strong appreciation of the craft of building goes hand in hand with thoughtful stewardship of resources. He takes pride in creative problem solving through simple, elegant solutions. Employing a timeless vocabulary and a restrained palette, Malcolm’s projects over the last 20 years have earned multiple awards from the American Institute of Architects and publication in Dwell, Elle Decor, Sunset Magazine, California Home & Design, and the San Francisco Chronicle.

Jeff King & Co: Where do you look for design inspiration?

Malcolm Davis: I’m inspired by vernacular designs and structures, where solutions are simple and the guts are exposed. I love knowing how things work and looking at the other side of things; “what’s behind the curtain?” From a shaker chest to an old barn or factory, I like to bring that sense of clarity of purpose to my projects. 

Improvement is the motivation behind all remodels. How does your design improve a client’s experience in their home? How do you know you’ve provided a good design?

When a client tells me how much their home supports them in their everyday activities.  A good design should be like a well-tailored suit of clothes: comfortable, handsome and timeless.

In an urban environment such as San Francisco, you’re often dealing with preexisting structures. What are the greatest challenges creating a new design in an existing home?  

Depending on the existing house, the neighborhood, and the client’s preferences, I generally try to work “with” the existing structure if there are salvageable areas of character/function rather than automatically erasing all that came before. With an existing building, I frequently try to imagine it as the best version of itself and then work to tie that with more modern and functional components.

As we live in them today, kitchens are often times the most important room in the house. They can also be the most complex and expensive rooms to remodel. How do you design a kitchen for the 21st century homeowner? 

Allowing the kitchen to have the “appropriate” amount of connection to the rest of the living spaces can be quite subjective to different clients and between a country house and a full time residence. I like to get the client’s expectations and goals clearly in mind as I start the design. Is it really a “chef’s kitchen” or a place to have wine and cheese while waiting for the takeout to arrive, or leaving to go out to eat.

Bathrooms can be simple and functional for one person or a place of retreat and spa for another. How do you approach bathroom design for each type of client? What are a few of your favorite elements to include in a bathroom?

 Whether it’s small and functional or more grand, I always work for as much natural light as possible.  I like to keep the palettes calm and cohesive. And practically speaking, storage.  

Outside of kitchens & baths, what is your favorite living space to design? How do you make this space stand out?

I like to design all kinds of spaces.  I like when I can make something special out of what could be a perfunctory space. I love the “in between” spaces like porches and mudroom/entries and entrance sequences. I think they can establish the feeling of a project and set it apart. 

What are the current design trends that you hope to see disappear in the near future?

Trends in Design. I think trends are fine for colors and hairstyles but I try to stay away from trends in planning a building or a renovation. I want my work to be more about a feeling than a particular time or fashion. 

Thanks for chatting with us, Malcolm!

Find out more about his work at Malcolm Davis Architecture.

Read our next interview in the series: Q&A with Marnie Wright, Interior Designer!

As you read in Part I of our interview with Jared Doumani, he sets a high standard for the quality of work produced by his crew. Jared Doumani is also an expert on paint, helping us offer the safest and most environmentally friendly products to homeowners. In Part II of his interview, we picked Jared’s brain about Low VOC / Zero VOC paint, water-based colorants, and how the paint industry is about to change in a big way.

Jeff King & Co: You’ve mentioned that Persnickety puts great emphasis on preparation. What is your process for previously painted surfaces?

Jared Doumani: If we work on previously painted walls, we start with pole sanding. Not a lot, just enough to take off rough bumps and built-up texture. It doesn’t take a lot of time, probably half an hour to an hour depending on room size, but the small things make a real difference.

How do you know when the building is fully prepared for paint?

We do a lot that other painters don’t do because they think it’s a waste of time. But we know it leads to an end product that you’re not just happy with; you’re delighted with. Someday I’m going to hire a blind prep guy to do sanding. They will know just by touch that it’s ready. Looking at it really doesn’t work. If you touch the surface, you’ll feel everything that’s wrong. That defines the level of prep we want to go to. 

Once the prep work is finished, how do you go the extra mile when applying paint?

The application of paint is done mostly with brushwork. Our guys do beautiful brushwork. It’s almost imperceptible that it’s been done with a brush because the marks are so faint. It feels great and looks great.

“Within the last year everything has changed. Everything is Low VOC or Zero VOC. What’s happening to the paint quality has been incredible… It’s starting to take hold nationwide.” 

Beyond technique, tell us about the products you’re using. Volatile Organic Compounds (VOC), traditionally used in all paints, have gained attention for their negative health and environmental affects. How is the paint industry reacting to increased demand for Low VOC and Zero VOC paint?

Seven years ago, when I started Persnickety Painters, I did a lot of research into Low VOC paints: who had them, what was available, at what price. Nobody was interested. Then within the last year everything has changed. Everything is Low VOC or Zero VOC. What’s happening to the paint quality has been incredible. The product wasn’t that good before. Now everything available in California is Low VOC. It’s starting to take hold nationwide.

Which brand is your go-to for quality paint?

C2 paint is really one of the best quality paints available today. They’ve done a great job building a very high quality of paint and that refers to quality of resins in the paint, quality of filler, and the white that’s used. They use a very high concentration of titanium dioxide to get white into their white-based paint. They don’t use chalk, which brings down cost but doesn’t make a very good product. C2 also uses a 15-color system versus the standard 12-color system and the pigments are higher quality with a finer grind that gets into the paint. The quality of paint is really fantastic.

What situations call for other paint brands?

On a recent remodel, the client requested Zero VOC paint. So now we’ve started using a brand called Mythic Paint, and we’re really happy with it. If the client wants Zero VOC/Zero Toxin paint, we have an excellent product that can fulfill that.

 “It seems you’re doing yourself a disservice using oil-based paints on anything new; you’re going to have to go to latex eventually.”

What are the advantages of using oil-based paint?

One advantage is better finishes for trim. It lies down beautifully. It’s extremely hard and durable. That’s why there are people out there who still want oil: it’s the ne plus ultra of the paint world. Also, I still believe in oil-based primer for bare wood, especially for exteriors. It is penetrative and locks in to the wood.

What are the disadvantages of oil-based paint?

It’s getting harder to find, and it is not as environmentally friendly as latex paint. As much as I like the oil finish, I recommend latex on any new construction or full remodel. It’s where paint is going. Oil may not always be available; we keep hearing it will go away completely. It seems you’re doing yourself a disservice using oil-based paints on anything new; you’re going to have to go to latex eventually. Another drawback is the smell. If you’re painting in a house where people live, it’s not pleasant.

Are there any differences in the longevity of oil-based paint versus latex?

Oil-based paints continue to coalesce and dry over time. Over 50 or 70 years it can get very brittle. Latex keeps flexibility over its entire lifetime. Oil based paints also oxidize and yellow over time. It’s gradual and slight, but it makes touch up very difficult.

Q: What trends do you see on the horizon in the paint industry?

There’s a big change coming in latex paints. Latex paints came out after oil-based paints and were designed to accept colorants that were being put into oil-based paints. It’s been a compromise. The colorant is almost a contaminant and is always somewhat separate from the latex paint. It blends but it’s not integrated on a molecular level.

Q: How are companies working to resolve this problem?

Benjamin Moore has been the first to come out with a national line using a water-based colorant system. They developed a new set of colorants or tints. Water based colorants have some drawbacks – they actually dry too fast and make the paint hard to work with in certain situations. Now other companies are developing water-based colorants as well. This is a big switch in the industry; I see it as a milestone for paint. Before water-based colorants, you could make a Low VOC or Zero VOC paint, but when you put color in, the colorant contained VOC. Water-based colorant does away with VOC in colorants and creates a paint that has better integrated color on the molecular level.

Q: The new EPA lead standards have made it very difficult to do extensive paint prep work. How do you comply with new standards while keeping homes safe and healthy?

For the most part we’ve been following these practices since we began the company. The law has stepped up our game a little and made us more conscious. It’s now regulated that we use hepa vacs and certain machinery. Now we do most of the sanding with a mechanical sander hooked up to vacuums at all times.

Q: How does this impact your prep work for interiors?  

Especially with interior work, we always put effort into containment to avoid leaving the house dusty. Blocking off areas and sealing off rooms is all part of the lead law now and certainly the EPA’s regulations have taken it a step further. We’re all in favor of them because, the fact is, they protect us as much as anyone else.

Q: And for exteriors?

For the exterior, it made everyone a lot more conscious of the work outside going into the house, which is great. When doing sanding and scraping, we’ve always had a policy of sealing off windows from inside so dust wasn’t migrating indoor into rooms. We’re glad to see it now be law.

“We really like to do renovations, returning battered trim to its once proud state. These houses have a history and that should show, but it should look worn, not beaten.”

Q: Is there any drawback to the new EPA lead standards?  

On the downside, the law adds another layer of cost at a time when clients are very cost conscious. So long as the clients understand that this is a nationally mandated regulation, then everyone should be charging extra for it. Essentially the government has made the work more expensive. We see that a lot of industry professionals are ignoring the law, which makes it difficult for us in the bidding process. But with Jeff King & Company, everyone he has us bid against is following regulations.

Q: Are there different materials that you use for exterior vs. interior?

There are specific products for each, but for the most part, exterior can be used interior but interior can’t be used exterior. With paints, there is a definite difference. Above all, the exterior paint is there to protect: to withstand moisture and sunlight and the elements in general. It’s build to do that. On the interior, paint is built to resist dirt and markings and that is a much simpler job.

Caulking is pretty much the same on the inside and out. We use a very high quality caulk that will remain elastic throughout its life; it works beautifully on the interior and exterior. For fill, we use mostly the same products interior and exterior. They are made for exterior but they work great inside and are very durable.

Q: Tell us about how you cater Persnickety techniques to the exterior of a home.      

When it comes to technique, exterior tends to be a rougher and more physical act in that you’re often times scraping paint off and doing extensive sanding. With exterior, what you’re looking for is to make everything absolutely solid and waterproof. You want to get this thing buttoned up and guarded against the elements. And you want it to be that way for a long time.

It’s a battleground out there. You have to make it work. One thing that we go after on exteriors is to eliminate movement in the siding and trim. Any kind of movement will eventually open up and let moisture in, and that will be the end of that area. It’s important to make sure things are absolutely screwed in and nailed down. Things tend to open up over time, so we give special attention to reducing movement in the joints.

Q: And how does that technique change for an interior paint job? 

The interior is generally more cosmetic than the exterior because you see things much more closely. Our brushwork on trim and cabinetry is fantastic, but on the exterior, that isn’t noticed as much. The interior also takes more physical abuse with more denting and chipping, not to mention the ultimate abuse, bad painting. It is amazing how much time we spend undoing bad work. With so many previous rental units converted to condos and TICs, it is not unusual to see a million dollar condo that was an abused rental until 10 years ago. We really like to do renovations, returning battered trim to its once proud state. These houses have a history and that should show, but it should look worn, not beaten.

Thanks for the insider view on residential painting, Jared!

Learn more about Jared Doumani’s work at the Persnickety Painters website.

Operation Poop Stop

I enjoy helping homeowners put the finishing touches on a remodel, especially when it makes day-to-day living more enjoyable. One recent client had an issue with neighborhood dogs using his trees for a pit stop and needed help pronto! We put together some durable and good looking covers that matched the decor of the facade, which work great and get compliments too. – Matt Lovering, Production Manager at Jeff King & Co

 

 

Read more from our new series, “Why I Love My Job,” by the Jeff King & Co staff on Facebook!

“We do a lot that other painters don’t do because they think it’s a waste of time. But we know it leads to an end product that you’re not just happy with; you’re delighted with.” -Jared Doumani, Persnickety Painters

When we want to add a glowing touch to residential remodels, the first person to call is Jared Doumani. His company, Persnickety Painters, is reputed for its painstaking craftsmanship and attention to detail when painting Bay Area homes. In Part I of this interview, we dig into the story behind Persnickety Painters: why Jared was drawn to the business, how he found the perfect crew, and why he cares so much about paint. Read on to find out!

Jeff King & Company: How did you get in to the painting business?

Jared Doumani: I was in the restaurant business for 20 some-odd years: managing, owning, and putting together restaurants for people. I also put together a motorcycle shop for a couple guys and ran that for a year. When that was over, I was sitting around and that’s when I started painting. It found me.

I started painting for friends that needed work done and from there it grew organically through word of mouth. I wasn’t interested in working for someone else, so I formed Persnickety in 2004.

What attracted you to the home improvement industry?

The attraction was working with my hands. I enjoyed painting because it was a focused activity with little distraction to it. That has changed a lot for me, now I do everything but paint.

When you first started out, how did you learn the ropes of the painting business?

There’s a lot of education involved, I did a ton of reading and talked to a lot of people. When I came upon a situation that I didn’t know how to handle, I leaned on people who knew how to do it. I asked how they would deal with the situation, talked to them, and came up with my own decision about what was right. I always wanted to do a really good job.

“It’s so rare we finish a job and the client doesn’t make a comment about how great our crew was. Not just that they’re hard workers and did a great job, but how nice they are and how respectful they are.”

What was the hardest part about starting your own painting company?

Half the battle of having a painting company is finding a good staff. Finding those people you can trust, who work hard, and will do what you want them to do. I am blessed in that regard.

How did you find such a staff?

It was less about looking for a particular kind of painter than a particular kind of person. All the training is from within.

What sets the Persnickety crew apart?

It’s so rare we finish a job and the client doesn’t make a comment about how great our crew was. Not just that they’re hard workers and did a great job, but how nice they are and how respectful they are. They’re just good people. And that’s very heartwarming. There’s only so much of that I can ever teach.

How does good paint add value to a home?

If we do our job correctly you feel better in your house. On a new construction or remodel, I work very hard to make people realize the first time you paint something you’ve really got to do it right. Undoing what’s been done wrong is a brutal and expensive process – we know, we have undone a lot of other painters’ work. If you’re going to spend a pretty good chunk of money on this, you may as well spend a little extra and get it really right and have something you’re proud of. It looks great and in many cases lasts longer.

How is your view of painting different than the average person?

Looking at it like a fine craft is rare. Painting is looked at like “anyone can do it.” When I get a call from someone and they say, “my husband was going to do it but I don’t think he has the time,” I tell them that they’re really going to hate my price. What he’s thinking about doing and what I’m thinking about doing are two very different things. He’s thinking about getting it done, I’m thinking about making it last and making it look as good as it can. The two are very far away from each other.

What kind of client feedback do you get?

Pretty great. A couple years ago, a client who just returned from living in Paris and London hired us. She said the Europeans are all about the quality of the work they do and technique that’s been passed down over generations. They are craftsmen and really know how to do it right. She had enjoyed working with us and thought the end product was better than anything she’d seen in Europe. That was great feedback.

What has been your experience working with Jeff King & Co?

Jeff has a ton of integrity; he’s a very good person. He does very good work. I like to think we’re likeminded in that. We go at it with a higher ideal to make the work right. It’s been a very good fit. I don’t always find that to be the case, there are a number of contractors Persnickety works with that just don’t get it. Jeff is pushing for us to be on as many jobs as we can. He’s behind our company and likes working with us and supporting us. And I feel the same.

Thanks Jared, we look forward to hearing more about the technical aspects of painting in Part II of this interview!

To find out more about Persnickety Painters, visit the company website here.

Our new interview series focuses on the local venders and designers that we often work with for Bay Area remodels. Today we highlight Andre Rothblatt, an established architect and collaborator on a recent kitchen published in Kitchen & Bath Ideas. Born and raised in San Francisco, Andre attended UC Berkeley and now has his own architecture firm in the San Francisco Design Center. We interviewed Andre to glean some expertise on what makes a good kitchen and bath; why architects are necessary to any remodel equation; and how to get the best architect-contractor-client relations out of a project. Continue reading for more!

Jeff King & Co: As a young architect, how did you set yourself apart?

Andre Rothblatt: One thing about me is that I got a job doing construction labor right after architecture school. I learned a lot in those years and eventually got my contractor’s license. I knew that I was always going to be an architect but when I went to U.C. Berkeley, I did not realize that it was such a theoretical school. I wanted to know more about how buildings were built and I wanted hands on experience. I learned a lot in those years after school. My line is, “my education began the day I graduated.”

Why did you invest your time working as a contractor?

It was a very eye opening experience. It’s one thing to design something and another thing to build it.

What was the most important thing you learned by getting your contractor’s license?

It taught me to be sympathetic and understand the contractor’s perspective. I try to design things that are not too fanciful. One complaint that contractors have is that architects are so separate from the construction process and sometimes design things that are difficult to build. I have a general respect for contractors. I’m not that different from most architects, but maybe I have more empathy.

Walking into a construction site, people tend to treat laborers like they’re invisible. But I am always reminded of those times when I was the laborer.On the other side, not all contractors are respectful to the design, and I’ll call them on that. But I like working with Jeff King, he’s someone who respects the design. Jeff King specifically is a very sophisticated contractor. He has a master’s degree in art and has fine eye himself. Not just a guy working in a pickup truck who wants to do something quick and simple.

Is there any overlap between the responsibilities of the architect and contractor?

There is a clear division of what we’re supposed to do. The architect is the one who starts with a blank piece of paper and envisions the design: the floor plan, function of building, the way it looks, the way the finishes lead into each other. The architect gives the completed design to the contractor and they execute the vision. We come up with the design and they figure out how to build it.I understand that many people build homes without using an architect.

What’s your thought on that?

My comment to that is that, yeah, anyone can design a house. It won’t necessarily be perfect, but remember it’s hard to design a beautiful house. You can design and build a stucco box, but is it beautiful? Is it well built? People with training and expertise usually can do a better job.

What is the greatest value of hiring an architect?

Experience. People can think they have a good idea, but if they don’t have the experience, it may not turn out like they think. Early on in my career I remember one client that insisted on doing something a certain way. I capitulated and said, “It’s your house, and I don’t think it will turn out well but we’ll do it your way.” So we built it and they came to me afterward and said, “Well Andre, we wish we would have listened to you.”

How can you tell when an architect has designed a home?

A good architect understands building composition, proportions, how and where to use different materials and how to respond to the site conditions and the context of the project.  It’s a lot to balance and non-architects rarely get it right.  Let me put it this way. It’s like a good movie. Sometimes magic does need to occur. You can get A-list actors and buy the rights to a great novel yet somehow the movie doesn’t turn out well. You can have all the right parts but there’s a lot of subtlety and magic needed. That’s what the architect tries to inject.

That’s a great defense for architects. Now what makes an ideal client?

An ideal client is one that trusts their architect. The first thing I do is listen to them and then respond to their needs and program requirements. I try hard to earn their trust. You can see in the relationship: something clicks when I say, okay, they’re listening to me, I’m listening to them, and we’ve got a good working relationship. Those are the good projects. You have to earn that trust, you can’t just expect it.

And how do you earn their trust?

Say a client has an idiosyncratic idea. I’ll draw exactly what they want and then I’ll draw an alternative to that, something I think would work better. The first thing I show them is exactly what they want so they understand that I listen to them and regurgitate a design exactly as they requested. Then I show them another design and we compare and contrast. In that process, we open a dialogue and move toward a good solution.

As you have more experience, are you bolder with your opinions in the design process?

Not bold, but I’ve learned to develop a vocabulary to persuade people. It’s the weirdest thing in the world but it happens all the time. People have different kinds of thinking processes so you have to be sensitive to that. People will tell me one idea and I’ll express another idea but I’ll explain my thinking process. Then a week later, they’ll come back with that same idea and tell it to me like it’s their own. It’s because they followed my thinking process and came to the same conclusion. Because they reached it themselves, they felt it was their idea. It takes time and patience to do that.

So you involve them in the thought process, that’s the true art.

Absolutely. You give them a sense of authorship. You can never impose yourself on clients. That’s a fear people have, that an architect will say, “Well I’m an architect, I went to a Ivy League Design School and I’m going to tell you what you want. This is what your house is going to look like. I’m a design guru and you’re going to listen to me.”

People don’t usually like that. They don’t want a design to be imposed upon themselves, they want to be included in the decision making process. It’s the same thing with the architect. We don’t want the clients to impose themselves on us. We try to have an equal relationship, a robust dialogue and come to a mutually agreed conclusion, to work together. Everyone is different. Some people want me to make all the decisions; some people want to be included in every decision. You have to cater to each client’s needs.

Do you apply the same principles to working with contractors? Listen and respond?

Absolutely. But the fact remains that we’re there as an advocate of the client and to be sure the work is being built properly. We want to be collaborative but sometimes we are the policemen of the project, it depends on the contractor. That’s part of hiring a good contractor, one who’s going to be your partner. The architect should participate in the selection of a contractor. For example, with Jeff King, I don’t have to do that; he doesn’t need an architect looking over his shoulder. I can give him the drawings and come back six months later and it’s beautiful.Let’s shift gears and talk about green building.

What is the architect’s role in the green factor of a home?

It’s really up to everybody. All the design decisions begin with the architect so he should set the tone. It should be followed up with the contractor and done in concert with the owner.

Where do you see green building going in the next few years?

It’s about changing the whole system in the way we think. What comes to mind is how changes to attitudes about handicap accessibility or recycling came to be. It started many decades ago as an activist movement, there was initial resistance and then more acceptance and eventually it becomes ingrained in our thinking. So then, 20 or 30 years from now, everyone will be thinking about green living all the time. It’s a long process to change attitudes. That’s what we’re starting to do now. We are seeing some inconsistency now, but our children are being taught the right things and now there are green building codes so all these baby steps take us down the right road to change people’s thinking.

You recently worked on a kitchen with Jeff King & Co that was published in Kitchen & Bath Ideas. What is the most unique part of this San Francisco remodel?

My favorite thing, and why I think it got published, was the tile. That tile was the perfect choice. It goes back to what I was saying about being distinctive but with a wide appeal. That tile was the key to tying everything together: the counter tops, the cabinets. It had a good layout, a huge skylight providing natural light, and a tailored kitchen that fit well in the existing home. Those are all the things that one needs. But it was the back splash that added that little bit of magic.

How did you choose that tile?

I saw it and I convinced the homeowner to use it. It was not cheap. But I felt very passionate that it was a great tile. He agreed.What was the challenge in bringing such a traditional kitchen up to date?

How do you go about preserving the historic aspect of the home?

You do the obvious. We matched the color. They had dark wood so we used dark wood in the cabinets. And that’s the general attitude of respect for older buildings that comes through in the work. You don’t want to fight the house; you want to work with it.

The client must be thrilled; their new kitchen looks beautiful.

They are, he friended me on Facebook! (Andre laughs). Jeff King was great too. It was just one of those great projects.

Check out our most recent project! We have just finished remodeling this 2 bedroom, 1 bath near Twin Peaks in San Francisco. You can see an in-depth breakdown of the home’s green features in our past entry, Jeff King & Co Remodel: Case Study at Twin Peaks.

The back facade

Front facade

Plexiglass detail on front facadeThanks for looking! To see more projects by Jeff King & Co, see our website portfolio.