Subject Matters II

Joseph Esherick's houses (2009) In his lifetime, the San Francisco architect Joseph Esherick (19141998) won the highest honors of the profession for design, education, and collaborative practice. Yet he has a less secure place in the US architectural pantheon than peers—Philip Johnson comes to mind—who practiced in the east and had closer ties to its media and cultural institutions. Ten years after his death, he finally has a monograph, one of a series of books that Marc Treib and William Stout are producing from U.C. Berkeley’s CED Archive.

Appropriate: focuses on Esherick's houses—an important part of his legacy, but not the whole story. His firm, EHDD, did its own book earlier in this decade, but it omits the older, larger work. A “Part Two” from Treib and Stout would provide a fuller picture.

Esherick was a pivotal figure in Bay Area architecture. He worked with Gardner Dailey before World War II, taught with William Wurster, and even joined forces with Bernard Maybeck on Berkeley’s Pelican Building. He influenced MLTW, both directly (on The Sea Ranch) and through his partner, George Homsey, whose friendship with several of the MLTW partners in the late 1950s and early 1960s resulted in work that played off of each other and riffed on Esherick’s influence. Daniel Solomon’s early projects, like his Lyon Street housing, are in the same family as Esherick’s earlier multi-family work, like Angelo Sangiacomo’s Bay-Stockton East and West, which Treib doesn't address.

Coming from Philadelphia, Esherick brought an outsider’s view of the Bay Region. In this respect, he was like SOM's Edward Charles "Chuck" Bassett, who moved here from Michigan after working with Eero Saarinen, and Stanley Saitowitz, who came from South Africa, where he had designed a series of provocative veldt houses. Each of them embraced this new region. Whether intentionally or not, they both redefined its architecture.

Esherick categorized his work according to what he was exploring. His explorations started with “packing the box” and also took in gables, pavilions, and light boxes. Treib uses these categories, which Esherick noted in his oral history and elsewhere, as his book’s organizing device.

Esherick made a fetish of the “ordinary,” but it was very much a bespoke ordinariness, as practiced by the leisure classes. Treib’s 10