Dwelling | The Art of Making a Home

MARK HORTON / ARCHITECTURE

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Architecture Construction Landscape Waterproofing Construction Structure Interiors

Mark Horton / Architecture Marrone & Marrone Blasen Landscape Neumann Sloat Blanco Matarozzi Pelsinger Holmes Culley LISA STAPRANS DESIGN

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The art of making a home

Designing our own home is a dream that most of us have at one point or another in our lives.

Where and how we live is a very personal condition, and the idea of shaping it exactly to who we are is enticing and exciting. Whether this means designing a small reading nook for one person, at one end of the spectrum, or putting together plans for a vacation home and then constructing it, at the other end of the spectrum, the process of making physical a collection of personal aspirations is inspiring to all of us.

In the real world though, most people aren’t given the opportunity to, or aren’t put in the position to, hire an architect and bring their dreams to reality. And, for those who do, more often than not, they aren’t given the opportunity to do it a second time. As a result, the world of working with an architect and a design team on a residential project tends to be a big black box of unknowns - how, when, and why to do specific things, or not to do them, is a guess at best.

The process is often inefficient and non-linear, and often feels like stumbling through a dark room trying not to stub a toe too many times.

The goal of this pamphlet is to shed at least a little light on this process, and hopefully help someone move through this whole condition a little easier. We have collected a number of insights from a broad spectrum of design team members - an architect, contractors, and design consultants – via conversational interviews. Hopefully there are a number of pearls of wisdom here that will make this process run more successfully for someone.

Mark Horton / Architecture, and all of the other team members in this publication, take great pride and joy in bringing every project we are involved with to successful fruition. We would welcome the opportunity to help you with your project.

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MARK HORTON DISCUSSES RESIDENTIAL ARCHITECTURE The process that the average residential client uses to select an architect may be somewhat inefficient.

Do you have any suggestions on how to make the process easier / better?

My impression is that often architects are selected for residential projects in a very tangential and serendipitous manner - that is, by asking a friend who they hired. Sometimes that works.

Sometimes it doesn’t. I would suggest a slightly more formal process where the residential client might reach out to a few professionals who would be unbiased, to provide a few names.

Realtors, general contractors, and especially architects who wouldn’t be considered for the project would be a good source of appropriate names. After doing a little research (most likely on the web), it would then be easy to whittle a list to two or three names to interview, and go from there.

Once an architect starts to assemble a “team” for a residential project, it can often appear that far too many people are getting involved in the project. How do you help a residential client understand which consultants might actually need to be involved to help them get to a successful project?

We try to outline, at the very start of a project, who needs to be involved downstream, who would be good to have involved, and then who might add to the project if asked to be involved.

That way, there are no surprises. It’s easy to see how it might appear to the client that there are way too many people working on a project, and getting this set up in the beginning just makes life easier for everyone. It is always surprising to residential clients to see how many people are needed even for the most basic project. I think when it’s explained in advance, and outlined as to what the consultant’s purpose and scope is, then the addition of another team member seems immensely less daunting.

What design consultants do you see residential clients overlooking when in fact they would be better served if the client brought them on board the project?

On a residential scale I’m not sure I can stress the need for a good lighting designer enough.

Most residential clients assume this is something an architect can do, and, in the worst case, is something that can be supplemented with the help of the electrician. Many of the hours a residential client spends in the project they just completed are during hours that require artificial light. And, there are many many types of light - color, intensity, focus, spectrum… I would say that every project we have involved lighting designers on, has only gotten better through the course of design.

Continued on page 13.

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Sharon Risedorph

davidduncanlivingston.com

Sharon Risedorph

A CONVERSATION WITH GREG MARRONE How do you help residential clients understand the costs and benefits of General Conditions and profit and overhead? That is, how do you educate the client on the costs of a project that don’t turn directly into something built in their home?

Fortunately, most of our clients are sophisticated and experienced, and they know the importance of proper management of projects of any sort. For the few clients who question General Conditions costs, it is easy to make the connection between runaway construction projects and the lack of proper supervision.

Regarding profit and overhead, our clients, almost all, are seasoned business people, and they understand that for our company to be viable, and still be there in ten years when they need something serviced, it is necessary for us to be profitable.

To the average homeowner, often the bottom line becomes the determinate in selecting a contractor. Both you and I know this shouldn’t be the case; if we were magically able to convince a client of this, what would be some of the metrics you would suggest that a possible client use to select a contractor (and, presumably, you!)?

There really are no true “metrics” by which one can compare one contractor to another. I counsel clients to pay close attention to character and references. Building a new home can be a stressful and time-consuming process. The clients likely will be spending a good deal of their time with the builder, and the relationship can become quite personal. I encourage prospective clients to question our references closely about things such as integrity, fairness and follow-through.

That said, the real cost differences from one builder to another are profit and overhead, and the builder’s supervision and management costs. The overall cost of subcontracted work also will vary, depending on the builder’s pool of subs, but that variance almost certainly will be expressed in the quality of work.

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Our design-build capabilities and dedication to quality and service make each and every project we construct “a model of excellence.” Our skilled craftsmanship and high standards have withstood the test of time.

Sharon Risedorph

Sharon Risedorph

GENERAL CONTRACTORS How do you define a successful project?

We believe that building fine homes requires both organization and craft. Organizing the project enables construction to flow seamlessly and swiftly, and we build exactly what the designers intend. Craft enables us to understand the desired feeling of the home, and with personal care and diligence to shape that vision into reality.

Obviously, two of the measures of success are budget and schedule—was the project brought in on time and on budget? Beyond this, I think the key elements to a successful project are craft, management, fairness and follow-through. The element of craft is obvious. Management is about the process.

Did we keep the owners informed, and in a timely manner, of changes to budget and schedule?

Did we manage the work efficiently? Did we faithfully interpret the intent of the design?

Fairness is very important. Simply put, did the owners feel they were treated fairly? Lastly, how we respond to the owners’ needs in the years after they move into the house is every bit as important as how the house looked the day they moved in!

Environmental awareness, perhaps most easily understood via LEED, is becoming a more important aspect of all projects, including single family residential projects. What has been your experience in this realm, and what advice would you give home owners at the start of a project?

LEED has done a great job promoting awareness of green building. Unfortunately, their residential program is prescriptive, and does not require monitoring. There is a tendency in high end residential building toward the “magic bullet” solution, or the latest technology solution.

Geothermal space conditioning and fuel cells may well have some value in homes in severe climates, but they can be terribly inefficient in our climate. On the other hand, much more mundane processes, like the meticulous installation of extra thick insulation, and the precise detailing of the building envelope, are relatively inexpensive, and thus are efficient and effective solutions to energy consumption, even in our relatively benign climate.

Matthew Millman Photography

Continued on page 8.

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Sharon Risedorph

Sharon Risedorph

MARRONE & MARRONE Continued from page 7.

What is your ideal contract format for a residential project, and what do you think is the best format for a residential client?

Negotiating a cost-plus (or similar) contract with a builder is our preferred method of working with clients, both to ensure a process that is satisfying for both parties, and to ensure the best possible craft. As well, when we work in this format the process is transparent, and the clients can be as involved, or not involved, as they wish.

A client who thinks that it is possible to create plans and specifications such that builders can be like commodities probably is a client who has not built before with a competitive bid contract. There are meaningful differences between all contractors, and the competitive bid process does not account for these differences.

Where do you see communication among the project team on a residential project - that is, the owner, the architect, and the contractor - being most difficult? How has your firm worked around this?

Our most difficult task is having design information and selections delivered in a timely manner.

Designers, almost relentlessly, want “drop-dead� dates for delivery of their materials. However, if all design information comes at the last minute, then the cumulative effect is such that management of the project is very inefficient. To help with this, we provide schedules and spreadsheets noting optimal delivery dates for all the various design decisions and specifications.

When do you typically get involved in a project and how do you structure your early involvement with clients?

We prefer to be involved early, even as early as when the project is in schematic design. We offer a contingent preconstruction contract, under which our preconstruction services are free if we build the home. If the project is not built, or if the owners choose to work with a different builder after preconstruction, then we charge for the preconstruction work.

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Photograph Š Bret Morgan

R + R PAINTING

Sharon Risedorph

davidduncanlivingston.com

Sharon Risedorph

Change Orders. I think the general perception among residential clients is that change orders are where contractors make all their money. What’s your experience with change orders? What advice can you give to residential clients regarding change orders?

We are accustomed to a format in which the fee (markup) applied to change orders is negotiated going into the construction contract. Moreover, in a cost-plus format, with the process being transparent, the clients know exactly what we are making on change orders.

Clients should expect management cost for change orders, since we spend time—often a good bit of time—pricing and managing changes. We do not make “extra” money on change orders as do some builders, and from my point of view, the fewer changes, the better.

If you had to choose a condition, or point in the construction process, where the owner (or the architect) doesn’t rely on the contractor as much as they should, for whatever reason, where would that be?

Hmmm, you have me a bit stumped on this one. Each project seems to have its own rhythm in this regard, but I often find I wish we had been consulted about the choice of consultants, soil and structural engineer, lighting designer, interior designer, etc.

What do you think your firm is particularly good at, and what differentiates you from your select competition?

We treat our clients fairly, we pay attention to budget and schedule, we work hard at accurately building what the architect intends, and we follow through long after the home is complete.

Most importantly, we are dogged about details, from the correctness of a sub’s change order request to detailing the finest joinery.

Marrone & Marrone is a small company, yet it has fairly sophisticated project management processes. This scale gives the client a more personal experience and more direct time from the owner than they will see from many of our competitors.

BILL BROWN CONSTRUCTION We are the premier provider of integrated concrete services for high-end single family homes and commercial structures — from San Francisco to Monterey. We offer creative solutions for concrete and structural steel foundations. We are specialists in the construction of retrofitted basements. We also feature innovative concrete techniques for architectural building elements.

The Preview Group, Inc. is an architectural consulting firm specializing in building codes and regulatory issues affecting construction. The genesis of the firm was the desire to become involved with the creation of design solutions that fit within the regulatory framework of a particular project.

MINE™ designs identities, books, consumer products, packaging and print, and interactive campaigns for scientific visionaries, entrepreneurs, telecom giants, Hollywood producers, and…

WORKING WITH A LANDSCAPE ARCHITECT : A CONVERSATION WITH ERIC AND SILVINA BLA To the Blasens, each project is a unique opportunity to identify new design solutions that create a sense of time and place, enhance a site’s value, and find solutions that are in harmony with the environment.

How should a client choose a landscape architect? How does this reflect on you? What stage in the design process should the landscape architect be introduced?

It is important that the client has a connection with the landscape architect and feels that the landscape architect is a good listener and talented designer.

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It is important that the client feels comfortable and trusts the aesthetics of the landscape architect. We look at our relationship with a client as a long term one because the garden is always changing.

BLASEN

We live in an incredibly special place here in Northern California, where the line between indoors and outdoors often blurs. How does your idea of landscape respond to this?

We see it as our responsibility to protect as much of the natural site as we can, while restoring and enhancing it to create the best engagement with the new architecture. This is the true craft of landscape architecture.

The understanding of all the constraints and opportunities of a site is what gives us the inspiration and the drive to resolve a design.

To blur the line between architecture and landscape is one of the big challenges of our practice. We believe this can be achieved through easy transitions, familiarity of materials and color, and the serene feeling that they provide. We feel strongly in the ability of light to change perceptions and create moods, and in scale as well as color, to give the sensation of shelter associated with the feeling of being in a continuous space.

More often than not, American's ideas of residential landscape usually include a lush green lawn as well as other elements which typically don't fall under the heading of "green" or "environmental". How do you educate clients in this regard, and eventually get a design to the correct place for everyone involved?

Educating clients in California on limited resources, and what is possible with the challenges of low water use is one of our basic missions.

We start by understanding how people will make use of their garden.

From there, we present ideas on how to accommodate their desires and needs without draining the surroundings.

What is the biggest misconception about landscape architects, and their involvement in residential projects from the vantage point of the client?

From the vantage point of the architect? How do you ameliorate this condition?

For good integration on a project I think it is important that the collaboration start at the beginning of a project with the architect because landscape architects look at a site very different from an architect. We are the designers of exterior spaces that are fundamentally site driven.

The biggest misconception comes from the idea that landscape architects only do planting design when in reality they design everything that goes in the open air. We talk about it, explain how gardens are created with and around different elements, the givens of the site, the architecture and their program.

ASEN

LANDSCAPE ARCHITECTURE

MARK HORTON / ARCHITECTURE Continued from page 5.

The standard impression is that contractors make all their money on change orders. What is your experience with change orders on residential projects?

Contractors definitely do not make all their money on change orders. In fact, I would have to say, with our projects, change orders tend to be the place where money is lost, not made.

Change orders take a project out of the calendar and process that was set up at the start of the project, and often require work to be done that no one has accounted for, even within the change order pricing. I think if you were to ask a contractor to choose between two projects, one costing $X and the other costing $2X, where the added cost was all in change orders determined after the project got underway, they would all select the non-change order project.

Efficient, clean, and predictable - a much easier way to make a living!

I should also point out that my experience is that most (90%?) of change orders are owner driven, despite the fact that contractors have the reputation for generating them. It’s understandable - a client gets involved in a project and gets excited, and begins to add to the project here and there to make it better. Death by a thousand paper cuts! We spend a lot of time as the steward of our projects trying to make sure that any decisions, and additions, to a project after it has started construction, are well thought out before they are bought in to.

How do you structure your contracts with residential clients? What do you think is the best for a client?

For the most part, we work on projects with contracts that fall into three general categories ; hourly fees, fixed fees, and fees based on a percentage of the cost of construction. Our hourly projects tend to be businesses, or repeat clients, who call us up asking us to do something.

We do it, and then bill them. Simple. The fixed fee contracts tend to be very specific tasks, for example putting a very specific plan package together for a regulatory agency.

Almost all of our residential clients, though, are contracted via a percentage of construction cost contract. We have just found, over the years, that this works best for the client. They don’t need to track our hours carefully, and they can plan on the final cost of services, based on the cost of the work.

We’re happy to work in any arrangement, but if a client asks me what is best for them, I definitely point them toward a full-service percentage contract.

Oh, and I mention the “full-service” description because we have residential clients, every once in a while, who want to hire us for specific portions of the design and construction process, with the idea that they can pick up the other parts. Usually we’re happy to comply, if that is what they would like us to do, but I would say that from my perspective it is usually a matter of tripping over dollars to save dimes; they would have been better off having us perform full services.

Continued on page 17.

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revolverdesign

Revolver Design is an architectural lighting design firm with a broad portfolio of work. Projects range from high-rise exterior work to interior office spaces. Understanding the architectural intent of the design, and using the lighting system to reinforce this, Revolver has positively supplemented the design work of many award-winning architects.

Ethan Kaplan is an architectural and interior photographer.

They have provided photography services to countless architectural firms and building owners in the Bay Area and beyond. Work has been published in both national and international journals and provided imagery to architects for winning competition entries and to building owners for successful leasing endeavors.

BRIAN NEUMANN SHEDS LIGHT ON BUILDING ENVELOPE DESIGN Our core business is waterproofing and building enclosure design for new and remedial construction. We work for owners, architects, and contractors. We recommend materials and systems, develop details for those systems, and write technical specification sections.

I think most people think of waterproofing materials (if they think of them at all!) as a lot of chemicals. How does this fit into the green movement, and what are you doing to bring your projects more in line with sustainable practices?

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The way we specify products has always been with a mind towards sustainability. We start with a premise that is often overlooked, which is that doing it right the first time is the most sustainable thing that you can do. In addition to consulting on new construction we have always done a great deal of remedial work designing repairs for buildings damaged by water intrusion. Having to do remedial work on a project is always wasteful. We also try very hard to specify zero or very low VOC products.

NEUMANN

I’m going to guess that most residential clients think that the architect should be able to deal with waterproofing issues, and wonder why yet another consultant needs to be added to the project. How do you respond to that?

Most design architects have a basic understanding of building envelope systems, however there is an incredible amount of additional information that a design architect has to synthesize in the modern practice of architecture. Most design architects are capable of doing the structural design for a residential project as well as the interior design. That does not mean that having them perform those tasks is the best use of their time. Building envelope consultants typically have an up-to-date knowledge of the systems, technologies and products available on the market. Choosing the correct systems for each individual project means better performance.

Often times on residential projects that don’t involve a waterproofing consultant, the “system” (and, by that I mean everything from the product used to the details of how it is installed) is left to the general contractor.

How does a residential client understand the difference between this design method and one involving you?

In our experience, contractors will recommend products that they are most familiar with and typically one with the lowest installed costs.

Building envelope consultants will be much more familiar with a wide range of products and available technologies and understand how these impact the overall performance and durability of the building.

We select the systems that are most suitable for the application, use, and environmental exposures. Ultimately, this provides better long term performance and reduced costs.

What do you see as conditions and concerns specific to our environment here in Northern California that need to be addressed by your work?

Fire prevention is becoming a huge factor in building envelope design in Northern California. This challenges the design community to come up with innovative solutions, and it also gives us leverage in our fight to improve the overall building envelope performance as ideas like creating non-ventilated attics are preferable in wildfire prevention.

SLOAT BLANCO WATERPROOFING

MARK HORTON/ ARCHITECTURE Continued from page 13.

Building permits - how do you explain this opaque process to clients, and set their expectations?

I think one “hook” of the residential construction world (and, I would group architects in this world, along with contractors and others) is to often make news and expectations sound better than they should be. We take the exact opposite tact. I know… Good idea business-wise, right? So, when someone asks us to investigate and tell them what we think the timeline is for a permit, or what the issues might be on a proposed project, we try to communicate this information in a realistic and straight-forward manner. That way, if the project proceeds forward, everyone is on the same page. The last thing I like, having done this for quite a few years now, is to end up in a situation where someone feels as if we haven’t professionally shepherded them forward in a project.

How do you help a residential client navigate the maze of selecting and hiring a contractor?

At this point in my career I have a very large rolodex that includes many many contractors.

When a project starts, we print out contractors we think might be a good match, based on size, location, type, complexity, personalities, special requirements… Usually this might be a list of 20 – 30 contractors. We then review this list with the client, with the hope that it can get narrowed down to about 3 names. At that point, I think it’s a really good idea for the client to interview the contractors, face-to-face, to see how they communicate. Usually this results in a really good match for the project.

There are probably many different reasons to pick a particular architect for a project. What do you think the important metrics are in making this decision?

Every project is different, and every project has its own particular priorities. I’m a huge believer in communication, though, and I think hiring an architect who is a really good communicator can span and solve a lot of issues. Obviously design counts, as does technical ability, but a really good communicator can probably work around these issues to the benefit of the client.

Continued on page 19.

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MARK HORTON/ ARCHITECTURE Continued from page 17.

When do you like to have a general contractor get involved with your projects?

It can never be too early for us! We typically try to convince clients to bring someone on board as soon as we start drawing. We find this to be extremely helpful in developing costing and calendars, setting expectations, and moderating the design process so it is more efficient.

And, while clients tend to look at us, as architects, as someone who can tell them what things cost, I really much prefer to rely on someone who does it for a living. More good information earlier is always better!

How do residential clients get started in the design process? What should they think about? How do you help them move forward?

The classic process a residential client begins with is by collecting images and putting them together somehow. We actually do that same thing in our office - we start most projects by collecting images and formally binding them into a book that is used to jump-start the design discussion. Unlike the images that a client might collect, I specifically point out that the images we collect are geared to the idea of fostering discussion, as opposed to specific solutions. To that end, I should note that clients often collect images with the goal of getting to exact final ideas, as opposed to general concepts; if they instead collected images that provided an overall guiding direction for the project, in some ways that would be significantly better.

How do you keep a residential project from becoming all-consuming for the client?

Our goal is really to have the client only involved in making the big decisions and shaping the design to their needs, wants, and taste. All of the other “stuff� is much better dealt with by the professionals hired to work on those issues. Most of my clients have day jobs, so as much as we can eliminate their need to micro-manage the project, the process becomes more efficient for all. In the end, this all comes down to (like most other aspects of this process) communication and trust.

Continued on page 27.

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BUILDING WITH THE BEST : MPB DISCUSSES PROCESS I know that the average residential client has a preconception that a competitive bid is their best insurance for the lowest price for a project. What is your experience, and what advice would you give a client regarding pricing a project?

The advice I would give to a prospective client is to interview 3 qualified contractors before schematic design. The selection criteria should be based on chemistry, and confidence in the contractor’s ability to do the job well. Check their references and engage your selected contractor in pricing exercises during the design process. The best value in materials and methods are always defined through an early collaborative effort rather than a late adversarial contest.

What is your ideal contract format for a residential project, and what do you think is the best format for a residential client?

The best format for both is a GMP (Guaranteed Maximum Price) plus a contractor’s contingency. This contract is transparent and the client is only charged for the time and materials that are used on the job. The contingency will cover errors, overruns, and omissions in estimating up to a small percentage of the contract’s value. The entirety of the unused contingency can be considered savings for the client. With a lump sum contract, the contingency is usually baked into an opaque cost figure which the client has no choice but to absorb.

When do you typically get involved in a project and how do you structure your early involvement with clients?

We prefer to enter into a preconstruction agreement where we provide a variety of services. These preconstruction services include budgeting and pricing preliminary designs, schedule building, examining the constructability of key scopes of work, and value engineering means, methods and materials. By entering into the process early we can work with the architect and designer to affect the end result.

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Matarozzi/Pelsinger Builders is dedicated to providing the finest craftsmanship and design acumen, supported by an unrivaled project management process.

The results are decades of great relationships with clients and architects, and hundreds of quality projects completed on time and on budget.

Change Orders. I think the general perception among residential clients is that change orders are where contractors make all their money. What’s your experience with change orders? What advice can you give to residential clients regarding change orders?

Besides discovered conditions, the primary cause of change orders is lack of preplanning in the design phase or changes in scope and specifications. The best way to avoid change orders is to plan as much of the project in the preconstruction phase so that the parameters and costs of the job are determined at the beginning. The planning aspect includes scope, design and selection of materials.

To the average homeowner, often the bottom line becomes the determinate in selecting a contractor. Both you and I know this shouldn’t be the case; if we were magically able to convince a client of this, what would be some of the metrics you would suggest that a possible client use to select a contractor (and, presumably, you!)?

Some of the metrics we would recommend as selection criteria are: 1. Does the contractor illustrate a complete and thorough knowledge of the project?

2. Does the budget and schedule appear to be inclusive of all aspects of the project?

3. Can the contractor substantiate inclusiveness to your satisfaction?

4. Has the contractor exhibited a degree of competency during the preconstruction process and shown an understanding of how much time and resources are necessary to complete the job?

How do you define a successful project?

A successful project to us is having a satisfied client, a job that came in on time and on budget and an overall experience that was pleasurable for the entire project team.

Continued on page 22.

THE LUNT MARYMOR COMPANY

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MATAROZZI PELSINGER

Continued from page 21.

Where do you see communication among the project team on a residential project - that is, the owner, the architect, and the contractor - being most difficult? How has your firm worked around this?

We have found that when all parties are not communicating there are assumptions made about specifications, finishes, etc. that may be made in lieu of firm documentation. To combat that pitfall in the process our firm has a project management system that is designed to enhance the communication between the three major players.

We perform weekly site meetings and encourage all the stakeholders to attend. We then document the minutes of the meeting and distribute to all. We are also proactive in the submittal process in preparation for long lead time items.

How do you help residential clients understand the costs and benefits of General Conditions and profit and overhead? That is, how do you educate the client on the costs of a project that don’t turn directly into something built in their home?

Competent oversight of the project is the key to its success. The job site supervisor and the project manager are the two major cost drivers in the general conditions category. It is their experience and proactive management of the documentation, budget, schedule, and construction quality that ultimately lead to the success of the project.

If you had to choose a condition, or point in the construction process, where the owner (or the architect) don’t rely on the contractor as much as they should, for whatever reason, where would that be?

We can add value during the preconstruction phase of the project by providing cost estimates and value engineering suggestions which often times are overlooked.

STONECRAFT TILE

Specializing in all mosaic, natural stone, and custom tile installations. Quality and craftsmanship are cornerstones of each project, no matter how big or small.

Environmental awareness, perhaps most easily understood via LEED, is becoming a more important aspect of all projects, including single family residential projects. What has been your experience in this realm, and what advice would you give home owners setting out at the start of a project? At the two extremes of this idea, what are things that you might strongly suggest the client look at early in the project, and what would you try to steer a client away from?

MPB tries to take an integrated approach to an environmentally sensitive project which almost by definition means considering methods, materials and building systems that enhance the building’s sustainability before the project begins.

Particularly if the project is a remodel, we try to place emphasis on work that keeps the energy inside the building, rather than introducing systems into the structure that add energy from the outside. For example, we would initially suggest increasing the insulation in the building envelope and only then consider the addition of solar panels to augment the electrical supply.

With respect to the LEED certification, we usually suggest to homeowners that, unless they are particularly interested in the “merit badge” aspect of certification, their project dollars instead go toward proven tactics for sustainability. Certification is expensive, and to the degree that awareness and knowledge of sustainable practices is more generally understood, it is not necessary for the project to become certified in order for it to realize the greatest efficiency in sustainable construction.

What do you think your firm is particularly good at, and what differentiates you from your select competition?

Integrity and enthusiasm. Our process is fully transparent and well documented for the benefit of the client. We are extremely proactive in our project management process and creating a team environment.

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HOLMES FIRE Holmes Fire specializes in the development of performance based design solutions having to do with issues involving fire and safety. We perform best in a collaborative environment with the client and other stakeholders. We will maximize value by achieving optimum operational flexibility while maintaining compliance with the various regulatory requirements. We have a reputation for innovation and have demonstrated this on many challenging projects.

DENNY KWAN EXPLAINS STRUCTURE Holmes Culley is dedicated to providing quality service and creative design solutions. As part of the Holmes Group of companies we are an international practice with over 200 professionals in seven offices, providing engineering expertise to clients along the West Coast and throughout the Pacific Region.

Most residential clients in Northern California think their project is vastly over-designed, at least on the structural engineering end of things. How do you respond to this?

Unfortunately, we agree with that assessment. Having developed strong relationships with builders, we’ve had requests and opportunities to review the structural drawings designed by other engineers. We’ve come across our fair share of structural and foundation systems that were overengineered.

An over-engineered design is a result of not spending the time to look at all available solutions; providing the “stock-standard” solutions to every project can have adverse effects on the architecture and construction cost/schedule. Selecting an engineer solely on the basis of the lowest fee will more often than not result in inefficient solutions that will cost the client more money in the end.

What differentiates your office from other structural engineers?

How would a client understand this?

We strive to add value to all of our projects. We understand that collaboration and open communication between the owner, the designer and the construction team are essential in order to produce outstanding results. Therefore, we start all projects on a blank page and we begin by understanding the project’s objectives and conditions to ensure that only the best and most appropriate solutions are provided. Our residential clients, which include homeowners, developers, architects and contractors, appreciate our creative solutions, flexibility and responsive service.

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HOLMES C

From my experience, a real cost to most residential projects, but one that is more often than not hidden from the home owner, is the time frame of the project. True to the old adage, time is actually money! How does your practice and design process save the client costs in this regard, both during the design process as well as during construction?

We believe that quality in construction, and time savings, come from thoughtful design that is easily executed, not complicated expensive solutions. Throughout the design process, we will work through all details of the structural design with the project architect and contractor so that detailing incorporates the contractor’s input and all stakeholders understand the reasons for the selection of the structural system and its effects on the construction schedule.

During construction, we help avoid additional costs through swift resolution of the inevitable questions that occur during this phase. We provide same day answers to contractor requests for information. Our engineers are available anytime during construction via phone or email for prompt response.

Most residential clients proceed down the design path to a point where the project becomes semi-real and they have a price to construct their house. At that point, often, the need to save money imposes itself and cutbacks start to take hold on things like tile and cabinets, most of which cost far less than the structural system of the house. How do you help homeowners construct cost-efficient homes up front?

We achieve construction savings through design, adding significant value to our clients’ projects, through the following: • Careful consideration of alternate systems.

• Integration of structure into the building architecture.

• Ensure constructability – a fundamental component of our construction documentation process.

Rather than treat “value engineering” as a separate phase in the design process, we prefer to engineer the value into our projects throughout the design process, saving time and money.

ULLEY

MARK HORTON/ ARCHITECTURE Continued from page 19.

How do your prevent your clients from getting sensory overload with all the possible information and material to review in the course of the project?

I think one of the big contributors to “sensory overload”, or general confusion on a project, is a result of a lack of organization in information. Because we work on projects much larger than our residential projects, and because these projects tend to require a large amount of organization, we are able to bring those tools and skills to this level as well. Having information organized in an easily understandable format makes the process of figuring out what to pay attention to, or not pay attention to, easy for our clients, and as a result, we are able to shield them from overload.

I can imagine that at the start of the selection process for an architect (or, for that matter, for a contractor), that the clients may want to hear, or have reinforced, their pre-conceptions of what a project might cost, or how long it might take. How do you handle this, if reality is something different?

We really try to make sure that the client has at least the start of a grasp on reality at the beginning of a project - and, usually, this means in the interview process. Which, again, probably means this is not a good way to get hired!... The classic example for me is the client who moves to the next architect on their list after I tell them what they will really spend, only to then have them call me back six months later after they have fired their design team because the project is more expensive than they were led to believe. This has actually happened a few times!

How do you work with consultants brought on to the team by the client, or in some other fashion other than under the architect’s umbrella?

I would say that, generally, we much prefer the entire design team to be under our umbrella. It just makes coordination and the process much more efficient. But, it’s not unusual to have other consultants on the project outside of our team. A good example would be the interior designer.

When this is the case, the earlier the coordination, and involvement, the better. And, of course, understanding what each party is responsible for goes a long way in making the project run smoothly!

Continued on page 31.

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Arkitektura, an early advocate of twentieth century design, established one of the premier American modern furniture and lighting showrooms. Today, we continue to draw on a stunning roster of international designers offering our clients the most exciting and relevant contemporary collections from Milan and abroad. Here, under one roof, you will find inspiration and magic to last a lifetime.

JOHN A. RAEBER, FAIA, FCSI, CCS John Raeber is an independent architectural specifications writer in San Francisco with 40 years of successful experience preparing architectural specifications on over 3500 small, medium, and large projects including buildings and interiors, residential and commercial, remodeling and historic renovation/restoration, domestic and international, for public agencies and private enterprises. John can help ensure your contract documents communicate clearly, concisely, and completely, whether you’re an architect, designer, owner, developer, or government agency.

LISA STAPRANS TALKS INTERIORS We hold integrity as a core value, and we bring this to our professional and personal relationships. As a client, you can count on getting honest appraisals of design and scheduling feasibility, as well as cost. From this base of trust flows open, honest client communication -- a critical first step in clients getting interiors that fulfill their aesthetic and lifestyle needs.

Many residential clients probably have the idea that they could never structurally engineer a house, but do feel like they could “furnish� it. How do you educate a client that what you do - your services - are value added to their project?

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I provide my client with options. I know what is available both to the trade and to the public, I offer over 20 years of experience with artisans, manufacturers, and fabricators to ensure the interior design is integrated into the architecture. I work directly with workrooms to ensure the scale and design of the furnishings, lighting, hardware, and materials complement the architecture of the home.

L I S A

In the best of all worlds, when do you get involved in a project?

Ideally, as an interior designer, I am brought into the project early with the architect even before the project breaks ground and we work as a team to visualize the project. I will often work under the lead vision of the architect. It is very important to me that the house is a whole, not something separate, where an interior designer comes in after the architect and decorates the house. The last thing I want for a project is to be the “frosting on the cake” . The house needs to flow and be a consistent language between the architecture and the interiors. They need to work together. By working together with the architect from the beginning, I can take the clients preferences for furniture and materials and make sure they complement the architecture of the space.

I am going to guess that most home owners think of an interior designer as “frosting on the cake”, or something that comes after construction is basically complete. Is this a correct or proper perception? In your ideal world, how would interior design integrate with the architectural and construction process?

On the ideal project, it is very important that the architect and interior designer do not overlap their efforts; we complement our work. At the beginning of a project, we determine the scope of work and roles of our studios. I then layer into the project, to work the most efficiently with the architect.

With some architects, I will help with space planning to ensure all the elements fit into the spaces, I will review the architectural finishes to ensure the stone, tile, wood and lighting all work with the furnishings, carpets, window treatments and accessories. In some projects I will select the architectural finishes, lighting, and woods and in those cases I work very closely with the architect to ensure the materials always complement and work with the space and intent the architect has for the space.

S T A P R A N S

D E S I G N

MARK HORTON/ ARCHITECTURE Continued from page 27.

Often it seems that residential clients want to “bid” (their word) a project early in the design process and select a contractor at that point, based on price. How do you help clients understand what this process is, and what they are actually doing?

Project pricing is only as good as the documents used to determine it. So, for example, if you only have schematic drawings, then the pricing is only schematic. So, you can imagine, competitively “bidding” a project early in the design process is, at best, an inexact science, and leaves a lot of room for various contractors to “manipulate” their pricing in order to get a project.

Instead, we strongly suggest a client select a contractor based on other metrics, understanding that most labor on their project will be competitively bid via the sub-contractor process in any event. If an owner really wants to “bid” the project none-the-less, we try to get them to bid General Requirements and Profit and Overhead for a specific project scope; this is something that would actually allow an apples-to-apples comparison between general contractors before a design is complete.

What do you see as one of the bigger “negatives” of a residential project (if, in fact, we actually even want to talk about those!), and how do you attempt to prevent these?

I think residential projects put a lot of stress on clients for a variety of reasons. Expectations, wants, budgets, the need to relocate during construction, unknowns, personal finance… These all are understandably stressful issues for anyone.

From my perspective, the stress is reduced when expectations are set correctly, early, and maintained. For example, I often tell employees working on our residential projects that clients don’t care if a project is done on May 1 or July 1, but what they really care is that when you tell them it’s May 1, that it really is May 1. Unmet expectations are, by far, the single largest stress issue on residential projects. This is something that the design and construction team can really manage if they are paying attention to it.

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MH / A : MARK HORTON

MARK HORTON / ARCHITECTURE Founded in 1987, Mark Horton / Architecture is a boutique, award-winning, architecture firm based in San Francisco focused on principal-led, design oriented, high-quality collaborative service. MH/A’s ability to navigate the intangible world of design, simultaneous with the realworld constraints of time and budget, are traits that MH/A is known for and past clients will attest to. MH/A undertakes projects across disciplines - residential, housing, commercial and institutional - to inspire the design process and cross-pollinate ideas, materials, and details.

As is evident in the portfolio of both built and proposed work, design is of utmost importance to MH/A; Principal Mark Horton believes that excellent design can positively impact lives. As the lead architect for each project, Mark begins the design process with the understanding that the questions which should be asked are more important than knowing the presumed final answers. The solutions will come at the end of a true design process, but only if the correct questions are developed from the start.

Each project is viewed as a collaborative process of continued discussions and design within the decided-upon framework and scope of the project. The process is iterative, balancing and fusing design strategies with the client’s desires, budgets and constraints. The result is a piece of architecture that has grown from an idea to something better, as a result of the give and take discussions that transpire to help MH/A better understand the client’s needs, and allow the client to better understand the often complex process of design and construction.

Mark Horton / Architecture is the recipient of many awards across all disciplines. The firm’s principal, Mark Horton, is a Fellow of the American Institute of Architecture, the highest consideration given by the national community of architects. Most importantly, Mark cares deeply about the success of each project not only from the design perspective but also as to whether the project exceeds a client’s expectations for the process and the final product. MH/A takes great pride in its professional approach and the long-standing relationships it has with all of its many clients.

MARK HORTON Harvard University, Graduate School of Design: Master of Architecture with Commendation.

Dartmouth College: AB. Adjunct Professor, California College of Arts and Crafts.

Lecturer, University of California at Berkeley.

Visiting Design Critic / Lecturer, University of Arkansas, Boston Architectural Center, University of North Carolina, Charlotte, University of Detroit / Mercy, California Polytechnic State University @ San Luis Obispo.

Co-founder, 2AES : The Art and Architecture Exhibition Space.

Founder, 3A Garage Architecture, a not-for-profit fine arts gallery dedicated to architectural art.

Licensed in the States of California and New York.

MH / A AWARDS

“Best Unrealized Concept,” Azure Magazine Design Awards, 2012.

“Honor Award,” American Institute of Architecture - SF Chapter, 2012.

“Special Commendation,” American Institute of Architecture - SF Chapter, 2011.

“Award of Merit” American Institute of Steel Construction: IDEAS2, 2011.

“Merit Award,” IIDA Honor Awards, 2011.

“Citation Award,” 2010 American Institute of Architecture - SF Chapter, 2010.

“PLAY Notable Award,” IIDA Honor Awards, 2010.

“National Certificate of Recognition” American Institute of Steel Construction, 2010.

“Excellence Award for Architecture” American Institute of Architects: Sierra Valley, 2009.

“MERIT AWARD - UNBUILT CATEGORY”, AIA REDWOOD EMPIRE DESIGN AWARDS PROGRAM, 2008.

“CITATION - BUILT CATEGORY,” AIA REDWOOD EMPIRE DESIGN AWARDS PROGRAM, 2008.

“Achievement Award - Commercial Design”, California Home + Design, 2008.

“HONORABLE MENTION,” IIDA HONOR AWARDS, 2007.

“GRAND AWARD,” RESIDENTIAL ARCHITECT DESIGN AWARDS, CUSTOM HOMES, 2006.

“HONOR AWARD”, AMERICAN INSTITUTE OF ARCHITECTS NORTHERN NEVADA, 2006.

“CITATION - UNBUILT DESIGN AWARD”, AMERICAN INSTITUTE OF ARCHITECTS SF CHAPTER, 2006.

“ACHIEVEMENT AWARD”, CALIFORNIA HOME + DESIGN, 2006.

“HONOR AWARD”, METAL ARCHITECTURE DESIGN AWARDS, 2005.

“Merit Award”, Residential Architect Design Awards, 2005.

“Citation - Unbuilt Design Award”, American Institute of Architects SF Chapter, 2005.

“HONOR AWARD FOR ARCHITECTURE”, AMERICAN INSTITUTE OF ARCHITECTS REDWOOD CHAPTER, 2004.

“Merit Award for Architecture”, American Institute of Architects East Bay Chapter, 2003.

“Excellence in Design Award”, American Institute of Architects SF Chapter, 2003.

“Merit Award”, California Council, American Institute of Architects, 2003.

“AWARD OF HONOR FOR DESIGN EXCELLENCE”, AMERICAN INSTITUTE OF ARCHITECTS SF CHAPTER, 1997.

“Award of Merit”, American Institute of Architects SF Chapter, 1996.

“FIRST PRIZE - ARCHITECTURAL ABSTRACT RENDERING”, AIA SAN FRANCISCO COMPUTER FORUM, 1994.

Progressive Architecture, “Young Architects”, 1993.

“CITATION”, AMERICAN INSTITUTE OF ARCHITECTS AND WESTERN HOME AWARDS, 1993.

“FIRST PLACE - RESIDENTIAL ARCHITECTURE”, NORTHERN CALIFORNIA HOME AND GARDEN, 1992.

“MERIT AWARD”, AMERICAN INSTITUTE OF ARCHITECTS REDWOOD EMPIRE, 1992.

“Honorable Mention - Furniture”, I.D. Magazine Annual Design Review, 1992.

“HONORABLE MENTION”, METROPOLITAN HOME DESIGN FOR REAL LIFE AWARDS, 1991.

“WINNER”, SF MAGAZINE BEST OF BAY DESIGN AWARDS, 1990.

MH/A PUBLICATIONS

MOUNTAIN HOME, “Sweet Sugar Bowl”, December 2007.

SAN FRANCISCO CHRONICLE MAGAZINE, “A Russian Hill Condo”, 22 July 2007.

CRIT : JOURNAL OF THE AIA STUDENTS, “House on a Knoll”, Spring 2007 #63.

DWELL, “Houses We Love”, May 2007.

SAN FRANCISCO EXAMINER, “Modernity in Hyde Street Shack”, February 10, 2007.

SANTA ROSA PRESS DEMOCRAT, “Easy Living”, August 19, 2006.

RESIDENTIAL ARCHITECT, 2006 Design Awards”, May 2006.

RENO GAZETTE-JOURNAL,“Regional Architecture Projects Recognized”, May 4, 2006.

RENO MAGAZINE, “Nevada Design Awards, 2006”, May / June 2006.

CALIFORNIA HOME + DESIGN, “Residential Architecture”, February 2006.

SIERRA HERITAGE MAGAZINE : AT HOME, “Architecture”, Winter 2005.

SUNSET MAGAZINE, “Modern Fireplaces”, January 2005.

THE CABIN BOOK, “Having a Hand in the Seasons”, Universe Publishing, 2004.

THE GETAWAY HOME, “A Submerged Ski House in the Snow”, Taunton Press, 2004.

CALIFORNIA HOMES, “Coast to Coast”, January - February, 2004.

SUNSET MAGAZINE, “Naturally Luminous”, January 2004.

CALIFORNIA HOMES, “Sugar Bowl Modern”, November - December 2003.

ARCHITECTURAL RECORD, “A Playful Twist on a Loft’s Industrial Style”, July 2003.

TAHOE QUARTERLY, “Re-Interpreting A Classic”, Fall 2002.

MOUNTAIN LIVING, “A Clean Getaway”, December 2002.

SAN FRANCISCO MAGAZINE, “Snow Place Like Home”, February 2002.

CONTEMPORARY WORLD ARCHITECTURE, “Living : Houses and Apartments”, London, 1998.

INTERIORS AND SOURCES, “Five Doors in a Tudor”, January / February 1998.

DESIGNERS ILLUSTRATED, “Light Time”, November 1997.

SAN FRANCISCO HOUSES AFTER THE FIRE, “House on a Hilltop”, London. 1997.

ARCHITECTURAL RECORD, “New California Home Rises from the Ashes”, March 1997.

SUNSET MAGAZINE, “Cabinet Appointments”, February 1997.

REMODELING, “Renaissance ‘96 : The Steyer / Taylor Residence”, November 1996.

THE SAN FRANCISCO EXAMINER, “Architecture a la carte”, 6 October 1996.

NORTHERN CALIFORNIA HOME AND GARDEN, “Functional Form”, November 1992.

SUNSET MAGAZINE, “A Glass Wall Brings Garden Into Kitchen”, February 1992.

SF MAGAZINE, “Suitably Scaled”, January 1991.

SUNSET MAGAZINE, “Geometry on the Land”, October 1993.

THE SAN FRANCISCO EXAMINER, “The New Dimension”, 4 July 1993.

THE SAN FRANCISCO EXAMINER, “Bold Designs Forged from Fire”, 28 February 1993.

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MH / A EXHIBITIONS

3A GALLERY, “CAMP : Reconsidered”, December 2008.

SFMOMA, “California College of the Arts at 100 : Innovation by Design”, 2007.

SAN FRANCISCO DESIGN CENTER : SUMMER DESIGN DAY, “SF Design Award Exhibit”, 2005.

3A GARAGE, “Space / Face : Entries for a New Museum”, 2004.

AMERICAN INSTITUTE OF ARCHITECTS EAST BAY, “2003 Design Awards Exhibit”, 2003.

AMERICAN INSTITUTE OF ARCHITECTS SAN FRANCISCO, “Best of the Bay 2003”, 2003.

UC BERKELEY, “Making Spaces for Small and Young Children to Play”, 2002.

CALIFORNIA POLYTECHNIC STATE UNIVERSITY, SAN LUIS OBISPO, “CCAC’s New Dormitory”, 2002.

AMERICAN INSTITUTE OF ARCHITECTS SAN FRANCISCO, “Small Firms Great Projects 2002”, 2002.

TIMKIN GALLERY, California College of The Arts, “Design Process - The New Residential Hall”, 2002.

LIMN GALLERY, “Drawings From Experience”, 2001.

FALKIRK CULTURAL CENTER, “Small Firms Great Projects 2000”, 2000.

LIMN GALLERY, “Time Passed”, a retrospective of past shows at the gallery, 2000.

“UNWON / UNSUNG”, 2AES, Lecture Series on Unrealized Competition Entries, 1998.

CALIFORNIA COLLEGE OF THE ARTS, “Critical Foundations”, Architecture Faculty, 1996.

SFO, “New Buildings: Rebuilding After the Oakland Firestorm of 1991”, 1994.

LIMN GALLERY, “New Architecture in the Oakland Hills”, 1992.

AP GALLERY, selected to show work in group show of architectural profiles, 1991.

2AES, “Architecture Represented / Furniture Realized”, 1990.

STOREFRONT FOR ART AND ARCHITECTURE, “Project Atlas”, 1989.

WESTERN ADDITION, “Unseen Work: Six Emerging Local Talents”, 1986.

HANNS KAINZ GALLERY, “Project X”, 1986.

AMERICAN INSTITUTE OF ARCHITECTS GALLERY, “Islamic Vernacular”, 1985.

LIMN GALLERY, “Mud”, one-man photographic show of Sahelian Architecture, 1985.

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CONTRACTORS, SUBCONTRACTORS, AND CONSULTANTS Arkitektura In-situ Furniture Showroom

Ethan Kaplan Architectural Photographer

Paragon Mechanical Mechanical and Arch. Sht. Mtl. Subcontractor

560 Ninth Street San Francisco, CA 9 4 1 0 3 T: 415.565.7200 arksf.com

156 Natoma Street San Francisco, CA 9 4 1 0 7 T: 415.431.1123 kaplanphoto.com

Blasen Landscape Architecture Landscape Architect

Lunt Marymor Company Plumbing Subcontractor

500 Red Hill Avenue San Anselmo, CA 9 4 9 6 0 T: 415.485.3885 blasengardens.com

1270 45th Street Emeryville, CA 9 4 6 0 8 T: 925.952.9706 luntmarymor.com

2765 Prince Street Berkeley, CA 9 4 7 0 5 T: 510.547.7748 preview-group.com

Boxcabco Cabinet Subcontractor

Marrone & Marrone General Contractor

R+R Painting Painting Subcontractor

2460 De La Cruz Blvd.

Santa Clara, CA 9 5 0 5 0 T: 408.727.7303 paragonmechanical.com

The Preview Group,Inc Code Consultant

225 Mendell Street San Francisco, CA 9 4 1 2 4 T: 415.341.4604 boxcabco.com

555 E. McGlincey Lane Campbell, CA 9 5 0 0 8 T: 408.371.4003 marrone2.com

2175 Stone Avenue, Unit #7 San Jose, CA 9 5 1 2 5 T: 408.920.0312 rrspecpainting.com

Bill Brown Construction Concrete Subcontractor

Matarozzi Pelsinger Builders General Contractor

John Raeber Specifications Consultant

242 Phelan Avenue San Jose, CA 9 5 1 1 2 T: 408.297.3738 bbrownconstruction.com

Classic Enterprises Tile Subcontractor 18670 Harleigh Drive Saratoga, CA 9 5 0 7 0 T: 408.866.7427

Holmes Culley Structural Engineers

355 11th Street, Suite 200 San Francisco, CA 9 4 1 0 3 T: 415.285.6930 matpelbuilders.com

Metro Eighteen Electrical Subcontractor

388 Beale Street, Suite 1910 San Francisco, CA 9 4 1 0 5 T: 415.920.2244 jrfaiafcsi@aol.com

Revolver Design Lighting Consultant

3625 Buchanan Street San Francisco, CA 9 4 1 2 3 T: 415.252.7720 metroeighteen.com

3082 Buena Vista Way Berkeley, CA 9 4 7 0 8 T: 510.558.4080 revolverdesign.com

MINE SF Graphic Designer

Staprans Design Interior Designer

130 Sutter Street, Suite 400 San Francisco, CA 9 4 1 0 4 T: 415.693.1600 holmesculley.com

190 Putnam Street San Francisco, CA 9 4 1 1 0 T: 415.647.6463 minesf.com

159 Ramona Road Portola Valley, CA 9 4 0 2 8 T: 650.851.8436 stapransdesign.com

Holmes Fire Fire / Life Safety Consultant

Neumann Sloat Blanco Waterproofing Consultant

Stonecraft Tile Company Tile Subcontractor

130 Sutter Street, Suite 400 San Francisco, CA 9 4 1 0 4 T: 415.693.1600 holmesfire.com

292 Red Hill Avenue, Suite A San Rafael, CA 9 4 9 6 0 T: 415.578.4800 nsbllp.com

908 Corbett Avenue, #4 San Francisco, CA 9 4 1 3 1 T: 415.606.9505 stonecrafttileco.com

First edition 2013 by Mark Horton / Architecture All Rights Reserved.

No part of this work covered by the copyright hereon may be reproduced or used in any form or by any means - graphic, electronic, or mechanical, including photocopying, recording, taping, or information storage and retrieval systems - without written permission of the author.

Design: MH/A Production Design: Dana Manea and Esther Gallego Editor: Mark Horton MH/A Photography: Matthew Millman : matthewmillman.com Cesar Rubio : cesarrubio.com Ethan Kaplan : kaplanphoto.com Sharon Risedorph : sharonrisedorph.com David Duncan Livingston : davidduncanlivingston.com Typed in Helvetica Neue Printed in USA 135 South Park San Francisco, CA 94107 T: 415.543.3347 F: 415.543.1440 E: info@mh-a.com W: mh-a.com

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