Listing of the Day

Location: Noe Valley, San Francisco

Price: $4.38 million

Built in 1900, this house for sale in San Francisco’s upscale Noe Valley neighborhood had a total  renovation completed this year. It has a new foundation, plumbing and solar-ready electrical.

There are as many patios and balconies as could conceivably fit, including both east- and west-facing balconies, and one on the recently added single-room top floor. From there, one can see St. Paul’s Catholic Church to the west, Bernal Heights homes to the east and even a glimpse of downtown San Francisco. The patios are finished with ipe hardwood.

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“It’s not cookie-cutter. It’s more of a custom home,” listing agent Ron Abta said. “The kitchen is stupendous. It has a nice open-floor plan, and it’s great for entertaining. It’s a well-built home. No corners were cut.”

The kitchen features Thermador appliances, two sinks and a large Mystic White marble island.

Local firm Noz Design took the lead on the house’s interior design.

Stats

The house spans 4,087 square feet across four levels and has four bedrooms. It has four full bathrooms and one half bathroom. There’s one modern, low-profile fireplace in the living room.

More:Click to View a Silicon Valley Mansion Listed for $20 Million

Amenities

In true Bay Area fashion, the house has a car charger and is equipped with Sonos. A hot water recirculation pump makes hot water instantaneously ready on all levels of the house.

Oak hardwood floors are featured throughout.

The master suite has dual, walk-in closets and large glass doors open to another deck. The master bathroom features dual Brizo shower heads, and sinks and a six-foot tub by Kohler.

From Penta:James Beard-Nominated Chefs Dish on Dining Trends

Neighborhood Notes

The house is in direct proximity to many shuttles to and from Silicon Valley. One of Twitter’s co-founders lives not too far away, Mr. Abta said. The area regularly sees record-breaking real estate sales, and most neighboring homes are in the $4 million to $10 million range. Michelin-starred restaurants Al’s Place, Aster and Californios are nearby, as well as neighborhood favorite Mitchell’s Ice Cream.

Agent: Ron Abta, Paragon RE Group

View the original listing.

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Yesterday at A/D/O, a MINI-sponsored creative space in Brooklyn, New York, seven start-ups pitched their companies to an audience of investors and public sector agencies as part of URBAN-X’s Demo Day. URBAN-X is an accelerator for urban tech companies that was launched in 2016 by BMW-owned car brand MINI, one of its many forays into rethinking shelter, fashion, and design. The seven start-ups are members of URBAN-X’s fifth cohort, bringing the total number of companies that URBAN-X has fostered to 39. URBAN-X selects up to 10 start-ups twice a year for its program, which includes a $150,000 investment and five months of support in engineering, design, and business development.

Urban mobility and access to electric vehicles featured prominently in this cohort, not a surprising theme for an incubator with roots in the automotive sector. But other strong trends, like construction site productivity and emissions efficiency, pointed to a focus on the built environment and its relationship with ecological concerns.

If this cohort is any indication of the trends in urban mobility, then the two startups dedicated to transit hinted at a very electric future. Borrow offers short-term, flexible leasing of electric vehicles, making them more available to those who can’t purchase the pricey cars, while Circuit, formerly The Free Ride, offers free electric shuttle transportation in five-passenger vehicles for short distances. The latter is already rolled out in 17 cities around the United States, with more than 20 cars on the streets of San Diego. With funding from advertisers, private developers, and transit agencies, the free shuttle is specially designed for first- and last-mile conditions to supplement other forms of transit, and also offers hail and on-demand services. Brooklyn residents and visitors can experience Circuit for themselves, with the company extending its Williamsburg run this summer.

Buildstream cofounder David Polanski talks about his company, which digitizes heavy construction equipment and processes to make construction sites safer and more efficient. (Courtesy MINI)

Buildstream and Toggle both address construction site safety and other challenges. Buildstream (formerly GearBuddy) utilizes IoT-based software and machine learning to digitize data collection on heavy construction equipment like bulldozers and trucks to monitor and assess construction sites in real time, allowing someone at an office desk and not just the construction manager on site to monitor what is happening. The technology is currently in use in the U.K. on one of Europe’s largest infrastructure projects, according to David Polanski, co-founder and COO of the company. Toggle, on the other hand, combines software and industrial robotics to help automate the construction site and reduce costs in the building process.

Energy efficiency and greenhouse gas emissions are also a central concern of this year’s cohort. Treau develops technology to improve energy efficiency in cooling and heating systems, essentially bringing HVAC and refrigerants into the modern age with lighter, more inexpensive polymers and other material innovations. The overarching promise of Treau is to reduce energy consumption in the U.S. by 10 percent.

Another vital but less glamorous aspect of city life is waste management infrastructure. Israel-based GreenQ‘s technology attaches to existing truck-based garbage collection systems to collect data and offer analytics to help meet demand and cut costs where needed. For example, in its applications across Israel cities, towns, and villages, GreenQ has identified areas that need one less collection day a week, or data on what homes or users need larger trash receptacles. The data from the garbage also delivers demographic data for those companies it partners with. Consumption and waste were also addressed by Thrilling, the first e-commerce platform for second-hand and vintage stores, with a goal of reducing carbon, waste, and water footprints in garment production.

From transit to garbage, the technology-driven platforms of these start-ups hints an increasingly wired, mobile urban future to come.

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Olga Soboleva

This $22 million San Francisco estate is on the market for the first time since it was fully rebuilt several years ago.

It’s listed by Ben Ling, a serial tech investor, founder of Bling Capital, and former Google executive, who purchased the property in 2013 for $1.8 million, according to the San Francisco Business Times. He spent several years renovating and rebuilding the house into what it is today. Completed in 2019, the house now spans 9,704 square feet and has six bedrooms and nine bathrooms. Two years ago, Ling relocated his firm from the Bay Area to Miami and purchased a Palm Island Miami mansion in 2021, according to The Real Deal. 

The main living area with the kitchen and dining table.

Olga Soboleva

The secluded property is nestled within the hills of San Francisco’s Glen Park neighborhood, located on the city’s south side. While it’s known for its multi-million-dollar homes, this is the most expensive property in Glen Park’s history. To date, the highest-price sale was $9.7 million.

“What distinguishes this estate as a truly exceptional property lies in the talent and dedication that went into crafting every detail,” says Frank Nolan, president of Vanguard Properties/Luxury Portfolio International. “The vision of renowned architects at Studio Graf, the creativity of designer Parisa O’Connell, and the meticulous craftsmanship of Design Line Construction have converged to create a masterpiece that took years to perfect and is impossible to replicate.”

Nolan said that homes of this caliber of construction cost anywhere from $2,000 to $3,000 per square foot.

The kitchen.

Olga Soboleva

From the front, the home looks like a fairly modest mansion, surrounded by towering pine and eucalyptus trees. There’s a two-car garage, complete with EV plug-ins, next to a gated entrance. However, the home wows the minute you step inside. There’s a double-height foyer that leads to the home’s main floor. The 60-foot-wide main level spans 2,300 square feet and has 10-foot-high sliding glass doors that open to a terrace. The open-plan floor houses the living room with a fireplace, dining room, and polished gourmet chef’s kitchen. 

“The shadowing and lines of the architecture are beautiful,” he says. “You kind of feel like you’re in a museum.”

The primary suite.

Olga Soboleva

The top level houses the sensational primary suite, which is fronted by more windows with sweeping city and ocean views. The spa-like bathroom has access to its own private terrace and there’s a freestanding tub, spacious double showers, and walk-in closets. Two other bedrooms are found on this level, while the lower level houses the additional bedrooms. One of the home’s most standout features is the 1,000-square-foot professional-grade movie theater, found on the home’s lower level, that has Dolby Atmos surround sound, dual Sony 4k projectors, commercial-grade insulation, and seating for up to 22 people. There’s also a family room with a private terrace, wine room, and a landscaped garden outside with dedicated lawn space.

“It’s rare to find a lot larger than this,” Nolan tells Robb Report. “This is well beyond the size of a double lot and close to a triple lot. To get a lot of this size with a view in a southern location with a level of finishes like Design Line provides is just so rare. Also what makes it rare is that it’s at the end of a very private cul-de-sac on a peaceful street, ideal for anyone looking for privacy.”

Each level has floor-to-ceiling windows and sliding glass doors, and there are a total of three terraces over four floors. The bedrooms on the lower level connect to a shared terrace with room for a fireplace and seating. Finally, the rooftop deck is ideal for entertaining—especially on those clearer San Francisco evenings—and has a BBQ and ample seating. Lutron lighting, reverse osmosis drinking water, and in-floor heating complete the home’s high-tech offerings.

Click here for more photos of this Glen Park estate.

Olga Soboleva

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As we first outlined back in May, the rather spectacular new building at 15-17 Guy Place, which replaced a little single-family home, hit the market priced at $15 million in March of 2021, positioned as an “almost 8,000-square-foot, seven-level residence,” with a 5,115-square-foot, 5-bedroom main residence (17 Guy Place) over an 1,870-square-foot, 2-bedroom guest residence (15 Guy Place), multiple terraces, and a garage for one car.

“Located amongst San Francisco’s most prestigious luxury towers and residences and in one of city’s most dynamic and oldest neighborhoods, Rincon Hill,” the residences are finished in white oak, with a sweeping central staircase (and elevator), Calacatta marble, and a sky terrace (with panoramic views, an outdoor kitchen, and plumbing for a hot tub) atop it all.

Relisted for $13.888 million in August of last year, the asking price for “Guy Place” was reduced to $12.49 million last September and then to $10.999 million a year ago next month.

Relisted anew for $10.999 million at the beginning of this year and then reduced to $9.75 million in mid-January, 15 Guy Place was then listed by itself for $2.995 million at the end of March, followed by an $8.75 million listing for 17 Guy Place a few days later.

Reduced to $7.95 million in mid-April, to $7.45 million in early May and then to $6.995 million later that month, the asking price for 17 Guy Place was then dropped to $6.2 million in July, at which point the list price for 15 Guy Place was increased to $3.95 million but then dropped to $3.8 million.

And with the listing for 15 Guy Place having since been withdrawn from the MLS without a reported sale, the list price for 17 Guy Place has just dropped t0 $5.85 million, a sale at which would be considered to be “at asking” according to all industry stats and aggregate reports despite a nearly 36 percent drop in pricing/expectations for Guy Place as a whole.

If you think you know the market for high-end residences, urban compounds, and one of city’s most dynamic and oldest neighborhoods, here’s another chance to tell.

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In 2003, Heide Hendricks and Rafe Churchill, principals of the architecture and design firm Hendricks Churchill who are also married to one another, first set eyes on what would become Ellsworth, their family home in Litchfield County, Connecticut.

It would take another 15 years of driving past the 1871 farmhouse and “dreaming of the possibilities but never imagining it might one day be theirs,” as described in the introduction to their new book Our Way Home: Reimagining An American Farmhouse, out September 5, for the couple to buy it.

Our Way Home: Reimagining an American Farmhouse

Our Way Home: Reimagining an American Farmhouse

During that time, Hendricks and Churchill had also added to their family, renovated three other homes, and built a successful design business upon the foundation of their authentic, warm, and subtly playful style and collaborative, unpretentious approach. That period of growth perfectly primed them to create their dream home at Ellsworth, which they have documented in beautiful and remarkably personal detail in their new book.

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Heide Hendricks and Rafe Churchill

Chris Mottalini

Today, the house presents itself as a sanctuary of self-expression, yielding at appropriate moments to history and setting. Many of the rooms, furnished with an intentionally timeless mix of antiques and contemporary pieces, are cloaked in wallpapers that echo the environment and framed by painted millwork that accentuates rather than obscures existing eccentricities. There’s an undercurrent of excitement about the potential for discovery to the spaces, the style of which is certainly not for everyone.

Which may be precisely the point.

A tree-of-life pattern from Claremont dresses the walls and doors in den, which is where Hendricks and Churchill watch movies.Chris Mottalini

Hendricks’s and Churchill’s story of Ellsworth is compelling not just for its beauty, but also for its deeply personal reflection on making a house a family home. It’s a story over twenty years in the making and highly specific to their needs, desires and dreams. And while a 19th-century house in rural Connecticut with quirky trim may not appeal to all, the yearning for crafting our own havens, our own sanctuaries of self-expression, surely does—especially if we allow ourselves time and space to reflect on what we really want.

In the algorithm-driven world in which we live, self-discovery of any kind has become harder and harder. Our own voices are perilously drowned out as we are inundated by streams of sameness, particularly on social media but increasingly on other platforms as well.

Specific to residential design, the so-called “modern farmhouse” style is perhaps the most egregious offender, with its white siding, black windows and sea of subway tile and Shaker cabinetry popping up everywhere, from Pinterest to the Presidio (could there be anywhere less agrarian than San Francisco?).

As real estate reporter Ronda Kaysen wrote in her thoughtful article in The New York Times, “The modern farmhouse is the millennial answer to the baby boomer McMansion….dominating renovations, new construction and subdivisions in communities with no connection to farming.”

Algorithms and the ensuing influencer-dominated echo chambers in which we now exist have not only given rise to design ubiquity but also stoked the instant gratification fire of American consumerism. When we’re honest with ourselves, all of us can acknowledge having experienced the following internal dialogue: “So-and-so is everywhere, and I simply must have it—NOW.”

Churchill, Hendricks, and their two children on the porch

Christ Mottalini

Of course, nothing about creating a home is instant—or needs to look the same for me as it does for my neighbors. Homes are repositories of memories and moments that comfort us with so much more than shelter, and they take decades, sometimes lifetimes, to cultivate. Further, what makes American neighborhoods, towns, cities, and even rural communities rich with culture and interest is the idiosyncrasies among us—and our opportunity to share them with each other.

Perhaps it’s fitting, then, to look to a pair of artists with “a shared appreciation for Yankee ingenuity, the value of artisan craft, and for freedom from convention,” as described in the introduction to Our Way Home, for a remedy to the ills of design homogeneity sweeping across America. Here, five ideas from the story of Hendricks’s and Churchill’s home for curing the modern farmhouse epidemic.

Start a reno by making a list of what you don’t want to change.

Call it the “first, do no harm” approach to renovation. Henricks and Churchill mapped out their plans for Ellsworth by considering what they didn’t want to amend about the 19th-century house, which needed quite a bit of work to bring it to current living standards. “We definitely considered how our family would live in this house, but first we outlined for ourselves what not to do,” Churchill says.

For example, they decided upfront they would not enlarge the 2,900-square-foot house, and even lopped off a small shed from the side of the house that had been used as an outhouse. “The history is important to us, but most significant is how the house and immediate landscape influence each other, resulting in a beautifully respectful partnership,” he adds.

Inside, the design duo navigated a delicate balance of updating the house for 21st century family life while “making occasional sacrifices in honor of the bones of the house,” says Churchill. “Our most successful projects are those that keep the egos in check while learning how to live with an old house.”

Hendricks and Churchill widened the opening from the center hall to the living room and added bookcases on either side.

Christ Mottalini

Keep the character, skip the extra bathroom.

Among the bones of the house that Hendricks and Churchill decided to honor is a narrow, steep back staircase that drops from the second story bedrooms into the kitchen—the kind of thing that is “usually removed in favor of adding more storage space or an additional bathroom,” the book states. “We kept this quirky detail because it really adds character to the kitchen. It’s what makes an old house an old house,” says Hendricks.

Leaving the stairs in place meant they had to forgo adding a third full bath, which “would have would have been nice, but keeping up with two and a half is really enough,” Churchill says. “We figured that if you’re staying with us, you must be a good friend and will accept that sharing a bathroom with our kids is just part of the experience.”

The couple also left in place a few imperfect millwork details that had had been added over the years, such as scrollwork applied on the front hall’s exposed stair stringer. “You can’t help but think about the person who made it and what was going through their head at the time,” says Hendricks. “These kinds of details let the imagination run wild — whether the stories we come up with about them are true or not.”

After cladding the living room walls in a pine wallpaper by Fayce Textiles, Hendricks recently came back and added the wallwovering to the ceiling to create a cozy envelope.Chris Mottalini

Choose room colors that make you feel good.

Another element Hendricks and Churchill did not scrap was the house’s existing floor plan, preserving its center hall orientation with rooms assigned distinct functions rather than bringing down walls to create an open plan. Despite many discovering with the perils of open plan living during the pandemic, the layout persists in modern farmhouses, which often feature “great rooms” designed for cooking, eating, living, working, and even exercise and are typically colorless. Whatever convenience or togetherness is gained from such a design comes at a cost: Lost is the opportunity to experience change in light and variety in color and view, all of which affects mood.

When designing the interiors at Ellsworth, Hendricks spent a lot of time thinking through when rooms would be used, during what seasons, and how light changed each to inform her color selections long before she made any decisions about furniture. For example, because the living room has the only fireplace in the house, Hendricks knew her family would use it most often during winter and thus chose a darker, moodier palette of greens, reds, and aubergine for coziness, and because they would look “even better by firelight.”

Hendricks also chose a darker scheme for the mudroom—in this case a purple-gray. “Using dark colors in an entry is a great strategy to adjust your eye from the outside. When you enter the mudroom on a bright day, your eyes immediately begin adjusting to the interior space. It sets a tone, and the next room you walk into automatically feels bigger and brighter,” she says. “Conversely, the [nearby] laundry room is a bright yellow. It’s a happy yellow for a dreary task.”

Allow your home to evolve alongside with you.

Soulful homes, like their owners, are works in progress—not altars of instant gratification. Some of the most beautiful moments at Ellsworth are the result of tinkering and tweaking over time. Take the color scheme in the kitchen and its adjacent pantry—a pastiche of light, medium, and indigo blues—which is the result of a disagreement between Hendricks and Churchill that took years to resolve.

Hendricks chose Farrow & Ball’s De Nimes blue for the cabinets and beadboard, even knowing that blue is said to be an appetite suppressant, and a lighter Farrow & Ball shade, Borrowed Light, for the pantry. A few years in, Hendricks felt the kitchen to be too utilitarian in feel and Churchill complained the pantry color felt cold. To soften the kitchen, Henricks added a floral block print wallpaper (Soane’s Dianthus Chintz) on the small wall spaces not covered in beadboard.

The pantry solution took a little more negotiation, creativity, and time. “Rafe wanted me to consider changing the color, but I still really liked it. So we came up with the idea to take the darker blue from the kitchen and ‘spill’ it in the pantry as if it came in from a flood and left behind a waterline. That was Rafe’s analogy when he was trying to sell me on the idea. And he did. It was a good collaborative moment.” Now, the room stands as a testament to the art of compromise and the beauty that comes from waiting for the best idea to bloom.

Where windows or doors had to be replaced, the couple replicated existing millwork—even those that felt too “big or even clumsy but…really give the house its character,” says Churchill.

Chris Mottalini

Fill your home with things that bring you joy.

Designed with color, pattern, furniture, and artwork meaningful to Hendricks and Churchill, Ellsworth is an original reflection of its owners. It’s clear that while they were thoughtful and studious in their approach, the couple was never consumed by trends, resale, or even “correctness.” Instead, they made design decisions that reflect what they love and value. The rooms in turn invite guests and friends to learn their story and get to know them even better.

It was deeply important to the couple, for example, to pay homage to the surrounding landscape inside, so Hendricks chose wallpapers that relate to the property. Mark Hearld’s Harvest Hare wallpaper in the dining room echoes the hares in the surrounding fields, while Marthe Armitage’s Chestnut wallpaper in the powder room is a nod to a Japanese chestnut tree in the front yard. A pine wallpaper by Fayce Textiles in the living room honors some white pines that had to come down to protect the house.

Hendricks furnished the house with a lively mix of antiques and vintage pieces, old hand-knotted rugs, and contemporary elements like lighting fixtures and art—which together engage in a friendly banter-like dialogue, never too serious.

“Whether it’s a bespoke piece crafted by some artisanal studio or a mass-produced object, it has to convey a message, preferably a humorous one, or provoke an emotion,” says Hendricks about selecting pieces for her home. “I like to imagine when I’m designing and furnishing these spaces that I’m making my mark in time — even after we’re gone, those pieces will tell the story of our time in the home.”

Editor in Chief, VERANDA

Steele Marcoux is the Editor in Chief at VERANDA, covering design trends, architecture, and travel for the brand.

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When you think of a spalike bathroom, you imagine a space with lots of bells and whistles (a showerhead that doubles as a speaker, a bidet with five temperature settings). But there is another way to zen out, and modern farmhouse bathrooms hold all the answers. Instead of giving you all many luxuries that seemingly make for a relaxing experience, these spaces slow your mind and body down by stripping away the techy upgrades and leaving you with just the essentials. Think: cast-iron sinks that are deep enough to also hand-wash delicates in and pine wood walls that smell so good on their own there’s no need to light a candle. Ahead, we rounded up 10 modern farmhouse bathrooms that’ll make you want to bliss out.

The Basement Modern Farmhouse Bathroom

With no natural light, designer Priscilla Frost had to find a way to make this Portland, Oregon, basement bathroom feel less cavernous and more welcoming with a series of optical illusions. The first? Swathing the room in floor-to-ceiling subway tile gives the impression of a taller ceiling. And unlike a curtain, the glass shower enclosure (a $1,200 Home Depot score) keeps the space feeling airy and open. 

The Family-Friendly Modern Farmhouse Bathroom

Interior designer Rachel Sloane Sherman thought about her New Jersey clients’ entire family when renovating their beige primary bathroom (the owners’ three kids were ages 7, 4, and 1 at the time). Next to the new freestanding soaking tub, she carved out a marble-lined niche so everyone could grab a towel without getting water on the polished herringbone Nero Marquina floors. Then for Mom and Dad, she went with elevated materials like white zellige shower tile and glass knobs on the prefab vanities. 

The Modern Farmhouse Bathroom That’s Actually in a Cabin

What is a modern farmhouse bathroom without a scrappy DIY? To support the 100-pound stone sink they bought on Etsy for their woodsy Maine retreat, designer Hannah Oravec and her husband, Michael, had to build a frame structure out of old beams so they could drop it securely in place. In an effort to not have too much going on in such a tiny space, they continued the checkered Fireclay shower tile (in Antique and Carbon) onto the edges of the tub and the floor. 

The Bright White Modern Farmhouse Bathroom

For Leanne Ford, white acts as the best canvas for showcasing organic and textural elements—in the case of this 1945 farmhouse, that included things like ceramic tile, shiplap boards, and a cast-iron tub. To ensure the monochromatic space didn’t read as boring, she used a sail (yes, like one from a boat!) for the shower curtain. 

The Green Thumb’s Modern Farmhouse Bathroom

When designer Kelsey Duda stumbled across a piece of land located in Elk Rapids, Michigan, for sale on Craigslist, she knew it would be the perfect place to build a rental property. And while many vacation homes feel like an afterthought, her rustic retreat keeps guests in mind around every corner, even in the shower and nearby open shelves. 

The Cali Modern Farmhouse Bathroom

Mariam Naficy, founder and CEO of Minted, took two classic farmhouse design tropes—barn doors and raw wood—and put her own, San Francisco–inspired spin on things. Rather than mounting the dark green door on a sliding track, she stuck to matte black hinges. Over at the vanity, she topped a chunk of wood with a wide metal sink that leaves just enough counter space for toothbrushes. 

The Canadian Modern Farmhouse Bathroom

“There’s something so romantic about life in the country,” says interior designer Luke Havekes, who owns this 1841 farmhouse in Canada’s Eastern Townships. He fully embraced this perspective upstairs with a claw-foot tub, toile wallpaper, and a sculptural brass mobile that’s on full display when the shutters are open. 

The Brooklyn Modern Farmhouse Bathroom

Mid-century and modern farmhouses are an unlikely yet totally harmonious pair. This bathroom by the Brownstone Boys is exhibit A: They turned a classic West Elm media console into a vanity complete with vessel sinks and quartz counters left over from the kitchen reno. 

The Artful Modern Farmhouse Bathroom

Streetwear designer Beth Birkett imparted her signature vibrant shades on her sons’ bathroom with a vintage orange sink and a craft cart that is filled with bathing essentials. Everything looks even punchier against Farrow & Ball’s Off-Black paint on the walls.

The Earthy Modern Farmhouse Bathroom

Emily Ward drew on the sunny palette of Northern California when designing her West Marin home. The bunkhouse bathroom features Clé’s zellige tile in Golden Henna and an exposed pipe shower by Signature Hardware. An antique lamp and gallery of oil paintings give the room that coveted out-in-the-country touch. 

The post 10 Fashionable Farmhouse Loos That Exude Zen appeared first on DAILY SAN FRANCISCO BAY NEWS.

A 3,974-square-foot home in the town of Kentfield, Marin County, California caused quite a stir when it first came on the market.

A reason? The four bedroom, 3.5 bath home is almost unchanged, virtually unchanged since it was designed by the architect John Marsh Davis in 1965. Original appliances, plumbing, tall bookshelves, bench seats and fir floors have not been replaced.

The home is listed for $4,995,000.

The same family has owned the home since they commissioned it from Davis. His other projects include other homes in the San Francisco Bay Area and wineries in the Napa Valley, such as Joseph Phelps Vineyards and Rutherford Hill Winery.

“It defines Zen life,” he says Elizabeth Freeman with Boulevard Real Estate. “It’s full of natural elements, it has loads of natural light, it’s surrounded by forest and [there’s] an iconic view of Mount Tamalpais.”

Seventeen days after the market launch, the house was under contract. The attractive property is currently for sale.

“The only changes that were made were repainting the upstairs and laying new carpet,” says Freeman. “Otherwise the house remains in its original condition. Everyone who was interested in the house wanted it for the house. They didn’t consider it a demolition, although that does happen in our community.”

Potential buyers were delighted with the open floor plan and the two 14 foot tall sliding glass doors that connect the living room to the gardens and patio.

Living Room (Brian McCloud)
Kitchen (Brian McCloud)
Breakfast Area (Brian McCloud)
Deck (Brian McCloud)
One of the Bedrooms (Brian McCloud)
One of the Baths (Brian McCloud)
Staircase (Brian McCloud)

“The owner who buys it likes it the way it is,” Freeman says, while still acknowledging that “it’s a work of art that needs a major update.”

Expected improvements include new decking (sun and humidity have taken their toll over the years) and air conditioning, which the house currently lacks.

The offer also includes a 19,000 square meter plot ideal for a pool or guest house.

“It feels like a nature reserve,” says Freeman.

Thomas Church designed the gardens of the estate. The famed landscape architect’s 4,000 projects included master plans for UC-Berkeley and Stanford University, as well as the Frank Lloyd Wright-designed Mrs. Clinton Walker House in Carmel-by-the-Sea, California, which sold over the counter for $22 million in February, according to the Wall Street Journal.

Kentfield is 20 miles north of San Francisco. There are currently only 15 listings in the region with an average price of $2.7 million on Realtor.com®.

“The local market is pretty hot, especially at the lower end,” Freeman says. “Most of our houses don’t last long. We have the constant stock and things sell pretty fast.”

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A 3,974-square-foot home in the town of Kentfield, Marin County, California caused quite a stir when it first came on the market.

A reason? The four bedroom, 3.5 bath home is almost unchanged, virtually unchanged since it was designed by the architect John Marsh Davis in 1965. Original appliances, plumbing, tall bookshelves, bench seats and fir floors have not been replaced.

The home is listed for $4,995,000.

The same family has owned the home since they commissioned it from Davis. His other projects include other homes in the San Francisco Bay Area and wineries in the Napa Valley, such as Joseph Phelps Vineyards and Rutherford Hill Winery.

“It defines Zen life,” he says Elizabeth Freeman with Boulevard Real Estate. “It’s full of natural elements, it has loads of natural light, it’s surrounded by forest and [there’s] an iconic view of Mount Tamalpais.”

Seventeen days after the market launch, the house was under contract. The attractive property is currently for sale.

“The only changes that were made were repainting the upstairs and laying new carpet,” says Freeman. “Otherwise the house remains in its original condition. Everyone who was interested in the house wanted it for the house. They didn’t consider it a demolition, although that does happen in our community.”

Potential buyers were delighted with the open floor plan and the two 14 foot tall sliding glass doors that connect the living room to the gardens and patio.

Living Room (Brian McCloud)
Kitchen (Brian McCloud)
Breakfast Area (Brian McCloud)
Deck (Brian McCloud)
One of the Bedrooms (Brian McCloud)
One of the Baths (Brian McCloud)
Staircase (Brian McCloud)

“The owner who buys it likes it the way it is,” Freeman says, while still acknowledging that “it’s a work of art that needs a major update.”

Expected improvements include new decking (sun and humidity have taken their toll over the years) and air conditioning, which the house currently lacks.

The offer also includes a 19,000 square meter plot ideal for a pool or guest house.

“It feels like a nature reserve,” says Freeman.

Thomas Church designed the gardens of the estate. The famed landscape architect’s 4,000 projects included master plans for UC-Berkeley and Stanford University, as well as the Frank Lloyd Wright-designed Mrs. Clinton Walker House in Carmel-by-the-Sea, California, which sold over the counter for $22 million in February, according to the Wall Street Journal.

Kentfield is 20 miles north of San Francisco. There are currently only 15 listings in the region with an average price of $2.7 million on Realtor.com®.

“The local market is pretty hot, especially at the lower end,” says Freeman. “Most of our houses don’t last long. We have the constant stock and things sell pretty fast.”

The post “$4.9M Mid-Century Modern Masterpiece in Marin County, California Goes Off the Market” appeared first on Real Estate News & Insights | realtor.com®.

The post A $4.9M Midcentury Trendy Masterpiece in Marin County, CA, Flies Off the Market appeared first on DAILY SAN FRANCISCO BAY NEWS.