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House Tour: A Raw And Refined Loft In San Francisco
This article details the transformation of a former San Francisco warehouse into a raw yet refined living space and art studio for art dealer Francis Mill. Collaborating with designer Stephan Jones, Mill sought to create an environment that embraced the building's industrial past while providing a flexible and functional backdrop for his extensive art collection. The 1,200-square-foot loft, originally a pharmaceuticals warehouse from 1937, boasted 11-foot ceilings and raw wooden door frames, which were preserved and highlighted. The design philosophy centered on incorporating the space’s idiosyncrasies, such as original Y-shaped concrete columns, and creating uninterrupted vistas often punctuated by sculptures and defined by curtains. Recognizing Mill's tendency for frequent art and furniture rearrangements, Jones designed many elements to be modular and flexible. This included “anchor zones” with stationary furniture, like a minimalist wooden banquette and daybed in the living room niche, and low-profile pieces to maintain clear sight lines. A pivoting blackened-steel door serves both as a focal point and a space divider, while a built-in steel bookcase with staggered black-painted wooden boxes pays homage to sculptor Louise Nevelson.
Jones and Mill intentionally enhanced the loft's industrial character by further chiseling the pitted concrete walls, moving away from a previous attempt to polish them. This approach aimed for a more soulful space that would serve as a versatile setting for Mill's evolving art collection, aligning with his philosophy of continuously engaging with art rather than seeing a space as 'finished.' The once-large, open kitchen was reconfigured into a discreet galley kitchen. An initial hesitation from Mill about adding a dropped ceiling led to a compromise: a partial ceiling that exposes a structural pillar and concrete, emphasizing the building’s original texture while delineating the space. The kitchen’s lack of natural light was creatively leveraged, allowing for the display of delicate works on paper and the installation of a projection screen.
In the master bedroom, a conventional sliding-door closet was replaced with an art-inspired concept for wardrobe storage. Mill describes it as a 'Donald Judd–style plywood box' crashing into the bedroom, fitted with steel shelving for shoes, often left open. Throughout the home, unexpected details contribute to the space's unique charm, such as flat files in the art studio containing white Legos, a feather collection, and sand, which Mill refers to as his 'urban sandbox.' Even massive works, like a floor-to-ceiling black steel sculpture by Brian Wall, offer intimate details due to the human-scaled proportions of the space. The design reflects a continuous work in progress, embodying Mill's dynamic approach to living with art.
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