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Photograph of Pascal Rigo by Paul Moore
FIRST PERSON | PASCAL RIGO
One morning not very long ago, I was eating breakfast with my family. We were sitting around the kitchen table in our apartment, which is above our bakery on Pine Street.
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When Volume 1, Number 1, of the New Fillmore appeared in May 1986, one of its features was ambitiously labeled Great Old Houses #1. It was just a picture and a paragraph about the Victorian at 2447 Washington Street written by Anne Bloomfield. “Untouched it is not,” she noted archly.
For the next 14 years, until her death in 1999, she continued writing every month about a great old house in the neighborhood. Her articles got longer and more detailed, and they became one of the paper’s most popular features.
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Photograph of Temple Sherith Israel by Dickie Spritzer
The unsightly scaffolding that surrounds Temple Sherith Israel at the corner of Webster and California streets is as repugnant to the synagogue’s leadership as it is to neighbors and passersby, they say, but it is not going away anytime soon.
The scaffolding was erected to protect pedestrians from shards of sandstone falling from the facade. David Newman, president of the congregation, said it is the nature of sandstone to flake over time as water gets into it. The building’s major problem, however, is not with the sandstone facade but with the unreinforced masonry it covers. The building dates from 1904 and survived the 1906 earthquake, but the city deems it insufficiently reinforced.
Newman said the working drawings necessary to apply for a building permit are being prepared and will probably be ready midyear. The congregation is in the early phases of a major capital campaign to pay for the work. The main project will consist of drilling vertical holes in the walls and filling them with steel and concrete, then tying them across the top. The repairs to the exterior sandstone walls will be carried out as part of the reinforcement project.
Temple Sherith Israel served as San Francisco Superior Court for a time after the 1906 earthquake. It was there that political boss Abe Ruef was tried and convicted of corruption and sentenced to San Quentin.
“It’s a special building,” Newman said. “It’s more than our home. It’s an architectural treasure.”
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Calvary Presbyterian Church opened on Fillmore Street — its third location — with a community Thanksgiving service in November 1902.
The church moved to Fillmore from Union Square to make way for the construction of the St. Francis Hotel. Much of the Powell Street church — including all of the pews and over a million of the bricks — was moved and re-used in the church on Fillmore Street. An education building on the north side was replaced in 1980. Three of the large window arches from the old building were saved and mounted outside the floor-to-ceiling windows on the west wall of the new building.
Calvary’s first location, from 1854 to 1868, was downtown on Bush at Montgomery where the Mills Building stands today.
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ART | Jerome Tarshis
Fifty years ago a reader of the national news media might think North Beach was San Francisco’s only artistic bohemia. But even during the heyday of the beat poets, upper Fillmore offered not only upscale living but fertile ground for art and literature.
The artist Wallace Berman’s first apartment in San Francisco was at 2315 Jackson, between Webster and Fillmore. In those years the poets John Wieners and Philip Lamantia lived within a few blocks of Fillmore and Jackson, as did artists Bruce and Jean Conner.
A four-unit apartment building at 2322 Fillmore, between Clay and Washington, was an art-and-poetry scene in itself, its residents including Michael and Joanna McClure and such well-known painters as James Weeks, Sonia Gechtoff, Joan Brown, Wally Hedrick and Jay DeFeo.
The Batman Gallery, so named because its founder affected black clothing and looked not wholly unlike the comic book hero, was at 2222 Fillmore, between Sacramento and Clay. The King Ubu Gallery and its successor, the Six Gallery, among the most important avant-garde art showcases in the city, were at 3119 Fillmore, between Filbert and Pixley. Allen Ginsberg’s reading of “Howl” at the Six Gallery in 1955 was a turning point in the history of American culture.
Hedrick and DeFeo were the last artists to leave 2322 Fillmore: in 1964 their rent went up from $65 to $300 a month. A furniture store now occupies the space where Ginsberg read “Howl,” and the space occupied by the Batman Gallery is now a Starbucks.
But for a few years, when the neighborhood offered low-rent islands amid the general affluence, Fillmore was home to some of America’s most innovative writers and artists.
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Olle Lundberg’s design on Alta Plaza Park.
By THOMAS REYNOLDS
For years, the dog walkers in Alta Plaza Park watched the construction site at the top of Jackson Street.
Two townhouses disappeared, opening a view of the bay. Then one sleek glass and steel home was built where two had been. Yet the view to the bay remained.
Architect Olle Lundberg, the wonderboy behind the design, has succeeded in creating a see-through house that reads like a piece of modern sculpture and celebrates the bay to the north and the park to the south.
“The simple gesture, beautiful executed” is Lundberg’s mantra. He describes his design process as a search for simplicity directed by the location.
“This is an extraordinary site,” Lundberg says, “one of the best half dozen sites in San Francisco.” Nearly every room — and there aren’t many in this 7,000 square foot house — has views all the way through, from the park on the south to the bay on the north. “That was the idea of the house: to capture a sense of transparency,” Lundberg says.
Alta Plaza is a gently rolling front lawn to the house, which is located on Jackson Street between Pierce and Scott. The exterior is covered in panels from Japan made of a combination of crystal and glass. The framing and railings are steel. The walls are mostly glass.
On the front, a stainless steel beam holds up the roof, but it seems more a piece of sculpture than a working support. Lundberg’s design studio includes a metal shop, and sculptural metalwork appears repeatedly in his work.
Enter from Jackson Street through slatted steel gates, along a stone walkway, up the steps to the red front door. Inside, the bay immediately demands your attention. The windows are huge — the ones facing the bay are, in fact, larger than any available in this country. These were made in Germany and shipped to San Francisco.
The main floor consists of only two rooms. The entry and living room combine into one vast space, the bay on the north, the park on the south. The other half of the main floor is the kitchen, dining room and family room, all open to each other and to the views beyond.
Another metal sculpture — a circular stair made in one piece and dropped into place with a crane — leads to the top floor. It too consists of basically two rooms, with ceilings that slant upward like wings to embrace the view. On one side are separate his and hers offices, both open to views north and south. On the other side is the master suite. The bedroom looks out onto the bay, the closets in the center are commodious, a stone tub in the expansive bathroom overlooks the park.
The clear glass in the bathroom can be obscured at the flip of a switch, and hidden curtains and shades can be drawn. Some might feel overexposed in such a space, but Lundberg insists the bathroom, like the other rooms, was designed to provide privacy even when open to the views.
Back down the circular stair to the lower level, there are two bedroom suites overlooking the bay, plus an exercise room, a wine cellar made of stainless steel rods — more metal sculpture — and two garages. Even at the ground level, the house offers magnificent bay views.
Lundberg first put his mark on the neighborhood 10 years ago when he created a high-tech modernist mansion for Oracle boss Larry Ellison amid the classical manors on Outer Broadway. Currently in the neighborhood he is designing a combination residence and restaurant for Slanted Door chef Charles Phan near Fillmore Street.
“Three things matter most to an architect: site, budget and client,” Lundberg says. “Here all three came together.”
The Jackson Street clients — a venture capitalist and a historian — knew they had a special site. They had lived in one of the townhouses for 17 years. When their next-door neighbor decided to sell, they bought the house and hired Lundberg to take on the audacious job of combining the two into a single home.
It took a good deal of money and political muscle. But the clients had the means and the will to do something significant. “It was a big fight,” Lundberg says of the drive to combine the two houses into one modern space, “a huge deal.”
Activists in the neighborhood association were aghast at what they saw as a design entirely out of place.
Lundberg’s plan kept the scale of the neighboring houses. It also kept slightly more than 50 percent of the original floor plate of the two houses, which made it a remodel rather than a teardown. The loss of a housing unit was a contentious issue, but the combination was allowed to proceed.
“Sometimes the process sours things,” Lundberg says, “but that didn’t happen here.”
Not even for the dogwalkers in the park, who still get a glimpse through Lundberg’s transparent creation to the blue beyond.
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Photograph by David Johnson
Then as now, the intersection of Fillmore and Post was also the intersection of two neighborhoods. Japanese-Americans had returned from the internment camps of World War II to find that, in their absence, African-Americans had arrived in record numbers as part of the war effort. What had been Japantown had been transformed into an all-night party of jumping jazz joints. This photograph captures the energy of the neighborhood in 1946. In the background, at Geary and Fillmore, stands the Fillmore Auditorium — then as now.
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Upon entering Addison Fine Arts at Jackson and Buchanan, one might reasonably wonder: What are paintings of this quality by artists of this caliber doing in a neighborhood gallery?
They are, in fact, part of gallerist Steven Platzman’s mission to enrich the cultural holdings of the city. He aims to do that by placing significant works of art in San Francisco collections, with the intention of seeing them ultimately donated to the Legion of Honor, the de Young or the Museum of Modern Art.
It is an audacious goal, but one that Platzman is realizing here in our own backyard — and his, since he lives above his gallery, which operates by appointment. He has sold paintings by Monet, Cezanne, Morandi and other blue-chip artists — including Boudin’s “Harbor at Trouville,” above — in the eight years he has been quietly operating in the neighborhood.
“I purposefully chose this location and consciously avoided the downtown gallery district,” he says. “I wanted people to understand that I was doing something very different. I sell and advise people in the purchase of significant things — museum objects, if you will.”
It is also convenient that many buyers for his high-end offerings are in Pacific Heights, Presidio Heights and Sea Cliff.
To visit the gallery, call 776-3206.
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June 1906. Fillmore & Sutter looking north.
Fillmore Street quickly became “the new Market Street” after the earthquake and fire of April 18, 1906, which devastated most of downtown San Francisco. Businesses had to find temporary locations elsewhere, and Fillmore Street was largely untouched by the catastrophe. Businesses crowded into existing buildings, sharing whatever quarters they could find. This photograph, taken two months after the earthquake in June 1906 shows Fillmore Street looking north from Sutter.
The Chronicle opened its temporary office (right) on April 22 while the last embers of the fire were still smoldering. Real estate agents, jewelers, banks, insurance agents, typewriters (typists) and other businesses soon followed. Their temporary signs dominated the street. The Relay tobacco and liquor store on the corner undoubtedly experienced increased business.
— ROBERT OAKS, author of San Francisco’s Fillmore District (Arcadia, 2005)
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Michael Schwab is one of the leading graphic artists of our time, in part because of his award-winning logos and posters for Apple, the Golden Gate National Parks and many others. Now his work is coming to the neighborhood: He created the poster and street banners for the 2006 Fillmore Jazz Festival.
“I love San Francisco, I love jazz and I love posters,” Schwab says. “It all came together.”
Music fuels Schwab’s art. He especially likes jazz greats Miles Davis, Bill Evans and Chet Baker. As he stands in his studio in San Anselmo talking about his work, Louis Armstrong is singing “Stars Fell on Alabama” in the background.
The Fillmore poster depicts a bass player in profile — which is appropriate, since the bass lays the foundation for many jazz bands. But in fact, there is also a more personal element to his Fillmore image. Schwab is himself a musician — “a garage band guitarist,” he says, since his youth. He has long been interested in playing bass, and his wife gave him a stand-up bass as a 25th wedding anniversary gift shortly before he took on the Fillmore job. It stands in the corner of his studio, and it became the model for the Fillmore Jazz Festival poster.
“I took on this project because it gave me an excuse to do a portrait of a bass player,” he says. “Now I hope to become one.”
Schwab’s work is in the permanent collections of the Library of Congress, SFMOMA and the Achenbach Foundation at the Legion of Honor.
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