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SAN FRANCISCO
VICTORIAN HOUSES,
ROWS, AND
NEIGHBORHOODS:
"San Francisco in the Victorian Style"
A SPLASHY ENTRANCE
San Francisco's Victorian houses face the street with great panache. The 1897 Eastlake-style porch of 725 Castro
Street sports builder Fernando Nelson's signature columns of turned redwood.
About 48,000 houses in the Victorian
and Edwardian styles were built in San
Francisco between 1849 and 1915
A VICTORIAN WEDDING
GIFT
The house at 1818 California Street, in Pacific Heights, was built in 1876 in the Italianate sfrjjg. Bay windows, which
became a San Francisco trademark, are seen here in the form of slant-sided bays. The commodious residence was a
wedding gift from businessman Louis Sloss to his daughter and her-husband. Today it is a bed-and-breakfast inn.
During World War I and World War II,
many of these houses were battleship
gray with war-surplus Navy paint
AN EASTLAKE HIGH POINT
The Vollmer house at 1735-37 Webster Street, in the Western Addition, was designed by the prolific firm of Samuel
and Joseph Cather Newsom in 1885. It is the most elaborate surviving Eastlake-style Victorian row house in San
Francisco. When its original Turk Street site was needed for more intensive development in 1975, the house was
jacked up, put on wheels, and towed a dozen blocks west to its present Webster Street location. A garage was
unobtrusively inserted underneath it, its interior was modernized, and its facade was carefully restored. Hittell's
Guide of 1888 observed that "the superior facility for shaping wood, and the abundance of machinery for planing and
molding, has led to the adoption of more architectural ornament here than in any other city'i "The visitor from the East,"
he dryly added, "is at once impressed by the rarity of plain exteriors in the dwellings of the wealthy."
Slanted bay house on Oak Street
THE VICTORIAN
CITYSCAPE: HOUSES AND
PARKS
The panorama south from Alta Plaza, looking out over the Victorian-rich Western Addition, is punctuated by the dark
green islands of Alamo Square (center left), Buena Vista Park, and eucalyptus-clad Mount Davidson (far right). The
generous four-block-square parks on the hilltops and in the valley of the Western Addition were reserved by the city for
the public in 1855.
These houses near Alamo Square were
built between 1892 and 1896 by
developer Matthew Kavanaugh
Along the 2700 block of Clay Street, in the foreground, are (left) three peaked-roof Queen Anne houses designed in
1900 by Maxwell G. BugbSe, (center) a tall, white, bay-windowed, seven-unit apartment house built by Henry Feige in
1905, and (right) a group of flat-roofed houses built by David F. McGraw in 1890.
FRAMED BY GREENERY
San Francisco's nineteenth-century parks are as man-made as her houses are. Here Lafayette Park, in Pacific Heights,
frames two great Queen Anne-style houses. To the left is 2004 Gough Street, designed by J. C. Matthews and Son in
1889; on the right is 2000 Gough Street, at Clay, designed by an unknown architect in 1885.
The Haight Ashbury seen from Buena
Vista Park
Navigation par
quartiers
DIVIDING THE LAND
MUNICIPAL AND PRIVATE
LAND SURVEYS IN
VICTORIAN SAN
FRANCISCO
San Francisco's complex street plan is the result of various municipal and private land surveys. The city surveyors laid
out the even pattern of rectangular blocks in the northeastern areas (the downtown, South of Market, and Western
Addition) and the far western neighborhoods, or Outside Lands (the Richmond and Sunset). The subsequent Anglo
owners of the one-time Mexican ranchos in the center of the peninsula (Twin Peaks's San Miguel Rancho), the
southeastern corner (Outer Mission and Bayview), and the southwestern section of the city (Lake Merced) laid out a
patchwork of unrelated grids when those large holdings were subdivided over time. This informative map was published
in 1888 as part ofLangley's San Francisco Directory. The various (arbitrary) colors identify the earliest city surveys and
private land- holdings. Every block was given a number by the city or the private sub- divider. The large rectangular
park is Golden Gate Park. Langley's San Francisco Directory, 1888.
VICTORIAN DISTRICTS
Hayes Valley
Hayes Valley is a fashionable neighborhood in San Francisco, California, between the historical districts of Alamo
Square and Civic Center. Victorian, Queen Anne, and Edwardian townhouses rub shoulders with boutiques,
restaurants, and public housing complexes.
Pacific Heights
Pacific Heights is located in one of the most scenic and park-like settings in Northern California, offering panoramic
views of the Golden Gate Bridge, the San Francisco Bay, Alcatraz and the Presidio. Its idyllic location provides a
temperate micro-climate that is clearer, but not always warmer, than many other areas in San Francisco.
The Western Addition
The Western Addition is sandwiched between Van Ness Avenue, Golden Gate Park, the Upper and Lower Haight
neighborhoods, and Pacific Heights.
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Historically, it was an addition to the city west of Van Ness Avenue (hence, "Western Addition"). The area was first
developed around the turn of the 20th century as a middle-class suburb served by cable cars. It survived the 1906 San
Francisco earthquake with its Victorian-style buildings largely intact.
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RESOURCES
Liste de professionnels (artistes, artisans,
historioens) à intégrer directement dans la
page d'accueil
Haight Ashbury
Haight-Ashbury is a district of San Francisco, California, named for the intersection of Haight and Ashbury streets. It is
also called The Haight and The Upper Haight.
The Mission District
The Mission District, also commonly called "The Mission", is a neighborhood in San Francisco, California, USA,
originally known as "the Mission lands"[2] meaning the lands belonging to the sixth Alta California mission, Mission San
Francisco de Asis. This mission, San Francisco's oldest standing building, is located in the neighborhood.
Noe Valley & Eureka Valley
Noe Valley's borders are generally considered to be 22nd Street to the north, Randall Street to the south, Dolores
Street to the east, and Grand View Avenue to the west. These borders are understood to be somewhat flexible,
particularly by real estate agents. The Castro (Eureka Valley) is directly to Noe Valley's north, although the border is not
well defined and can stretch into Noe Valley, and The Mission is to its east.
ITALIANTE
QUEEN ANN
CF. accueil_ressources_liste_artisans.txt
SAN FRANCISCO STICK
GOTHIC REVIVAL
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Page du style "Italianante" dans la rubrique des styles
This two-story Italianate-style row house at 1825 Sutter Street, in the Western Addition near today's Japan- town, was
built in 1878for Captain and Mrs. John Cavarly. It displays all the essential elements of the Italian- ate style as it was
adapted for the San Francisco row house: an emphasis on verticality with high ceilings and tall, narrow, double-hung
windows; an entrance porch with Corinthian columns capped by a balustrade with urn-shaped ornaments; classically
enframed windows; slant-sided bay windows with pipestem colonnettes; quoins to reinforce visually the building's
corners; a heavily bracketed cornice; and a flat or low-pitched roof In 1983 the imaginative boxwood- grid front garden
was planted, and sculptor James Nestor's black steel Streetlight was installed, making this house a happy blend of the
historical and the modern, the typical and the singular.
In 1963, San Francisco artist Butch
Kardum began combining intense blues
and greens on the exterior of his
Italianate-style Victorian House
FLAT-FRONT ITALIANATE
ROW
Speculative builders erected pairs or I small dusters of identical houses, California first tract houses. The
fat-front Italianate row of six houses it 2115 to 2125 Bush Street, in the
Western Addition, was built by The Real Estate Associates, headed by Iowa-bom William Hollis, in 1875. Mass
production helped keep costs down and carpenters employed. The Real Estate Associates built some one thousand
houses and sold them on the installment plan, with one fifth to one half the purchase price down. The balance was paid
in monthly installments over one to twelve years; interest ran 8 to 10 percent a year.
These Victorian italianate houses are in
the Haight-Ashbury neighborhood
THE ITALIANATE ROW
HOUSE
The Italianate style was adapted to the row houses that proliferated on San Francisco's long, narrow lots. Popular from
the late 1860s to about 1880, these houses were either flat fronted or bay windowed, such as the one pictured here.
Built of redwood milled and painted to look like stone, the structures quickly achieved a standard plan. Italianate
ornament and building parts were mass-produced in the city's woodworking mills south of Market Street. This drawing
appeared in The California Architect and Building News, the West's first architecture journal, in January 1880.
A one level Italianate house in the
Mission district
Doorways
An entrance may be spindled or bracketed. It may open in columned formality or welcome you with a casual yawn.
Hundreds of kinds of doors were listed in millshop catalogues all over the country, and their designs were changed
often to keep pace with new fashions in house plans. The Niehaus Brothers in Berkeley, California, offered many
varieties, as shown in text illustration 31. Some doors came in double sets; the outer pair swings inward to form | a
decorative vestibule.
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IN DETAILS…
Victorians who bought tract houses were often given a choice of front doors. From Fernando Nelson, who is described
in the text section, you might choose the 'plain' door for ¿(1.25 or splurge on a 'fancy' one for $5. One year Nelson's $5
door looked like the ones shown here which have six round buttons in the middle and a sunburst on the bottom panel
Many front doors still have panes of stained or colored glass. When the sun shines through, their hallways glow!
Windows
Windows and their surrounding decorations were also a target for a wide variety of millwork combinations. In the 1870's
and early 1880's, many windows were topped by hoods of different shapes, such as the triangular pediment, the
'squeezed' pediment, or the hood which was a 'segment' of an arc. Sometimes the windows and door treatments
matched; other times the builders and architects mixed shapes freely.
The window panes themselves were often shaped, sometimes to echo the squeezed, arched, flat, or segmented hoods.
Some main clear panels were edged with small colored ones. Red with yellow and blue with green were frequent
combinations. Later in the era, builders chose flatter, more geometric millwork to outline their windows, as ornament
and fashion kept pace with new machinery for the manufacture of embellishment.
Square Bays
TL square bay succeeded the slanted one in the 1880's, as house plans began to emphasize a more massive vertical
home laden with wooden products of the millwork machine age.
The houses have other characteristic details besides the square bays. Many had false gables, like a triangular version
of the false front, shown in the cluster above. Other homes were topped by a 'Mansard,' or French, roof cap. Most
square bayed homes originally had either false gables or French caps, but many have been removed by overzealous
modern izers.
Some houses with square bays were built in identical rows; other builders made slight variations within clusters. The
two shown at the right are next-door neighbors. Notice how the false gable and its crowning finial make the house
above look different from its virtually identical neighbor.
Columns
Victorian house part catalogues offered columns of "any size or shape," and they were used in abundance. Look for
columns in entryways, in verandas, cut in half as pilasters and, in miniature, as colonnettes to outline bay windows. The
column shaft might be of solid or hollow wood, or it might be made of cast metal. Some columns have decorative
capitals which echo earlier classical motifs: the acanthus leaves of the Corinthian capital, the spiraled Ionic capital, or
the two combined into a Composite. The shaft may be beaded, fluted, or plain. The column base may be the bulbous
tulip shown above, or the chaste incised pattern shown on the right.
Millwrights of the era soon moved past these classical themes and began to construct their own versions of columns.
Some borrowed from the Egyptian, some were geometric, and others were composed of four columns flanked by a pair
of pilasters which frame the door.
Newel Posts
Indoors and out, the newel post forms a staunch ending to a flight of stairs, with its balusters and its handrail swooping
up to a door or a landing. Newels occupied many pages in Victorian mill catalogues; turn to text illustration 31 to see
some of the newels offered by a local shop.
Newel posts are made in different ways and carry varied embellishments. Look at the photograph above. The post on
the left is intact, but the one on the right has been sawn in half, perhaps by an angry neighbor. This fortuitous bisection
lets us look directly into the heart of the newel to see how it was made
Extraordinary Details
The house which leads this section is noteworthy for its owls, who keep a watchful eye on passing neighbors. Yet these
owls are but one example of the imaginative freedom expressed in the exuberant embellishment of the Victorian era.
The old houses are appealing because they, like ourselves, possess both masculine and feminine characteristics.
Look closely at the floral decoratives, finials, pendants, columns, newel posts, and other sawn and turned parts. You
will notice many details which are highly suggestive of human anatomy. The often-used button, applied freely to
gables, newels, windows and almost every other available bare surface, looks much like a navel. The examples shown
here are not unusual; something similar can be discovered on almost every Victorian house.
Whether these details sprang from repressed desires or from a robust sense of life is neither our task nor our intent to
decide. It is important simply to realize that the parts are there and that they contribute in a subtle way to the personal
nature of the homes. We offer this section on extraordinary details as an invitation to become aware and appreciative of how the essence of Victorian architecture mirrors human nature in its attempt to attract, please and delight.
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