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Roos House

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Good
  • California Modernism
  • Identity of Building/Site
  • History of Building/Site
  • Evaluation

Roos House

Site overview

The only San Francisco example of John Dinwiddie's residential work, the Roos House of 1938 is clearly inspired by early European Modernism; the rigorous cubic massing and horizontal ribbon windows are signatures of high modernist design. The use of vertical board and batten wood siding and white-painted window frames, however, places it within the Bay Area tradition. The design responds to the local environment spatially and formally: intertwined interior and exterior spaces, and a roof garden integrate the plan with the site, and canted double-height bay window, aimed at the Golden Gate Bridge, presents a distinctive feature, one that would later be much imitated.

How to Visit

Private residence

Location

2660 Divisidero Street
San Francisco, CA, 94213

Country

US

Case Study House No. 21

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Designer(s)

John Ekin Dinwiddie

Other designers

John Ekin Dinwiddie, architectAlbert H. Hill, associateHenry Sanders Jr. & Edward Williams, landscape architects

Related chapter

Northern California

Commission

1937

Completion

1938

Commission / Completion details

Commission 1937(c), completion 1938(c)

Current Use

Private residence.

Current Condition

Exterior is in very good condition. original color scheme is no longer in use; entry area has been modified from the original configuration; state of the interior is unknown.

General Assessment

The Roos House is a fine example of the distinctive way in which Bay Area designers adapted European Modernism to reflect the unique history and character of their own region. John Ekin Dinwiddie√.s use of ribbon windows, articulated planar elements in relationship with sculptural volumes, dynamically intertwined interior and exterior spaces, and a roof garden show a clear debt to the latest ideas coming out of Europe. At the same time, his choice of distinctively regional materials such as horizontal redwood siding and board and battens, the responsiveness of his design to a site that is typical of San Francisco in its steep slope and windy character, and his use of an oversized bay window carefully canted to capture a distant view of the Golden Gate Bridge mark the design as distinctively northern Californian.
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