Introduction

Nestled among the steep, narrow lots of San Francisco’s undulating streetscape, the residential architecture
of Jonathan Bulkley stands as a profound iteration of regionally responsive modernism. His 1968 Market Street
home exemplifies the enduring values of the Bay Area Modernist movement—particularly the Third Bay Tradition—
emphasizing integration with site, honest material expression, and innovative spatial planning. While not
as widely published as his Monterey Boulevard projects, Bulkley’s 1968 residence continues the architectural
lineage he established earlier in the decade, now pushing formal restraint, spatial economy, and contextual
nuance to new levels.

Jonathan Bulkley and the Bay Area Modern Tradition

Architectural Roots

Jonathan Bulkley trained under Ludwig Mies van der Rohe at the Illinois Institute of Technology, absorbing
the International Style’s formal discipline and Miesian doctrines of “less is more.” Yet, upon relocating
to San Francisco, his architecture evolved into something distinctly regional. It merged Mies’ rationalist
methodologies with the material warmth and landscape responsiveness characteristic of what architectural
historians have termed the Third Bay Tradition—a postwar Bay Area movement marked by sensitivity
to site, climate, and vernacular textures.

Adapting Modernism to Topography

San Francisco, with its erratic terrain and physically constrained building lots, demanded architectural
agility. Bulkley’s response was to design narrow, often vertical residential forms that hugged the landscape
rather than imposing upon it. By deploying locally-sourced re-sawn redwood cladding,
custom fenestration systems, and a palette of expressive materials, he created homes that
were at once formally rigorous and emotionally resonant, modern yet intimate.

The 1968 Market Street Residence: A Modernist Infill Strategy

Design Overview

Built in 1968, the Market Street residence is one of the last documented San Francisco homes designed by Bulkley
in the post-barrel-vault phase of his career. Departing from the curved rooflines of his early 1960s works,
this home showcases a more refined rectilinear composition. The structure rises on a tight urban lot, emphasizing
verticality, lightness, and the interconnection between interior spaces and surrounding views.

Program and Layout

This residence reflects Bulkley’s consistent interest in efficient spatial planning. While details
of its interior configuration remain less public, several defining strategies echo his earlier projects:

• Split-level floorplates that follow the site’s slope and reduce excavation cost
• Large south-facing windows and operable clerestories distributing daylight into central spaces
• Integrated balconies and sun decks for interior-exterior continuity

These manipulations of space are not merely aesthetic—they are rooted in modernism’s fascination with light,
air, and functional clarity.

Material Tectonics

The façade is clad in vertically oriented re-sawn redwood, a signature move in Bulkley’s
vocabulary. Combined with thin mullioned glazing, the exterior reads as finely grained but disciplined,
timeless yet specific to the Pacific Coast. Subtle steel accents highlight structural joints, reminding viewers
of Miesian influence, while smooth cast-in-place concrete plinths anchor the house into its
foundation with tectonic clarity.

Evolution from Early Bulkley Projects

1963 Homes on Monterey Boulevard

Bulkley’s earlier 1963 triplexes on Monterey Boulevard remain among the most formally expressive of his works,
identifiable by triple barrel-vaulted roofs and double-front balconies. These features lent
sculptural distinction uncommon in San Francisco’s residential landscape at the time.

Shift Toward Rectilinearity

By 1968, Bulkley had moved away from overt curvature and toward a more subdued spatial organization. The
Market Street home’s linear geometries and sequential fenestration indicate a shift toward
planar architectural expressions reflecting the same spatial logic in a more minimal format.
This shift mirrors broader trends in urban modernist development during the late 1960s, where profitability,
code compliance, and visual restraint converged.

Technical Strategies and Construction Techniques

Material Efficiency and Local Sourcing

As with both the Monterey Boulevard and Vermont Street residences, the 1968 home on Market Street relied heavily
on locally available materials. This included:

• Native redwood siding, offering both weather resistance and a visually warm texture
• Exposed structural framing in interior spaces, simplifying finishes and celebrating craft
• Thermal massing through concrete, serving both structural and passive climate control roles

Compact Infill Design

In a city densely built and vertically oriented, infill architecture requires aggressive
attention to circulation, zoning setbacks, and privacy. Bulkley’s narrow building footprint necessitated
staggered levels and careful window placements that ensure daylight penetration without exposure
to adjacent neighbors—a deft answer to the city’s infill constraints.

Craft Meets Engineering

Particularly remarkable in these projects is the degree of coordination between design intent and construction
method. Where the 1963 triple-vaulted forms required site-built formwork and advanced concrete
workmanship, the 1968 homes emphasized direct framing and precision in fenestration. Both approaches demonstrate
a hands-on understanding of how architectural ideas translate into built structure.

Legacy and Lessons for Residential Architects

Lessons from the Bay Area Modernist Movement

Bulkley’s homes stand in alignment with contemporaries such as William Wurster and Joseph Esherick in pursuing
modernism rooted in vernacular sensitivity and craft. While Mies van der Rohe’s philosophical
imprint is visible through formal discipline, there is a uniquely Californian adaptability to Bulkley’s designs.

Broader International Resonance

Though concentrated in San Francisco, Bulkley’s principles mirror efforts in other high-design global cities.
In Melbourne, London, and Toronto, housing on small lots faced
similar challenges—limited space, restrictive zoning, and close neighbors. Architects working in these contexts
will find in Bulkley’s approach an enduring model of spatial activism: doing more with less.

Case Study Reference Projects

• 875 Vermont Street (1965): Eleven units blending barrel-vaults and linear glazing patterns
• Friendship Village (1971): Affordable housing complex (w/ Igor Sazevich) showing large-scale adaptation of Bulkley’s ethic
• Monterey Boulevard Triplexes (1963): Known for their iconic barrel-vaulted profiles and expressive massing

Summary Table: Key Features of Jonathan Bulkley’s San Francisco Modern Homes

Implementation Insights: For Architects and Homeowners

• For Architects: Consider how material honesty and efficient spatial layouts can resolve complex urban site challenges. Bulkley’s work proves that innovation thrives under constraint.
• For Builders: Emphasize coordination between structural systems and site-specific detailing. Custom framing demands high execution precision but yields powerful results.
• For Homeowners: Seek architectural solutions that reflect local climate, topography, and cultural context. A well-designed home is not about scale or ornament, but appropriateness and usability.