During a recent stay at a city I called home for a year, I visited Restoration Hardware San Francisco, The Gallery at the Historic Bethlehem Steel Building, “RH SF”. And let me tell you, it is the epitome of classical sophistication with modern, clean interiors. According to San Francisco Magazine https://sanfran.com/rh-san-francisco the building was built in 1917 by Frederick H. Meyer, an architect from San Francisco. Architectural Digest, pens the style as Classical Revival.

From our post “Ancient Greece” under the “Antiquity & Style” section, we know that the original classical style contributions by the Greeks are signified by mathematical relations to the various sections of the architecture. Furthermore, the human size is central in terms of proportion and measure of all things. Moreover, the Greeks look to nature for inspiration as indicative of the anthemion motif, acanthus leaf and egg & dart all which can be seen on the external architecture of the RH SF. Specifically, the rosettes can be seen above the Classical Revival column orders.

The egg & dart motif is seen at the top capital portion of the column in the below image and also atop the centre of the double black doors.

Image courtesy of SF Eater & RH

While the anthemion is seen repeated in the rectangle and squares underneath the top rows of the windows per the below image.

Image courtesy of SF Eater & RH

The acanthus leaf and the anthemion are also seen on the double black doors. Specifically, the acanthus is on the left and right side of the “RH” sign on the doors while the anthemion are utilized on the actual doors.

Image courtesy of SF Eater & RH

The acanthus leaf is also used as supports to hold up the balconies.

Image courtesy of SF Eater & RH

The dentils on the exterior are similar to those that can be seen on the Porch of Maidens as noted in the “Ancient Greece” post.

The “Ancient Rome” post under the “Antiquity & Style” section refers to the prominence of the rosette motif in Roman architecture which is also seen in repetition on the exterior of RH SF (see image one above). The use of repetition in columns, windows and motifs is also characteristic of Classical Revival style as mentioned in architecture.com. https://www.architecture.com/knowledge-and-resources/knowledge-landing-page/classical-classical-revival-neo-classical

Image courtesy of SF Eater & RH

The “Ancient Greece” post describes how the Greeks gave more importance to the exteriors whereas, the “Ancient Rome” post states, the Romans strived to achieve a sense of grandness in their interiors. Entering RH SF definitely evokes a sense of grandness. Upon entry into the octagonal lobby one is met with Classical Revival columns on the left and right of the staircase, acanthus leaves on the left and right of the staircases, the floor includes a creamy beige colour along with off white and brownish, red colours. As noted in the “Ancient Rome” post, Roman floors were multicoloured and marble mosaics were laid into intricate patterns reminiscent of the lobby floor at RH. Per our “Ancient Greece” post beige was one of the colours widely used by the Grecians. The columns to the left and right of the stairs sit on a base with the capital adorned with the rosette and egg and dart motifs similar to the columns built into the external architecture.

Image courtesy of Travel + Leisure & RH

The ceiling is rich with a floral and angel fantasy detail reminiscent of French Rococo designs. In particular, the swirling floral garland motifs arranged asymmetrically within the symmetrical shapes are characteristic of French Rococo.

Image courtesy of Travel + Leisure & RH

While the design stays true to original Greek ornaments through the use of dentils, rosettes, the eggs and egg and dart motifs. The ground octagonal plan is reflected into the ceiling design and in the centre lights arranged in an octagonal manner which is also a technique used in historical styles.

Classical art resides throughout this art gallery/design studio/hospitality space. For example, caryatids which were an architectural innovation by the Greeks can be seen mounted on either side of the entrance into the bar. It is this mix of ancient, highly intricate architectural design (i.e. classical elements such as the caryatids) set against clean cut shapes (i.e the rectangle bar counter with rectangle cabinets and shelves) that is the ultimate marriage of modern and classical, pulled off oh so brilliantly by RH SF.

Image courtesy of Travel + Leisure & RH

The Palm Court restaurant residing in the gallery is very much a reflection of domestic Roman architecture. As noted in our “Ancient Rome” post, Roman homes were inward looking. As we see in the House of Vetti, the home has an internal courtyards with a central fountain surrounded by greenery. The greenery and water was for relaxation purposes. This is very similar to the structure of the Palm Court which has a central fountain surrounded by palm trees underneath the skylight. This skylight is similar to the oculus in the dome ceiling of the Pantheon which serves as a function of allowing natural light into the space while making the ceiling light and airy. Classical art is also set into the restaurant against ultra sleek and contemporary furniture and fixings to offer the best of the modernism and antiquity.

Image courtesy of Travel + Leisure & RH

RH SF stays true to its design values described in their design ethos which states “We believe the most pleasing environments are a reflection of human design, a study of balance, symmetry and perfect proprotions”. They further state, “We subscribe to the principles of vitruvius”

Image courtesy of me

In the above image, one can see the technique of enfilade utilized to create a vista down the view of the showrooms. Furthermore, the show rooms start out from very public showrooms and progress to very private showrooms. The “Baroque in Europe” under “Antiquity & Style” mentions how the enfilade technique characterized the organization of the interior architecture of the Palazzo Barberini by Carlo Moderno. It was also in the Palazzo Barberini that rooms were organized along an axis and a straight line could pass through them similar to the organization of the showrooms in RH SF. Also, the rooms progressed from public to private in the Palazzo Barberini similar to RH SF.

Image courtesy of me
Image courtesy of me

Balance, symmetry and perfect proportion are a common theme throughout the gallery. In this image, symmetry is created through the placement of the rectangle, verticle cabinets on the left and right side of the doorway. The round mirrors atop these cabinets are very proportionate to the size of the cabinets. The rectangle cabinet place on the left horizontally across the left wall balances out the two chairs place on the right against the wall with the windows. The artwork mounted on the left wall is proportionate to the cabinet it resides above. The artwork place on the centre table is in perfect proportion to the coffee table it resides on and is balance by the two long rectangle sofas placed on either side of the coffee table. There is even symmetry, balance and proportion used in the placement of the objects in the cabinets. The size of the chandelier is in perfect proportion to the entire room and ties the entire room together adding a sense of grandeur. The colours of the chandelier even tie together the colour of the wood, the browns in the pillows and the off whites in the sofas, artwork and lamps. The carpet is also a nice tying together piece.

Image courtesy of me

Once again the chaise on the left and right side of the main sofa balance each other in a symmetrical manner. Likewise, the side chairs are placed in perfect angle to each other. The rectangle table is in perfect proportion to the sofa, chairs and chaises. The rectangle, vertically place cabinets on either side of the doorway provide balance and symmetry. The artwork mounted atop the cabinets are in perfect size and proportion to the cabinets. The objects displayed in the cabinets are proportionate to each other and the cabinet space. These objects are placed in balanced manner. The artwork mounted on the left is not too long or too short there is equal space above and below it on the wall reminiscent of our conversation on Notan under the “Design” section. Once again the RH team displays classical art, ( i.e. the columns stacked in the centre coffee table) in a very modern and clean interior to add avant garde historical sophistication. The carpet catches all the colours of the room in a very subtle way tying the space together. Similarly, the chandelier is the perfect size for the room causing it to not be too overpowering or underwhelming but just the right amount of grandeur for this already classy showroom.