RESIDE Blog

Designed by influential San Francisco architect Ollie Lundberg, this rare modernist residence combines a truly inimitable architectural pedigree with the prestigious location of Pacific Heights, sweeping views of the bay, and effortless access to serene green spaces. Over his decades-long career, legendary San Francisco architect Ollie Lundberg earned a reputation for crafting exceptional designs from modest industrial materials such as metal, stone, and timber. “Architecture is about composition—form and light and material coming together in ways that are beautiful, functional, and elegant in their simplicity,” he once said, and this striking contemporary residence on Jackson Street in Pacific Heights exemplifies those ideals. In many ways, the home represents a paradigm of his work and a once-in-a-lifetime opportunity to own a piece of architectural history and a modernist San Francisco landmark. San Francisco, California | Stacey Caen, Joseph Lucier | Sotheby’s International Realty – San Francisco Brokerage Lundberg worked in tandem with the current owners to create the residence, transforming a pair of nondescript 1950s homes into a singular bold expression of sculptural modernism that would be virtually impossible to replicate today, given current codes and allowances. The façade is composed of Neopariés, a crystalized glass ceramic material from Japan; Basaltina, volcanic stone quarried in the Lazio region of Italy; and stainless steel, seen in a dramatic 30-foot-tall column. Interior floors are clad in wenge, an African hardwood, and bluish-gray Brandy Crag stone. Exhibiting the clarity of Lundberg’s vision, confidence, and precision, the interiors allow surfaces of glass, steel, and stone to shape interiors distinguished by an airy openness. Floor-to-ceiling glazed windows allow natural light to flow freely and reveal a spectacular sweeping view of the San Francisco Bay. Long sightlines conjure a sense of impressive continuous volume rather than a sequence of individual rooms. The result is a home that is both pioneering and deeply livable. It is a testament to progressive design in a neighborhood typically known for its historic character. The subdued entryway—on the second level—merely hints at the splendor of the space beyond, which unfurls with assurance. A cinematic curvilinear staircase crafted from stone and steel links the three floors and stands in pleasing contrast to the rectilinear geometry of the enveloping architecture. The open, unified public spaces consist of a streamlined kitchen with black countertops, warmly hued cabinetry, and superior-caliber appliances; a dining area with sweeping bay views through an expanse of windows; and an inviting, light-filled family room with a gas fireplace. The home is crowned by a full-floor primary suite, a true sanctuary that includes a contemplative office with art walls and a private deck. The bedroom’s spa-inspired en suite bath features an open dual-head shower, a soaking tub, and a substantial double vanity. Floor-to-ceiling windows frame vistas of the city and bay, transforming the sky, horizon, and water into dynamic art to be enjoyed every day. Two guest bedrooms are secluded on the lowest level, and each benefits from natural light and direct access to the tranquil backyard. The capacious temperature-controlled wine cellar is a work of art in its own right. While practical in many ways—the laundry area and garage are located here—this floor remains dedicated to Lundberg’s architectural aesthetic. The estate’s double lot—particularly rare for this neighborhood—encompasses a level backyard oasis professionally landscaped by award-winning designer Andrea Cochran. The garden is a space of peaceful privacy, while charming Alta Plaza Park sits steps away, just across the street. This effortless access to communal greenery secures the residence as a rare gem indeed—one that combines a connection with nature, the prestigious location of Pacific Heights, and a truly inimitable architectural pedigree. Discover luxury homes for sale and rent around the world on sothebysrealty.com

Luxury is in the eye—and tastes—of the beholder. But when a high-end home was built can offer hints about its characteristics. The “January 2026 Luxury Housing Report: Old Versus New,” published by Realtor.comⓇ on February 11, 2026, compares luxury U.S. homes that have a median year of construction before 2002 with those built after 2002. The newer luxury homes are notably bigger: the properties built most recently average 3,187 square feet in the US$1-2M bracket, compared to 1,430 square feet (Urban Honolulu) and 1,929 square feet (New York Metro Area) in those older luxury markets. However, the older luxury homes are generally more expensive. In January 2026, luxury homes in the five most expensive older markets commanded higher prices than those in newer markets, with one eye-catching exception: Heber, Utah. Despite a median construction date of 2024, luxury properties in Heber, Utah were priced at an entry point of US$7.6M in January 2026—higher than anywhere else in the U.S. Yet, according to the same report, when it comes to selling, the age of a high-end home does not significantly correlate with time spent on the market, making the insight of a well-informed real estate agent all the more valuable. Cover Property: Heber City, Utah

Our monthly series asks: How do you bring color into luxury design? Green lends itself to older properties, thanks to its historic links, writes Jill Krasny Leinster, Ireland | Lisney Sotheby’s International Realty Some homes make a lasting impression while others quickly fade from the mind. The design scheme is always a factor. Used with care, yellow can be uplifting and pink is surprisingly grounding, while green—which our series on color in luxury design turns to next—is perfectly suited to old-world interiors, given its rich history. In ancient Egypt, the color was tied to life and vegetation, but also to the afterlife. Tomb paintings and artifacts feature green pigment and verdigris, and Osiris, the Egyptian god of fertility, death and resurrection, was often shown with green skin. Meanwhile, in 18th- and 19-century Europe, the color came to symbolize wealth and power, says Jessica Iwaniec, the design director of Pembrooke & Ives, a New York-based interior design firm. “Emerald green is definitely a standout you would see on walls [of the period],” she says, while rich jewel tones appeared in everything from velvet furniture to drapery, she adds. Portland, Oregon | Cascade Hasson Sotheby’s International Realty Today, Iwaniec says she tends to see clients choosing lighter shades of green when it comes to paint, while deeper shades remain a popular choice for textiles. Yellows and oranges work well with green due to their earthy tones. “I think about the leaves changing colors and the different variations you might see in the fall,” she advises on the most successful color combinations. The paintwork of this estate in prestigious King’s Heights in Portland, Oregon, complements the myriad colors of its garden. “This green blends in with the surrounding landscape but brings out the details of the architecture, too,” says Iwaniec. It also draws out the white components. The home has a sense of timelessness, despite the exterior being painted a teal-leaning hue that is not common on the U.S. West Coast. “You might encounter it in New England,” she says. Dark and bright shades of green can feel overpowering in warmer climates and Iwaniec warns also against pairing them with red, which can feel too Christmassy. But lighter shades of green are almost adjacent to neutrals, making them ideal for contemporary homes where light is prized. She cites a recent project on Shelter Island, New York, featuring a serene sage green with a high-gloss finish that accentuated the woods outside. Leinster, Ireland | Lisney Sotheby’s International Realty The Village at Lyons, a completely remodeled 20-acre luxury resort in County Kildare, half an hour from Dublin, likewise plays off its rolling pastoral landscape with subtle green detailing across the piece, particularly on windows, doors and balconies. Lush climbing vines transport you to older interiors in Europe, says Iwaniec, who likens the site’s meticulously landscaped gardens and courtyards to the floral designs of English textile designer William Morris. London, England | United Kingdom Sotheby’s International Realty By contrast, a spacious central London apartment in a Grade II listed building, a stone’s throw from Buckingham Palace, features neutral colors throughout, except for one monochromatic room. Here, designer David Linley has deployed a channel-tufted wall panel and bench in acid green that creates a “dramatic, moody environment,” says Iwaniec. Adding further drama: the wall upholstery, which enhances the feeling of being enveloped by the soft green textures. Explore our Color Chart series, from zingy orange, bold red and joyful pink to calming white, crowd-pleasing blue and uplifting yellow

One couple’s remarkable private collection perfectly captures the transportive power of photography, writes Katie Armstrong A 2024 exhibition of photography at Sotheby’s New York. Photograph: Sotheby’s The world’s oldest surviving photograph, “View from the Window at Le Gras,” was taken by Joseph Nicéphore Niépce in the mid-1820s. The subject was simple: a dusty view from the inventor’s window, overlooking his estate in Saint-Loup-de-Varennes, eastern France. Was it art? Some 30 years later, the French writer Charles Baudelaire declared photography to be “art’s most mortal enemy” in his 1859 review of the Paris Salon. And incredibly, this is a debate still aired from time to time, even as recently as 2014 when one British newspaper’s art and photography critics went head to head on the matter. At Sotheby’s, “fine art photography” is no oxymoron. While the auction house originally sold photographs alongside books and manuscripts, it has pioneered a market for the medium over the past half century, holding the first dedicated photography auctions in London and New York, in 1971 and 1975 respectively. This April, Sotheby’s Breuer Building—formerly the Whitney Museum of American Art—will host its inaugural photography sales series. Tina Modetti’s “Roses, Mexico,” 1924, part of the Jill and Marshal Rose collection, soon to be auctioned at Sotheby’s New York. Photograph: Sotheby’s As an auction category, photography spans the entire history of the form from experimental 19th-century daguerreotypes to striking contemporary works. But it is very much anchored in the 20th-century classics. “Over the last 20, 25 years, the artists that collectors are buying haven’t actually changed that much,” says Aimee Pflieger, senior specialist, photographs, at Sotheby’s New York. “Ansel Adams, Edward Weston, Andreas Gursky, Richard Avedon and, of course, Cindy Sherman—that’s our bread and butter, and continues to be so.” Gerhard Richter’s “Untitled (5.2.89)” from a distinguished American collection. Photograph: Sotheby’s. The place of photography in contemporary practice has further elevated the medium and its market. Pflieger singles out German artist Gerhard Richter. “His oil on chromogenic prints have exploded,” she says. “We used to sell them for between US$20,000 to US$30,000, but in May 2025, we sold one for over US$400,000.” Female artists including Nan Goldin, Barbara Kruger and the late Marcia Resnick are also growing in popularity at auction. Photography offers plenty of range, with room to be focused in your collecting, but also an opportunity to be playful, says Pflieger. “One collector named Henry Buhl only bought pictures of hands,” she notes, “and I know people who literally just want pictures of cats.” “Train Coach Waiter, New York 1951,” one of a series of Irving Penn portraits soon to be auctioned at Sotheby’s New York. Photograph: Sotheby’s A series of Irving Penn images, taken in the mid-1950s for Vogue, will be a highlight of the Print and Photographs Part I auction on April 14. The works feature regular tradespeople, shot stylistically. “You have men in these very humble professions elevated to something very special because they’re shown in these very dignified, full-length portraits,” says Pflieger. “They’re also rendered in platinum palladium, which is this lush, time consuming and technically difficult type of printmaking process. They are absolutely fantastic.” At the heart of the April sales series will be the remarkable Jill and Marshall Rose Collection. The recognition of photography as fine art was not lost on this collector couple, who were vocal advocates for the arts and cultural philanthropists. Real estate developer Marshall championed and chaired a range of organizations and initiatives across New York, while Jill was pivotal in transforming the International Center of Photography into one of the city’s most significant institutions. Together, they collected thoughtfully and enthusiastically. Edward Steichen’s 1908 photograph “Balzac, The Open Sky, 11 P.M”, from the Jill and Marshal Rose collection, to be auctioned at the Modern Day Sale at Sotheby’s New York. Photograph: Sotheby’s The collection’s undeniable centerpiece, to be auctioned at the later Modern Day Sale on May 20, is Edward Steichen’s “Balzac, The Open Sky, 11 P.M.” A rare and monumental photograph of Auguste Rodin’s sculpture of the French writer Honoré de Balzac, it was captured in 1908 using long exposures to create the enigmatic scene. The image reportedly gave Rodin faith that his sculpture would finally receive the recognition he believed it deserved. Art and photography, it turns out, are more friends than enemies. Our Collecting Focus series features expert advice on contemporary art, high jewelry, watches, wine, rare whisky, historic books, fashion history, natural history, Chinese art and antiques and Americana