Layla Zulfa
The architectural landscape of the 20th century was profoundly shaped by the cross-pollination of cultural aesthetics, perhaps most notably in the mid-1940s when Danish designer Hans Wegner looked toward the Ming Dynasty for inspiration. His creation of the "Wishbone Chair" became a definitive moment in design history, fusing the austere elegance of imperial Chinese furniture with the functionalism of Scandinavian modernism. Decades later, this dialogue between the North and the East has found a new, monumental expression in the hills of San Francisco. Architect David Thulstrup, the Copenhagen-based visionary behind the interiors of the world-renowned restaurant Noma, has completed his first residential project in the United States: a comprehensive renovation of a historic Pacific Heights residence that serves as a contemporary manifesto for East-meets-West ingenuity.
The project represents a significant milestone in Thulstrup’s career, marking his transition from the high-concept commercial spaces of Europe to the intimate, highly personalized realm of American luxury residential architecture. Located in one of San Francisco’s most prestigious neighborhoods, the house underwent a five-year transformation that stripped away a fragmented, "labyrinthine" interior to reveal a cohesive, light-filled sanctuary. The result is a residence that prioritizes clarity, materiality, and a sophisticated adherence to the principles of Buddhist philosophy and Feng Shui.
The Architect’s Pedigree: From Nouvel to Noma
To understand the precision of the San Francisco project, one must examine the professional lineage of David Thulstrup. Born and raised on the outskirts of Copenhagen, Thulstrup’s education at The Royal Danish Design School provided a foundation in the Nordic tradition of craftsmanship. However, his subsequent years in Paris and New York added layers of complexity to his practice. Working under Pritzker Prize winner Jean Nouvel in Paris, Thulstrup adopted an experimental, often radical approach to light and shadow. Later, in New York, he joined the firm of AD100 Hall of Famer Peter Marino, where he was immersed in the world of ultra-luxury retail and the meticulous execution required for brands like Chanel and Dior.
Since founding his own studio in 2009, Thulstrup has become synonymous with a "poetic minimalism." His portfolio includes collaborations with heritage brands such as Georg Jensen and Dinesen, as well as the interior design for Noma’s second iteration in Copenhagen. This background instilled in him a unique ability to balance the experimental with the refined—a skillset that proved essential when tasked with reimagining a historic San Francisco home for clients with a deep affinity for Asian art and spirituality.
The Pacific Heights Transformation: A Five-Year Chronology
The renovation of the Pacific Heights property was not merely a cosmetic update but a structural and philosophical overhaul. The original interior was described by Thulstrup as a series of disconnected rooms that failed to capitalize on the home’s verticality or its prime location. The project timeline, spanning half a decade, allowed for a level of detail rarely seen in residential construction.
The first phase involved a complete gut renovation, removing the internal "labyrinth" to create an open, four-story floor plan. A rear extension was added, featuring expansive floor-to-ceiling windows designed to frame panoramic views of the San Francisco Bay and the city’s undulating skyline. This structural change was intended to "breathe life" into the home, allowing natural light to penetrate the deepest corners of the floor plates.
Central to the reorganization of the house was the replacement of several disparate staircases with a single, continuous circular flight. Thulstrup utilized Dinesen oak to create a perfect timber spiral that serves as the home’s primary circulatory artery. The staircase is flanked by slatted railings that transition into solid balustrades at each landing, creating a rhythmic play of light and shadow. A narrow, multistory window was installed adjacent to the stairwell, ensuring that the ascent through the house is bathed in a shifting glow that tracks the sun’s movement throughout the day.
Materiality and the "Warm Beige" Palette
Thulstrup’s approach to the interior was driven by a vast materials library maintained at his office in Copenhagen’s Amager neighborhood. For this project, he curated a palette that favored tactile quality over visual noise. The selection of materials was restricted to a handful of high-performance surfaces: French limestone, hard-wearing oak, and "Petersen Tegl" bricks—a Danish product known for its slender, elongated form and artisanal texture.
The color scheme is a sophisticated exploration of "warm beige" tones. Thulstrup avoided the starkness often associated with modern minimalism, opting instead for champagne-colored textiles and diaphanous curtains that soften the entry of light. This tonal consistency extends from the limestone floors of the primary bath to the custom upholstery in the living areas, creating a sense of "clarity and calmness" that Thulstrup identifies as the project’s core objective.
Integrating East Asian Philosophy and Feng Shui
The clients’ passion for Buddhism and Asian art provided the project’s spiritual compass. Rather than incorporating these elements as mere decorative flourishes, Thulstrup integrated them into the architectural bones of the building. This required a rigorous adherence to Feng Shui principles, often necessitating creative solutions to traditional design challenges.
Working closely with a Feng Shui expert, Thulstrup made several key architectural decisions:
- Energy Circulation: To prevent the upward "funneling" of chi (energy), the architect eschewed a traditional skylight at the top of the central stairwell.
- Structural Softness: Corner windows and sharply pitched roofs were avoided in favor of gently curved ceilings, particularly in the attic level, to ensure a smoother flow of energy.
- The Water Element: On the rear terrace, a bespoke water fountain was installed to circulate water, a practice believed in Feng Shui to maintain positive energy and prosperity within the household.
The entrance of the home sets the tone for this cross-cultural synthesis. Visitors are greeted by antique Indian stone doors mounted as artworks, while the interior features a dedicated tea ceremony room. This space, framed by slatted oak millwork, is furnished with rare Chinese chairs made of woods historically reserved for the imperial court. Thulstrup spent months studying the rituals of tea ceremonies to ensure the room’s proportions and atmosphere promoted the requisite tranquility and focus.
Curated Interiors: A Dialogue of Icons
The furniture within the residence is a carefully curated mix of Danish modernism, Chinese antiques, and Thulstrup’s own contemporary designs. The presence of iconic pieces from Hans Wegner, Arne Jacobsen, and Poul Henningsen pays homage to the 20th-century Danish tradition. A Poul Henningsen chandelier hangs in the dining room, while the breakfast room features a bespoke onyx table paired with Wegner chairs.
Thulstrup also utilized the project as a showcase for his own furniture designs, many of which were originally conceived for high-profile commercial projects. The dining chairs are the same model he designed for Noma, and a perch in the primary bath was originally created for the Copenhagen restaurant Alouette. These pieces, characterized by their honest use of materials and geometric simplicity, bridge the gap between the historic antiques and the contemporary architecture.
Broader Implications and the Future of Global Design
The completion of this San Francisco residence signals a broader trend in the luxury architectural market: a move away from ostentatious displays of wealth toward "mindful" or "zen" luxury. As global clients increasingly seek residences that function as retreats from an overstimulated world, the demand for architects who can navigate the intersection of diverse cultural philosophies is rising.
Thulstrup’s success in San Francisco has already led to a surge in international commissions. His firm is currently overseeing residential and hospitality projects in Germany, Indonesia, the Faroe Islands, and across North America. The San Francisco project serves as a proof of concept for Thulstrup’s ability to translate the Danish concept of hygge (comfort and coziness) into a global language of sophisticated, culturally informed minimalism.
Ultimately, the Pacific Heights house is more than a renovation; it is a successful experiment in architectural diplomacy. By honoring the clients’ spiritual heritage while maintaining a firm grip on his own Scandinavian design roots, David Thulstrup has created a residence that feels both timeless and distinctly of its moment. The project reinforces the idea that the most compelling contemporary design is often found at the intersection of distant traditions, where the "clarity" of the North meets the "focus" of the East.
