Our friend Tyler Hurley, wears pieces from "things take time" while talking about the process behind his home in progress located in the Outer Sunset, San Francisco.

This collection pulls inspiration from our community who emphasizes the importance of the DIY spirit. Behind any great accomplishment, there is an even greater source of effort. A labor of love certainly becomes a manifestation of thoughtfulness and energy. 

When you first walk through his front door, there is this sense of memories and wonder that embraces you. Tyler took us through where he liked to hangout, eat family meals, and where everyone would convene in common and private areas of the house as he grew up. His home sits at the top of a hill with Ocean beach only a few blocks away. A true historical landmark in its own right.

The home was originally bought in 1976 by his grandparents who immigrated from the Philippines. It has been passed down to his parents and has become somewhat of a family heirloom. His parents extended the home later in the 90s to welcome in family members new and old. Tyler has spent the last couple years re-imagining and re-building the space as a way to cherish the home he grew up in. He enlisted the help of friends and family to completely deconstruct and re-construct the sub-flooring and is currently updating all the small details that make a home special. From adding glossed cork flooring to new doors, handles and moldings . The space is filled with collected items that seem more like a collage of Tyler's taste rather than a well curated gallery of rare vintage items. The source of lighting used for our shoot comes from a Pattica lamp by Ettore Sottsass.

We wanted to talk with Tyler to give us insight into how everything is coming along. Through this conversation, we explore the freedom of creating without the pressures of time. A life long pursuit of perfectionism that is fueled by the fervor to learn and grow.

AV: What does rebuilding a space that you share all your child hood memories in mean to you?

TH: Having the opportunity to recreate the house I grew up in has been super fulfilling. The build out I’m working on is actually part of the homes downstairs extension from the early 90s and has been easier to tear down and reimagine as it has less family history than the original upstairs portion which was built in the 40s and shares memories of 3 generations. There’s of course been pressure to have things structurally sound and within building code, but the main emphasis and goal for the project was to just make things look as cool as possible. Originally that whole area was carpeted, which I wasn’t necessarily fond of growing up… so this has been a rare chance to update the place while still celebrating elements that are familiar. The spiral staircase for instance was something I loved, but each step was also wrapped in carpet. Removing those wraps and repainting the spiral in oil enamel has given the stairs new life. 

 AV: What prompted your journey into learning about design? 

TH: It’s been a gradual process for me. I remember adding hardwood in my room when I was 18 because I thought I could use it as a studio space for a clothing line (laughs). Seeing the difference a floor could make sort of got the ball rolling for me. For the first time I was able to consider furnishing a space and with that came a lot more research. I’ve also met some great people along the way who share similar interests and have encouraged me to continue studying design. Oh and eBay! 

AV: What were your first memories of design that lead you to start re-modeling?

TH: Probably seeing old architectural renderings from my grandfather. Growing up I would hear about his small and well kept apartments filled with art prints, paintings and chrome and leather furnishings that were mostly from the Bauhaus movement. I actually had the chance to visit him in Portland in 2020. Apparently he did similar remodeling projects in various studios / apartments he lived in when he was my age.  It was funny almost everything I showed him that was design related he hated. He’s very much a form follows function type of guy. 

AV: What was the inspiration behind choosing materials for your own project? 

TH: I decided on glue down cork tile which is a bit of a lost art / flooring option. Mostly because it requires a perfectly still and smooth subfloor. I’ve had to redo different parts of the flooring several times to achieve this which is also in part why it’s taken so long to get to the finishing stage. It’s considered a renewable resource as it comes from tree bark and can be re-harvested several times in a trees lifespan. I was inspired after learning architect and futurist Buckminster Fuller used this style of flooring in his dome home. (His place also featured some early works by Ruth Asawa, which gave me a bit more perspective and confidence seeing cork accompanied with works of art I appreciate). I’ll be finishing the cork from its raw state to a high gloss urethane. Sort of a tribute to Ettore Sottsass  taking overlooked and cheap materials and turning them into something more interesting, sometimes even luxurious.

AV: I love your idea of turning something so accessible and contextualizing it into something modern. You mentioned Ruth Asawa who is one of my favorite artists that also made use of accessible materials such as metal wire to make intricate sculptures that looked otherworldly. Her art practice came from necessity I believe, from being a teenager in Japanese interment camps, to showing talent and being admitted to go to Milwaukee State Teachers College. Are there any architects, designers, or artists that you would consider your favorite?

TH: I remembered she was one of your favorites! She studied with Buckminster at the black mountain college as well. Most of my favorite “Architects” are more interior and product designers really but when it comes to structures alone I like the warm tones of Frank Lloyd Wright. He set the bar for so many and yet his work remains incredibly singular. Kuramata is up there for me in terms of prolific designers. there’s really too many artist for me to list but I look at Ken Price drawings and sculptures quite a bit

AV: What is your favorite period for design? It could be past, present, or future.

TH: Most of what I look to collect is from the late 70s through the 80s. I feel there was a large emphasis on future forecasting or designing for the future at that time, at least conceptually speaking. Things from that era felt more decorative than technologically advanced, which personally I enjoy. I’ll spot a lighting fixture or coffee maker I know in an old sci-fi film and think it fits perfectly for that time frame… or even our present time. 

AV: Is there any specific design movements that you admire and think about often?

TH: I think about the Memphis group. Aside from any specific objects, I admire the fact they were able to collectively make design a bit less serious. I wouldn’t say it’s all my favorite, but there’re a few pieces I still would like to own and interface with daily. 

AV: I can't wait to see the finished project once you lay your cork floors. We'll have to revisit this conversation when that time comes.

photos by: Antwan Vu