The 47th San Francisco Decorator Showcase finds its home this year in a quintessential piece of the city's architectural fabric.
Built in 1897, the nearly 10,000-square-foot Queen Anne-style Victorian at 2315 Broadway Street stands as a testament to the gilded era of Pacific Heights. Originally commissioned for the Anspacher family and designed by architect Moses J. Lyon, the residence is a touchstone for the ornate detailing and soaring proportions that defined late 19th-century San Francisco.
The home is remarkably preserved. For over sixty years, it remained under the stewardship of the late architect Herbert P. McLaughlin and his family, ensuring the integrity of its original character—a rare feat for a building of this scale. Inside, eight bedrooms and seven-and-a-half bathrooms are enveloped in the craftsmanship of a bygone era, and the sunroom and formal living spaces frame unobstructed, sweeping views of the Golden Gate Bridge and the San Francisco Bay.
Today, this historic canvas serves as a site for contemporary dialogue. This year’s curated group of designers has reimagined the interiors with modern artistry ranging from bespoke marble to hand-painted murals.
Guests are welcomed with Peter Sun’s site-specific botanical installation, and each space unfolds with a sense of collective intentionality, from the high-functioning cocoon that is Tineke Triggs’ kitchen and family room, The Bakehouse and The Pheasantry; to the whimsical, pattern-infused La Chambre Bleue by Kristine Renee and Deborah Costa; to the local art and street-style reflected in the works of Chris Martin; to the edgy, yet entirely luxe, interiors of Fernando Castellanos.
Now listed with Erin Thompson and Bill Charman of Compass, the house awaits its next chapter—a new owner who will no doubt add their own story to this storied space.
Take a peek at our favorite rooms in the 2026 showcase.
// The showcase house at 2315 Broadway Street (Pacific Heights) is open Tuesdays through Sundays, April 25th through May 25th. Tickets ($50-$55/person), which benefit the San Francisco University High School financial aid fund, are available at decoratorshowcase.org.
'The Pheasantry' and 'The Bakehouse' by Tineke Triggs Interiors
(Michael P. H. Clifford)
In old England, the bakehouse was the home’s true heartbeat—a room defined by rising dough and the lingering heat of a central fire. For this year’s showcase, Tineke Triggs has reclaimed that spirit, introducing walls that intentionally reject the ubiquitous open-concept in favor of architectural intimacy designed for the slow passage of time.
In the lounge, vintage seating with tactile depth, mohair curtains, and locally crafted furnishings are punctuated with a personal centerpiece borrowed from the owner’s private collection. This is a space of transitions. Mornings begin in the quiet of the lounge, where light catches marble veining—a sanctuary for coffee and a book. As the day matures, the area shifts seamlessly into a cozy evening haunt for cocktails. By physically separating the functional labor of the kitchen from the leisure of the living quarters, Triggs allows the home to quietly reveal its center.
The kitchen is enveloped in timber and saturated chocolate tones—an atmosphere anchored by newly integrated molding, yet liberated by an absence of upper cabinetry. By sequestering utility within a high-spec butler’s pantry, the primary space is distilled into a quiet, zoned sanctuary.
'Double Standard' by Jeffrey Neve
(R. Brad Knipstein Photography)
In a clever subversion of collegiate aesthetics, Double Standard investigates the friction between institutional polish and self-taught identity, drawing inspiration from the sartorial scripts of The Official Preppy Handbook and the idiosyncratic, scholarly world of Max Fischer’s Rushmore. It is a room built on the bones of tradition, but curated for the moment those traditions are finally questioned.
The transformation required a strategic architectural pivot. By re-routing the entrance to the adjacent jack-and-jill bath, the floor plan was opened up, carving out a new perimeter and making space for a second twin bed—a symbol of dual paths and the impending autonomy of adulthood.
The bedroom stands as a portal between the safety of the nest and the intellectual frontier of university life, mirroring the evolution of a young man’s perspective. It honors where one comes from while making ample room for who they are about to become—a poignant analogy for the Victorian’s own metamorphosis.
'Chapel' by Robbie McMillan, Caleb Morris, and Marcus Keller with Everson Perez
(R. Brad Knipstein Photography)
At the residence’s highest peak, sheltered by the roofline’s sharp, rhythmic geometry, sits a space of duality. This "chapel" is not a room of dogma, but of temperament—a versatile retreat designed to host the boisterous energy of a cocktail hour as fluidly as the hushed stillness of a solitary afternoon. It is a destination for un-clocked hours, where the passing light of the Bay dictates the pace of the day.
The space is anchored in a palette of elemental, organic mediums in a playful pattern play. Limewash and raw clay meet the tactile warmth of timber, stone, and woven silks, creating an environment that feels both ancient and elevated. The room’s ethereal atmosphere is enhanced by myriad custom details and local art.
The bespoke table was a collaboration with MF Fine Woodworking featuring leather detailing hand-wrapped by the design team and paired with reupholstered vintage chairs. Each pane of the custom-commissioned stained glass was selected to mask the fire escape while casting a kaleidoscopic stream of color across a tufted sofa. The light finds a final resting place on the soft, geometric-patterned sapphire square carpeting, a softening layer that completes the room’s tactile narrative.
'La Salle de Sérénité' by Lizette Marie Bruckstein
(Jose Manuel Alorda)
The evolution of the primary bath begins with a bit of architectural deception. Upon entry, the space does not immediately announce itself as a bathroom, but rather as a beautifully paneled sanctuary of sable-toned millwork and dramatic stone. By breaking up the original combined bathroom and closet footprint, it becomes a singular retreat where utility is artfully obscured. Continuous paneling conceals storage and a discreet water closet.
At the heart of this sanctuary, a sculptural ottoman draws the eye toward a freestanding soaking tub positioned beneath a skylight. The true pièce de résistance is the shower’s seamless dialogue with the landscape. Beyond the mirrored porcelain tiles and striking integrated cutout shelves, a sliding glass door opens to reveal a private, fenced-in tree, an unexpected element that transforms a daily ritual into an immersive experience. It is a temple for the senses where history, craft, and the organic environment coalesce into a singular, restorative journey.
'La Chambre Bleue' by Kristine Renee & Deborah Costa (Jeanne Renee)
(Christopher Stark)
Perched on the residence’s third level, this suite unfolds as an immersive wonderland that blurs boundaries between reality and daydream. The design draws its spirit from the eclectic charm of a Parisian boutique hideaway, draped in a panoramic blue toile that mirrors the meeting between fog and sea.
Crossing the threshold, the visitor is met with an exuberant explosion of pattern in which it feels as if anything is possible. A sophisticated maximalism and layered textiles provide a worldly, well-traveled weight to the space, while playful elements abound, such as a fern-filled wicker chest. Anchoring it all is a stately canopy bed swathed in Pierre Frey fabric and Schumacer linens. A concealed closet door yields to a secret makeup vanity, transforming a daily routine into a private ritual.
Just beyond the glass door, a rear terrace serves as a secluded outdoor salon and vantage point, offering a view of the Golden Gate Bridge (a perspective also captured in the mirror’s reflection over the checkerboard tile mantel). Framed by drapery panels, this alfresco retreat features a dedicated aperitivo bar meticulously staged for the golden hour.
'Ishara' by Sindhu Peruri
(R. Brad Knipstein Photography)
The mansion’s Victorian canvas provided the ideal setting for Sindhu Peruri’s long-held ambition: creating a space that weaves Indian ancestry into the fabric of contemporary design. Her room, Ishara, exists in the delicate equilibrium between East and West, offering a soothing embrace in chalky Wedgwood Blue.
The room’s dramatic curved bay window serves as the primary anchor for the design. Upon seeing the vista of the Golden Gate Bridge, Peruri knew immediately that it required a bespoke swing. This versatile centerpiece features an adjustable backrest, allowing its user to pivot between the exterior skyline and the intimate interior.
Details throughout the lounge pay homage to cultural roots. The walls are adorned with intricate mirrored elements that catch the light, while a custom ottoman featuring hand-painted animals provides a whimsical connection to the designer’s history. Enveloped by high ceilings and classic picture moldings, the curation is an invitation to discover craftsmanship that mirrors their own sense of belonging.
'The Slow Spin' by Kimberley Harrison
(R. Brad Knipstein Photography)
The first impression of The Slow Spin is a ruse: what initially presents as a sleek, high-end cocktail bar reveals itself to be a sleek service hub anchored by Calacatta oyster marble and charcoal oak cabinetry with delicate metal inlays, creating a seamless dialogue between the home’s Victorian bones and a darker, modern edge.
The room reimagines the cadence of the home, centralizing garment care and refreshment on the second floor. By integrating a washer, dryer, and steam closet directly alongside a fully appointed bar, the room transforms a mundane chore into a celebrated ritual. This strategic placement ensures that the primary suite and surrounding bedrooms remain entirely self-sufficient; there is no need to descend to the main floor for a change of wardrobe or a mid-day pick-me-up.
Beyond its tactical efficiency, the space maintains an undeniable after-hours allure. Whether it’s a cocktail poured slowly, a glass of wine at dusk, or a sparkling treat for the kids, the room proves that even the most industrious corners of a home can be shrouded in intrigue.
'West Red Bedroom and Dressing Room' by Fernando Castellanos
(Jose Manuel Alorda)
Oakland-based designer Fernando Castellanos maneuvers between high-tonality restraint and raw, "street-flair" energy. Known for a style that is decidedly edgier than traditional Victorian fare, Castellanos has crafted a room defined not by excess, but by quiet sensuality.
The design finds its heartbeat in an homage to the Golden Gate Bridge. Castellanos pulls the iconic hue into the room’s DNA via its custom-carved marble nightstands, fireplace, and the private bar. This crimson thread persists through curated textiles and a selection of provocative art, including works by fellow Oakland creative Chris Martin, whose graphic, high-energy aesthetic also defines the home’s grand stairwell.
Bathed in the shifting glow of tall, west-facing windows, deeply hued drapery tempers the afternoon brightness. A low-slung bed serves as the primary anchor, flanked by oversized sculptural lamps and a funky-shaped tree, providing a lighthearted counterpoint to the space's sophisticated restraint.
