Collaborator Profile: Greg Warner of Walker Warner

Photo Credit: Margo Moritz

Collaborator Profile: Greg Warner

EJA is proud to partner with the Bay Area's most talented architects, builders, and interior designers. One of these is architect Greg Warner of Walker Warner. Greg grew up in Hawaii, where he was exposed to the work of Vladimir Ossipoff. The Russian-born architect who studied in Japan is regarded as the Dean of Hawaiian Modernism. Greg's aesthetics complement those of his partner, Brooks Walker, who comes from a multi-generational Bay Area architectural family. Founding their firm in 1989, they've furthered the Bay Area and Hawaiian Modernist ethos with restrained, site-specific designs for private estates and public spaces.

Kua Bay: Architecture, Walker Warner; Interior Design, Nicole Hollis; Builder, Ledson Construction; Photography, Patrik Argast

EJA: How did growing up in Hawaii affect your aesthetics?

GW: Reflecting, I would have to say that growing up in Hawaii had a significant impact on my aesthetic thinking and preferences — more than I realized until I returned to the islands for our early work there. As with most of Hawaii, whether on the coast or at higher elevations, I would say the context is generally rural or “agrarian.”  I was raised in a small “up-country” ranching town called Waimea, on the island of Hawaii, in the heart of Parker Ranch. Most aspects of life had a strong and relevant connection to the land, and I would say that this has been ingrained in my aesthetic sensibilities

EJA: When did you become aware of Vladimir Ossipoff's work in the state of Hawaii?

GW: I first learned about Val Ossipoff after returning to the island of Hawaii for the start of a project there. While on-island, I had some free time and decided to visit the Hawaii Preparatory Academy, where I had attended high school. While on campus and now an architect, I took notice of the buildings and asked who had designed them. That was my serendipitous discovery of Ossipoff and the realization of his work’s influence on me.

EJA: Which is your favorite Ossipoff building?

GW: Simple answer: This would have to be the Davies Memorial Chapel, located on the HPA campus.

The Davis Memorial Chapel at HPA: Photo Credit, Matthew Millman

EJA: How did attending the University of Oregon influence your architectural design?

GW: The School of Architecture and Allied Arts (AAA) at Oregon is unique in that students “co-mingle” with other programs (Landscape Architecture, Fine Arts, Digital Design, Art History, etc), all of which influenced our development.  In addition to a strong mantra of environmental sensitivity, I would say that a strong relation to context was an important influence that is still evident in our work.

EJA: How did you and Brooks Walker meet? When did you decide to found your architectural firm?

GW: Brooks and I met while we were at Oregon.  As much as we spent time “in-Studio” during school, I’d have to say we probably spent more time fly-fishing.  Founding Walker Warner came well after we both graduated and had moved to the Bay Area to begin our careers.  We reconnected serendipitously while I was between jobs, and he was building a house he had designed for his sister and brother-in-law. After completing the project, he had the notion to attend business school. Brooks had been asked if he would be interested in designing a couple of homes, and he reached out to me. We decided to work on the projects together.  That was in 1989, and the thought was that we’d give it a try, knowing that we could “move on” if it didn’t pan out.

EJA: Which Bay Area architects influenced you?

GW: I would have to say that most Bay Regionalists (i.e., Cliff May, Gardner Dailey, William Wurster, Joseph Esherick, William Turnbull Jr., etc.)

EJA: What is the commonality between Hawaii and California architecture?

GW: More than you might imagine. Although the climate varies between each other, it’s similar enough that we commonly see a similar use in our material choices and programmatic decisions. Means and methods of construction are also similar to those in other regions, so this is common to each. Since our work is not stylistically driven, I would also say that projects in both places share a similar aesthetic. Lifestyle is probably the most influential driver in what makes a project in one place versus another the most different.

EJA: Your work is site-specific. How does that affect how you approach lighting design?

GW: I like to say that each of our projects is “baked from scratch,” unique to each client and location. Lighting design, especially, should also relate directly to a project’s unique influences, whether it be client preferences or the location of the project. 

I also like to say “a little light goes a long way,” especially as this relates to our work…and so prefer that lighting design for our projects takes this subtle approach.