(Paragraph opposite figure 14) RJ, “Bold, modern architecture……developed in combination with the basics of proper solar orientation and site protection,and the responsible use of sensible materials and fine craftsmanship, will have the quality to withstand the tests of time. …….increase the longevity of buildings and decrease the consumption of resources by simply doing a good job with the basics first.” Do you think the experiential characteristic of his projects is in anyway compromised by his fundamental basics?

His projects remind me most of discovering cavernous areas of the Atacama desert, climbing earthen-rock formed vertical caves, and the coolth created inside these areas within an extremely hot, arid climate. It is interesting that the experiential quality of his works do not remind me firstly of other architecture, but instead of nature. His modern boxes have translated into something ageless, and I can see these buildings translating into the type of timeless regionalism still evident through the work of an architect such as Alvar Aalto. His fundamental basics seem to comprise the experiential characteristic of his projects, and to me do not seem in opposition.

“We are continually striving to create architecture that is regionally sympathetic and well grounded in the context and community of its place.” Do you think his use of materials and building form are convincing?

Rammed earth architecture and the contextuality of Rick Joy’s desert buildings are certainly admirable.
I can see a connection in time from native adobe buildings and now with crisp edges and clean metal and glass fixtures. This juxtaposition is incredibly subtle given the material differences, and works fantastically.

The “silence” he and Steven Holl discuss is from the experience of being inside an extension of the natural environment, emphasized through the extensive use of these humble materials. From images of his interior spaces, I see similarities with other successful desert works I’ve visited, including the Earthships in Taos, New Mexico, and Donald Judd’s Marfa, Texas compound of old army barracks at the Chinati Foundationa and his Mansana (The Block). These adaptive reuse and fully sustainable projects are most respectful of the natural environment.

Brian MacKay-Lyon work in Nova Scotia represent how grand gestures in architecture don’t always have to rely on complex forms that test the limits of structure. Instead, in his work the gestures come from the careful attention to detail and the reinterpretation of traditional building forms. By using time tested building techniques that derive from the Nova Scotia such as the use of barn doors to create micro-climates and simple barn like forms he is able to reinterpret these methods to add a sense of nostalgia that is sustainable while giving a sense of place throughout the structures simple design. Through his studies of the vernacular precedents he is able to incorporate time tested methods from traditional Nova Scotia building techniques into modern forms in residential design. It is interesting to see modern designs such as the Howard house can be accomplished at such a low cost. Coming from Las Vegas I have always questioned why modern housing designs are never considered into as they plan large master communities. The same stucco, pitched roof design is repeated throughout the entire landscape of the Las Vegas Valley. I figure that the reason for this was cost efficiency.  As Howard House demonstrates modern design can be cost efficient. There must be building forms that work well in the desert landscape that modern designers can incorporate into the large master planned communities in order to create variety in residential design in the area. Is there maybe something else holding back these type of designs?

The work of Rick Joy has a stoic elegance that blends beautifully with the natural deserts of the southwest.   He has said that “the task of architecture is not to entertain us, or to suffocate us with impressions of witty formal inventions, but to create the silence, calmness, and concentration that enables us to experience the beauty of the world and life around us.” His work perfectly describes his ethical stance.  His private residence in Arizona is a perfect example.  The use of rammed earth in a form that is simple and forever timeless.  It creates a highly sucessful project that conveys a sense of place in a seemingly infinite landscape.

Because Rick Joy sticks with basic design principles such as common building materials, proper solar orientation and proven green principles, his buildings stand the test of time.  It is a tried and true way to design buildings.  While it is possible to have a highly successful building with experimental materials and playful forms, there are many correct ways to design.

Interesting read on the Michael Grave’s building:

http://blog.oregonlive.com/myoregon/2010/11/hey_portland_keep_portlandia_e.html

It was interesting to read BML’s philosophy on Fitting, Framing, and forming and then read examples of his work.  I find the essence of “dwelling” in his work.  As a side note, I think the photos showing people using the space are much more interesting and bring a sense of scale and reality to the Architecture.  I love this picture of the girl “modifying her microclimate”

I find his houses to be very interesting. They seem to all be passive solar and pay great attention to collecting southern sun. He gives many spaces an open feel, where the boundary between indoor and outdoor is blurred.

The part of the reading that most resonated with my design ethos was “In order to be truly comprehensible, architecture has to demonstrate a clarity that makes it sufficiently democratic, as to be accessible to an educated public.” Clarity in every architectural move is one of the most exciting achievements: to make a complex, work-intensive process seem simple and rational.

The reading about Brian Mackay-Lyon’s work is like visiting an old aquaintance, Heidegger’s sense of dwelling.  Quantrill says it best at the end of the third paragraph…Lyons architecture is “bold enough to tell the plain truth of its materiality,  to stand on his native soil in modern terms…an art form he sows and grows…”

Brian MacKay’s architecture seems very function-driven, something always reflected in native architecture. More than orienting windows, he orients the Howard House with a concrete windbreak to deflect the gales of the bay. His plans are overly rational, yet humanistic, because of scale, materials, and “simple” complexity. One of the least-used (today) but most enjoyable architectural moves is the human-size nook or bend that brings you physically closer to the building. In these spaces it is like being in a tight path in the forest or a cave, and your surroundings become a natural cradle. Brian MacKay understands this and obviously has great respect for the users of his buildings.

I own a book titled “The Forgotten Architecture of North America.” It is an uncommon book, not trendy or filled with bright computer graphics, depicting mostly rural structures from generations ago. Some are rotting, some dilapidated, all are beautiful. Ghost #1 evoked from me the strongest sense of nostalgia and emotion about an architectural work in a memorable time period. Beautiful.