Do you think his use of material and building form are convincing?

Ofcourse, the use of material and building form is very convincing. Rick joy is one of the architects who has combined traditionality with modernism. The materials he used are earthly that fits well into the context and his building camouflages with the surrounding. He has achieved a perfect balance between the indoor and outdoor spaces and all of these spaces have strong indoor-outdoor relationship.

Do you find value in MacKay-Lyons’ “Three F’s for an Architecture of Regionalism: fitting, framing and forming?”

Absolutely. I do find the 3 F’s – Fitting, framing and forming important to designing a space. It is important for the building to sit well on site which would take care of most sustainability issues we are dealing with today, when the building is oriented correctly and when all climate factors are taken care off. Framing is the next integral part of the process. Form though adds value to aesthetics, it takes least priority of the 3.

On the contrast, I am not sure if Lyons principles are applied on his own buildings. It seemed ironical when all the examples looked very similar specially in terms of frame and form. It makes one skeptical about how all of these buildings that look and function similar can fit into different sites/conditions.

Would you like to participate in building the Ghosts? (This implies, “would you like to have that design/build experience.”)

It is very important to “apply” what is taught at school. Practical knowledge is very essential to understand architecture and designing better. The offices I have worked in dealt with a wide range of projects which helped me understand designing of different spaces better. Learning construction details and practically difficulties helped me deal with a design problem with more pragmatic approach. When such an opportunity presents itself, it is hard to turn it down. I would definitely take it up without second thought.

DO YOU FIND VALUE IN LYON’S “THREE F’S FOR AN ARCHITECTURE OF REGIONALISM: FITTING, FRAMING, AND FORMING?”

1. I do find value in Lyon’s “Three F’s for an Architecture of Regionalism”. If all three F’s are done well, then one could expect a good outcome of the architecture for the users. For example if Fitting is done well then the building could be expected to be useful in that location for a long time. Likewise, if framing is done well, then the use of the building would be more adaptable through many changes in the needs of the user. I did not find the definition of Form in the Lyon’s article. However, I would reasonably think that Form will come after Fitting and Framing.

Would you like to participate in building the Ghosts? (This implies, “would you like to have that design/build experience?” as it is expensive.)

2. I found great value in the design/build environment. At a job I had in Seattle I learned directly how the materials in the construction presented themselves physically, not just how they fit with each other, but also the landscape. For the materials I have now experienced, I am able to imagine them better for future designs. The expense of having this experience is well worth the knowledge gained.

Are you able to design an ecologically inspired art of building in the Age of Ecology in your present studio?

I feel that I was not encouraged to design an ecological building this quarter however every time I would ask for advice whenever I wanted to integrate an ecological idea into my building I received constructive guidance. One of my goals every quarter is that I will try to correctly combine environmental practices with technology. For this quarter I designed a mid-rise seven story building that has a market on the ground level open to a plaza. The steel frame doors with glass open upward manually, allowing natural light inside the market and proper ventilation. A rooftop that will cut energy cost by providing insulation, also by catching rainwater to be used after it is treated and restoring green space lost to urban development.

Do you find value in Lyon’s “three F’s for an architecture of Regionalism; Fitting, Framing, Forming?”

I think any successful design-build approach needs to address these points, especially the second about ‘Framing.’

I’m not so sure, though, if Lyons follows his own advice. The first thing I notice about the houses presented in the reading is that – formally and materially – they are almost identical. It’s a funny hypocrisy to me, to place so much emphasis on ‘Fitting’ to a site’s terrain and character and then design four houses that seem to me like they could be picked up and placed more or less anywhere in the town, or in the province. My intuition is that MacKay-Lyons’ sense of fitting and framing more directly addresses the climate of the region and the vernacular design & material history of the local culture. The response to climate and sun, as well as the choice of materials, is very obviously a nod to the Atlantic Province style. However, on a smaller scale, I feel there is a disconnect between the mass of these houses and the actual plot of land they sit upon.

I’d much rather see a house “of” the hill than “upon” it.

How would you define [Legorreta’s] architectural accomplishments for the two projects … related to culture and climate.

Between the two projects, I think the Camino Real Hotel is significantly more responsive to its environmental context. The hotel is an interesting contrast to me – almost a contradiction – in that it so beautifully fits into the environment yet at the same time stands out as a monument. The way the hotel molds to the existing topography of the site, and the decision to leave the beach untouched, goes a long way in making the rather large hotel feel unimposing and respectful to its site. On the other hand, Legorreta’s choice of such a bold red prevents the structure from disappearing into the landscape the way it might if more organic materials were used. This is a daring choice, but I believe it works exactly as it should.

This is obviously a very difficult balance to achieve in architecture and I applaud Legorreta for succeeding in that.

The Solana project I think is less successful in being context responsive. It’s not entirely apparent from the description or photos, but it looks to me like the site doesn’t give as much to respond to as the Camino Real site. So perhaps that is an unavoidable reason for the disconnect I see.  I think the project is striking in its monumentality – both in mass and color. The pure masses and bold colors featured throughout are very reminiscent of Barragan, almost to the point of mimicry. The project is interesting, and beautiful, and definitely achieves IBM’s goal of making a non-typical office park. However, compared to the Camino Real Hotel I think it falls far short of perfection.

Do you think [Joy’s] use of materials and building form are convincing?

Absolutely. As someone who grew up in New England, I see a great familiarity in this house. It responds not only to the environment and site but to the culture and history of the rural Northeast (both in form and material palette). I think it’s remarkable that Joy was able to create a visually ambitious space that looks & feels both modern and unique, while still paying obvious respect to it’s context.

I think it also speaks well to Rick Joy as a designer, that he was able to step so far outside his own ‘comfort zone’ of rammed earth, arid desert style in order to create a building that is appropriate more than distinctive. Personally, I find it takes a great amount of humility as an architect to be able to design something that intentionally doesn’t look like you designed it.

The only aspect of this house I have trouble with is the scale. From a distance, it looks like any other New England ranch style. But close up, it’s simply too big. I understand the client had specific program needs that far exceeded the typical Ranch footprint, but there are practical reasons for the scales that exist. For example, most New England homes (at least those built pre 1980s) feature 7’6″ ceilings. Typical residences in the rest of the country are usually 8′ or 9′ (or higher). The main reason for this is that a shorter space is easier to heat.  I also think the size and mass of the entry wall is far more overwhelming than it should be, and evokes the image of a monastery of mausoleum more than a home.

The Camino Real hotel has great landscape and fits into the context while in the Solana project, It is possible to relate this particular building to fit into in other places and contexts too. In the Camino Real Hotel, attention is given to natural light and there is evident influence of the Mexican architecture in the building form. Legorreta has used vibrant colors in both projects. The materials used are very earthly and fits well with the surrounding mountains. The form is very successful in terms of delivering a good sea view from the rooms.

The Solana project is very monumental. The building has decent relation to the climate though I feel the materials used have more influence of the Mexican culture. The deep inset of the windows protect the building from harsh effect of the climate but also lets in enough light. There is a contrast to the interior and exterior spaces. The water body is located so as to serve the purpose of evaporative cooling during summers.

Why has Norberg-Schultz been drawn to Heidegger’s ideas as they relate to today’s architects and their work?

Norberg-Schultz’s ideas can be understood as an extension to Heideggerr’s Ideas of “dwelling”. He further talks about the poetic forms of making a place, where the sensitive characters come in ..like the “feeling of the place” and the ” relation between the inside and the outside”. Identification to the places is an other aspect which he talks about and with the concept of giving ” meaning to the space” where there is interaction between the user and the place. This phenomenology is strengthened by his  strong historical references from Robert Venturi.  With the time, today’s architects have seem to be rushing on creating more “dwellings” to meet the increasing needs rather than giving “meaning” to place like what Norberg-Schultz explains and talks about “return of things”. Though there are a few architects who still attempt to keep this phenomenology in their designs like Louis Khan and  Steven Holl.

From: James Wine, Green Architecture @ 2000

Are you able to design an ecologically inspired art of building in the Age of Ecology in your present studio?

In my current studio, the notions of ecologically based architecture have not been strongly emphasized. From a particular point of view one may stress that good design will be regarded as something to preserve, and in that case, the ideas that we have explored concerning those concepts are substantially valid, granted the building will not be replaced in diminutive time. Although in contrary, the primary focus of our studio has been socially based, and lacks concentrations in climatic and biological consideration. The intent has clearly been directed towards an experientially qualitative design over one that is calculatedly performance based, yet I believe an open square and public building with ambitions towards community interaction is able to become sustainable if successfully embraced by the citizens that utilize it and care for it continuously.

From: Chris van Uffelen, Ecological Architecture @ 2009

Do you find his historical examples and attention to materials and use convincing?

In regards to historical examples and materials I don’t find his conclusions to be definitive. He displays a timeline of cause and effect, political accumulation for representational superiority, and then little baby steps slowly resolving the issues, influence by influence. His essay seems to be building up for the readers own inquiries rather than providing a distinctive conclusion.

Global warming= Paradigm shift towards setting sustainability as priority over style and structural function. Do you think this has happened in the United States?

The primary issue is that we’ve found ourselves at the precipice over the word “sustainability” which resonates to the accord of “the boy who cried wolf” story. In an effort to extrapolate, it appears that the term has been so oversaturated in our current epoch that the economic powers latch on while the environment and human aspects are left in the wake of negligence. [Insert hypothetically exaggerated example her] ‘My child-labor force across seas raises their own sustainable locally self-grown chickens that they eat, so our oil/plastic devouring company is sustainable.’ Sustainable has become that regurgitated word that you can spin with anything you are attempting to sale, so no, I feel that the esoteric group creating a genuine ecologically concentrated architecture still comprises a minimum influence relative to the over-all built environment. Hopefully that will change.

From: Rick Joy, Rooted Modernism

Do you think his use of material and building form are convincing?

Is the family convinced? That is the real question, because anyone can create their own opinions about the building, but the client must be captivated by the decision. Although from my opinion, Joy has considered the climate of place in regards to eve-less terminations of the structure for ice-wedging climate control. He has developed a regional design as far as materials and a very natural fluidity in relation to his elongated special decision.

Do you think his project is in any way compromised by his fundamental basis?

To be quite honest, absolutely not. This is a designer, who has developed a certain vernacular for arid desert environments, yet he was able to leave his own precedents aside and beckon the question; what does a Vermont woodlands house really mean? And I feel he created a successful reconciliation between his previous experience and this particular regionalist design.

From: Ricardo Legorreta, Interview

How would you define his architectural accomplishments for the two projects Solana and Camino Real Hotel, Ixtapa related to culture and climate?

The interiors of the Solana project are dazzling although the scale is out of proportion I believe they are still humanized in the way they create a dialogue between light and form. The exterior appears to still become very regimented, sterile, and non-emotional formally, so the vibrant paint job does strikes me as a motive of compensation. The centralized tower lacks windows subsequently displaying the impression that its sole purpose is monumental rather than experiential.

In regards to the Camino Real Hotel, the way that the landscape has been incorporated is phenomenal, although again I don’t believe there are enough porous breaks in the building, so it again exists as an enormous barrier to the sea. The form itself becomes reminiscent of an ancient Mexican temple and the contrast of colors with the natural environment is remarkable. As an antithesis to Legorreta’s philosophies about a building that is for the people, this particular hotel exhibits a bit of appeal to merely external tourism. The way that he has embraced the landscape through form and the natural climate via non-conditioned public spaces exhibits a strong regionalist experience.

From: Mackay-Lyons

Do you find value in Lyon’s “three F’s for an architecture of Regionalism; Fitting, Framing, Forming?”

Certainly there is value at the roots of these concepts. He has placed a hierarchical order on the sequencing of the 3 f’s. Fitting to the context programmatically is first then subsequently structure (framing) and overall form come into play. There is strong correlation between these particular elements of design, but there are also many more components to design which make this prescribed formula appear a bit restrictive. Conversely, the way he mirrors the landscapes with his forms provides a serine reciprocal relationship between ground and sky that exhibits truth and beauty.

Would you like to participate in building a ghost? (This implies, would you like to have a design build experience as it is expensive?)

I believe that a design build would be invaluable for anyone in the architectural academic realm. We focus very closely on the creation of form and human interaction, from an artistic perspective, but these forms do require connections and nominally dimensional materials, so I believe that this type of project would provide illuminating experiences that are advantageous for us in future endeavors.

H. Smith

Do you think his use of materials and building form are convincing?

Both materials and forms seem convincing.  The use of stone walls, cedar and the gable roof makes one feel at home. These materials integrate well with the natural setting.  Since he has a background as a carpenter he finds enjoyment working with these materials in a original way.  He reminds me a little of Tom Kundig because of the details he applies in this design.

 Do you think the experiential characteristic of his projects is in any way compromised by his fundamental basics?

Joy achieves a good balance between experimental features and traditional fundamentals in vernacular architecture. He applies contrast in the use of traditional stone and applies modern elements of glass and light and large spaces. Joy incorporates the continuity of inner and outer spaces.

How would you define his architectural accomplishments for the two projects Solana and Camino Real Hotel, Extapa related to culture and climate?

The hotel is expressing a monumental statement as if it were a mountain, echoing the Mexican culture of the ruins.  The rooms that flow down to the beach and ocean are reminiscent of the steps on the pyramids. It is integrated it with the vegetation and some areas of the hotel have no air conditioning in order to sense the tropical surroundings.  The structure also incorporates walkways for guest to wonder around the landscape.

SOLANA

The settings for Solana and Camino Real Hotel are different; Solana has more of an urban aspect and a little bit intimidating. It looks like the site is flat and the buildings rise out of the surrounding so that the viewer does not have a clear understanding of where the buildings end and the landscape begins. He incorporates the uses of simple forms, brilliant colors and dramatic shadows. He uses vertical elements as directional entry. Even though he applies the colors and materials of the Mexican culture this project does not entirely relate to the climate or culture, I can see this building in a different climate and landscape.

Do you find value in MacKay-Lyons’ “Three F’s for an Architecture of Regionalism: fitting, framing and forming?”

As has been previously mentioned, these “keywords” for MacKay-Lyons are not at all new ideas. I also don’t see a direct correlation to a regional architecture in the way his theories are laid out. His idea of “fitting” simply refers to site context investigation in its simplest sense: searching for “appropriate strategies to permit the placement of [its] program within a prescribed terrain.” Yet when a designer is considering “regionalism,” there should be a lot more collecting of knowledge about the culture, history, materiality, etc. of the place – not just the immediate landscape. Additionally, “framing” isn’t even really a basis for a theoretical idea – it’s how a building is held up. Yes, he’s arguing that the structure should be exposed to leave “the final shape [of his maisons] open to interpretation,” but that’s more of a design decision than a theoretical rule for architects to follow. In terms of the “forming” argument, I really don’t even see it as a separate “F” from framing since he again talks about how his aim is to “avoid any restrictive predetermination of final external form.” Overall, I’m not really convinced of the architect’s argument about the “Three F’s,” but the images of his work are very compelling and beautiful (I just don’t see their relationship to the theories).

Would you like to participate in the building the Ghosts? (This implies, “would you like to have that design/build experience.”)

Absolutely! As a designer, it is of utmost importance to understand how a building comes together in “the real world” and how it works structurally. It is much more difficult to design successful buildings when you as the architect are simply relying on “the structural engineers to figure it out.” I hope I can find the right opportunity for me to experience this hands-on part of design very soon!

-R. Peterson

Heidegger

Is it possible our personal interaction affects the building? Does our interaction as designers and clients affect the building?

Our personal interactions definitely affect the building.  In fact, in some ways our interactions are what make the building.  If we fail to interact with the building, then the building ceases to be successful.  I believe that as designers, it is our job to facilitate and interpret the clients desires for their building into something meaningful.  On the contrary, I also believe that our lives can be affected by the buildings we interact with.

Is it valuable to search for authenticity in designing/building architecture?

I believe that it is valuable to search for authenticity in designing and building architecture.  However, I also think that it is a very difficult task to really find authenticity because it is so subjective.  In a way, this parallels the US Declaration of Independence when it states that the pursuit of happiness is an unalienable right—it is the pursuit that we have to right to, but doesn’t guarantee that we will get it.  Thus, it is the pursuit for authenticity that is important as opposed to the authenticity itself.  I think there is a great deal of authenticity in Native American architecture as a whole; every region has a different architectural style that responds to the site and the resources available.  Tribes from the Pacific Northwest have long houses made of lumber, tribes from the desert have adobe huts, tribes from the Great Plains have teepees made from rawhide etc.

Can we design and build with this sense of permanence?

I think that we can design and build with a sense of permanence with nature.  Ancient civilizations have left evidence that at one point, we were able to design and build in response to the environment very efficiently.  Many ancient buildings in China are still standing today that don’t have any bolts or nails.  Similarly, many ancient temples have survived through thousands of years of earthquakes and other natural disasters.  So yes, it is possible to design and build long lasting buildings if we can properly respond to the site.

Norberg-Schultz

Why has Norberg-Schultz been drawn to Heidegger’s ideas as they relate to today’s architecture and their work?

I think that Norberg-Schultz is drawn to Heidegger because Heidegger is more of a perceptual thinker that explains his ideologies in a way that laymen can relate to especially his explanation of ‘dwelling’.  Norberg-Schultz uses these perceptions of human experience and relationship that Heidegger presents as a starting point to break down and conclude that dwelling poetically is dwelling meaningfully and the main purpose of architecture.

Pallasmaa

How can we understand and determine a person’s experience of architecture?

I don’t think that we will be able to fully understand and determine people’s experience of architecture.  Each person will have their own experience with architecture based upon their background, upbringing, lifestyle, and exposure to previous architecture among other things.  We can definitely hypothesize how people will experience a certain space, but there are just too many variables that make determining their exact experiences impossible.

How do you interpret Pallasmaa’s ideas about the following?

ALL ART EMINATES FROM THE BODY: I do agree that a lot of art is a form of self-expression that comes from within the artist.  However, I wouldn’t use the quantifier of ‘all’.  Looking at nature itself is a form of art—there are many instances of rhythm and repetition that did not originate from the body.  The most famous form of art found in nature is the Fibonacci Sequence/Golden Ratio.  Leonardo of Pisa (also known as Fibonacci) did not create the Fibonacci sequence or Golden Ratio, he merely helped discover it and presented it to the world.  The art was already there.

EARLY CHILDHOOD MEMORIES INFORM AND FORM US AS WE GROW UP:  I agree with this statement because we learn from our experiences and the earlier the memory, the deeper its effects are in shaping us as we grow up.  We may not remember specific details from earlier memories, but we remember how we felt.

OTHER ARTS CREATE THE IMPORTANCE OF PLACE AND OUR EXPERIENCE:  Other arts have great influence over how we experience space because they help activate the space.  Most people will only remember the grandiose sculpture of Abraham Lincoln sitting on his chair when reflecting upon the Lincoln Memorial as opposed to the number of columns there were.

LONELINESS AND SILENCE OF BUILDINGS:  The loneliness and silence of a building can be a very powerful experience if successfully achieved.  Many memorials and museums often strive to achieve this particular experience.  One architect that I believe understands this concept is Tadao Ando.  Ando states, “If you give people nothingness, they can ponder what can be achieved from that nothingness.”

Van Uffelen

Do you find his historical examples and attention to materials and use convincing?

Environmentally friendly technology is sometimes the simpler answer.  Van Uffelen’s historical examples are convincing because buildings of the past had no industrialized technology.  Buildings had to be built using local materials and designed in such a way that responds to the local climate via passive strategies.

Do you think [a change in paradigm took place in architecture] has happened in the United States?

I think that there has been some change—but it has been progressing at an alarmingly slow rate.  I believe the primary reason for the slow pace of change is that the public’s perception of energy and sustainability has not caught up to the advancement (or rediscovery) of sustainable design.  Europe is years ahead of the US when it comes to the policy and implementation of sustainable design while other parts of the world never departed as drastically away as Western civilizations.

Wines

Are you able to design an ecologically inspired art of building in the Age of Ecology in your present studio?

I have been surprised by the lack of eco-centric design being done in the studio.  Sure, I have made some initiatives as far as orientation of the building and how south facades deals with the solar exposure—but much of the studio has been focused more upon the traditional studios of form and public spaces.  With the constant changing of forms and programming of the spaces, it was difficult to incorporate green architecture into our studio.  In hindsight, I believe that this area will primarily be up to each individual to strive for within their own studio.

Joy

Do you think his use of materials and building form are convincing? Use specific examples.

I find Rick Joy’s use of form and materials to be convincing.  It’s very clear that his material choice is taken from the surrounding context and his form responds to the environment of the site.  The Woodstock House clearly demonstrates this as he breaks away from his typical modernist form style and adapts a gabled roof that is prominent in Woodstock, Vermont.

Do you think the experiential characteristic of his projects is in any way compromised by his fundamental basics?

I wouldn’t say that the experiential characteristics of his projects are compromised by his fundamental basics.  Instead, I see it as his fundamental basics are helping to shape the experiential characteristics.  Experiential characteristics are essentially infinite and by having  a set of guidelines that he goes by to help limit the number of experiential characteristics but each characteristic being fully experienced and uncompromised.

Legorreta

How would you define his architectural accomplishments for the two projects Solana and Camino Real Hotel, Extapa related to culture and climate?

I’m not really sure if Legorreta’s projects really accomplish the cultural relationship he set out for.  I can see that he attempted to incorporate the stucco and bright colors of Mexican architecture, but in the end it doesn’t remind me of what I had experienced while growing up along the Mexican border.  In the Camino Real Hotel, there are instances where I can see some reminiscence of Aztec architecture, but as a whole, that language didn’t carry through.  However, if it was his intention to briefly acknowledge and then stray away from the Mexican culture, I would say that he did moderately achieve what he set out to do.  As far as his response to climate, I think for the most part he was successful in dealing with orientation and solar gain as well as passively cooling and heating his spaces.

Mackay-Lyons

Do you find value in Lyon’s “Three F’s for an Architecture of Regionalism: fitting, framing and forming?”

The three F’s are so fundamental that there it’s hard to not find value in them.  Fitting is otherwise known as responding to the site and its specific environment.  Framing refers to the construction method and structure of the design in response to the site.  Forming comes third as it is primarily influenced by the structure.

Would you like to participate in building the Ghosts?

I would take the opportunity to participate in the design/build process without hesitation since I believe that it they invaluable experiences as an architect to have.  Hands-on experience really helps shape us to become better designers and is so integral to our profession.  I don’t think I have ever met an architect or architecture student who is serious about architecture that didn’t at one point in their life enjoy playing with Legos.  Design/build projects such as the Ghosts provide an opportunity for us to not only physically build the structure, but to also fully experience the space.  Experiencing how to build a structure can positively inform us how to create better designs as well.