WEEK8: Legoretta & Joy
How would you define Legorreta’s architectural accomplishments for the two projects Solana and Camino Real Hotel Ixtapa – in relationship to culture and climate?
I am not as well-versed in Mexican vernacular architecture as I am other forms. What comes to mind when I conjure an image of what this means is a cluster of buildings with thick walls of punched openings that are located around open courtyards. This same description could be used to describe both projects. Both projects are organized by strong planes that limit and define space with different screens to provide shading and allow for ventilation. Both projects use the bright yet earthy color palette that is found in Mexican and Latin American architecture. I am not as taken with Solena as I am with the Camino Real Hotel Ixtapa, meaning that the latter engages my emotions and sense of inspiration. Legoretta describes the Mexican culture as appreciating a love of privacy, humanism, and mystery. These traits are quite apparent at the Hotel. The way that Legoretta carves into the cliff-side to create these individual pockets with great privacy and even better views to the pristine coast line is wonderful. At Solena, I appreciate his use of brightly colored formal architectural elements (like columns, thick planes of walls, and vaulted spaces) to signify an important space or path. Perhaps it is the contrast between the previous project where it is so tied to its cite that Solena leaves me feeling satisfied, but not intrigued in any way.
Do you think Joy’s use of materials and building form are convincing?
Convincing seems an odd word to use here, but, yes I find his use of materials and building form to be convincing. By ‘convincing’ I will mean that the building form seems entirely an appropriate choice for the region, as do the materials. It fits in beautifully with the environment. It is a building that at first glance seems so at peace within the environment, one has to look very closely to realize it is a new project and has not been standing there for several generation, which it looks as though it has been.
Do you think the experiential characteristic of Joy’s projects is in any way compromised by his fundamental basics?
When you do look closely at the building in Vermont, you notice the ‘Modernist’ details. It is evident that Joy did not just recreate an old form, but really took notice of how well that formed worked. His adjustments to eliminating eaves to prevent icicles from forming (which can actually be dangerous in this extreme winter-driven climate) and how he re-assigned the buildings entrance to the short-side so that winter snow from the roof would not have the opportunity to fall on its visitors. These are just a couple things that he did that shows that not only did he not compromise by the fundamental basics but has redefined and improved upon them. In his desert works, I see the same theme of designing with simple forms that are very closely tied to the landscape and paying very close attention to the details. I find his work to be very inspiring.