Do you find value in Lyon’s “Three F’s for an Architecture of Regionalism: fitting, framing, and forming?”  Yes, fitting into a context/landscape is very important.  As Heidegger states this value is “fitting an idea to a site, the being of that idea realized its condition of dwelling in relation to a particular place.  I think a good example of this would be some of the projects by Rick Joy that we saw.  Each of his projects is specific to the site and context, and this is what makes his projects regional and have value.  The opposite of fitting is usually not a very nice building.  I would argue that some of Frank Gehry’s buildings are guilty of not fitting into their context.  His Walt Disney concert hall is one example I can think of.  He used the typical reflective steel skin he likes to use in a really sunny hot place.  This caused heat gains and glare problems in the apartment tower next door and they had to sand the Disney hall to reduce the amount of glare/heat gains on the surrounding buidlings.

The form and frame that he talks about are clearly delineated in his Messenger II house.  In an environment as harsh as Nova Scotia, the skin/edge of the building is very important.  He states that he “sees the building skins as alive and constantly moving.”  With changes in temperature/humidity materials expand and contract and can cause problems if these tolerances aren’t taken into account.  I think this is an important lesson in understanding the materials of construction and how they will weather over time.  I have had a similar experience when working with wood in furniture design.  I didn’t take into account how much a wood table top would expand and contract and the table ended up warping pretty bad because my design didn’t allow for the expansion and contraction of the solid wood top.

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

Yes, I would enjoy participating on a design build project.  I enjoy building just as much as I do designing.  I have been interested in furniture design because it is something that doesn’t cost a lot of money and you get to design and build something.  You also learn a lot about materials through furniture design which will make your architecture better.  One of my favorite architects Peter Zumthor was a cabinet maker before he was an architect.  What makes his architecture special is his attention to craft and materiality which I think he learned while making cabinets.  I also think the models we make in our studios can teach us a lot about materials.  There are so many different modeling materials and each one has its own application.  Architects like Herzog and De Meuron who are interested in materiality use study models as a way to experiment with materials at an early stage in the design process.

Brandon Cari

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

In the case of the Camino Real Hotel, I like the way he tied the climate and culture together by having areas of the hotel without air conditioning. This exemplifies the nature of the Mexican people who live just fine without air conditioning, while also representing their free spirited ideals by having indoor areas completely open to the outdoors. His respectful treatment of the landscape and beach area allow the hotel to live in harmony with the natural environment, just as the local culture has been doing for centuries. He also celebrates the art of walking by having lots of paths to get visitors around the site while imposing the least amount of harm to the landscape.

Solana is a much different project and site, and I think he does a decent job connecting this project to the climate and culture through his use of color, scale, and daylighting. His preservation of natural vegetation on site and the desire to bring back the prairie of the surrounding natural environment shows his respect for the climate because the natural vegetation requires very little upkeep. His respect for the local culture is shown in the style of the visitor’s center plaza and his use of materials and lots of color throughout the entire complex. That being said, I think he was much more successful with the Camino Real Hotel.

 

Legorreta’s Camino Real Ixtapa Hotel project reminds me of pyramidal structures in Mexico — such as the Pyramid of the Sun and the Pyramid of the Moon at Teotihuacan near Mexico City (http://whc.unesco.org/en/list/414).  Although Camino Real is sloped with terrace setbacks to follow the topography of the site, and not because it is trying to take on any pyramidal form, it has a similar earthy and heavy feel that the pyramids have in the way it sits in the landscape.  The sloped faces of Camino Real read as a monumental structure set against the landscape, but also evoke a deep connection with the landscape that appears bound to certain beliefs and traditions about human relationship to the sun.  The texture of the walls and floors in Camino Real show an allowance for time and weather to interact with the buiding.  Because the terraces are stepped back, the roofs over each terrace are retracted, creating a more complete view of the ocean.  A view of the ocean is not just a cropped frame of the water, but it is the expanse of the water meeting the sky at the horizon and the sky extending above and over you.  The terraces allow for this experience.  The Camino Real also works with the climate in that it limits air-conditioning to the sleeping quarters, allowing guests to experience the environment and weather more naturally during their stay.

While Legoretta’s Camino Real interacts and responds to the Pacific landscape, I am confused by his intentions for Solana.  The reading states that one of the guiding design concepts was to “connect the project with Mexico and the region’s history.”  In planning this office and hotel complex, Legorreta “refers to the Mexican vernacular with a colonial-style plaza, around which cluster the hotel and white and brown office buildings.”  However, this is a project outside of Dallas and Fort Worth, TX, and it is built in 1991 in a region that does not seem to have any connection to the Mexican vernacular.  It is hard to tell from the few photos and short text, but perhaps the project could be drawing from a historical connection between Texas and Mexico.  It is interesting to see that Legoretta uses a palette of earthy tones and textures similar to that at Camino Real which recalls dry and sunny climates.  It is odd though that the Marriott Hotel also uses similar stepped-back terraces because there are no special views.  It only looks across a road that leads to the other portion of the IBM complex (click on photo below).

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

I think that there is a lot of value in these ideas. Every building needs to be able to relate to its environment. A building that looks out of place is probably a not very successful building. From taking into consideration adjacent building, to understanding the site topography, to taking in consideration environmental factors, a building must relate to its site. So, a building must be able to fit in its environment. Framing and forming are more of a construction aspect that nevertheless should not be taken as granted. I was particular interested in what he talks about “the idea that is fitted to the site exists as some form of skeletal exploration of space.” I think that it is always important to say the least to understand the site as a volume instead of as simply a plane. I feel that site analysis may sometimes pull away from this idea, as architects consider for aspects like the slope of the site instead of special characteristics like scale. Also, structure can become an architectural element and that must never be understated.

Would you like to participate in building the Ghosts?

I would definitely be interested in participating in a design/build experience. In the University of New Mexico I was able to participate in Architecture for Humanity and I fell that an architect must be able to understand the construction process of building, instead of simply designing it. I think that design/build progress engage architects to the fullest, covering a very broad spectrum of necessary skills. This said, I feel that design/build projects are successful when applied to a experimental, academic or small scale constructions. I feel that it is not as successful when dealing with mass construction or large scales.

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

For me Rick Joy’s desert architecture is magnificent. I studied some of his works in my initial year at the University of New Mexico and I felt in love with his architecture since then. Even if you do not know what is it, the building just seems to fit in its surroundings somehow. His expression through material is exquisite. His architecture is much more that simply form. The patterns and textures he uses in his walls make the spaces seem so habitable.  I truly think that his building form is by itself very convincing. I was surprised to see his work in the house in Vermont, as I didn’t know it existed. But I think that he accomplishes the same as he does with his houses in Arizona.  The use of stone serves in this house the same purpose as rammed earth does in his desert works: to give his architecture a vernacular quality. Again, in the same way as his work in Arizona, this house seems to fit perfectly with its surroundings. He manages to mix this with “modern” elements more that anything in the house’s interior, where the use of wood makes it again very hospitable.

Do you think the experimental characteristic of his projects is in anyway compromised by his fundamental basis?

I don’t think that his projects are compromised by anything. If anything, the use of fundamental forms and shapes makes his architecture much better. He accomplished complexity with the use of materials instead of with forms, and I think he is very successful at it. At the same time, his basic shapes make his architecture very understandable and accessible. In the house in Vermont, initially I felt that the gable roof was an overstatement. The vernacular shape of the house seemed to be too boring really.  Nevertheless, as I understood the project better I believe that he was actually very successful in the overall project. The gable rooms gives the house a relation to its surroundings and gives a great opportunity for the interior to be developed in the way he did.

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

Rick Joy has really managed to achieve a good architectural piece by experimenting and exploring more from the Historic and regional aspects of architecture with a modern twist in the Vermont house. His play with materials and details  and the right usage of materials in the right areas or walls makes it special. I think the real art is that with the building being site, region and climate responsive, It is important for it to have the right details and materials which makes it unique and successful.

Looking into the History and tradition I always thought eaves are important parts and details of the roof and according to Joy ” there are no eaves: “With no eaves, there are no icicles,” since water backing up inside the warm roof on a long eave can create dams of ice. “Sometimes you have to rethink traditional construction details,” he says. Rethinking on the same I think that makes sense and really appreciate the art of customizing details and responding to the need of every project. The 152 feet long  house made me wonder of its efficiency in planning and stability but reading more on it being layered and having post-and-beam steel bents, 12 feet on center,so that ceilings could go up as high as 22 feet and allow open spans have convinced me.

His attention to the width of windows being used as skylights on the roof for views, location of openings on walls and  to make the best of the pond to save energy, by installing a small hydroelectric plant as an energy resource draw lines towards sustainability.

Do you think the experimental characteristic of his projects is in anyway compromised by his fundamental basics?

I don’t think the experimental characteristic of his projects has in anyway compromised the fundamental basics as he rethinks or questions every aspects of design and customizes as required for the particular project responding to the region, site, climate and the needs  of the projects. It can be said as that he is thinking from all ways to bring out the best suited solution.

– Vijayeta

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

Legorreta’s work has an innate quality that the majority of architecture lacks in the world right now: it has the ability of seemingly blending with its environment without necessarily losing its importance. Many architects choose to do grandiose architecture that has nothing to do with its surroundings and fail. Many other architects choose to do architecture so bland that its surrounding overpower it. Legorreta’s architecture achieves a high level of coherence with its site as well as being unique.

I think that El Camino Real Hotel in Ixtapa, Mexio is a great example of what Legorreta’s architecture is. It blends beautify with the hillside where it is located and takes full advantage of the slope to create a stunning terraced building that opens to the sea. Moreover, it stands its ground without falling short in comparison with the landscape. It almost looks like a rock cliff that stands next to the ocean. His understanding of climates allows Legorreta to play with outdoor and indoor spaces in each of the rooms, creating a stunning interpolation of atmospheres. Culture-wise, it is clear how Legorreta uses color and the heaviness of the material to create architecture that seems vernacular, but modern at the same time.

The Solana Project seems to me to fall short in comparison to the previous discussed project. Although it seems that the complex is located in a more urban area, I feel that it does not relate as well to its surroundings. In this case, the colors and material choices pull the building away from its context and make it stand out by itself as a unique mass. It is interesting to note though that Legorreta’s intention was to tie the site with its Spanish heritage. If this was the case, I feel that he managed to accomplish the job. Nevertheless, I do not think that a “Spanish-Mexican” architecture piece fits in this particular site.

Do you think his use of materials and building forms are convincing? Use specific examples.Yes, I think his materials and forms are convincing.  His material pallet is limited to natural materials: rammed earth, steel, wood, concrete, stone, and glass which helps give his architecture a warm feeling.  His forms are also familiar which help make his architecture relatable to people who might not normally be into modern architecture.  The house in Vermont uses the vernacular gabled roof form but makes it new and modern through material detailing.  The use of the steel trusses allow the volume inside to be much more spacious than if it was wood framed.  The houses in Arizona use similar vernacular forms: single pitched roofs, but through the use of steel roof structures allowes the interior to be more spacious than a traditional wood framed structure.  What I think makes his architecture convincing is he is able to combine the traditional with the new in a subtle way which creates a timeless kind of architecture.

Do you think the experimental characteristic of his projects is in anyway compromised by his fundamental basics?  No, I think it makes his experimentation better with the fundamental forms he uses.  The experimental details he is designing are able to be be more visible and contrast with the fundamental forms he uses.  I think if he used experimental forms it would take away from the subtle details he is articulating.  I enjoy the contrast in new modern details with traditional vernacular forms.  One of my favorite details is the way he joins 2 pieces of glass without a mullion.  I think this detail is only possible in the Arizona climate or in Japan where they don’t care about thermal insulation.

Are Uffelin’s historical examples and attention to materials regarding environmentally friendly technology convincing?  

Yes, I think his historical examples are convincing.  He uses ancient examples from Renaissance and Baroque buildings which were dismantled and reused.  “The columns and capitols corresponded to the current tastes and the remaining materials were processed into building lime and cannonballs.”  Reuse is one of the most environmentally friendly things you can do.  Historically labor was cheaper than materials so it made it easier to reuse buidlings.  Unfortunately today, many times it is cheaper to not reuse materials due to the labor involved with dismantling and transporting materials.  Even so, there are corporations that see the benefit of reuse and are willing to invest in reusing/renovating an existing building for their office space.  We saw a couple case study presentations on the Mercy Corps headquarter and the Wieden Kennedy headquarter which are both renovations of existing buildings.  His more recent examples highlight current trends in sustainable building techniques: renewable materials, passive and active building systems, vertical gardens, photovaltaics, and double skin glazing systems.

Is sustainability put as a priority above style or structural function in the United States?  I think some designers use sustainability as a priority but they are the minority in the United States.  I think the architects pushing sustainability are using its elements to create a new style. Some of these elements are: vertical green walls, green roofs, photovaltaics, double skin glazing systems, and renewable materials. The Bullitt Center in Seattle which is supposed to be the most sustainable office building in the world is a product of this approach towards architecture.  It expresses the sustainable aspects of the project  as a way to create a new aesthetic.

Rick Joy draws from history and surroundings to inform his designs, as seen in the Woodstock, Vermont home. Even though Joy is known for his desert designs, he was able to design a climate appropriate building for the northeast. His use of materials fits in seamlessly within the mountainous context and also draws upon historical references. The building looks just as if it has been there for hundreds of years, but his attention to details brings in modernity. The form also speaks to the historical reference, but by improving certain aspects, he simplifies the design and makes it aesthetically pleasing.

Not only is this house a good piece of architecture, it’s pleasing in the experiential sense. Joy really took time to think about how one moves through the space. He moved the entrance from the longer side, to the shorter side (which is traditional for the historic style of the house). He did this so that one might experience the act of really entering a space. The entrance is smaller, and is composed of a different material than the living space. It is dark, and heavy. Once entrance is made, the space opens up and the light is embraced.

Joy’s attention to details, context, form, and climate all come into play while designing experientially. His ability to utilize these fundamentals in different parts of the world proves his designs are convincing and are not compromised by his fundamentals.

 

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

I do think his use of materials and building form are convincing because he realized he was getting stuck in one specific style and didn’t want to be known as the “rammed earth guy.” So he took on a project in the northeast setting of Vermont where the project would be much different from the ones he had done in Arizona and he could embrace a new vernacular style even though it would include elements, like the gabled roof, that were in contrast to his particular style. He is convincing because he adds his own style to each project while maintaining the major vernacular elements of the area he is designing in.

-Do you think the experimental characteristic of his projects is in anyway compromised by his fundamental basics?

I do not think the experimental characteristic of his projects is compromised by his fundamental basics. I think his fundamental basics act in a way that help bring to life the experimental characteristics of his projects and can be demonstrated by how he adds his own style to the local vernacular.

– B. Kilgore

I think Lyon’s Three F’s for an Architecture of Regionalism are pretty fundamental in all architecture and design. To be regional is to “fit” into the place after exploring the site and context of a region. Framing and forming the built environment is something that some people might struggle with the most if they do not know anything about construction. I think there lies the value of smaller projects with a more craftsman orientated design… because if one can truely understand and explore the possibilities and techniques in construction the design idea can be that much more thoughtfully articulated. This reading reminded me of Tina and Shri’s presentation in Housing Prototypes of Glen Murcutt, and how when you look closer the construction details are so well thought out and seamlessly put together. Being regional is sometimes easy “on the outside” or in the “fitting” aspect,  but to be comprehensibly be regional, I think you have to understand all three.

When I was trying to decide where to go to grad school it was between Tulane University and here. Trying to decide between design/build and sustainable urbanism…. Needless to say I would love to be doing design/build. I have always been one to get involved on a site and love doing things with my hands. There is real value in understanding the construction of a project, and even though it takes more time… “slow and steady wins the race”?! Just kidding. Overall I think it is worth the time and money, and from what I’ve heard, everyone gains from the experience: the community members, builders, and the homeowners.

Jack-kay

Everyone should find value in Fitting, Framing, and Forming; MacKay-Lyons’ ideas form a simple outline for the design process.Why bother with a site analysis or community charette if you don’t agree with fitting? Schematic design and so on (framing and forming) should logically flow out of those exercises. It has been stated many times, but the only effective buildings are those that respond to their environment.

I would definitely participate in a design/build experience like Ghosts. I was lucky enough to have a studio in undergrad that did a design/build project and it was one of the best experiences of my time there. That project took more time and money than anticipated (like most do), but the amount of knowledge I gained in less than a month is invaluable.

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

I think architecture is fundamentally ecological so I would say “yes,” I am able to design an ecologically inspired building.  We all have to think about orientation, light, air, context, materiality, and the human experience in our studio.  I tend to focus on space, light and how people would experience my project.   I also try to focus on context and how my building is oriented.  So I tend to focus more on the human experience than on how my building performs or uses ecological materials.  The reading is attempting to start a dialogue about “how to construct a human habitat in harmony with nature.”  I think schools should be focusing more on the ecological aspects of architecture given the trend of global warming and scarcity of natural resources.  One of our upcoming studios for next quarter is focusing on adaptive reuse which I think is good.  Unfortunately, not everyone that wanted to take it could get into it.  So, I think there is a strong interest in this aspect of architecture and should be more central to the architecture school education.

Brandon Cari

-Chris van Uffelen builds his case for the interaction between artistic expression and environmentally friendly technology. Do you find his historical examples and attention to materials and use convincing?

I find his examples and attention to materials and use convincing because he uses examples from Roman times, where columns are being transported all the way to Tunisia because of their significance, to more modern examples as recent as the 1990s. It makes sense that he would begin his argument by siting examples of antiquity and then relating those references to more current examples.

-Chris van Uffelen writes, since global warming has been recognized and accepted, “a change in paradigm took place in architecture, setting sustainability as a priority above style or structural function.” Do you think this has happened in the United States?

I believe this paradigm shift has been executed more in Europe because of the fact they have more limited space and limited resources. This gives them more incentive to advocate sustainability above style or structural function, yet they seem to be doing both. Here in the U.S. we have been so focused on sustainability recently that I think we have prioritized it above style and function. James Wines wishes to bring that style back to architecture by embracing sustainability through design and not just applying sustainable features to a building.

– B. Kilgore