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easily inspected for potential def iciencies.This same ease of inspecti on is notavailable with the mult i-phase, layered,paper-mache type of fire wall. (An 8 foot highfire wall built of standard 8" ASTM C-90concrete block with type-N mortar can carrya concentric load of 5,800 pounds perlineal foot. Most fire-rated drywall wallsare non-Ioadbearing .)

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• col. 29 no. 6 • nov. -dec. 1988 • new mexico architectureIN THIS ISSUE: ~ The Editor's Co lumn 3

We bring you the final issue for1988, but a bit late. It is now wellinto the solid winter of 1989withcold and snowy weather allabout. The " staff" of New MexicoArchitecture hopes that you allhad a happy and comfortableChristmas.

o 0 0 0This issue appears to be

dominated by one of our ardentsupporters and prolific writers,Edna E. Heatherington, who is apartner in the consulting firm ofHeatherington and Schaller Infor-mation Management in Albuquer-que. She has contributed manyarticles and news reports to NMAover the past several years forwhich we are very grateful.

o 0 0 0The cover of this issue of New

Mexico Architecture has beensponsored by Barker-Friedman &Associates, Architects and theJaynes Corporation . We sincerelythank them for their support . Thecost of the center-fold of thisissue has been underwritten byBarker-Friedman & Associates ,and we are most grateful for theirassistance .

o 0 0 0I see by the newspapers and

from a press release that the Ar-mand Hammer United World Col-lege of the American West hasdecided to divest itself of theburden and resposibility for thepreservation of the MontezumaHotel in Montezuma, New 'Mex-leo. Armand Hammer bought the

Continued on page 8 G?

Pueblo Style and Reg ional Architecture:The Mystiq ue of New Mexico

A report and commentary from the Symposium 7by Edna E. Heatherington

The Myst ique of La Luz:The housing development which is a place

celebrates its 20th anniversary. 7by Edna E. Heatherington

A Place Within Its Setting :Valencia County Campus is a Village Oasis 9

by Edna E. Heatherington

Arch itecture Workshop Opens Doors of Discovery 15by Steven C. Yesner, A.I.A.

Letter To The Editor 15

Professional Directory 16

Advert iser's Index 18

(Cover- Valencia Branch Campus, University of New Mexico© Kirk Gittings /Syntax, Photograph er)

- Official Publication of the New Mexico Society of Architects, A. I.A .-Society Officers New Mexico Architecture · CommitteePresident-Richard A.(Toby)Pugh John P.Conron, FAIA/F ASID-EdltorPresident-Elect-Wayne Lloyd Carleen Lazzell- Associate Editor/Advertising DirectorSecretary-Brad Nesser Christopher Larsen, AlA - ChairmanTreasurer-Bill Freimuth Van Dorn Hooker, FAIA- Past ChairmanDirector- John Alejandro George Anseleviclus, FAIADlrector- Tim Christensen Marjorie Hooker, AlADirector- Charles A. Dupwe Carolyn Kinsman, DesignerDirecto r-Jess Holmes Charles E.Nolan, Jr., AlADlrector- Thomas E. Hummell George C. Pearl, FAIADirector-Patrick McMurray Glade F. Sperry, Jr., AlADirector- Tomas Mendez V.B. Price - ArChitecture Editor, "Artspace"Director-Steven N. Newby Don P. Schlegel, FAIAAssociate Director-Roger Easley Christopher Wilson, Architectu ral HistorianNMSA LObbyist -Dicki RyalsExecutive Director-Sema Wynne

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Pueblo Style and Regional Architecture:The Mystique of New MexicoA report and commentary from the Symposium

The Mystique of La Luz:The housing development which is a place celebratesits 20th anniversary.

Myst iqu e : A co m plex oftranscendental o r se m inujst icalbeliefs and attitudes directed towardor deoelopin g around an ob ject (as aperson. institution, idea or pursuit )and enhancing th e value o rsignif icance of the object by enduingit w ith an esoteric truth or meaning.- W ebster's Third New Int erna -tional Dictionary, Unabridged (Theword mystique did not appear inWebster's Second.)

has been able to speak ~ith poetic force ofthe Modern architect's search for harmonyand grace of form in the realities of site,climate, and locally available materials,and in other "metaphors", as well as in thebuilding's functions . Beginning his careerin the high desert of New Mexico, Predockcreated buildings as expressive as those ofthe Puebloan people of the beauties and ex-igencies of this land and climate.

In July of this year , Predock's early andfamous housing development , La Luz,designed with the creative and farsightedsponsorship of developer Ray Graham,celebrated its 20th anniversary . Predock,now a Fellow of AlA, a Rome Prize win-ner, and so famous that not only the ar-

Continued on Page 15 ~

Funding Support for the Symposiumwas provided by: New MexicoEndowmentfor the Humanities, The City of Albuquer-que Urban Enhancement Trust Fund, TheUniversity of New Mexico CentennialCommittee, The Albuquerque CommunityFoundation, Eastman Kodak Corporation,and The Friends of the School of Architec-ture Fund , School of Architecture andPlannning, University of New Mexico.

keep people dwelling here , and to exert aprofound and beneficial influence on ar-chitectural design as well as on otheraspects of our lives. E.E.H.

and lack of self-esteem among the NewMexicodesign community. And yet I thin kthat architects deserve and profit from thiskind of aesthetic and intellectual stimula-tion, both the communictaion with thelarger professional and intellectual com-munity , and the exploration of the riches ofour .own romantic, picturesque, andmystical region and tradition.

Fortunately, a large number of thepapers will be published in a book tobrought out by Van Nostrand Reinhold,scheduled to be available in August of1989. And toward the end of this sym-posium, someone, observing that thepuebloan tradition and its origins had beenemphasized , suggested that the symposiummight appropriately become a biennialevent, with the second concentrating onthe contributions from the Hispanicculture.

The mystique of New Mexico never isentirel y out of style, and during the morethan twenty years I've lived here has twicebeen nationally fashionable. The beauty ofthis landscape, with its great vistas andbrilliant light , the interest of the historyembodied in the traditional and continu-ing architectural forms of the region, andeven the spiritual currents which moveabout our state as palpably as the wind andweather , all will continue to draw and.....By Edna E. Heatherington

While New Mexicocelebrated a heritageof building traditions in the Pueblo StyleSymposium at the beginning of October(see another story in this issue). Architec-tural Record brought out an October issuewith a splashy article on five projects byAlbuquerque architect Antoine Predock,FAlA, whose caption reads "for AntoinePredock '" projects outside New Mexicoare a welcome opportunity to prove thathe has outgrown the epithet of"regionalist" ." Predock himself is quoted atthe beginning of the article : "You're aregionalist if you can't get a job out ofstate. "

Yet, it is Predock's talent for expressingthe mystique of his own work which hasmade him famous as a "regionalist". He

Edna E. HeatheringtonIn the autumn of 1988 "Santa Fe Style"

is again in fashion across the nation. Myfall catalogue from a Midwestern depart-ment store was all "Santa Fe Style" andfilmed in Phoenix. The romance of bluecorn and hot chiles is affecting chicrestaurants from coast to coast. A new per-fumecalled "Santa Fe" is being marketedfor Christmas, and Santa Fe's Mayor SamPick, who can be very amusing about San-ta Fe life, will tour the country to marketthe City Different under the auspices of theperfume company.

It was an auspicious season for the sym-posium sponsored by the University of NewMexico, the Institute for Pueblo IndianStudies of the Indian Pueblo CulturalCenter, and the Albuquerque Chapter AlAand the New Mexico Society of Architects,and held at La Posada Hotel in Albuquer-que at the beginning of October. Aremarkable array of scholars from the na-tion and the region participated in two anda half days of presentations and discus-sions.

Opening with Amos Rapoport's sweep-ing and definitive discussion of what con-stitutes a region and what makes a regionrecognizable , the conference includedscholarly papers on Anasazi archaeology;the development of the Pueblo-SpanishStyle in California, Arizona and New Mex-ico; individual histories of people and ofsuch events as the decision to develop SantaFe in the Style; and the evolution of par -ticular pueblos up to the present.

Both the prepared presentations and thepanel and informal discussions were in-teresting and stimulating, full of il-luminating connections, new ideas, andamusing stories. Not only was it refreshingto hear from the visiting scholars, itrefreshed my sense of New Mexico's ownintellectual community to hear from bothscholars whose work I already know andothers in anthropology and philosophywhose work and thought were new to me.I was surprised at how consistently in-teresting and intellectually satisfying theentire conference was.

The only disappointment was that veryfew local architects attented, despite theparticipation in sponsorship by the AlAand participation as presenters by somepracticing architects. I often think that thistypical apathy - few attend the regularlectures presented by the School of Ar-chitecture and Planning, and attendanceat the annual Santa Fe Design Conferenceis fairly scant - reflects discouragement

November-December 1988 / 7

Montezuma continued

entire hotel complex from the Archd iocese of Santa Fe afew years ago in order to establi sh the United Statesbranch of the United World College , wh ich has five suchschools around the world . A very laudab le idea, but theidea carried with it the need for the stabilizat ion and, asmost New Mexicans thought at the t ime, the eventualpreservat ion and re-use of the old hotel as a part of the col -lege campus. I guess that we were wrong!

o 0 0 0The Montezuma Hotel was designed by the noted Chi-

cago architectural firm of Burnham and Root , Architects;the hotel opened its doors to the public on April 20, 1885.Although it was consumed by flames in August of 1885, itwas rebuilt and opened again in August of 1886.

The hotel and its adjacent complex of buildings stoodempt y for years during which time vandalism took its toll.But the building remained, as it does today, an important

historical monument await ing restoration. When ArmandHammer bought the complex for development into the Col-lege, it was popu lar ly believed that the hotel building itselfwas to be a part of the campus complex. But while theolder , 1879, Hot Springs Hote l, at the base of the hill onwhich the Montezuma sits, and other buildings have beenremodeled/restored for College use, the Montezuma stoodunattended and unstabilized. The adjacent " Casino"build ing of 1895 was allowed to be demolished. As the re-cent press release states, it is an " elegant Queen Annestyle building with verandas , dormers, bay windows andshingles..." College President, Ted Lockwood, furtherstates, in totally bypassing the responsibilities of theowners, 'this will give one of New Mexico's best lovedbuildings.. the chance to get the preservation/restorationattention it needs" - a need that two of the world 'swealt hiest men COUld, would, not address: Armand Ham-mer, " philanthropist" and the Prince of Wales , President ofthe United World Colleges and an outspoken critic of ar-chitectu re. For shame on both their heads. JPC(See NMA May/June 1977 " The Montezuma Hotel" by Louise Harris Ivers)

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A PLACE WITHIN ITS SETTING:

VALENCIA COUNTY CAMPUS IS A VILLAGE OASIS

by Edna E. Heatherington

Constraints of the site included a ravineand its flood plain , some areas with toosteep a slope for economical development,a neighboring sewage treatment plant , anda high -voltage electric line. Views includeboth Tome Hill and the Rio Grande bos-que , as well as cultivated fields, opendesert brushland, and an area whereresidental subdivisions are likely to be builtin the futu re. The climate imposes strongsouthwest winds primarily in the spring,north winter Winds, and brilliant sunshinewhich requi res shading and shelter in thesummer but offers warmth to outdoorareas long into fall and early spring.

Requirements of the master plan includ-ed simplicity and reusability of buildingsand interior spaces, provision for futuregrowth and change, and the use of outdoorportales rather than interior corridors forcirculation, where possible. The buildingswere required to be economically design-ed, to reserve a large portion of the budgetfor site finishing and furnishing and forlavish and mature plantings of trees tomake the campus an oasis from the start.

"Regionalism" in New Mexico is a termwhich carries heavy freight. Architect andlayperson alike are conscious, here, thatour architectural history reaches back tosome of the oldest buildings of the UnitedStates, includes the additions and intru-sions of distinct waves of exploring andconquering cultures, proceeds through theconscious revivalism of the Pueblo-Spanishand Territorial Styles, and continues to in-fluence the character of the modern stylesas they develop here.

And yet regional ism is implied in thebasic tenets of Modernism and the "ra-tional" variations which have developedfrom it. The modern architect adheres toprinciples of honesty and simplicity, andseeks to find harmony and grace of form inthe realities of site, climate, and locallyavailable materials, as well as in thebuilding's functions.

Hildreth Barker and John Friedmanhave created a campus for the Universityof New Mexico Valencia Branch which isrelated to its site with the same primallogic that shapes an Anasazi pueblo and aHispanic village plaza. On its isolated siteeast of New Mexico Highway 47, near theold village of Tome and in sight of TomeHill, the campus appears like a village andoasis, modestly self-contained in its land-scape of open brushland. Within thebuildings, housing typical academic func-tions, are almost austerely simple, but sur-round a carefully planned and generouslyfurnished outdoor place of large and smallplazas and courtyards.

MASTER PLAN FOR A VILLAGEThe Valencia Branch was created in

1981. Director Omero Suarez was there tostart it , saw it through its first 5 years in ashopping center, and is now able to reapthe satisfaction of seeing enrollment at thenew campus increase beyond projections ,and the campus become the social centerfor the entire semi-rural community.Suarez attributes much of the successof theschool to thoughtful long range planning.

Master planning began with three firms:locals Barker-Bel and John Friedman, andcampus planning specialists RoystonHanamoto Alley and Abey of San Fran-cisco. The site, 148 acres, was donated bythe Valley Improvement Association. Anearly decision was to make a campus ofseveral buildings , rather than one largestructure as was typical of community col-leges in the region.

and do not become monotonous . The ad-ministration building's offices look into asmall , lush garden atrium. The buildingsurrounds a courtyard with its own foun-tain which serves as a busy circulation areaduring class registration periods.

The classroom buildings are divided intothe academic and the vocational, but aresimilar in layout and finishes. Interior cor-ridors are lit with skylights and with covelighting, and glazed openings permit viewsof the classrooms. The pale browns ofwalls and floors are set off by a textureddark brown border in the corridor floorswhich meets a dark brown border at doorsand is highlighted by the muted blue-green of doors and furniture.

In studying similar schools during theearly planning phase, the architects learn-ed to predict that every space will changefunction within five years. Before the firstfour buildings were completed, 20 per centof the space had been reassigned. Thebuildings are laid out on the site, anddesigned, so that each can be added to inthe future.

Features have been built in which willTHE FIRST FOUR BUILDINGS make changes possible without major con-

Despite the emphasis on simplicit y and struction projects. Classrooms areflexibility of use, the administration, separated by movable partitions. Theclassroom, and student services buildings heating, ventilating, and air conditioninghouse various functions which lend systems are designed so that controls, arethemselves to variations on the basic forms, separated for relatively small areas , and

The campus can almost disappear in its open , brushy landscape. Tom e Hill is faintly visi-ble beyond the buildings, on the left . Photo by Kirk Gittings/Syntax.

Novembe r-December 1988 / 9

The large central fountain is the centerpiece of the main plaza adiacent to the Administra-tion and Academic Buildings. Visible beyond is the Student Services Building, with the se-cond story apartment for a campus resident, and its outside stair. Photo by Kirk Git-tings/Syntax.

The plaza at the Vocational Classroofurnished with benches. In the cent.sculpture, and provides another place

The small, intensely used courtyard of the Admin.under a trellis. The fountain, and portal beyond, Gwall for shading and with sloped sills colored uih:

Hallways are lit with skylights and coved lighting. Large glazed panels surroun-ding each classroom door give views into and through the classrooms.

. . .~ .~",.

10 / November- December 1988

surrounded by portales and generously'rm awaits the future installation of a

One plaza opens into another. Beyond the Stud ent Services Building, the view opens fr omthe main plaza to the Vocational Building plaza. Planter edges are designed to provide com-f ortable seats . Photo by Kirk Gittings/Syntax.

ling is approached through a stepped wall and gate,hin . Note the typical windows at the left , set into the

Diffused light and color in the curved glass block wall separates the lounge fr omthe dinin g room in the Student Services Buildin g. Natural light pervades the din-ing room .

Nove mber- December 1988 / 11

The main plaza, looking across the site of the future library building to Tom e Hill in thedistance.

The interior of the Administration Building courtyard, showing its character of an out-door room. The patterned brick and concrete pavement adds to the finish.

time landscape. Generous site lighting isfurther enhanced by lights within the por-tales, which thus surround the nighttimeplaza with shining spaces. H. Barker ishappiest with the evening appearence ofthe campus, and it is popular for eveningevents of the school and the community.

When the library is built in the nextphase, it will have a tower-"Every schoolshould have a tower," John Friedman

seldom enjoy such use of water; TaosPueblo, with a stream crossing its plaza, isone which does. The formal and centrallyplaced fountain most immediately recallsthe tradition of the Spanish patio. Onesmall, cool trickle of water suffices torelieve the brilliance, heat, and dryness ofthe surrounding desert.

The fountain has its own lighting to giveglitter and brilliance as part of the night-

CREATING THE PLACEThe buildings are juxtaposed so as to

create and shelter the plazas without total-ly enclosing them; between buildings,spaces open into one another and views areframed. Outside the village of buildingsand plazas, the parking lots are generouslyshaded by many large trees, and the serviceroad leads unobtrusively around to a hid-den court at the student service building.

Varied pavements, ramps and steps,benches, and the large central fountainfurnish the central plaza. The shaded por-tales of the buildings, furnished with ban-cos, are covered but open rooms aroundthe edge of the plazas, and connect to theinteriors of the buildings . The outdoor stairand landings at the student servicebuilding create another close connectionbetween indoors and outdoors.

The use of color adds to the sense of lux-ury, enhances the building forms, and con-tains references to historic local architec-ture. The dark orange band above doorsand windows is placed at 9 feet from thebase of the wall , and breaks the regularsurface, which extends to a high parapet at16-112 feet to enclose the mechanicalsystems, down to a human scale. The in-teriors of the portales are white, followinghistoric tradition, to enhance reflectedlight in the shaded enclosures. The blue-green used in painted accents, similar toblue shades used in historic Spanish ver-nacular buildings, is opposite on the colorwheel to the dark orange used in the stuc-co, and for that reason stretches the colorperception of the human eye and creates asense of colorfulness.

The main central fountain is the focus ofthe entire campus. Indian pueblos, becauseof their siting and the rigors of the climate,

more heating or cooling can be added toeach individual area. Utilities are stubbedout in more locations than would be re-quired by building codes. In several areas,underfloor duct systems have been install-ed so that some rooms can be instantly con-verted to handle large computerclassrooms or other electrically demandingequipment. This was too expensive to in-stall in every classroom.

In the student services building, a touchof luxury is provided in glass block wallsseparating the dining area from otherareas. Another luxury is outdoor eatingareas, one a small sheltered court, theother surrounded by bancos and framing aview of open meadows . The constructionof this building was made possible by thesevere economy of the other three, and itwas added as a second project after the ad-ministration and classroom buildings hadbeen started. Its apartment for a campusresident gave the architects the opportuni-ty to add a second story element and theoutside stair.

12 / November-December 1988

DESIGN AND CONSTRUCTION TEAMVALENCIA BRANCH CAMPUS

Phase 1 (Administ ration, classroom buildings, and .student service center ):Barker -Friedman, Albuquerque.

ARCHITECT:Master planning: Barker -Bol and John Fr iedman, Albuquerque; Royston ,Hanamoto, Alley and Abey, San Francisco.

pa tio: The Spanish word fo r a courtyard .The Spanish patio is typically entirely sur-rounded by buildings or walls.

porta l: In Spanish, a porch, entry, ves-tibule, or portico. Ref erring to buildings ofthe "Puebloan-Span ish style," means thetypi cal roofed porch or portico supportedby timber columns. The plural is portales.

cottonwood trees, immediately surroun-ding the river.

bosque: The Spanish word for a fo rest orwoods, in the area of the Rio Grande usedto refer to the forest , largely composed of

OWNER: The University of New MexicoVan Dorm Hooker, FAIA , University, ArchitectGil Berry, University Landscape ArchitectBuildings: 56 ,000 square feet. Cost, including

landscaping and furnishings: $4,600,000 .

Spaniards found living in stone and adobevillages when they entered the area nowincluded in Arizona, New Mexico, andColorado.

ba nco: The Spanish word for bench, inNew Mexico typically used to refer to a seatwhich is an integral part of a wall.

In this aerial view, you can see the relationships of the plazas, as well as the space whichwill be filled in by the library building in the next phase, at the upper left facing the Ad-ministration Building. The outdoor eating areas in the Student Services Building can alsobe seen. Note that there is space on the site for each building to be expanded outwardfrom the center.

says- which will also mark an informationcenter. Until then , the entra nce to the ad-min istration building is marked by its step-ped ar ch and tim ber trellises as the place tomake one's first approach to the campus.

A VILLAGE IN A DESERT VALLEYThe UNM Valencia campus has becom e

a social an d civic center for its ruralneighborhood , in use yea r round and fromea rly morning into the evening . I tspopularity as a schoo l has increased . Direc-tor Suarez and his sta ff att ri bu te much ofthis success to the pleasing campus an d suc-cessful buildings.

The next phase of construction will bethe library building, which will completethe surro unding of the main plaza, and

. permit the library collections to be movedfrom their tem po ra ry quarters inclassrooms.

Architects know that long- range plann-ing and clear goals on the part of the clientare vital to mak e functional planning, thelayout of buildings and design of systems,succeed . At Valencia, Barker and Fri ed-man could also work within a local tradi-tion of simplicity and harmony with siteand climate wh ich is both ration al andevocative of local history and culture. Theresult is a crea ted place wh ich is at home inits sett ing and enhances the lives of thosewho live an d work in it. E.E. H.

THE TRADITION OF THEUNIVERSITY

The main ca mp us of the University ofNew Mexico is a notorious and successfulexample of a continuing tradition ofRegion al Style. To demonstr ate its con nec-tion to the Universi ty, the Valenci a cam-pus is int ended to reca ll the same traditionand also incl udes such details as the samedesign for the ou tdoo r signage. At the sametim e, Val encia is intended to dem ostr at e itsconnection to the local community, andthe scale and open enclosure of the Tomevillage plaza , an old Hispanic sett leme ntwhich retains much of its ancientcharacter, has been an inspiration to thearchitects. The cottonwoods, poplars, andash trees whi ch shade the campus are th esame as or simila r to th e trees of th e bosqu eand th e village, tr ees which flourish in thisregion.

I

DEFINITIONSThis art icle includes a number of termswhich are well understood in New Mexico,but are of ten unfa miliar to readers outsidethe region or new to it .

Anasazi: The ancient builders of pre-historic tim es in the mountain desertregion, the ancestors of the people who the

CONSULTING ENGINEERS:Structural: Robert Krause.Mechanical and Electrical : Coupland Moran Engineers, Inc.

LANDSCAPE DESIGN: Royston, Hanamoto , Alley and Abey.

CONTRACTORS:Administration and classroom buildings: Ja ynes Corporation.Stu dent Services Center : C. H.Taylor.

November-December 1988 1 13

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La Luz- continued.chitectural magazines but Time (April)have featured him and his work, wasunable to attend the celebration because hewas on his way to a symposium in Floridaand then to Paris for a meeting about aproject.

But La Luz created its own celebration.It is a success not only as a response to itslandscape but also as a community, andthe residents published a newsletter ofhistory and reminiscences richly documen-ting that success. The festival itself includ-ed walking tours both of the open spaceand of the private gardens, as well asparades, ceremonies, and a communal din-ner and dancing.

Predock wrote a letter to the othercelebrants, published in August! Sep-tember newsletter, in which he reiterateshis design principles as well as expressinghis particular affection for the community."When I visit the project today I feel thatsame visceral response that I felt when thefirst adobe bricks went into the walls at theend of Arco in 1968," he says.

In the same letter , Predock also says" ... architecture as landscape metaphor(was) an obsession to me then as .. now..,".In the essay in Architectural Record ,Karen D. Stein describes Predock's early

study of the choreography of Anna Halprin.and the music of John Cage, and says,"such extradisciplinary studies also helpedPredock distance himself from thehistoricizing of many of his colleagues .. ;"

Stein does not discuss what she means by"historicizing" whether that might be theuse of a traditionally carved corbel in NewMexico, the patterning of a planneddevelopment on the tradition of plazas,scaling the facade of a building to the pro-portions of nearby or surroundingbuildings, or creating pilasters andpediments from foam plastic and syntheticstucco to articulate and relieve a non-structural facade.

Stein does describe some of themetaphors which Predock used in hisdesign for California State PolytechnicUniversity's Multiuse Building:" ... imagery-potent points of refercnce: ahistoric building, the flight pattern intonearby Los Angeles airport , student trafficthrough a rose garden".

In New Mexico, "imagery-potent pointsof reference" include plazas and patios;pueblos and Spanish villages; Railroad Erabuildings , especially in Albuquerque andLas Vegas; and a multitude of otherthings, possibly including the flight pat-terns of airplanes - just as in any par-.......

ticular locale. The "landscape metaphor"which Predock mentions in his letter to LaLuz is such a strong element in his ownwork that single-family homes have beendesigned to echo the forms of mountains,and Stein notes of the Cal Poly design "hesubmitted his social musings to the patternof archetypal forms by fitting the variouspieces into a chamfered triangle set atop amesa (for all his worldly referencesPredock still depends heavily on the mofitsof his region) ."

For all the pejorative references to"regionalism" - of which the antithesis of"worldly" may not be one - the Architec-tural Record article supplements Predock'sown pride and delight in La Luz. "I amproud that it asserts an uncompromisingmodern image," he says. And so it does. LaLuz asserted not just modern but avant-garde principles of open space and com-munity planning, and of the response ofbuilding design to climate and site: winddirection, heating and cooling seasons,views, composition of both public andprivate realms. The celebration of the suc-cess of La Luz is a higher honor than afeature story in Time for the career of anarchitect, the designer of the genuin eplaces in which people live their lives.

E.E.H.

past 20 years, Dr. Taylor has worked witharchitect George Vlastos exploring the rela-tionship between architecture and educa-tion, seeking to improve the aesthetic educa-tion of future generations and to design andbuild better and more beautiful learning en-vironments for the schools of tomorrow.

AAGTS is a nonprofit parent advocacyorganization dedicated to developing thegifts and talents of children. The "Architec-ture and Children" workshop, organized bySara Otto-Diniz, proved to be a tremendoussuccess in inspiring co-operative creativity among the 100childrenfrom throughout the state who par-ticipated . SCY

Architecture Workshop Opens Doors of Discoveryby Steven C. Yesner, A.I.A.

"Architecture and Children: Discoverythrough Design" was the focus of acreativity workshop for children, ages6-13, at the Ist Annual Junior Conferenceof the Albuquerque Association for Giftedand Talented Students (AAGTS) held Oc-tober 22 on the campus of the AlbuquerqueAcademy.

Sessions featuring graphic expressionthrough drawing, understanding the ar-chitect's viewpoint, examination ofbuilding and landscape forms, schematicplan development and model constructionin a variety of media and contextual ap-plications were conducted by an en-thusiastic group of educators, artists,historians , and architecture studentsfollowing a curriculum developed by Dr.Anne Taylor, Ph.D., which uses architec-ture as an interdisciplinary link forteaching visual thinking, problem-solvingand basic skills in math, science, socialstudies and art.

Dr . Taylor is a professor of architectureand planning at the University of ewMexico (currently on sabbatical in theNorth-west), director and curator of the"Architecture and Children" exhibition andeducation program, as well as director ofSchool Zone Institute which publishes and Illustration [rom "A rchitecture andproduces her educational concepts. For the Children" by School Zone Institute.

A LETTER TO THE EDITOR:Re: Response to Editorial by Mr. WayneWilliams in July-Au~ust Edition of "NewMexico ArchitectureDear Sirs:

Though I applaud much of what Mr.Williams says regarding the pernicious ef-fects of aesthetic design controls, his state-ment regarding the architect's and plan-ner's obligation to "educate" their patron-age betrays an elitist bias that is no betterthan the myopia of many preservationists.The challenge may in fact be just the op-posite, viz. to change the way architectshave been taught to see. As architect andcritic Brent Brolin states, "change thedefinition of 'creative architectural state-ment' to mean a building which, amongother things, also fits gracefully into itscontext. De-emphasize the cruder varietyof creativity-originality through novelty-and stress refinement within the aestheticconfines of the given visual context,whether it is modern or traditional," Therub is that there may be not enoughtalented designers that are both creativeand sensitive to context. Not being a resi-dent of Santa Fe or familiar with its designcontrols, I can only suggest that this lack oftalent might be what afflicts Santa Fe. Bethat as it may, perhaps only time willtransform both the elitism of designers andthe reactionary instincts of preservationistsinto a dialogue which results in trulycreative solutions.Sincerly,

Robert L. PrestonColorado Springs, Colorado

November-December 1988 / 15

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new mexico architecture nmaPublished bi-monthly by New Mexico Society of Architects,American Institute of Architects, a non-profit organization.Editorial Correspondence should be addressed to John P. Con-ron, Box 935, Santa Fe, N.M. 87504. (505) 983-6948.

Editorial Policy: Opinions expressed in all signed articles arethose of the author and do not necessarily represent the officialposition of the publishing organization.Additional copies of NMA available from fohn P. Conran,FAIA /FASID , P.O . Box 935, Santa Fe, N.M. 87504.

Change of address: Notifications should besent to New MexicoArchitecture, Box 935, Santa Fe, N.M. 87504 (505) 983-6948 atleast 45 days prior to effective date. Please send both old andnew addresses.

Subscriptions: Write Circulation, New Mexico Architecture,Box 935, Santa Fe, N.M. 87504. Single Copy $3.00. Yearlysubscription $15.00.

Advertising: Send requests for rates and information toCarleen LazzelI, Associate Editorl Advertising Director, 8515Rio Grande Boulevard , N.W ., Albuquerque, N.M. 87114, (505)898-1391.

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