Rk Jy
Dr Wrk
Graam Fndan / Prnn Arral Pr r
NeW Voices iN ARchitectuRe prn r mngrap n mrgng dgnr frm arnd wrld
Rk Jy
Dr Wrk Frwrd by svn hll inrdn by Jan Pallamaa
Graam Fndan fr Advand sd n Fn Ar, cag Prnn Arral Pr, Nw Yrk
Pbld by Prnn Arral Pr 37 ea svn sr Nw Yrk, Nw Yrk 10003 Fr a fr aalg f bk, all 1.800.722.6657. V r wb a www.papr.m. ©2002 Prnn Arral Pr All rg rrvd Prnd n hng Kng 05 04 03 02 5 4 3 2 1 Fr dn N par f bk may b d r rprdd n any mannr w wrn prmn frm pblr, xp n nx f rvw. Pblan f bk a bn pprd by a gran frm Graam Fndan fr Advand sd n Fn Ar. evry ranabl amp a bn mad dnfy wnr f pyrg. errr r mn wll b rrd n bqn dn. P crd Bll tmmrman: 6, 24–35, 38–50, 52–64, 71, 74, 77r, 77lr, 78l, 79l, 80–84, 92l, 92ll, 94, 98l, 99, 104, 106r, 107, 108, 110, 111, 114, 118, 119, 121, 122r, 123, 125l, 125r, 126–132, 134, 136, 139, 140, 142l, 143–146, 150, 152–154, 156–160, 167, 172 Wayn Fj: 66, 70, 72, 73, 76, 77, 78r, 85, 86 Andy tn: 67l, 67ll, 95, 112r tm hrly: 67r, 75, 79r, 87 Jff Gldbrg: 88, 90, 91, 93, 96, 97, 98r, 102, 103, 105, 106l, 109, 112l, 113, 115 Jrry sv: 92lr Jam MGn: 116, 122l, 124, 125ll, 133 undn Prl: 137, 141, 142r, 147 Maarj snkamp: 173 Nk Brznk: 176 edng: clar Jabn Dgn: evan s. snngr spal ank : N Aljan, Ann A lr, Nla Bdnark, Jan Bnng, Pnny c, Jan cglan, Mark Lamr, Nany eklnd Lar, Lnda L, Jan snman, Ln svr, Kaarn smally, s tnnn, Jnnfr tmpn, and Db Wd f Prnn Arral Pr —Kvn c. Lppr, pblr
Lbrary f cngr caalgng-n-Pblan Daa Jy, Rk, 1958Rk Jy : dr wrk / frwrd by svn hall ; nrdn by Jan Pallamaa. p. m.—(Nw v n arr) inld bblgrapal rfrn and ndx. isBN 1-56898-336-0 1. Jy, Rk, 1958- 2. Arr—Ard rgn—sw, Nw. 3. Arr, Dm—sw, Nw. i. tl: Dr wrk. ii. tl. NA737.J69 A4 2002 720'.92—d21 2002000853
Frwrd, svn hll 7 Prfa, Rk Jy 8 inrdn, Jan Pallamaa 10
cnvn Avn sd 24
Gda Dgn sd 50
caalna h 64
tba h 88
400 Rb Avn 116
tn Mnan h 134
caa Jax 150
Pma canyn h 160
Grr cabn 164
Prj crd 170 Bgrapal N 172 L f Aa 173 sld Bblgrapy 174
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Frwrd tknng Lg svn hll
exprnal pnmna f a wrk f arr nmpa a ln manng f ng nn. t k manng n n w mg adp a Zn am, w pla nn bfr nll. t bn prpn—a knd f a prr knwldg—an b drly mbdd and lar prvd. Fr an ar, nl r bld ng drly, nv an m b r ranlad n nrn drawng, pan, qan, . inn dld. inn alrnavly mg b gvn rl f drvng frm makng f dgn pa, wvr, by m nrn bgn, ypal pan andard and nrn pra av akn vr. t rl fn an xv frm ralzd n banal dal. t aal xprn f walkng rg arr fn q l njyabl an pgrap. t b drly ngagd n nrn and, n a f Rk Jy, bld ng drly allw a lar lnk nv magnan. exprmnan w maral and dal n rran f pnmnal and xprmnal paal am wrk a nar pp f mpy frmalm and banal xn. N playng gam f rpra arr r rn f aadm pblan xpr, Rk Jy rman n frng. Fr yar ag wl n tn, Arzna i m Rk Jy, vd d, and walkd rg r f arral wrk. in rammd-ar wall i fl a nnran f maral—wa i av fn g f a a ypnad maral-pr r pr-maral. i a f w ralm ar prd gr n n, knng lg. srrndng pa ak n a parlar dny w xr anmad n nlg. t vrall pnmnn, w a rl f maral, dal, pa, xr, lg, and nd, allw arral frm b alm nglgbl. i ad a mlar flng wn vng 1960 cr a Bm f Lak by sgrd Lwrnz—a flng f ld maraly and blk f arvd lg. i nd n mall wrk a ral ngagmn w pnmnal arr i av lrd n and g ralz. i nprng dvr n arral wrk d f val annl f rrn fan and plally manplad pbly, and n rprng a gan prd a bn lng. Mr an any r ar, arr ak m! Rk Jy wrkd a a arpnr/man pavng fndan f f n arr, w nally am a ry. Frr, wrk wr panakngly nrd n m a vn by and a drw m. A nd y n r bry, nmy, and pnmnal myry y ar amn n playng gam . . . y ar wndrfl prz f bng n frng. Jl crazar, ngma ar f hp and A cang f Lg, draw m and wrd gr n way pa and lg dn arr wn wr, “wrd lnng mlv p n a nbk lk ngald nd, mall k f m.” in a mlar nny i p fr wrk f Jy, bldng w a “nd g.”
Prfa Vvd sn Rk Jy on wknd [md-Nvmbr 2001], i k my lvn-yar-ld n, ean, alng w my w gd frnd and r n vw Lnd mr wr. W ravld a vry rm dr lan, away frm y lg f tn. tw ’lk a.m. wa dnd by arnmr a b m vw , w arrvd afr mdng and ayd vrng. W a p lw n a dr wa, wr w wr rrndd by amazng pmn f sagar a a rad vr ry f n g and wr bakl by tn’ dan glw. tr wa a lg b f vra b ky abv wa ally lar and arad w ar. Add mll f dr ag and r, nd f a dan arg ran rmblng n tn, m y ar w, a n gar and ngl mal w my frnd. t lg w wa vry drama and a m ky wa ablaz w dzn f brnng mr. tr lrfl ral mm lad mn afr rball ad dappard, rang a marx f rd, bl, rang, and grn ln ar dp blak ky. Lar, a w bddd dwn n f and, i lkd vr a my ll by w lad mmrzd by fana rwrk-lk dplay and i nd rn n y a fadd ff lp. My n an’ rall dram f a ng, b i ld by fan lg f ar a y wd nnly a lp, ndang m a m av dram vvd n. i wld b nrng fr m g a glmp f w wll l away a xprn mpard prap mr prly vally mlang xprn wll av w Xbx vd gamng ym wll g fr crma.
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Par f my mvan a an ar m frm an appran f vry prnal r f lf. t b al ar mpl narrav a nld drpn f m f mr nal ap f r xprn. i fl a gra arral avmn n wrld an nly rly b drbd n way. t w i nk a an ar and w i wrld. Arral pgrapy f r a prly val, w-dmnnal ar frm, makng dfl apr mr xprnal ap f wrk. t n f ran wy w av n w many mag n bk. A r glan, m mag wll m mlar r. B w lr npn y may vk a dffrn xprnal md a nrprd by pgrapr. t nma vgn and dal amp grap n f pla br an mprnv pgrap r lln prvd. i av bn vry frna n arly pa f my arr av bn gvn pprny wrk w m f m gfd and prg arral pgrapr n wrld. Jff Gldbrg f e frm Nw Yrk, tm hrly frm Arkana, Wayn Fj frm Japan, Jam MGn frm txa, and undn Prl frm Grmany av a gvn m f r b wrk. i rly an nr av r mag nldd r. Fr majry f pgrap n bk, wvr, i am m grafl my frnd Bll tmmrman. N nly ar Bll’ pgrap vry n grap mag n and f mlv, b a n fr m a ln n ng and flng a rannd mpl drpn f arral frm. h mag and r nvran ab m av mad a gnan nrbn dpr, mr vral xplran n my wrk. tank y, Bll. A i bgn my nn yar a an ar, nar f my pra a vlvd nld n nly knd f wndrfl prva prj xbd n bk, b al pbl prj f largr al and wrk n pla
f a a wrkd wll far, m gnan ang n way r nw prj ar bng bl. Alg w an nw nly rv a nrar fr mall f lal rdnal prj, i an nvr l g f my pan fr bldng and fr rll f wrkng llvly ynz r nkng w ral makng f arr. t wrk a bn grad by arng and and mnd f many andng ppl. i wa rprd dvr j w many a i mpld l n bak f bk. All f ppl av nrbd mng f mlv a nkr and w r and a makr and i ank m all. in parlar, i wld lk ank my m nr aa, Andy tn. Andy am my f frm unvry f illn j a w wr bgnnng nrn f Gda Dgn sd and caalna h and a gvn f mlf w l pan and fll xbran vr n. Alg a playd a majr rl n narly all f my wrk, my mmr f ndrd f r w pn bldng r nw d gr ar m f fnd f my arr. only n md-wn, Andy n f vry fw xpn wdly apd nn a y wad n yng. Fnally, i wld lk ank ppl w av mard m n my lf a an ar: pally Wll Brdr, w, n r k a nal lap f fa n m n 1990, a bn a nn v f pmm and nragmn; Jrg slv, carman f Dparmn f Arr a harvard Grada sl f Dgn, fr nrdng m mlang wrld f ang; and Max undrwd, fr lpng m nd my ang v and fr nragng grw. i wld al lk gv a vry pal ank y svn hll fr knd and lqn wrd and my nw frnd Jan Pallamaa, w p and ngfl wrng n nrdry ay ar dply manngfl m and vry m apprad. Many ank a wll clar Jabn and evan snngr fr r pan and grafl managmn f mplx pr f dgnng and makng bk. Laly and m gnanly, ank y Jan Mlln, lv f my lf, fr lpng m ndrand a my prna a a man and a far dn w i am m mr an my wrk.
inrdn tg and exprn n Rk Jy’ Dr Arr Jan Pallamaa t mmn mpn f dr landap, a Afran and Aralan and dr r all-w xpan f nw abv Plar crl, rada a rang appal and mnal pwr. t ng ra ra f man and vk an xprn f mln. t al abn f vgan xp nakd kn f ar and rn landap n a al and mlar xprn. Landap bm an xnn f man kn. t snran Dr f Amran sw a landap f ddn drama. i arrd and rakd l rd by mrl dr n and rdd by aak f dr ran. i plan xb palar rag fr llng and prrvng war and vn mr rkng man f dfndng aqrd k f ba ban f lf. t lf frm adapd ndn f snran Dr prj an nrgng mbnan f aggrn and bay; dv f dfn and rag f prran rn n dazzlng rwrk f lr and frm. t radan bay f dr xnd frm arly pnmna n and lran f ar and ky. Jn van Dyk, a prfr f ar ry a nd f nnn nry, drbd bay f dr ar n frgn bk, t Dr: “t dr ar praally lrd ar. svral m frm g mnan i av n lyng blw m lk an nrm nd ld r vl. A mlar vlng f pnk, lla, r pal yllw b n n grg. . . . Plan pn plan lad p and rzn—far a y an —n ndlan f gry and gld; rdg pn rdg ml n bl f dan ky n ln f lla and prpl; fld pn fld vr ma ar drp vlng f pal
and paz. Y, kngdm f n-r. Fr vry lr n al and ky f am, vry arwav m w bra f am, vry n-bam alk a a af f am.” 1 t Amran dr a arad nmr ar, wrr, pgrapr, lar, and brvr frm Grga o’Kf Agn Marn, Jn van Dyk J. B. Jakn, edward Wn Rard Mra, and Mary An Rynr Banam. Gan Balard, Frn plpr, wr f “war p” 2 arad by mag f war. W ld, mlarly, dnfy pp plary f p nbly, dr p. t dr a al dd an nr gnran f Amran landap and ar ar, a Rbr smn, Dnald Jdd, Mal hzr, Jam trrll, and Walr d Mara. evn ar frm Frank Llyd Wrg Wllam Brdr av bn drawn wrn dr. i prbably blm van and n f a dvn vd a a arad ar. t dr r prvd abla raa fr rav wrk a brak frm nnd and ndnd pa f and mm. i gv a nw nx ndavr and prd f mdrn man. A rng ara f a ar appar bral n a ng f l grnry, b appar a fragl mmn f man vlnrably and vany f man ffr ndr dr n. t dr rn mal f a n an n a ry la rmnn f an amn laf. t mry f Amran war plan n kr f tn, Arzna, wr B-52 bmbr ar dmmbrd lk garganan l by an mmn glln blad, lva nfrnan f dr and mdrn man al f a frgnng bay. 3
11
1. Mal hzr, Dplad/Rplad Ma 1:3, 1969
2. Alx s. MaLan, Bn Yard, 1996
12
3. Wllam Brdr, Pnx Pbl Lbrary, 1995
t ar blm ng f Rk Jy’ dr arr.
4. Frank Llyd Wrg, taln W, Pnx, Arzna, 1937
in 1985, Rk Jy, a yng man frm grn aal landap f Man ddd nr arral prfn afr wrkng wlv yar a a man and n arpnr. h wn dy arr a unvry f Arzna n tn, and wa allrd by Arzna dr.4 “W nndd mv bak Man wn i nd my dgr n arr, b rn and dvry f many lr a x n Arzna, and xrardnary nal bay f snran Dr, nn kp r,” 5 nf. Afr mplng dgr n 1990, wa ffrd a r-yar nrnp w Wllam Brdr n Pnx, Arzna. Brdr a lf-ag ar w am arr rg lpr and a bl p an nrnanal rpan n , w ar p and lpral rpn r dr nx. in Brdr’ f Jy wrkd n dgn am f Pnx cnral Lbrary, ar’ larg mmn da. t bldng mrg g- nrn nq and nvnn mag a blm al, al maraly, and angng lg f dr. i rn rlln f dr n mag f a g lbrary man f lrn ag. t nrnp m av bn gnan frman f Jy’ arral nbl, parlarly nrplay f ry and rnmn, rgn f maral and nal pan, frmal mply and nald wal f aan. i nrng ralz arral lnag, w Jy Frank Llyd Wrg.
Brdr apprnd w and larnd pra f arr frm Pal slr, an mmgran frm trn, ialy w apprnd w Wrg n taln W dr d n sdal fr r yar a nd f 1940. cran ap f Wrg’ dr arr— a f k wall a m lk prrn f ar lf, rznaly a dn a dam ln fr radng f ndlan and rym f a landap, a wll a jxapn f wg and lgn, pay and ranparny—an ll b fl a dan rmr n Jy’ bldng. Jy’ allgan mdrnm, n r and, para m frm prdr. h a nn f ngng dal f mdrny, w m n a prpal pr f qnng apd vw f raly and lral nvnn. A pal qaly f Jy’ pra al ngagmn n dgn and bldng pr. Drng pa fw dad, dgn prfn av dand mlv frm maral and pr f makng; ar av bm mr dgn pal w ar ngagd n nrnrg prfnllalzan,npalzan, and frmalzan. A am m, nrn a bm nrangly gard md, apabl (fn lmd), , and nm bjv f nrar. t dappnng dvlpmn, pld w gnral nrvam f ar’ lnl, av gvn r a nmbr f dgn-bld pra ar und sa. Jy’ dn b nvlvd n all ap f bldng pr rabl ar’ vnrabl rl a r mar f nrn wrk, b al allw fr grar qaly nrl, xprmnan, and f raf. M mpranly, r-ra pylgal advanag f rly llv wrk. Jy mpaz llabrav n f arral and nrn wrk: “or rm, lk wrk, rv fr a gr dal—a f a prav pra. t pra a r wrk w r w a ard vn and mmn apran. W n dplnary bndar, nly bndar f prblm ndr ndran. tr l nd llvly rv nvr gnrav qn and dvr anwr rg a prn’ nrbn. ta man nvlvng ln, rafppl, fabrar, frnd, famly, and aff vry day n rav pr. i fr ran (amng r) w bld (w ar nrar fr r lal prj) r lal rdnal prj lzng a am nng prdmnanly f rn arr l grada.” 6 Jy’ ngagmn n aal nrn wrk a wll a mplymn f dn and fr grada n nrn am pra f Wrg’ dr aadmy and slr’ can and Aran mmn. A gnan ap f llabran n ralm f ar llabran w ry. in mnal ay “tradn and indvdal taln” (1919), t. s. el wr ab p frm f
rav llabran. h prpd “a ral n,” ar’ p pn n rlan pa, nad f pr knwldg f ral fa f ran. “tradn a mar f m wdr gnan. i ann b nrd, and f y wan y m ban by gra labr. . . . i nvlv n r pla, ral n. . . and ral n nvlv a prpn, n nly f pan f pa, b f prn; ral n mpl a man wr n mrly w wn gnran n bn, b w a flng a wl f lrar . . . a a mlan xn and mp a mlan rdr.” 7 Jy’ wrk m b nfrmd by knd f a wdm f arr, drvd frm vrnalar and ral bldng a wll a nr rag f mdrny: “W ar nnally rvng ra
5. Vw f bdrm, Jy/Mlln h, tn, Arzna, 1991–1992
arr a rgnally ympa and wll grndd n nx and mmny f pla, wrvr pla may b, and d n rly n rpndng pral fad, ral yl, r nllal ‘m’ a ar pplar w ar day. i blv w an larn a l frm bldng w av nrd, b mang r frm w rgnn f rgnal nn dgrad r mpran, ra a kn-dp yl, and lm n f wndr and nvnvn a ral rang mmrabl pla.” 8 Jy’ arly prj wr alran and xnn f xng bldng. h ngagmn w anam f ld bldng m av nzd m f m and ral layrng a wll a nvabl f any arral langag w wn m and lral ndn. h drmnd manan rvrn fr ngry and anmy f ral layr, and pn m p m n n w day’ nmnal prrvan vw. Bfr brakrg n awarn f a wdr arral pbl, Jy dgnd and xd a nmbr f mall b gfl prj. h bl wn rdn n tn (1991–1992), an xnn f a plard bngalw, drng nn mn a am m a wa mmng daly bwn tn and Brdr’ d n Nw Rvr, r r away. t dgn r Brdr’ nn, b al dplay m f Jy’ ba lar rag and frmal da, a nrplay f mpl gal and mnal dny, ndr and dr, pa and al, maraly and lr. t Bryan Rdn (1993) and hffman Rdn (1996) rmdlng nan dla addn xng bldng and dvlpd ar’ n f nrr pa, wra nxd Alq slar Rra (1994), fr a vny ml a f tn, a mnmal dr ndrna a ngl mal d rf. t prj nrpra nvrnmnally prgrv nlg, a a pvla lry ym, rmal war panl, mpng l, and a gray-war ym. t nbl prj fr Br/slad Rdn (1994) n Drang, clrad a mr labra dgn w k and prv manry wall ndrna a lw rznal gabl rf. tw ff (1994), n n Pnx and n n tn, famlarzd ar arly n w nnrdnal dgn. t Al sprng Ran (1995) n tba, Arzna, anr nbl prj, a dynam mpn f r ranglar d-rfd n f rammd ar, d graflly wn a grp f mq r. t prj mbn an ar f mdrny w a rlaxd vrnalar arar.
6. hffman Rdn, tn, Arzna, 1996
15
Rk Jy’ wdnng rpan a an ar w a prnal mag a bn bl p n xpnally r prd f g yar, and n fw farly mall rdnal prj. i lar, wvr, a wll b r apr n ar’ fr œvr. h r wrk awak nanal and nrnanal nr wa cnvn Avn sd (1995–1997). i lad n Barr hór n tn, w ral blk f p and bn w rdnal fnn and rada a n f ngrad rban lr a a dappard frm Amran y nr. Wn Jy bgan prj, xng bldng n ad alrady drrad a a f rn. h ak wa rr rman f xng rr—nally a wall, n a r frn f a rw f , and a fragmn f n f —and nr r md lf d. t nw w-ry wdg-apd n—n rnd arnd ax 180 dgr—av a lan d rf f ry rrgad . t plan drawng mak lk rwdd, b vng m rn rwddn n a pv n f dny, myry, and al nmay. t nrd rg rnvad rfrn faad f frmr bldng. sbl gr, a prly framd wd dr, lgan xdzd l malbx, and randmly pad rn bar, prpar vr fr an nrplay f radn and nvly. in nry ryard, w alan ry crn b nanng war dr n’ gaz dwn ar and prvd wlmng and ng gr f rfrng war. t mag f war nanr rall L crbr’ “lg ann” a La tr, L Barragán’ rg and , and Rard srra’ avy vlm f wrg rn. A n lf n’ y, nd wall f nar lf m r an nxpd g. t wall f lf n, mad f rammd ar 9 w a pnk lr (n fa, lran ang dramaally n ardan w m f day and war), prj nan f a k vlm, wg, pay, aly f ar, and l nrr f vry ma. spa mandr n a labyrnn mannr bwn r d, a ward l landry n, bndary wall, and a frandng landap wall. t arr grn lr f landap wall, nx dp rd brwn f xdzd rn, xd a rprng ambn f abran and rgan aan. t lr brng mnd anng yllw rangl f pn r azln plln n Wlfgang Lb’ r nallan. t ar lr a vbra w r fr f
7. L Barragán, cadra san cróbal, L clb, Mx cy, 1966–1968
grw and prran. Jy’ grn vk a nan f a and mmry f marn, pnk, and vl wall f L Barragán. in mpl mpn f r wdg, rdr play agan randmn, a vr’ mnd lla bwn aan vrnalar nrn and mdrn mag, annym radn and dynra xprn. tm rn n a dp m a a an arlgal n. sarply nrd and gfl dal, a nr fndan xndd pward frm wndw ll, r nn f dg f ry l pla, ra a nrpn ma f rammd ar, w aan dr lff and layr f ar rvald by an xavan. on rmmbr Wrg’ dr nr a taln W and L crbr’ bn br. t nrr f lf pa ar r y lgan. t wndw, pnrd rg k wall, av a lp fng ff, wra a l rg wdn rf rr n nrr w van f ky. Anr nrvnn w an xng adb bldng n r dr f tn Jy’ nrr dgn fr Gda Dgn sd (1997). A bldng’ wnr dd n prm any alran bldng, Jy’ prj an arral nallan rpflly wn nx f w-wad wall and l r f rgnal rr. t gypm wall f nfrn rm, fr nan, wr land agan wall f prvd dplay rfa. small qar aprr n wall ra a n f nrad lr, a am m a y rgla
amn f naral lg. t nrr ar arlad n w maral, pla l and ranln gla, n vkng pay and gn, r a glw f lg and fragly. Rgardl f r dmnv z, rm ra a labyrn-lk pa. t caalna h (1997–1998) n tn, rnd ward caalna Mnan Rang nra f , anr applan f Jy’ rammd-ar wall/ndvdd gla pnng/ward l vablary. t bry rf and prjng gr vk ran vn wn dry a rng landap. t and garag ra a vllag-lk lr a a fnd rlaxd ngran n rlan r f n a wll a nar and dan vw f sagar a. t pp rnan f w rvrd gabl rf rprngly ffv n rang an mag f a nglmra f vlm nad f a ngl . t tba h n tba, Arzna (1998–2000) a mr xnv rdnal dgn n m a nr and ward l. in mparn Jy’ arlr, mr mbl bldng, prj a mplxy f paal mpn. t plan arrangmn rmnn f ran ca sdy h n calfrna f la 1940 and arly f. hg ndvdd gla wall an landap n wndw rfa and rn n a mnmnal panng; n any mr n a landap ng, b ng p . t arr m a dalg bwn pp mag f nrng and abrang, nmay and dan—a dalg a an nal m n all f Jy’ arr. Wl bng rr f dr, bldng ar al d n abra and nvral langag f arr. Jy mlf mpaz a, a a rlav nwmr, rad dr landap a an dr. 10 A pl f yar afr mplng cnvn Avn sd, Jy bgan dgn wn 400 Rb Avn (1998–1999) n a rnr f rmanng , and flly xpandd labyrnn nmbl n nr f mdrn tn. Lad n a dy rv ally, d prn lf a a mav ar wall w a avy wdn dr, jxapd w rng l. t mag xpr mlanly rggdn ( gn f fr-wl-drv, farm manry, and ndral ng) and an lgan dgn nbly. opnng dr, w pak f prn, ary, and dm nmay, n nr a wdg-frm ryard dlnad by a rammd-ar wall n n d and a larg dapragm f gla n r, rmnang n ry darkn f a mall rng pl. t ryard dr n’ ann ky abv, w rn n a and pr framd by dg f pa. t lr nal f dr ar, drbd by Jn van Dyk, m play n Jy’ rv rfa f war and gla, and framd k Jam trrll’ ky pa. t dmn and rak f ar
8. L crbr, La tr, evx-r-Arbrl, 1953–1957
wall ar nrad w g- pnn f g f gla w ar wall. t jxapn mak n nk f sgrd Lwrnz’ lbrad wndw w gla lmn lppd drly n rfa f a brally rg brk wall, makng wndw appar a mr pnr rg mar. t tn Mnan h (2000–2001) a lary arral rr lad n a vally rrndd by mprv rdg and grg dr plan. i np a varan f m dvlpd n caalna h a pl f yar arlr. t plan n f w paralll rw f rm ndrna a gnr bry rf f ward l. t arflly d and bl w drbng fana, w fragl rgardl f aggrv apparan. in mbnd ranaly and mnal mpa, brng mnd m f laradd and p dgn f Glnn Mr n Arala. cararally Jy’ , barm pn dr nry rg a gla wall, nrang nmay and mmny,
9. Jam trrll, Ar Ma, 1993
10. sgrd Lwrnz, Flwr Kk, earn cmry, Malm, swdn, 1969
t ba np f caa Jax (1999–2002) f r bx n a plafrm, agan braakng dr bakdrp and a dan mnan l, a an xpl mnmal arar akn a f Dnald Jdd and carl Andr. in rdr mnmz mpa f nrn n ar and vgan, n ar lvad abv grnd lk p f lpr n r ba. t wdn lpng dk mplly ra mag f a rf and frr rnfr n f abran; frm dlbraly dand frm nmnal mag f dmy and mfr. t nmbl rn n an arral ll lf rmnn f Grg Mrand’ mapyal mpn f a pl f md bl r p n dr f a abl p. t nrpn f anm grng f g agar and rrand and prn bx pwrfl, ndd. t fragmnan f n ba fnnal mpnn—lvng pa, bdrm, and dn— rngn n f lan n mddl f dr, a daly av ar nrnnd nly by gravl f pa wndng rg a. t xrr, lad n pla l, ra an ambn f dan rlnln (ndrlnd by xpd fanr), wra mapl vnr f nrr panlng prj an nvng dmy. tranln gla parn add an mag f fragly and pk p lg f lg. t Pma canyn h (2000–2002) n tn lad n a gad mmny nad f Jy’ al ng, pn and lml dr. t nvd a a mna mrm nld wn prmr wall; wall nrrpd nly a nra rnr, nx a pl f war, pn p a vw mnan. t xprnal nnr rly arlad bgnnng w a dark nry pa w nd f drppng war. A rvlvng l dr pr darkn f pa agan vrpwrng dr lg and ra a mnal dan bwn wrld f vlgary d and man-mad parad wn ( ann Pran wrd par-da’za man “walld gardn”). t pa f nan lw dwn and n n’ n, and vnally vr prpard and a gla nry pavln and frr n xrd plar nrr. Jdgng by drawng, wn nd, wll av an mnal dny akn L Barragán’ dramlk arr. t Grr cabn (2001–2002) n Grr, Arzna a akn Jy away frm blvd dr an nrly dffrn landap, an apn fr nn and f abv a lvl. in prv pa f a fr, a a mr fragl kn and fr apparan an wn xpd adl dr. Lk ndvdal n f caa Jax, a bx n a lpng ld. Apprpraly, dffrn n n and play f landap rd n arar f bx; vral dar la f faad ra a bl ranparny and a dalg
11. Glnn Mr, Magny h, Bng Pn, Nw s Wal, Arala, 1982–1984
12. Donald Judd, 15 untitled works in concrete, 1980–1984, detail
13. Grg Mrand, sll Lf, 1956
w rym f r. t ngran rall plan da f 1950 and x; var n a n ndvdd pa and dn zn f dffrn dm av, wl k wall n nr d nan rv pa and l. in Jy’ dgn, dlgfl pan pmm f md-wn nry f w mnmal dal f arly wny-r nry. Rgardl f rnd a, Jy’ arr gdd by an nvrnmnal and lgal nrn. Jy’ nvrnmnal ad ar, wvr, bad n ran and a n f mdran, nad f nvrnmnal fndamnalm. “slwly mrgng frm r dpabl y an nrangly pplar wrld vw a lp all mak lf dn n favr f nvrnmn. A mpl, i an nly p a by rvng dgn and bld bldng a p an ndrng qaly—bldng a ar nrnly nal and lfl—i an av m pv mpa n f anabl dgn. Bld, mdrn arr a rd n nx and lr f pla and a dvlpd n mbnan w ba f prpr lar rnan and prn, and rpnbl f nbl maral and n rafmanp, wll av qaly wand f m. in r wrd, w an nra lngvy f bldng and dra nmpn f rr by mply dng a gd jb w ba r. By rang an nvrnmnally rpnbl arr a n mply and lary mr aanabl and drabl w an n brdg gap bwn nvrnmnal xrm frng and pplar lr.” 11 tday’ lgally rnd arr fn prj an ar f a and nlgal nrvam. Jy d n ap mprm; vn nvrnmnally nrnd arr nd lk frward and apr fr a and nal prfn. Nar prvd mdl fr ; naral ln wrk ward frr rnmn and fny f prfrman, n bakward arlr, mr ara frm. Rk Jy’ arr f ran and pry n a ngl np. h dgn ar llran f Jp Brdky’ argmn, “bay an’ b argd. . . alway a by-prd f r, fn vry rdnary, pr.” 12 Bng a bldr, Jy f n nal and praal f nrn, arar f , and prnpl f ranaly and man prpn, b ngagmn rl n qal f prd bay. Alg bldng al r an nmprmng a nbly, prmary bjv m b bynd arr, n mrly a a maral and azd bj, n xprnal qal f nnr w wrld f ral. h bldng ar n arral bj: y ar xnal nrmn a fram, ndn, and arla ralm f xprn.
14. enry bldng, Pag on Rr hl
Jy mpaz mpran f nal xprn and an nv appra vr ral plan: “in dgn, a gra dal f ann gvn qal f nal xprn. Afr avng a rg ndrandng f wnr’ apran and rqrd fnnal ap, i frqnly nr n a ralm f mndfln a rl prdmnanly n nn. t ralm allw fr a yn f lgal ap f dgn and a vral ndrandng f xprn—ranndng ral. t pr mpran vrall dvlpmn f da a gra xn a fn prmp my ndran f val frm. t mr ral ap f nma xprn— nd, mll, al qal, and md—ar fn mr mpran an bj lf. t a f ng rg wndw r nrng dr ndrd r. An arr dvlp a, n dlbra mply, gnly ndg ppl n a mr ngagng mlnry xprn and gn awarn f aally bng r.” 13 on f Jy’ rrn prj, Pag on Rr hl, a p ward a largr al and a frr nnan and abran f xprn. Dgnd a a llabrav prj, 14 lxry rr n a palar landap n rn ua. t mag f prj av a prmrdal and fr ampr. in m arr a bn rdd mnmm prn—n a a flng a arr nabl nfrn bay f naral pnmna, n n a a mnan pa, a a man arfa, lad pla f xrardnary bay. t g f rr ar gdd vrwlmng nx f nar, a r man and wman nfrnd nar n r nnn
ndy. Jy’ rpn ln’ qn—hw wll nrdbl nfrm yr appra dgn?—rval ar’ bjv, b al llra way f nkng: “t land a n a pla f rp fr all valy and a pla nab and xprn fr all gn n r l. t ral allr f land a Pag on qly ddn n wldrn. t land mv n rall all a pr and wld ab A mran W. W r wny-r-nry y w an bay b frm a prpv largly lad frm land. t rly fl land n m xprn p l. W vry nnr w nwly bl lmn n’ prpn f wldn f pla wll b alrd. hw an man-mad lmn nrb mannan f and prap nanmn f rn and wldn f pla? i pbl a, by gvng ppl a mr raw xprn w land/pla, w an lp m nn w pla, pa and prn, n a mr prfnd way. Fng prmarly n prn and rang vry pr nal xprn an av . Lg—r—ma—ranlny—nar—ar— mn— n— nd/q—prvn/ pnn. By nanng xprn f prmal lmn, w an ra an arr a n mply wll n ppl m Pag on and gnly ndg m n a mr ngagng nnr w land.” 15 Jy’ al an rm: ak f arr n nran , r ffa w mprn f wy frmal nvnn, b ra ln, almn, and nnran a nabl xprn bay f wrld and lf arnd . h p a mly a rar n day’ arral wrld f arrgan and lf-nrdn: “i am nkng mr and mr day ab n j makng f arr, b bng an Ar. tr ar many ar n wrld w wrk i admr n a frmal lvl, b r prn n wrld nr an nr gvng f mlv a Ar.” 16 t lrary drpn wrn fr Prj Dgn Dmn f n a gnd nry xprn. t x an xprnal drpn f ll nnxn bldng rg n f a vr rr, arng w n’ mprn pn arrval: “Yr ar lav gway, rmbl f dr rad fl, and
ndan a y av arrvd a rr markd by a mpl y xq mal ‘ran’ ga and a rvng nry rad a brng y p agan all, myr pnx-lk rk frman a gnal yr arrval mwr pal. t r vraly f rk frman myrly gard and rn vw bynd. Pang by a r abl n yr rg, g arrv arnd bnd f nry rk and ddnly a dan vw wdr landap rval lf. t rad n ragn and ad ward a bafl rk frman, an land n md f ‘rk gardn.’ A nn r mana, parklng rn frm p n rk, lrng rd ravlr xplr frr.”17 t drpn nn a lng rg qn f pa, y ardly mnn any arral rr; nad pn vw, flng, and nan rvald and arlad by arr. t lrary an rgr ap xprn—nd, mll, and mprar dffrn w am wg a val mprn. Jy’ arr ra a lar rym bwn av and pav, frgrnd and bakgrnd, dmnv and grand. h n f pa and rran m drv frm xprn a a man: “A a drmmr i wa alway mr nrd n way mak m ‘fl’ a ran way an n amp b ay. Lk n m f Ml Dav— ln fn mr prfnd an nd.” 18 Drng fall f 2000, Jy ag a sd a harvard unvry nld “t Fv sn,” wr xprmnd w narrav wrng a a man mmna arral nnn and xprn. “A dn prpard brng r mdl and drawng n rvw pa, i ld m y ldn’ brng anyng. ty wr rqrd vrbally drb r prj a f y wr llng a l frnd ab r fana nnr w bl raly. W lar d r vrbal nnn w r prgrng dgn.” 19 Jy’ rrn ang and lrng n wdnng rl larly lanng m anr rb. h prnal dgn nbly and an arral langag, dvlpd and rnd n nq nx f Arzna dr, awa pprny b appld mplly nw nx, fnn, and al. t dr n arral qan wll b rplad by nw yp f landap r rban
ng gnra prfnd and nng arr. Notes 1
2
3
4
5 6 7
8
9
10 11
12 13
14
15 16
17
18
Jn van Dyk, t Dr: Frr sd n Naral Apparan (Nw Yrk: srbnr’ sn, 1901). A qd n Rynr Banam, sn n A mra Dra (sal Lak cy: Gbb M. sm, 1982), 154–5. Gan Balard, War and Dram: An eay n imagnan f Mar (Dalla: Pga Fndan, 1983), 5. t dmln bgan n 1993 a Dav-Mnan Ar Fr Ba n tn, Arzna. t rng f war plan a way f mplyng w srag Arm Rdn tray. t rd plan ar lf n fr nny day b brvd and vrd by Ran all. Jam crnr and A lx s. Ma Lan, takng Mar Ar Amran Landap (Nw havn and Lndn: Yal unvry Pr, 1996), 96, 99. Rk Jy dd ar fr w yar bfr arng d n arr, b ndr xprn a a man mr mpran fr nbl a an ar. Rk Jy, lpn nvran w Jan Pallamaa, 17 Nvmbr 2001. Rk Jy, lr Jan Pallamaa, 20 Nvmbr 2001. exrp frm Rk Jy and Max undrwd, Rk Jy Ar Frm Prl, 2001. t. s. el, “tradn and indvdal taln,” n sld eay, nw dn (Nw Yrk: harr, Bra & Wrld, 1984). A qd n cln s. Jn Wln, “t hral sn,” Arral Rvw (obr 1984): 68. Rk Jy, lr ln nragng r ndran f mdrn xprnal arr, spmbr 1994. Rammd ar mpd f ld ar (w war-abrbng lay) mxd w r prn Prland mn. t mxr mpad n frmwrk rmnn f nr frm. t wall rqr rm fndan ba lg mvmn a rak n m. t nrr rfa ar ad w a lar alr n rdr prvn d frm rbbng ff. Jy rd nq f mplyng rammd ar Qnn Bran, w a rnd pr and rvd a a nlan and nrar n cnvn Avn sd prj. An gn-n kn f ar a prvd dal fr , w kr wall rqrd fr a and w, a lar a abrbd drng day n radad rm nl afr n wn dr ng mprar rn lly. Rk Jy, lr Jan Pallamaa, 15 Nvmbr 2001. Rk Jy, nrvw w Pal Makvky, Mrpl (Aprl 2000): 75. Jy anwrd qn, “hw mpran anabl dgn yr wrk?” and “Wa d y a majr lral allng fr ar n nw mllnnm?” Jp Brdky, Warmark (Lndn: Pngn Bk, 1992), 70. Rk Jy, “Dgnr samn” wrn fr crylr Award and Nanal Dgn Award bmal, 2001. t prj wa -dgnd by Rk Jy, Wndll Brn, Marwan Al-sayd, and Mal Br. Rk Jy, lr Brn Klman, Pag on Rr hl ln, 2000. Rk Jy, lr Jan Pallamaa, 31 obr 2001; mmn nprd by an arl by hrbr Mamp. Drpv x frm Pag on Rr hl Prlmnary Dgn Dmn, -dgnd by Rk Jy, Wndll Brn, Marwan Al-sayd, and Mal Br. Rk Jy, lr Jan Pallamaa, 15 Nvmbr 2001.
21
PRoJects
When I rst walked the site, it was essentially a ruin, in fragile condition and in a fragile place. Convent Avenue is in one of the oldest neighborhoods in the Southwest, the Barrio Histórico listed on the National Register of Historic Places. First settled in the early 1800s, the area is rich with Mexican American culture. Tightly clustered courtyard residences and businesses share common walls and outside spaces. Mid-century “urban renewal” efforts reduced this neighborhood, among others, to only twenty blocks. Only a twelve-foot-high street wall, which was once the front of a series of historic row houses, and a portion of one of the houses remained on the site. The project involved restoring all that was left of the historic elements and carefully inserting three small loft houses and the required infrastructure. The project made a clear distinction between old and new throughout, being careful not to blur the historic record. The restored street wall serves as the entry to the complex. Along the streetscape, passersby can see through the old door and window openings in the historic wall to new lush courtyards with fountains, large native mesquite trees, and creosote bush. Each of the three new houses is a simple, wedge-shaped, two-story, shedroofed building. These forms, when carefully placed on the site, create a matrix of private and semiprivate courtyards and pedestrian walkways.
CONVENT
Their shapes help to resolve many of the encroachment and sun access issues their neighbors articulated. Landscape walls of chartreuse green, inspired by the color of new mesquite buds, serve as playful way-nding elements in this maze of external spaces.
A V E N U E
The walls of the new houses are constructed of compacted earth. Roughsawn wood elements complete the shell of each structure while more rened elements nish the interiors.
STUDIOS
The little rusty steel laundry shed toward the rear of the property is my rst stand-alone building as an architect.
26
27
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N
34
36
5
4
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2
1
N
0
10 ft.
1 2 3 4 5
Entry Living Room Dining Kitchen Sleeping Loft
38
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GODAT DESIGN STUDIO This project involved building a graphic design rm’s ofces into a leased historic adobe. To start, the interior white plaster surfaces of the existing walls and the terra-cotta oors were renished and most of the doors removed. The building owner prohibited any other alterations or signicant attachments to the building and we were only given two-and-a- half months to complete the project from conception to nish. These conditions fundamentally determined the direction of our work. Two principal materials, plate steel and translucent glass, were em-ployed for the new elements. Chosen for their availability and the quality of their factory nish, these materials eliminated the arduous and time-consuming process of fabricating and nishing more common case goods.
We organized the interior by positioning a series of freestanding veils in each of the open passageways. While serving multiple functions, these elements screen spaces from one another and simultaneously allow for uid movement. All other furnishings were designed as stand-alone pieces as well. On occasion, a drywall form was simply leaned against the existing walls to display work. Square openings were cut in these walls to ne-tune the light quality from the larger windows behind the drywall. The Godat Design Studio is located in the same neighborhood as the Convent Avenue Studios and my ofces at 400 Rubio Avenue. It is a pleasure for me to visit it on occasion and see how well-loved and maintained the place remains.
52
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7 6
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2 3 2
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10 ft.
1 2 3 4 5 6 7
Entry Ofce Conference Design Studio Courtyard Kitchen Workroom
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CATALINA HOUSE
The house’s gaze is transxed on the view of the dramatic Catalina Mountain Range to the northeast—a given.
Three forms, arranged in a deant stance like a wagon train, camp around a fragile complex of saguaro cactuses, mesquite trees, and burrowing fauna. The main house is divided into two clearly dened “wings.” The general living and entertaining areas to the east are open and airy indoor-outdoor spaces. The private zone to the west is turned slightly to capture early morning sun and generally assumes the posture of a cave. The resulting geometries are translated three-dimensionally by battered rammed-earth wall planes and reversed gable roof forms. The various slopes are positioned for their effect on the house’s spatial experiences. A coarse exterior shell presents itself to the harsh environment of the desert, while soft sensual cherry wood is used for interior elements. The garage, a framed form with weathered steel cladding, was built after the main house. Its site was used as the staging area for the construction of the rammed-earth walls. As a result, no trees or cacti were destroyed on the site and only one additional tree was planted. My rst house.
66
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8
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7
1
2 3
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1 2 3 4 5 6 7 8 9 10 11
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10 ft.
Entry Living Room Kitchen Pantry Porch Bedroom Den Spa Garage Guest Shop
69
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87
TUBAC HOUSE
From the gravel drive only the glazed ends of the above-grade forms can be seen, hovering. At night they appear as abstract glowing forms. From this view the building’s concept is revealed. A level shelf was cut into the hill and dened by two U-shaped concrete retaining walls. Two simple shed forms frame a large linear courtyard below. The gravel path to the house crunches beneath your feet. Through the garden of barrel cactuses that appear to be standing guard, one descends into a courtyard by way of a stair wedged between the two retaining walls. From here, an oasis unfolds: cool dark shaded areas, the sound of water trickling, humming birds, the smell of sage and owers, reections. Planting arrangements and detailing assert a rened man-made character. The courtyard provides relief from the overwhelmingly expansive setting while the two buildings frame a cropped view of Tumacacaori Peak—the client’s favorite. A negative edge pool located at the west end of the courtyard extends the experience to this view. The house’s weathered steel forms, like some rusted artifacts from a cowboy camp, are oriented to frame prime views. The coarseness of the rough steel exterior contrasts with the renement of the interior palette of white plaster, stainless steel, maple, and translucent glass. Protruding steel box window forms penetrate the building in apparently random but carefully selected locations to frame specic views of lightning storms and distant mountain ranges.
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7 8 10
2 12 11
1 2 3 4 5 6 7 8 9 10 11 12 13
Entry Living Room Dining Kitchen Pantry Porch Ofce Bedroom Shop Garage Guest Courtyard Pool
3
1 4 5
6
13
N
0
10 ft.
102
105
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4 0 0 R U B I O AV E N U E
Rubio Alley was once an active street with houses and businesses lining both sides. Today the richness of the larger Barrio Histórico fades into a bleak setting of vacant lots, fences, and dumpsters. The studio presents itself as a monolithic block with a single deep opening and a pair of wooden gates. A single mesquite tree shades the approach and further marks the entry. Fourteen-foot-high rammed-earth walls rise from the boundaries of the site, a leftover portion of the property of the Convent Avenue Studios, to create a single introspective space. Once inside the gates, one encounters another single mesquite tree, water trickling in a black steel pool, and the framed blue sky. A ush glass wall divides the space longitudinally into an exterior courtyard to the north and an interior workspace to the south.
This is a building of walls, but with blurred boundaries—earthen walls and a glass wall, all reaching to the sky. Like the sky, the reective metallic ceiling seems to oat between these walls. This quiet serene work space is a good place for us to burn the midnight oil.
N
119
120
N
0
10 ft.
3
2
7
6
4
5
1
1 2 3 4 5 6 7
Alley Entry Courtyard Design Studio Conference Kitchen Printers
121
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In a small valley surrounded by dramatic protected ridges, the house’s secluded site is lush with Sonoran Desert ora and fauna. A singular object, alone with the elements, strives for respectful cohabitation within the natural balance of this fragile environment. The compact whole has a buttery roof shading, massive earthen protecting walls, and raw desert that meets its edges. North and south walls are two feet thick and rise to sixteen feet. The center roof valley slopes from eleven feet at the west entry to eight feet at the replace mass to the east, creating a softly warping roof form. A singular scupper directs water ow out and away from the building. The house is divided longitudinally along the valley into two zones, with main house functions on one side and a guest space and porch on the other. Openings in the walls frame the owners’ favorite views and suntracking events. The car parking is hidden away and a simple walkway, aligned axially with the central spine of the house, leads to the front door.
On the day we broke ground, a red tail hawk ew over to see what the big yellow thing was doing. I felt a sense of sadness and loss as I imagined her thoughts. Despite the awesome contradictions, my perception is that the house and site have begun to acquiesce.
TUCSON MOUNTAIN HOUSE
N
138
6 0
7
1
2 3
4
5
8
10 ft.
1 2 3 4 5 6 7 8
Entry Living Room Dining Kitchen Pantry Porch Guest Bedroom
145
146
The three boxes have landed in their rightful place, nestled in a secluded bowl-like formation on the land, striving for low impact and equilibrium among the ancient saguaros. Opportunities for dramatic views surround the site. A singular view for each primary space was selected after studying possible orientations. The house is divided into three zones. For the main living space there is an intense early evening view to the southeast. The setting sun highlights a large craggy rock hill; the low-lying landscape in the foreground is in the shadows of the mountains behind. As night falls, the city lights of Tucson emerge. For the bedroom, the rising sun illuminates a particularly stunning rock face at the top of the mountains to the southwest. The reected light backlights the saguaros and ocotillo in the foreground. A still life of a rock outcropping and saguaro is for the small den. To enhance the experience of each space and view, we gave the three zones individual boxlike structures with a single aperture from which to experience each sun-lighting event. Each box is elevated and one must walk on footpaths between them; this further reinforces the isolated experience. The fragility of the site also prompted this idea. Water and critters ow freely beneath. Each box is framed and clad in plate steel on the exterior and maple veneer panels on the interior. A ventilated air space behind the steel skin allows heat to be exhausted via natural convection currents. Panels are articulated and fasteners exposed, asserting the applied-skin nature of the elevated box. Interior partitions are translucent glass and the kitchen island is plate stainless steel. Flush wooden sleeping decks cap each form. A small carport constructed of steel grating is tucked into a small depression in the entry hill above.
On the land the forms are elusive. Like a group of hunter’s blinds, their presence remains nearly unnoticed from the surrounding areas.
CASA JAX
155
1 2 3 4 5 6
Entry Living Room Dining Kitchen Bedroom Den/Guest
1
4 3
N
0
2
10 ft. 6 1
1
5
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The one-acre site is in a gated housing community regulated by ill-conceived notions of desert living. Given the nature of the existing context, the design of the house is turned in on itself and contained within a singular walled form. It is an idealized version of the subdivision home.
One enters through the southwest corner, via a revolving steel gate, into a small dark chamberlike space. With very little light and the sound of slowly dripping water, it is a serene and silent space where the body and mind unconsciously slow and a sensory tuning in occurs, discarding the world outside. From this “decompression chamber,” visitors ascend a terraced path in a canyon-like space under dappled light to a glass entry pavilion. The main living spaces form an L around an exterior living courtyard. On the northeast corner, over a ush pool of water, the perimeter walls are parted, capturing the only available mountain view between the other houses in the community. The structure of the buildings is post-tensioned concrete block with integral insulation. The interior surfaces match the exterior—lightly textured plaster. Walnut, stainless steel, sandblasted glass, and polished concrete complete the interior palette.
PIMA CANYON HOUSE
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GREER CABIN At nine thousand feet above sea level, the site is in a sloping open eld at the edge of an aspen forest. The cabin is a functional box with garage, wood storage, and kennel below, two-bedroom open plan above, storage, service area, and bathrooms along the north, and a roof terrace. Two translucent glass forms that screen the bedrooms on the ends contain the stairways. The wood and steel frame structure sits on a concrete base. White interiors complement the vertical cedar exterior.
One continuous window wall to the south frames the view to the aspen forest—a pattern of vertical white lines. A pine forest about one hundred feet back provides a deep dark backdrop to the aspen, further enhancing the whiteness of their bark.
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CREDITS
Project Credits Convent Avenue Studios Tucson, Arizona Design: Construction: Area: Owner: Project Team: Engineers: Builder: Earth walls: Adobe restoration:
1995 1996–1997 existing casita: 600sf, new houses: 1000sf each, laundry: 200sf Rick Brezer, Sienna Funding Corporation Rick Joy, Holly Damerell, Franz Buhler Southwest Structural Engineers, Otterbein Mechanical Engineering Rick Joy Architects Rammed Earth Solar Homes Tony Guzman
Godat Design Studio Tucson, Arizona Design: Construction: Area: Owner: Building Owner: Project Team: Builder:
1997 1997 2000sf Ken Godat, Godat Graphic Design H. Kelley Rollings, Trustee Rick Joy, Andy Tinucci, Chelsea Grassinger, Franz Buhler, Eric Lunsford Rick Joy Architects
Catalina House Tucson, Arizona Design: Construction: Area: Owner: Project Team: Engineers: Landscape: Builder: Earth walls:
1997 1997–1998 main house: 2600sf, porch: 650sf, garage/shop/guest: 1500sf Dr. John Palmer Rick Joy, Andy Tinucci, Chelsea Grassinger, Holly Damerell, Franz Buhler Southwest Structural Engineers, Otterbein Mechanical Engineering Michael Boucher Landscape Architects Rick Joy Architects Rammed Earth Solar Homes
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Tubac House Tubac, Arizona Design: Construction: Area: Owner: Project Team: Engineers: Landscape: Builder:
Casa Jax 1998 1999–2000 main house: 2700sf, garage/shop/guest: 1800sf, courtyards: 4400sf Warren and Rose Tyler Rick Joy, Andy Tinucci, Chelsea Grassinger, Franz Buhler Southwest Structural Engineers, Otterbein Mechanical Engineering Michael Boucher Landscape Architects Rick Joy Architects
Tucson, A rizona Design: Construction: Area: Owner: Project Team: Engineers: Builder:
1999 2001–2002 1500sf Withheld Rick Joy, Andy Tinucci, Chelsea Grassinger, Franz Buhler Southwest Structural Engineers, Otterbein Mechanical Engineering Rick Joy Architects
400 Rubio Avenue
Pima Canyon House
Tucson, A rizona Design: Construction: Area: Owner: Project Team: Builder: Earth walls:
Tucson, A rizona Design: Construction: Area: Owner: Project Team: Engineers:
1998 1999 studio: 1400sf, courtyard: 700sf Rick Brezer, Sienna Funding Corporation Rick Joy, Andy Tinucci, Chelsea Grassinger Rick Joy Architects Rammed Earth Solar Homes
Builder:
Tucson Mountain House
Greer Cabin
Tucson, A rizona Design: Construction: Area: Owner: Project Team: Builder: Earth walls:
Greer, Arizona Design: Construction: Area: Owner: Project Team:
2000 2000–2001 main house: 2200sf, porch: 400sf Kevin Osborn and Robert Claassen Rick Joy, Andy Tinucci Rick Joy Architects Rammed Earth Development
Engineer: Builder:
2000 2001–2002 house: 5400sf, living courtyards: 2600sf, court: 2600sf Cecile Follansbee and David Grove Rick Joy, Andy Tinucci Southwest Structural Engineers, Caruso Turley Scott Engineers, [Integra-block] Otterbein Mechanical Engineering Rick Joy Architects
2001 2002 main level: 2000sf, garage/basement: 2000sf Withheld Rick Joy, Andy Tinucci, Chelsea Grassinger, Chad Cornette, Dave Hardin Grenier Structural Engineering RA Conley Constructors
Biographical Notes . . .
1958–1976 Born in Dover-Foxcroft, Maine on December 25 Lived in Ipswich, Massachusetts until age twelve Attended high school in Old Town, Maine
1977–1984 . Studied music at the University of Maine and performed as symphony percussionist . Performed as a drummer in various venues on the East Coast . Worked part-time as a carpenter . Studied color theory, sculpture, and photography at the Portland School of Art . Married Jean Millen . . .
1985–1990 Moved to Tucson Studied Architecture at the University of Arizona Received Bachelor of Architecture
1991–1992 . First son Ethan was born . Worked in the ofces of William P. Bruder Architect on the design team of the Phoenix Central Library . Designed and built own family house in Tucson 1993 . Became registered architect in Arizona and launched Rick Joy Architects, Ltd. 1994–1996 . Progressive Architecture Magazine Young Architects Award . Arizona Home of the Year for Joy/Millen Residence . Architectural League of New York Young Architects Award . Second son Eli was born . Lectured at Arizona State University
1997–1998 . Record House Award for Convent Avenue Studios . I.D. Magazine Annual Design Award for Convent Avenue Studios . Roy P. Drachman Award for Convent Avenue Studios . Founding Board of Directors Member of Civatas Sonoran—Environmental Design Council of Tucson . Lectured at University of Arizona and University of New Mexico 1999 . Lectured at Auburn University and Rural Studio in Alabama . Exhibited work at GA Gallery in Tokyo 2000 . Architectural Review AR+D Emerging Architecture Award . Architectural League of New York Emerging Voices Award . I.D. Magazine Annual Design Award for 400 Rubio Avenue . AIA Central Arizona Home of the Year for Catalina House . Architectural League of New York Ten Shades of Green Exhibit . Visiting professor at Harvard University and University of Arizona . Visiting critic at Yale University . Lectured at University of Minnesota, Taliesin West, University of Arizona, Architectural League of New York, AIA Las Vegas, University of Virginia, Harvard University, and University of Texas at Austin . Exhibited work at GA Gallery in Tokyo
2001 . Record House Award for Tubac House . AIA Arizona Honor Awards for Tubac House and 400 Rubio Avenue . Member of PA Awards Jury . Visiting critic at Massachusetts Institute of Technology and Washington University . Member of LA/AIA California Awards Jury . Lectured at University of Michigan, University of Arkansas, San Diego Museum of Contemporary Art, Texas Technical University, University of Texas at Houston, San Juan Capistrano Museum of Architecture, Virginia Technical University, Massachusetts Institute of Technology, University of California at Berkeley, State University of New York at Buffalo, A rizona State University . Exhibited work at GA Gallery in Tokyo, University of Michigan
List of Associates Rick Joy Architects 1993–2001
Andy Tinucci Franz Buhler Michio Vallian Scott Woodward Michael Elliot Jared Fulton Minette Martin David MacGregor Jane Schmitt Ruth Mitchell Carl Koski Chad Cornet Chelsea Grassinger Dave Hardin Doug Eure Scott Semple Michael Whitchurch Kevin Burson Maartje Steenkamp Kami Witherspoon Nina Tinucci Rob Paulis Michael Reinauld Kevin Stewart Curtis Eppley Mathew Miller Ben Holland Jennifer Little Michael Schwindenhammer Holly Damerell Nicole Herd Evo Nellison Fergus Scott
Selected Bibliography
1993 Fisher, Thomas. “Young Architects.” Progressive A rchitecture (July 1993): 94–95.
1994 Miles, Candice. “Love’s Labor Lavished.” Phoenix Home and Garden 14, no. 7 (May 1994): 56–59.
1995 “Alqhuist Solar Retreat.” GA Houses 45 (March 1995): 104–105. 1997 Architectural Record. 1997 Record Houses Virtual Reality CD-ROM. New York: McGraw-Hill, 1997. “Convent Avenue Studios.” L’architecture d’adujourd’hui 312 (September 1997): 48–51. Dixon, John Morris. “Convent Avenue Studios.” Domus 796 (September 1997): 40–45. “43rd Annual Design Review.” ID 44, no. 5 (July/August 1997): 148. “Joy/Millen Residence and Convent Avenue Studios.” GA Houses 51 (March 1997): 140–157. Ojeda, Oscar Riera. The New American House 2: Innovations in Residential Design and Construction. New York: Whitney Library of Design, 1997. Pearson, Clifford. “Record Houses.” Architectural Record 185, no. 4 (April 1997): 71–75. “Walker Residence.” GA Houses 52 (April 1997): 76. Walker, Thom. “Old and New Reside Together.” The Arizona Daily Star. 8 June 1997.
1998 Begley, Laura. “Desert Storm.” Wallpaper 11 (May/June 1998): 152–165. Giovannini, Joseph. “Earthwork.” Architecture 87, no. 12 (December 1998): 90–97. Giovannini, Joseph. “Modern’s Many Faces.” Metropolitan Home 30, no. 2 (March/April 1998): 71–74. Lowe, Charlotte. “The Joy of Architecture.” Tucson Monthly 1, no. 6 (February 1998): 48–53. Lowe, Charlotte. “180 Tons and What Do You Get?” Tucson Guide Quarterly 16, no. 1 (Spring 1998): 82–86. Seal, Margaret. “Twist of Lime.” The Architectural Review 204, no. 1221 (November 1998): 47–49. “Tyler Residence and Palmer-Rose Residence.” GA Houses 55 (March 1998): 82–85.
1999 “Jack’s House.” GA Houses 59 (February 1999): 96–97. Mostaedi, Arian. The Home Ofce. Barcelona: Carles Broto and Josep MaMinguet, 1999. Palmer Residence. Domus 816. (June 1999): 20–26. Palmer/Rose Residence. GA Houses 60 (June 1999): 70–79. Sakamoto, Timothy K. “Planet Architecture.” In-D Digital Magazine 2 (1999). Seal, Margaret. “Joy Unconned.” Architectural Review 105, no. 1228 (June 1999): 76–77. Trulsson, Nora Burba. “The Tucson Tempo.” Sources in Design 4, no. 3 (Spring 1999): 34–35.
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2000 Al-Sayed, Marwan. “The Weight of Modernity.” CITY AZ. (January 2000): 58–63. Davey, Peter. “Emerging Architecture.” Architectural Review 108, no. 1246 (December 2000): 47–49. “Design Review 2000.” ID 47, no. 5 (July/August 2000): 147. LeBlanc, Sydney. The Architectural Traveler: A Guide to 250 Key 20 th-Century American Buildings. New York: W.W. Norton & Company, 2000. Lee, Uje. Context 3 Korea 196 (September 2000): 94–135. Lorenzo, Soledad. The American House Today. Barcelona: Carles Broto and Josep MaMinguet, 2000. Makovsky, Paul. “New A rchitecture Faces the Future.” Metropolis 19, no. 7 (A pril 2000): 74–75. See also photo essay by Amy Steiner, 100–105. “Osborn/Claassen Residence.” GA Houses 63 (March 2000): 140–141. Patterson, Ann. “Earth Art.” Phoenix Home and Garden 20, no. 7 (May 2000): 92–95. Pope, Nicolas. Experimental Houses. New York: Watson-Guptill Publications, 2000. Underwood, Max. “400 South Rubio.” Architecture 89, no. 1 (January 2000): 78–83.
2001 Amelar, Sarah. Bauwelt 41 (2 November 2001): 16–21. Amelar, Sarah. “Record Houses.” Architectural Record 189, no. 4 (April 2001): 138–147. Brown, Patricia Leigh. “Coyote Neighbors, Lightning Views.” New York Times, 1 February 2001. Edwards, Nick. “ Top Talent.” Wallpaper 40 (July/August 2001): 112. Ho, Cathy Lang and Raul A. Barreneche. House: American Houses for the New Century. New York: Universe, 2001. “Jones Cabin.” GA Houses 66 (March 2001): 78. McCoy, J. J. “10 Goals for Green Design.” Washington Post, March 2001. “Tubac House.” Architecture + Urbanism 371 (August 2001): 107–111. “Osborn/Claassen Residence.” GA Houses 67 (April 2001): 118–125. Pichel, Xose Manuel Rey. “Rick Joy in Arizona.” Obradoiro: Revisita do Colexio Ofcial de A rquitectos de Galicia 29, no. 01 (2001). Sanza, Paolo. “A Buttery in the Desert.” Hauser (September/October 2001): 62–69. Slessor, Catherine. “ Touching Nature.” Architectural Review 120, no. 1253 (July 2001): 46–49. Truelove, James Grayson and Il Kim. The New American House 3: Innovations in Residential Design and Construction. New York: Whitney Library of Design, 2001. Truelove, James Grayson and Nora Richter Greer. Hot Dirt Cool Straw. Washington D.C.: Harper Collins, 2001. Trulsson, Nora Burba. “Ofce Politics.” Sources in Design (Spring 2001): 34–46. Viehweg, Boyd. “Synonyms of Simplicity.” I–15: Life Accelerated (Spring 2001): 76–77.
