Defining Desert Living - Summer 2022 by azarchitecture

Defining Desert Living Architecturally Unique Homes TM LOS

BRENTVINEYARDSMILICSKENDLE

Design Matters PAUL COZE Kachina Overload, 1971 SUMMER 2022

Brown Andrew Jarson Alex Jarson Walt Lockley Pam Hait ART DIRECTION ps:studios inc. COVER IMAGE Hidden Valley

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Scott Jarson, Editor IN HIS OWN WORDS M. Desert Wendell Andrew Jarson part any photograph strictly prohibited without the written permission of the publisher. The publisher does not assume responsibility for Publisher assumes no liability for the information contained herein; all statements are the sole opinions of the contributors and/or az architecture/Jarson & Jarson members are proud supporters of the Frank Lloyd Wright Building Conservancy, The Arizona State University Art Museum, Phoenix Art Museum, Taliesin Foundation, Local First Arizona, and AIA Phoenix Metro Allied Member.

Editor’s Note: “Hot Town, Summer in the City…” I’d guess that the Lovin’ Spoonful might have had our Arizona in mind when they penned those lyrics. I don’t know anyone that loves our summer desert heat, but it is a beautiful time here nonetheless with majestic thunderstorms and fantastical lightening shows, plus a whole culture built around starting early and playing late. Our summers showcase great architecture. Designed for Arizona, these buildings can make our desert summers pass comfortably, while still connecting to the outdoors. As Arizonans know, there is a sense of pride that comes with making the most of our summers; good design makes it happen.

This issue we focus on a celebrated local architect that’s designed in, and for, the desert southwest. Brent Kendle has truly become a key name in our design scene and for good reason. You’ll read how his work plays well in the sun and what motivates him to keep designing at the highest level. We take a look back at a colorful Arizonan that left a unique design legacy. Paul Coze is hard to define: artist, designer, showman, cultural icon, French Cowboy, and more! Today we might call him an influencer, but he left a creative thumbprint on much of the Valley. There was a time when Paul Coze seemed to be everywhere! We take the time to spotlight one of the most creative wineries in Arizona. Los Milics in Elgin Arizona is near and dear to my heart having worked around Arizona vineyards in my youth. It is remarkable how these visionaries are creating this world-class destination winery; a great example how climate, agriculture, architecture, and haute cuisine collide in a most Arizona fashion.

EDITOR / PUBLISHER Debbie Jarson Scott Jarson CONTRIBUTORS David

House Architect:

text,

unsolicited submissions.

or illustration

You’ll be informed about current art shows, highlights of architecture for sale, and more. We are so glad you’ve joined our conversation. Our business is Architectural Real Estate...but it is our daily passion. Our firm delivers expert marketing and knowledge to buyers and sellers, helping them to achieve their goals. This magazine is just another way we help spread the word about great design in Arizona. It’s all part of what we call Defining Desert Living!

IN THIS ISSUE IN HIS OWN WORDS 1 Editors Notes ON THE SHELF 6 Coveted Books & Products OUR UNIQUE VISUAL WEALTH 8 Brent Kendle / Design Matters ON THE MARKET 16 DESERT RIDER 20 Phoenix Art Museum PAUL COZE Kachina Overload, 1971 24 LOOKING BACK 32 DESIGN SPOTLIGHT 36 The Bridge House LOS MILICS VINEYARDS 38

In the midst of our Valley there are cool, irrigated citrus groves in the shadow of Camelback Mountain, along with pockets of Spanish revival, adobe, and midcentury modern ranch homes. There are forests of giant saguaros in the foothills to the north, an area that is known for cutting-edge architecture, and rows of majestic date palms lining streets of historic homes in central Phoenix. All of this makes for a rich, urban landscape that includes modern in-fill architecture, loft projects and stunning high-rise towers. All coexisting within the dramatic backdrop of our unique Sonoran Desert. azarchitecture understands the contrasts and architectural nuances that set unique homes apart. From Frank Lloyd Wright to Case Study, Eames to Al Beadle, azarchitecture speaks the language of modern architecture. Robert Murray

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7 The Green Room Collaborative Landscape

OUR UNIQUE VISUAL WEALTH Dancing Light Residence, Paradise Valley

Brent

DesignKendleMatters DAVID M. BROWN

10 His office is on an historic road in Scottsdale. His goal is timeless architecture.

“I was raised in a Mid-Century Modern custom home, designed by my mother, engineered by my father and much of it built by my parents,” he recalls. “I was always artistic and drew inspiration from nature,” he adds. At about 10, his mother introduced him to a book on Frank Lloyd Wright she had since college. “From the second or third page, I was hooked and knew what I wanted to do with my life,” he says. “Wright’s work seemed to grow from the unique attributes of the site, in response to and in harmony with nature, and that just clicked with me.”

–Frank Lloyd Wright, Autobiography, 1932 “ ”

Brent Kendle, AIA, LEED AP, is the founder of Kendle Design Collaborative on North Cattle Track Road, which developed as an arts community after World War II, led by the Ellis family, who remain neighbors; residents have included artist Phil Curtis, sculptor Louise Nevelson and architect Vern Swaback, FAIA, one of Frank Lloyd Wright’s final Duringapprentices.hisfirst 20 years as an architect in Phoenix with Cornoyer-Hedrick, Kendle designed millions of square feet of commercial, corporate, hospitality and senior living. And, since opening KDC 20 years ago on July 11, 2002, he and staff have also completed about 225 projects, including his residential masterpiece, “Dancing Light” in Paradise Valley.

Kendle’s wife, Jeri, is a former interior design professional who retired from that vocation years ago to pursue charitable nonprofit work. “We have two great and successful adult boys, Player and Payson, no doubt thanks to their mom, and a pair of crazy labradoodles,” he says.

Kendle was born and raised in the suburbs of Chicago, the city where Frank Lloyd Wright worked; many of the master’s early Prairie Style homes can be seen in nearby Oak Park.

Chi Town to a Desert City

In 1978, he moved to Arizona to attend ASU, inspired by the passive solar focus of its architecture program at the time. Professor Kuhn Kim introduced him to the brilliance of architect Louis Kahn (1901–1974). Another professor at the school, George Christiansen (1929–2003) was also an influence. “Christiansen had as much a lust and enjoyment for living life as for brilliant design and mentorship of other young architects,” Kendle Hill and house should live together each the happier for the other.

says, noting an example, one of his good friends, architect Mark Candelaria, AIA. “He proved that even an architect trained under the modernist master, Ludwig Mies van der Rohe, could design contextual homes with great livability and delight.”

Right: Dancing Light Residence, Paradise Valley Below: Desert Wing, Scottsdale AZ

At Cornoyer-Hedrick, “Bob Hedrick instilled in me his unwavering quest for excellence as well as his sense of humor and wonder for Southwest and Native American history,” he says. While with that firm, he designed the Western Savings Corporate Headquarters, now National Bank of Arizona, at 24th Street and Arizona Biltmore Circle, and Scottsdale Spectrum, an office complex inspired by the Biltmore Hotel on the west side of Scottsdale Road north of Lincoln Drive.

Frank Lloyd Wright has continued to influence him as well as John Lautner, who apprenticed with Wright at Taliesin West, then went on to develop a unique approach to design in his highly regarded California practice.

He12 also helped transform downtown Tempe with work on mixed-use projects such as Centerpoint, Hayden Ferry Lakeside and Marina Heights. And, the KDC team of now seven associates has been the master plan architect for the 3.5-million-square-foot Grand at Papago Park Center, a mixed-use development that represents the final phase of Papago Park Center.

“The enigmatic Paul Christian Yeager is an almost forgotten Arizona Mid-Century Modern architect whose work I always find inspiring; no one ever sited a home better,” he says. He adds that contemporary desert dwelling architects have also been inspiring, such as Rick Joy, living and working in Tucson, Will Bruder, now practicing in Portland, and Eddie Jones, semi-retired in the Valley. “The Valley over the last decade or so has been in a sort of architectural renaissance,” Kendle says, “so there are dozens of incredibly talented architects who draw inspiration from this place and whose work inspires me every day.”

Good Design Matters Kendle references Dancing Light, completed in 2017, in discussing the goals of his work. Built by Scottsdalebased Desert Star Construction, the 6,200-square-foot home includes a standalone casita. David Michael Miller completed the elegantly restrained interior design, and the landscape architect was GBtwo Landscape Architecture, both Scottsdale based. “It’s a modest scale home with limited amenities that recently set the record for most expensive home per square foot ever sold in Arizona, at more than $2,016 per square

He adds: “His homes are bold, and it’s that intensity that sets him apart. His massing and geometry is at once complex yet clean; these elements create a sculptural line that anchors his homes and boldly sets them against the sky. His designs often seem to pair this strong elevation acting as a delightful foil against a hidden life within, such as an inner court to allow the home to connect with comfort to the Arizona climate.”

Above left: Bridge View Residence / Left: Desert Wash Residence / Above: Cholla Vista Residence, all in Paradise Valley

foot,” Kendle explains. “The dynamic site-specific design and its unique connection to the surrounding nature; the feel and flow of the indoor and outdoor living spaces; the deliberately choreographed experience starting at the street and winding throughout the home and property: All were considered by the design team, and that is why the buyers paid what they did.”

One of the owners says: “The architecture is pure art without being showy or ostentatious. While it would be a gorgeous home in any other location, it feels like a house that was perfectly designed to frame and elevate the view of Camelback and all of the stunning desert features outside. You really feel the awe of nature in every part of the house. The proportions, angles, curves, and materials are extraordinary, and the interplay of each of those elements creates a whole that far exceeds the sum of its parts. It is a symphony in the form of architecture.”

Scott Jarson, who founded Scottsdale-based azarchitecture 31 years ago with wife Debbie, says: “As a ‘desert’ architect, Brent is one of a very select group of his local contemporaries that are still exploring materials as an expression of the design language. Often incorporating signature mediums such as rammed earth, concrete and steel, he makes this approach all seem highly refined and constructed with heroic visual strength.”

14 Above left & right: Cholla Vista Residence Left & above: Rammed Earth Modern

Candelaria believes that Kendle is “one of the best if not the best modern residential architect in the Valley and likely one of the best in the country. Brent has the ability to orchestrate the shapes, forms, spaces and spirit of a modern design and strike the perfect balance between refined restraint and richness of materials and detail.

“One of my biggest criticisms of many of the modern designs I currently see from other designers and architects is that many of them are just empty boxes lacking study, contemplation, proportion and detail and then are cleverly but falsely labeled ‘modern,’” he adds.

What’s Next, Brent? “I’m doing it now; I want to continue to create extraordinary places to live for individuals who see and celebrate the unique beauty of living in the Valley,” Kendle says. “Every client, every site and every budget are different, creating a unique puzzle to solve, a struggle sometimes, which I find brings me great joy when that ‘Ah, ha!’ moment occurs.”

“But you only have to quickly look at Brent’s work and you instantly recognize the effort, time, and contemplation that goes into his work. Brent puts in the work what for any style is necessary to create great architecture –– especially so for modern architecture. His work also has a soul and that, too, is often missing from modern architecture.”

As he continues through middle age, a sense of legacy has increased in importance. “I want to pass along my passion and what I’ve learned to the next generation, so what we have created at Kendle Design Collaborative will continue beyond my name being on the door.”

“I have enjoyed the life I’ve been given in large part because of the generosity of others and feel a responsibility to pay it forward,” he adds. “My goal is to help mentor my young staff to give them a leg up so that their careers in architecture can be even more fruitful and fulfilling than mine.”

David M. Brown is a Valley-based freelancer (azwriter.com). This is the fourth in an ongoing series celebrating Arizona’s “Visual Wealth.”

Design by Frank Lloyd Wright apprentice and Taliesin Architects co-founder, John Rattenbury. This remains one of the most significant homes by this firm and is deeply connected to Wright and his principles of organic architecture. Constructed with precision and incorporating the highest available building skills, this home is nearly irreplaceable today. MORE

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AT PHOENIX ART MUSEUM

Desert Rider BY ALEX JARSON

Growing up in the 90’s, I spent a lot of time at my grandparents’ ranch in Paradise Valley. It was home to acres of land and an endless supply of things to do. Hollow bodies of ancient automobiles stood guard over the yard, their insides growing with desert brush and brittle weeds. Cowboy saddles and old leather boots hung from tree branches, balancing in the glaring sunset. These desert icons were symbols of power. Beyond the physicality of the objects themselves, was the idea that they were artifacts of a culture that no longer existed. They were representations of the intangible, symbolic meanings of the land, its people, and their traditions. The Ranch was my TheAmericana.Desert Rider Exhibition at the Phoenix Art Museum is a celebration of Americana outsider subculture with the spirit of the Southwest. The artists invite us to take a deeper look at the evolution of lowrider, skateboarding, and other Southwest subcultures through the eyes of Latinx, indigenous, and queer people.

What’s immediately obvious is the careful attention the artists paid to the details of the pieces. The paint job on the car that greets you is sleek and vibrant. The chrome is polished, and the tires are well maintained. A giant lowrider piñata decorated in pink flair sits up on its back two wheels like a pouncing jaguar. A driver’s uniform hangs on the wall like the uniform of an ancient warrior, made up of thousands of individual chromatic beads. Airbrushed portraits of the iconic women of Low Rider Magazine remind us they are the backbone of this movement.

Where else can you find an old East-German Trabant stitched together with a lowrider El Camino? The artist of that particular piece, Liz Cohen, turned her garage into her own Frankenstein’s laboratory, where she carved out car parts to fit together, training her body at the same time to present the finished car as a bikini showroom model. The symbiotic relationship between the medium and its creator, and the brave push to explore all sides of one’s identity is what makes this exhibition so unique.

Past the vehicles, there are saddles with holographic seats and crocodile print, heart-shaped exhaust pipes pop with color out the back end, and the plush emerald green you’d find on the body of a jukebox. Craft and care are embraced by a cultural nostalgia. Every piece, a thousand stories we all immediately see and feel. Fluidity is at the heart of Desert Rider. The desert sand weaves endlessly, ever changing, as mountains of mesquite stand tall and proud. Every evening,

Lowriders are about authenticity, self-expression, and the power one feels behind the wheel of their favorite car.

The Desert Rider is the captain of her own domain. Whether she glides across the pavement effortlessly on a skateboard, or she hits the switch to her hydraulics, every push forward is an act of liberation. For a brief moment, the picture slows Wedown.see her riding. The wind flows through her hair, the smell of exhaust in the air. It’s independence, liberty, and control. She flows through the culture around her.

The Desert Rider reminds us that we don’t live in a vacuum. Sociopolitical realities shape the landscape, and our lives are defined by them. But if we keep our eyes open, we can blend the past into something new and exciting. Desert Rider is on display at the Phoenix Art Museum until September 18, 2022. Featured works pictured on these pages are by the following artists: Justin Favela, Margarita Cabrera, Liz Cohen, Sam Fresquez and Douglas Miles.

a spectacular sky swirls into a glowing sunset, so immediate it always takes my breath away. It reminds me that the desert is a place of freedom, where anything is possible. And that’s the best part about this exhibition - you don’t feel like you’re in a museum. Fluidity is not just a state of mind, it’s a way of being. When it hits you, you’re just inspired.

paolalenti.it

An iconic city landmark, The Phoenix is considered the first piece of public art commissioned by the City using a public process. Drawings by five artists were put on display at the Phoenix Public Library in 1960 and citizens voted for their favorite design, ultimately choosing Paul Coze’s design.

PAUL COZE KACHINA OVERLOAD, 1971 BY WALT LOCKLEY

What did Paul Coze – do for a living?

Paul Coze was an enigma. Best put, he didn’t just do. He lived in an iconic landscape somewhere outside the realm of reality where expectations were put aside in exchange for big ideas, despite the risks. Many creators follow a biographical arc that ebbs and flows like a sine wave, but Paul Coze’s arc was more like a fizzy haywire sparkler. It would be a bad idea to draw our own constellations onto his life. A tangent question begins to hang in the back of the mind: Did he ever Alongsleep? with all his material production - books, movies, paintings, murals, artifact collections, and his tasks as a longtime French consulate - he burned off energy plunging into teaching and theater. The big ideas were It’simportant.better for us, maybe, to accept Paul Coze on a moment-to-moment basis. Without pinning him down to a butterfly-board. In the late 1930’s, Paul Coze came to the United States from France. Throughout World War II he’d been teaching at the Pasadena Art Institute, while living with his second wife, an actress, Thora. In that time, Paul made frequent visits to surrounding Native American reservations in the Valley of the Sun, inspiring him to leave Pasadena for Phoenix as a permanent base in the early 1950s. What he returned with was a curious set of credentials that crossed the lines of cultural anthropology, visual art, cultural exchange, and spectacle. Phoenix became his home. He nestled into the property on 4040 East Elm, near a vibrant grapefruit grove beside the Arizona canal. He called it “La Placita,” and he settled in quite nicely. Unlike other characters who rolled into Phoenix for the rebirth-from-ashes treatment after the war, Paul Coze was not covered in ash or flame, and all his curious credentials checked out as totally legitimate, impressive, and impossibly real. Every outlandish claim was true. Paul had a purpose. He wanted to serve his city. In order to leverage the ideas, ideals, and energy of his students, he founded the Studio Paul Coze. By 1954, entire sections of the house were modified to accommodate his two art classes. A commissioned grand corner fireplace sat near the kitchen, where theater was often performed. And through a pair of French doors sat his “Spanish Portal” in the back. This was a covered back porch, modified with a lengthy built-in bench that was suitable for fifteen people. Art was integrated into the back wall. In Pasadena and all the way back to his days in Paris, Paul Coze had a well-developed media instinct, landing an occasional mini-feature in the newspaper plus listings for events and classes and lectures. If necessary, he wrote the articles himself, and you better believe he was willing to put himself on television to allow his ideas to

spread like the desert dust they were made from. He landed a half-hour local art show on KTVK in its first year on the air, and he went to work. From 1956 through 1971, Paul Coze set out to remind Phoenix of its history. But giving a city an identity was a tough project to take on. In Los Angeles the search for a usable past landed on Helen Hunt Jackon’s 1884 novel Ramona, which featured a cartoonishly virtuous, lightly ethnic indigenous heroes. The archetypal image of Ramona was adopted and tirelessly promoted by Charles Fletcher Lummis, a transplant and early cultural champion in L.A. For all the midwesterners flocking into young Los Angeles, Ramona grew into a sustaining myth, an emotional backstory to apply to the landscape, a regional-family history all the more potent because it was… false. By definition, these civic myths are romantic, vague, illogical, inauthentic. The emotions behind them are real. Paul recognized the innate emotional intelligence and hunger that humans have. A story is everything to the bigger picture. Scottsdale saw a similar problematic blank spot with its civic image in the 1950’s. At the time, it was surrounded by cotton fields. Slowly, it took on a Western attire. As the city took shape, it’s buildings were clad in wood, adobe, and brightly painted facades. Look no further than Old Town to see what I mean.

If Paul Coze had a single job, it was to orchestrate the need for, and then materialize, a series of major public art commissions in the city of Phoenix – eight or nine major ones positioned throughout the city, a strategy that made them unavoidable to the average citizen. For a man in an explosively growing city, this was a rare opportunity. He took on the City of Phoenix as a client. He saw a need. The job combined the things that fueled Paul Coze – his love for native Americans, visual art on a grand scale, and the ability to create a cultural splash.

26 At the Town & Country Shopping Center near Arcadia, his version of the Phoenix bird became a civic icon, and was quite visible on Camelback. The volcanic-rock base spat out flames for all to enjoy. He produced multiple murals at the Coliseum. However, the best-known mural is the three-panel Phoenix Airport mural, created in 1962, when Terminal 2 first opened. It was a bold and unavoidable work of art, mounted above the exit as a preview of the desert’s science-fiction Therelandscape.were others like Paul Coze on similar paths to creating Phoenix’s mythological culture. Jay Datus also ran his own school, producing high-quality public murals with Native thematic nods and overtones. How he viewed Coze and his civic art projects isn’t known, but the Indigenous art styles associated with Phoenix went further and deeper than Jay Datus. They were the lifeblood of the Southwest itself, a flowing stream that dated back hundreds of years.

Paul Coze continued to paint human faces and figures in proud defiance of the east-coast Modernist tastemakers after the war. His output retains an odd visual charge for that reason. The pursuit of figural art alongside the need to teach it, was a hardcore dissident position.

Phoenix, along with Tulsa and Dallas, was a safe haven for “late” American figural painters such as Coze and Philip Campbell Curtis, as well as figural sculptors like John Waddell and Lawrence Tenney Stevens. Their local ringleader, political defender, and walking ATM was the head of Valley National Bank, Walter Bimson.

The reasons were unknown. But what Coze was able to accomplish is all the more impressive. His public art career ended in 1971 with two final commissions. The Arizona Blue Cross Blue Shield Building that used to stand at 321 Indian School Road featured a mosaic of six medicine men, chosen with care from among different tribal representations. This remarkable work of art faced the street at 37 feet tall. Back then, it glowed. Tragically, in the present, it’s a QT.

According to Kay, Paul Coze was not simpatico with Walter Bimson, although they pulled in similar directions.

Bimson operated at a mover-and-shaker level, invented the corporate art collection at Valley National Bank, and dropped some serious money to support artists.

Coze also designed an exterior fountain and interior water feature for the federal Phoenix Indian Medical Center, with corn as the chosen theme and symbol for the inside piece. It was chosen for its common significance to all served tribes. Coze was personally heartsick over the treatment and fate of his work there. It lasted less than a Someyear. time around 1971, Indigenous imagery visible around the city slid into pop-culture. Mass marketing took over the landscape, causing saturation. It was an inflection point away from respectful treatment, the flattening and simplification of a rich and vibrant culture. And soon, most of it disappeared.

Phoenix’s cultural politics shifted. The identity Coze worked toward was carelessly shoved into a bin and set Butaside.if you know your history, you’re surrounded by fragments of a completed civic vision. Some of the other puzzle pieces remain in the city if you know where to look. When you piece them together, there’s still some meaning to be had. Coze knowingly worked seriously and sincerely across cultural lines. The presentation of Native American mystic images piped through his Franco-Serbian goggles was unique. To his credit, his work attempts to honor our predecessors in this landscape with humility. From among different tribal representations, facing the street at 37 feet tall. Gosh I’d like to have that building back where it was. We seem to have traded it for a QT in 1995, how? Coze also designed an exterior fountain and interior water feature for the federal Phoenix Indian Medical Center, with corn as the chosen theme for the inside piece, for its common significance to all served tribes. Coze was personally heartsick over the treatment and fate of his work there. It lasted less than a year. Some time around 1971 native imagery visible around the city slid into pop culture territory. It got to be – uh, too much. The twin giant phallic concrete kachina rockets were already too much when we showed them at the Arizona Building for the 1962 Seattle World’s Fair. That was a Bimson project, I think, and he hired architect Bennie Gonzales for the building, and another local figural

You look at the airport mural, you’re looking at the product of an art school with a charismatic teacher. There’s a layer of cultural anthropology. If you have your MOMA glasses on, you’re looking at nothing but an unreconstructed retardataire artifact, perpetrated by a hooting madman, and worthy of the Kitsch Gold-Star

Native images visible in the city have gradually disappeared, been removed, painted over, cut down to smaller dimensions. The city’s cultural politics shifted. The identity Coze worked toward, I would argue, has been carelessly junked.

The logo change meant a lot of corporate signage along the street, on billboards and branch banks, on your checks and checkbooks, on giveaways and premiums and keychains. The former branch on Scottsdale Road has the logo rendered in stained glass – convex stained glass. For the logo change the bank bought a big publicity push statewide in 1970. Expensive full page ads. Part of the copy said, “The De La Vai is the ‘Morning’ Kachina and the symbol of the Arizona Bank. For us as well as the Hopis it represents the coming of the dawn – our wish for a tomorrow better than today.”

Ifkiss-off.youknow your history, you’re looking at fragments of a complete civic vision. Some of the other puzzle pieces remain in the city if you know where to look. Piece them together, there’s still some meaning to be had.

Kachina Overload meant reaching saturation, and an inflection point away from respectful treatment, the flattening and simplification that comes with mass marketing. Check out the great masses of kachinathemed collectibles available online these days. They suggest a vast industry cranking out this stuff, once.

sculptor Philips Sanderson for the twins. One of those kachina rockets still stands up in the far northeast valley as a piece of monumental silliness. It was 1968 when the Bank of Arizona, headed by Walter Bimson’s son Lloyd Bimson, introduced a kachina in their bank’s logo. The same year they commissioned a Hopi sculptor living in New Oraibi, Frederick Myron, to carve the world’s largest known kachina for their new Mesa branch, 50 inches tall and 38 pounds of cottonwood root, just to show you where their heads were at.

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This iconic Allen+Philp designed contemporary home, nestled alongside the western slope of Troon Mountain offers crisp architectural details subtly reflecting the geography of Pinnacle Peak Mountain, the local canyons, desert vistas, and surrounding wildlife. Sweeping views will stop you in your tracks as you gaze at the astounding beauty of the high desert. MORE Price: $2,016,000 SOLDSOLD

BACKLOOKING Architecturally Unique Homes ®

HIDDEN VALLEY DESERT HOUSE – WENDELL BURNETTE FAIA Desert Modern Architecture: Located on a five-acre gently sloping rise in Cave Creek, the Hidden Valley Desert House is a “long pavilion for living” that commands the site. Designed by Wendell Burnette FAIA, this very special home offers superb materials, detailed construction and a unique plan to make it simply a masterwork of living design. READ MORE Price: LOFT-LIVING!$2,495,000

MOUNTAIN SHADOWS RESORT – ALLEN+PHILP PARTNERS

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3707 N.

This 2-bedroom loft-home has been immaculately upgraded by the architect-owner with features and detail typically not found elsewhere!

Mountain Shadows Resort offers an exclusive lifestyle: situated with Camelback Mountain as a breathtaking backdrop, the community has just 41 condo and loft homes that enjoy a serene Paradise Valley setting and full privileges at Mountain Shadows Resort. READ MORE Price: $1,649,000. All figures and measurements approximate: subject to error, omissions, withdrawal, prior sale and approval of purchase by owner. 2022 az architecture/Jarson & Jarson all rights 480.425.9300 Marshall Way | Scottsdale, AZ 85251

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This Modern Hillside home was designed by Edward B. (Ned) Sawyer FAIA and offers spectacular views coupled with superb architecture. Perfectly positioned near the top of Palm Canyon, the home commands the site with sweeping vistas of both surrounding mountain preserves and the city lights beyond. MORE Price: $2,945,000

Architecturally Unique Homes ®

OWNER BUILT EARTH-SHELTERED HOME

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Behind an unassuming horizontal profile is one of the most unique homes in the Valley! This earth-sheltered subterranean home was designed and built by the engineer owner to create a highly efficient desert home. MORE Price: $2,536,000

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PALM CANYON HILLSIDE MODERN — EDWARD B. SAWYER FAIA

SOLDSOLD BACKLOOKING A collection of our most interesting recent sales | azarchitecture.com

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MODERN ARCADIA HOME – DESIGN REMODEL

This beautiful home is sure to WOW! The custom-built, Modern Styled house has gorgeous interiors and charming exteriors. Located in the desirable Arcadia Neighborhood, this property has a 3,569 SF. main house and a 525 SF. guest house. The guest house was updated in 2019 with new cabinets, new countertops, water softeners more. MORE Price: $2,520,000 owner. architecture/Jarson Jarson

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All figures and measurements approximate: subject to error, omissions, withdrawal, prior sale and approval of purchase by

This elegant remodel of a Haver mid-century home within the Marlen Grove neighborhood was completed by Wendell Burnette Architects. Without sacrificing the history of the home, the design creates privacy and openness. Indoor/outdoor Arizona living at its’ finest. Calm interiors and exquisite detailing make this a minimalist’s dream. MORE Price: $1,275,000

NORTH CENTRAL MODERN: WENDELL BURNETTE FAIA

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Some time back we were on a mission to find an architectural masterpiece for very special clients that wanted nothing less than a refined and significant work of Desert Architecture. We found it for them in The Bridge House, located in the exclusive gated community of Lost Canyon; a magnificent hidden setting on the slope of the McDowell Mountains in North Scottsdale.

SPOTLIGHTDESIGN

The Bridge House / Allen + Philp Architects

We feel that The Bridge House is an Arizona Modern Architecture tour de force. Allen + Philp Architects artfully placed this bold design on a stunning 13-acre Hillside site. They incorporated dramatic massing and exquisite finishes creating a compound of hidden elegance that belies its size of over 7500 square feet. Distant views and soaring canyon vistas are flawlessly captured from every room through floor-to-ceiling walls of glass. You appear to float in this home, but never without feeling securely anchored to the environment. Inside and out, refinement is the order of the day. No expense was spared in creating a finely detailed luxury home. The interiors, by renowned designer David Michael Miller, offer his keen signature aesthetic that creates a calm refinement that never overwhelms but expresses warm textures and seamless hidden details. Much of the art in the home was curated by Lisa Sette Galley which only adds to the ambiance. In addition to a sublime owners suite, there’s plenty of accommodation for others. There are gathering spaces and entertaining opportunities including the separate guest house. For the cook: a custom stainless steel Bulthaup kitchen is unequalled. Lastly furniture-grade custom millwork, concrete flooring, and cast bronze entry stairs offer unique details nearly irreplaceable today. The infinityedge swimming pool and locally quarried stone walls add to the subtle drama that must be seen to be experienced to the fullest.

This home is currently offered for sale at $13,500.000. Interested qualified Buyers seeking the finest in Desert Modern Architecture should contact Scott Jarson directly for a personal introduction to this fine home. 480.254.7510

This home is represented for sale by Andrew Beardsley of Silverleaf Realty. It is cooperatively featured by us as a courtesy and with full permission.

The Bridge House - Allen + Philp Architects

L MV winemaker, Pavle Milic, is a serious fan of Sonoita wines. He pioneered promoting Arizona wines by building a stellar Arizona wine list at FnB, the restaurant he co-owns in Scottsdale. “My favorite wines from Arizona always came from Sonoita,” he said. “I found these wines are more expressive.” In 2018, he formed a partnership with Mo Garfinkle to develop a winery in Arizona. Garfinkle, an aviation consultant, and wine enthusiast, had searched the world to buy a vineyard. They found two: a 17-acre vineyard in Elfrida and a 20-acre site in Elgin. According to Garfinkle, the panoramic views of the Mustang Mountains and Mt. Bruce (called “the Biscuit’ by locals), and the Whetstone Mountains visible in the distance, WORLD OF ARIZONA WINE JUST GOT EVEN BETTER BY PAM HAIT

Southeastern Arizona, from a tourism perspective, has been a stepchild to the dramatic topography and destinations in the northern third of the state. But that’s about to change this fall when Los Milics Vineyards (LMV) unveils its tasting room and restaurant, “The Biscuit”, creating a new destination for Elgin, Arizona. If you aren’t familiar with this region, Elgin is a speck on the map near Sonoita. LMV is less than an hour from Tucson and three hours from Phoenix. This is the heart of Southern Arizona wine country. Jesuit missionaries arrived here in the 1600s with vines when they came to the New World. The vines did very well.

38 THE

Thamarit (Tommy) Suchart began by walking the land, an experience that set his creative compass. “The setting in this unspoiled landscape was a constant reminder of the responsibility to create something that complements the landscape rather than takes away from it,” he said.

The first building you see when you park at Los Milics is the production facility, a prefabricated steel structure with a rounded roof that appears to have landed on the property from another world. The building had to be flexible, functional, economical, and accommodate the wine making operations. Chen+Suchart also made it stunning. In contrast, the contemporary tasting room was designed to be discovered. Chen+Suchart surrounded The tasting room appears as an abstraction in the landscape that is perceived as a large-scale art installation.

sold them. “The views gave us our vision for our estate vineyard and winery,” he said.

He noted that LMV only cultivates vines that are proven to thrive in this climate and terroir. The result is that, while LMV grows some familiar grapes like Tempranillo, Granache, and Syrah, others are less known, including Malvasia Bianca, Vranac, and Teroldego. Like its wines, the estate vineyard is already generating excitement. LMV engaged Chen + Suchart Studio, a well-known architectural firm in Scottsdale, to design the production facility, tasting room, and casitas.

L MV’s red and white blends, and rosé wines are attracting praise and awards, even at this early stage of development. Milic describes the brand as positioned between the old and new world wines. “LMV has the rustic qualities of Spanish and Italian wines, but also an accessible fruit character of wines from the U.S,” he said.

The winery is open Thursday through Sunday for wine tastings and tours. If you plan a winter visit, expect cooler temperatures. Los Milics Vineyards sits at 5,000 feet elevation. Grapes love the extreme day-to-night temperature shift, and you will too, if you are dressed for it. For more information about LMV, Pam Hait is the author of Day Trips from Phoenix, Tucson & Flagstaff. She has written for Travel and Leisure, Phoenix Home & Garden, Arizona Highways, and Metropolitan Home. She loves LMV wines.

40 the sculptural space with vineyards and made it accessible by walking paths. They flanked the pathways with a series of steel monoliths that conceal views of the building and the mountains until the moment of arrival. Once inside, the Mustangs and the Biscuit are revealed through large picture windows and forty-foot-wide doors that open to the patio. The big reveal theme repeats with the hidden wine cellar. Like the wine and the place, the food at LMV excites the senses. “The Biscuit”, the signature restaurant at LMV, is located within the tasting room and opens in the fall of 2022. The restaurant will serve wine tasting fare, lite bites that pair well with LMV wine at lunch, and dinner. In the evening, the tasting room converts to a casual fine dining room and presents farm-to-table cuisine. Guests can dine inside and outside at individual tables and seating nooks. The private tasting room is available by reservation. Designated drivers, take heart. LMV will open nine casitas in the summer of 2023. Seven are onebedroom, and two are one-bedroom and a loft. Each has its own private patio with views of the high grassland and mountains, a perfect place to enjoy a bottle of Los Milics Vineyards wine after a day of wine tasting or touring or both. An insider tip: LMV Wine club members qualify for special discounts for overnight stays. Los Milics Vineyards is an easy day trip from Tucson and a convenient day excursion from the Valley.

4147 N. Goldwater Blvd Ste. 103, Scottsdale, AZ 85251 - thespacebazaar.com www porro com Porro_spacebazaar_08.indd 1 29/07/2022 08:31:59

Scott “We should attempt to bring nature, houses, and human beings together in a higher unity” - Ludwig Mies van der Rohe LOLOMA 5 Architect: Will Bruder Photo: Bill Timmerman

“The extreme clarity of the desert light is equaled by the extreme individuation of desert life forms. Love flowers best in openness and freedom.” — Edward Abbey

Photos: Peter Shikany / ps:studios

azarchitecture.com 480.425.9300 azarchitecture/Jarson & Jarson is the only Real Estate firm in Arizona that specializes in the sales and marketing of Architecturally Unique Homes.©

Over many years, azarchitecture/Jarson & Jarson have been defining desert living by searching out homes, from modern to historic, that add enjoyment and harmony to our clients’ lives. A keen aesthetic sense and a deep appreciation for the Valley’s rare and diverse architecture define their commitment to marketing unique properties like no other firm. azarchitecture/Jarson & Jarson remains deeply committed to historic preservation and are proud EcoBroker ® Affiliates. Whether you are buying, selling, or are just an enthusiast of architecture, remember to contact azarchitecture/Jarson & Jarson — the Valley’s true expert in Architecturally Unique Homes.© Meet our team or contact us to learn more about how we can help you. & EXPERIENCE

KNOWLEDGE

Since 1990, Scott & Debbie Jarson, have stood by their original mission to celebrate and honor design & architecture. They remain devoted to adding value to architect-designed properties and are committed to celebrating, encouraging and promoting good design.

azarchitecture.com 480.425.9300 3707 N. Marshall Way #5 | Scottsdale, AZ 85251 Architecturally Unique Homes ® If your home is currently listed this is not a solicitation. Copyright 2022 az architecture/Jarson & Jarson all rights reserved. PHOTO: Bill Timmerman

Defining Desert Living - Summer 2022

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Defining Desert Living - Summer 2022