Desert Bound Masters of Architecture Thesis Tulane University Student: Victoria A. Menchaca Thesis Director: Prof. Scott Bernhard
Table of Precedents Case Studies Analysis
1 4
Kp’Mip
Bruce Haden
2
Los Arboledas Luis Barragan
3
Crowley House
Leca Swimming Alavaro Siza
Carlos Jiminez
5
400 Rubio Studio Rick Joy
6
Simpson Lee House Glenn Murcutt
Bruce Haden Kp’Mip Desert Cultural Center
Bruce Haden | 2007 | Osoyoos, Canada
Introductions
Fig. 1
The Kp’Mip Desert Cultural Center is found in Osoyoos, Canada and is the first among a growing trend of architectural structures that celebrate Canada’s diminishing desert landscape and the cultures that thrived in this environment for generations. Namely, the Osoyoos Native American Band in the Okanagan Valley Desert have kept the desert intact as their holdings are the largest reminant tract of this type of environment throughout the whole of Canada. With it’s extreme temperature swings ranging from -18 C to 33C in the winter time and 44 C in the summer. This facility uses several passive design techniques to bring it’s systems to full operational and comfort levels. Manifesting in the largest rammed earth wall, this building also demonstrates that resources that would otherwise be overlooked can become back of usable building stock such as it’s pine-beetle wood. Using the blue-wash pine of the beetle infested forest creates the opulent color scheme of blue against the orange and sand colors of the terra. Producing a structure that looks and feels not only massive, but also like a gentle sleeping giant as it rest within the desert landscape as if it has always been there. The use of rammed earth and large thermal slabs in both the floor and ceiling help stablize the varying temperature flucations as they move from one extreme to the next, negotiating between retaining warmth and and acting as thermal cooling masses. Within the ceiling and floors, in-slab radiant heating and cooling helps to regulate the internal temperatures of the structure providing the atmosphere with a lack of dust, noise, and pollution; while it’s 100% air displacement system gives a 30% to 50% savings to financials of a forced air system.
Along with the large rammed earth wall that regulates temperatures, parts of the buildings are situated underground acting as the greater regulator of the entire building structure.
Fig. 2
The orientation of the building at the south allows for solar gains to enter the building at especially low angles throughout the winter time and the indented windows within the rammed earth wall allow for solar to enter but not overwhelm the building during the summer hours. With the Okanagan Valley as a home to desert inhabitants such as rattlesnakes and wild mustangs. The Osoyoos Native American Tribe keeps an exceptional rattlesnake project on-site, with views from the building showing the snakes that have been tagged and tracked.
Fig. 3
Fig. 4
Finally because the ceiling is a slab, it also provides for an area that is used as a roof garden.
Bruce Haden | 2007 | Osoyoos, Canada
Conclusions and Critique I chose this building because of the context of the site, although it is situated in Canada; considering that it is within an extreme part of the ecosystem and is largely intact and uninhabited, it provided inspiration as a desert culture dwelling of sorts for the community. It serves as prototype for passive solar systems with in-slab radiant heating, solar orientation, thermal massing, habitable roof garden, and the use of blue-stain, pine-beetle pine. Structural design elements such as vertical blinds on the back facade create a distilling effect of light to enter the building as to not overwhelm the building. By using the available systems aof the environment for building materials, Haden was able to demonstrate that building along side the environment can be equally peotic and possible. Elements such as the large rammed earth wall that provided an external datum for the overall work. The roof garden provided the overalling flap of external and the habitble to live in tandem with each other and the small creek of water provided a poetic in which water is always needed and hardly found in the desert as visitors enter through the front gate. in the thesis project, the availability of materials from the natural surroundings, the soil type and whether it be suitable for the rammed earth specification.
Fig. 5
Luis Baragan Las Arboledas Gardens and Structure
Luis Barragan | 1949 | Mexico City, Mexico
Introductions
Fig. 6
Luis Barragán - Las Arboledas ranch, Mexico City 1962. Via. “Serenity. Serenity is the great and true antidote against anguish and fear, and today, more than ever, it is the architect’s duty to make of it a permanent guest in the home, no matter how sumptuous or how humble. Throughout my work I have always strived to achieve serenity, but one must be on guard not to destroy it by the use of an indiscriminate palette.” Luis Barragan is often mistaken as a master of minimalism; he conflicts with this, as minimalism often connotates the lack of color as well as structural form - establishing that the beautiful is simple and powerful form. While Barragan’s forms are simplistic, they are by no means minimal in their meaning and color saturation. With bursts of Deep Blues, Oranges, and Pinks, Barragan persuades us that color punctrates our lives with emotion. However, his association with color isn’t one that renders us anxious as color bursts might; instead his use of color is one that invokes emotion that is perceptively serene, giving the visitor peace and asking them to reflect in the tranquiality or lack of peace within their lives. Barragan’s work is associated with the elements of water and nature in association with the built environment acting as portals for which individuals arrive from much like a stage setting.
Los Arboledas was a commission of the area for a horse trough, gallop, and paddock. What would have been an otherwise mundane project that could easily be terminated into a makeshift generic horse trough turned into a tranquil setting of water meeting land. Reflecting in the Mexican culture of horsemanship and the social gathering that would happen within the old Ranchoes and Hacinedas is demonstrated in Los Arboledas. Horses could run up from the paddock into the gallop and to the trough for water as their riders also took a drink and socialized with other riders; swapping stories and news of the day before heading out on their way. Today, the result is much the same as kids hop in and out of the trough to cool down and play games within the water. Water as an element acts as the attracting force of the project. It is the only element that really pulls the site together.
Fig. 7
From these pictures, structural poetics are applied as water is used as a mirror and terminal runway into the blue wall as the exit/entrance door. Gathering a greater spacial existance with the reflectivity of the trough, space is maximized.’
Fig. 8
Fig. 9
The white wall acts as an oversee of the entrance, playing as a screen for trees to cast shadows on as the sun moves through the day and amplifies the entrance of the individual as they pass through the treshold.
Luis Barragan | 1949 | Mexico City, Mexico
Conclusions and Critique
Fig. 10
Fig. 11 The two top diagrams show the plans of Los Aborledas, Fig. 10 demonstrating Los Clubes addition to the San Cristobal subdivision and Fig. 11 demonstrating the Los Aborledas Horse Trough Installation. The playfulness of Los Clubes in constrast to the rectanlinear order of Los Aborledas are distinct; but similarities like juxaposition beween water and earth; man and nature are pivotal to this subdivision they both exist and need each other.
Alvaro Siza Leca Swimming Pools
Alvaro Siza |1966 | Leça da Palmeira, Portugal
Introductions
Fig. 12 The Leca Swimming Pools are perhaps one of the first instances of nature born design in modern architecture. With many of the materials similar to those used at Siza’s Boa Nova, the experience is one that is highly sensual and in conjunction with it’s surrounding features. Wanting to limit the blasting and construction costs associated with that technique, Siza spent days looking carefully at the already present rock formations on the ground. While marking the formations, he kept in mind the location of the swimming pools and adjusted the construction of the site to take place below the roadway. Uninterrupting the view, the building would be situated in the formations, becoming one with nature and slowly pulling out in layers the swimming pool lakes that would emerge in playful gestures toward the ocean. With smooth, cool tones of concrete used as the pool settings, washable concrete and Riga wood carpentary was used for the shower stalls and corridors that would house the visitors as they changed and emerged ready to dive into the water. Siza orchestrated the arrangement of this setting in a way that could isolate the visitor from the bustling of what would ordinarily be a very busy public place into one of conscious awarness. Surrounding the visitor in the tall walls of cool concrete and openings to the sky and wind, the sounds of ocean waves and seaguls and sight of nothing but pale blue sky erase the measures of modern day life on the patron and slowly evoke one of a transformative nature - a state of constant presentness where one is devoted completely to the senses and not so much to the mind.
Fig. 13 Siza’s plan is largely rectanglinear in fashion, with the design is not to be confused with the giving in to nature. It’s a extruding varients of his plan happening in the middle level nod to the elements of earth, but Siza’s use of geometric form trajectory of the two swimming pools. elevating from the rugged coast and offsetting color from the hue of near by rocks separates the blurred lines in a nod to In correspondance with the road, we know where the linear modern construction as well. measure arrives from, but the swimming pools harken the call of blending it’s edges with those of the nature ocean. It may be said that the formality that Siza uses within the site is made to confuse the visitor or persuade them into thinking Located in Matosinhos, just off the coast of Porto, the they are one with nature. It continues to move the individual relationship between man and ocean is deep in culture designers today and remains popular to this day. Other and Siza designs with the reconcilation of man and his designs have pulled from the success of this construction in relationship to the ocean; blending not just the architecture regards to man and nature architecture, but few have of the entire site with the rocky coast but also the adult pool recieved the accolades of Siza’s standards in perception, as it seamless glides into the Altantic visually. elegance, and strength of materials without coming off as However, Siza’s reconcilation with nature and the modern overdone or fake.
Fig. 14
Alvaro Siza |1966 | Leça da Palmeira, Portugal
Conclusions and Critique
Fig. 15
Fig. 16
Fig. 17
Fig. 18
Throughout the project, it is evident that topography and haptic-central and sensual design were at the forefront of the design for Siza. Natural light was important to come in not just from the exits of corridors that led to and from the changing rooms, but also from the exits and entrances of the building. The building is made to look as through it emerged was from the rocks but did so with modern elements. It wasn’t a clone of the environment, but a child of it’s surroundings.
Fig. 19
Carlos Jiminez Crowley House
Carlos Jiminez | 2002 - 2004 | Marfa, Texas
Introductions
Fig. 20 An academic and practicing architect located in Houston, Texas, Carlos Jiminez has produced a number of works, but what remains to be his most famous was his work at Marfa - the Crowley House. Situated in the desert, the house is fairly isolated from the rest of the town and is sprawled out in primary ranch style with a second story happening scarsely on one end of the site. Punctiated with very little vegetation on site and not having near by buildings to shade the residence, one would guess that overheating and the immense landscape of west Texas would be harsh. Home to the highest levels of annual solar radiation levels in the U.S., Presidio County, Texas is one that anyone can describe as “clear” ,“far”, and “empty” as running across the I-10 will take you along a deserted landscape puncuated with small housing developments, an occasional township, and a few amadillos. However, in a sequence of linear wings, the compound constructed residence designed by Jiminez demonstrates that just because a building may not have “anything” surrounding it, doesn’t quite come to terms that it is one of dismal, undesireable conditions. With the scope of the desert as a backdrop, Jiminez conditions a space ready to embrace sweeping views of Marfa Plateau, Cuesta del burro and Chinati Mountains. It’s construction of steel stud-frames and concrete masonry units, ground and polish compel attention in the vast landscape, nearly the same color as the ground from which it stands Crowley looks polished as a resort of sorts that projects itself out from the red and brown fragments of bush. It’s an architecture that is one of distilled experiences driven from landscape and condensed into sensation.
Fig. 21
The concrete masonry of the exterior plays it’s juxaposition in the colorful hues of it’s pale taupe and sand against the deep blue of the Texas sky. Vegetation within the courtyard is used as an oasis within the landscape, facilating a swimming pool as the central unit and anchor while the silted porch shades onlookers and viable participates before they emerge from the residence. The interior of the house is left bare to leave room for the patron’s art collection as this was the original purpose of the commission; however, the lack of color Jiminez demonstrates isn’t just for the purposes of minimal contemporary design but also to emphasize the surreal phenomenon of visual timing throughout the day that makes this site all the more remarkable.
Fig. 22
Fig. 23
From the beginnings of dawn to the endings of dusk, color emerges into the depths of the house in an emotionally overpowering occurance. Here, restraint is imperative to beauty.
Carlos Jiminez | 2002 - 2004 | Marfa, Texas
Conclusions and Critique
Fig. 24
Fig. 25 From the plan and section, we understand the scale of the development and while the pin-wheel design is effective in giving motion and crafting two hallow spaces for courtyards, it doesn’t seem to add needless space to the overall design. It is effectively used to demonstrate the abstraction, containment, and encapsulation that distances the house from the rest of the landscape and at the same time uses it in projecting experiences of deep emotion that is synonamous with the desert itself - tranquality, resilience, and reflection. The design of the house interior is much the same as the exterior of the building, placing an emphasis on the distance from the landscape as well the intimacy of sensualized feeling between the individual and the landscape in a corresponding dialogue between the space within and the space outside as one travels the corridors. These corridors are built alongside the exterior walls, allowing for the interior rooms to orchestrate their own intimacy claims on the individuals as they move throughout the space, becoming a recluse away from the large attraction the site is suitated in. It’s a shuffling of sorts between spaces of intimacy, distance, and relationship of transitition as movement is incurred and brought about by the individual. Jiminez also plays with space in the use of height and light, entering from the rooftop dormers and low-lying aluminum-framed windows that give the space emotion and intimacy without overexposure to the environmental landscape.
Rick Joy Convent Avenue Studios + 400 Rubio Avenue
Rick Joy | 1999 | 400 Rubio Studios and Convent Avenue
Introductions
Fig. 26
Rick Joy via the desert nomad house via archleague.org “The desert is a fantastic place in the most correct meaning of the word; it is at times a dreamlike fantasy of a landscape. . . . the desert’s beauty extends beyond objects and things to an atmosphere of place that is defined by quality of light and other sensory kinds of input.” 400 Rubio Avenue and the Convent Avenue Studios are examples of rammed earth architecture at it’s maturity. Compelling in their rustic nature; Rick Joy adds to the elemental beauty found in natural features with those that are found in earth to elements of human disregard. With scrape metal, rusted and used, he reconciles the two in a nondiscriminate manner that bridges the gap between post-occupational architecture and that which has always been. In essence, Joy made rammed earth cool again. The two projects that are actually one, is constructed in regards to an infill site in the city of Tucson, AZ and demonstrates the restraints of building in the desert when occupied in a sizable city and especially in an pre-existing neighborhood. This project looks at the context of an urban desert site and the use of reused materials in aesthetic purposes.
The Convent Avenue Studios are among the first projects of the Rick Joy studios. Built in one of the oldest barrios, the midcentury attempt at urban renewal largely left this once thriving Mexican-American suburb in disrepair and neglect. Fig. 27
Fig. 28
Fig. 30
Joy sought to bring back old elements of that culture into the neighborhood once more, pulling together constructed earthworks, rough sawn wood finishes, iron works and the semiprivate interior courtyards thick with creosote and mesquite tree vegetation.
Fig. 29
From here, he solved a multitude of issues dealing with solar exposure and encroachment that many of the neighborhood residents experienced in their own housing. Wedge-shaped architecture and it’s placement within the complex was key in this solution that would be mimicked in the 400 Rubio Studio
Rick Joy |1998 | Convent Avenue Studios | Tucson, AZ The construction of rammed earth walls is much like the baking of brick. A mixture of earth is compacted in layers between forms. When each form is filled and dried, another layer begins and this continues until the desired height is reached within a development. Most rammed earth walls have a depth of 6 inches, creating a coloring and ripple effect with each new layer as it is added. Each batch of soil used for rammed earth mix is a carefully
Conclusions and Critique
balanced formula of clay, sand, and aggregate; in some parts of construction or regions where the sediment may need more stabilization, the addition of some cement is applied to the mixture, resulting in stablized rammed earth. The benefits of rammed earth construction is that while it is relatively quick as the formwork can come off as soon as the form above is secure; it’s immediately self-supporting and one of the best instances of thermal massing.
FIg. 31
Aesthetically, too much warmth is balanced with the use of cold steel elements such as the staircase in this photo. With earth at it’s taupe-like color and wood with it’s earthy brown, the heat of the desert can overwhelm and the shadows of cooler climates allow for some relief to quickly follow. Here we experience the first of elements to balance the interior temperature of the space in elemental form.
Fig. 32
The plans and sections of 400 Rubio Avenue Studio show the facets of the architecutre in question. While the design may resemble other desert culture’s of adobe styled earthen walls and central courtyard system, Joy’s work is also about entrance, progression, and fulfillment of the space once occupied. Much like a first impression, the sequence of entering a building is important in reactions and gut-feelings of individual as they first arrive and experience it.
FIg. 36
Fig. 35
Fig. 33
FIg. 37
Rick Joy |1998 | 400 Rubio Avenue | Tucson, AZ
Conclusions and Critique
The use of single mesquite trees puncuate the landscape of 400 Rubio Avenue, where Joy’s offices can be found, and with common elements of his work embracing trees, water, earth, and sky. This type of architecture lends itself more to the spiritual sensual aspects of the site rather than the passive design elements that are often characterized in rammed earth forticulations throughout the world in regards to their vernacular. While the architecture seems to pull from old spanish themes of indoor courtyards, waterways, and shading pathways; Joy’s moves are based more on the contemporary and reconcilable nature than any particular vernacular. With strong elements like the thick walls of earth against the fragile panes of glass - there has been discussion that joy’s work is one of blurred abboundaries, but how can boundaries be blurred when such a line between hard and soft is drawn up? The section and plan illustrate this in the possé of the drawings as well as Fig. 34, the use of light and material properties give a sense of weight to the project; the alumnium ceiling floats amply above the central workspace of the studio as if it’s held down only by the glass alumnium frames that resemble balloon wires died down to the ground. Joy’s studio becomes a play between the inner and outer spaces. Indeed, this is a blurred boundary if not an invisible one - cave like in atmosphere.
Fig. 38 The use of the natural light bouncing from the boundary wall into the studio workspace creates north light bounce off. A light ideal for artists, it’s soft warm glow is welcomed into studio spaces and often highly prized. It is also good to note that the studio’s main window and exposure to heavy solar exposure is not a concern as much of the building has been walled off to the south and as such, light from the north and east sides streams into the workspace through nondirect means, providing a gentle atmosphere.
Fig. 34
Glenn Murcutt Simpson Lee House
Glenn Murcutt | 1988-1993 | Mount Wilson, Blue Mountains, New South Wales Introductions
Fig. 39
Glenn Murcutt via Pritzker Award to Reporters “Life is note about maximizing everything, it’s about giving something back - like light, space, form, serenity, joy. You have to give something back.” When Glenn Murcutt began designing the Simpson Lee house back in the late 80’s he encountered the “secular monastic elemental” his clients wanted within their new home with an explicit emphasis on restraint. Simple elements such as concrete, wood, steel and corrgulated steel sheeting was used in the construction of the Simpson Lee House and with it’s extreme attention towards simplicity, it illustrated the qualities much like Murcutt’s quote. It was light, serene, and joyful. With nods to the landscape to which the house is situated in, to the history of it’s land as it’s circulation is drawn from an old aboriginal path moving from the house to the garage, and the precipation of protection as the primary goal of housing it’s inhabitants in the shallow pools between the two masses; Murcutt illustrates the importance of building with the landscape.
Fig. 40
With large sliding glass doors, the blurring of interior and exterior spaces is melded into a living room of the landscape. With steel framing acting as the extension of trees, and the house’s main floor above the ground plane of the rest of the bush, it’s open and inviting territory allows the visitor to peer through the path leading out of the house as if it’s always been there. Looking at the photographs, Fig. 42 appears show rainwater catchbasins that illustrate where the water pond gets it’s resources. Examining the photos closer, large sliding doors are featured throughout the development, concentrating on the emphasis of the lack of line between man and nature.
Fig. 41
Fig. 42
Further, pushing the notion that this residence is one ideal of light and serenity with large quanities of glass bringing in natural light and allowing the green scenery of the landscape to invade the user’s space.
Glenn Murcutt | 1988-1993 | New South Wales
Conclusions and Critique Fig. 43 demonstrates the site plan and interior ground plan of the Simpson Lee house; here the geometric play of the landscape and the client’s needs are shown.
Fig. 43
Fig. 44
Fig. 45
Diagram showcasing wind as it moves throughout the Simp- Diagram depicting more accurate layers of wind and cooling son Lee House and blocks the summer sun. loads as they enter through the house.
Fig. 46
Biblography Books, Papers, Photos and Film
Victoria A. Menchaca | 2014 | Case Study Analysis
Citation of Images
Fig. 1 Bruce Haden. 2007, Colored photographic digital print. Openbuildings.com, http://c1038.r38.cf3.rackcdn.com/group1/building3726/media/278d.022.jpg (accessed September 26, 2014). Fig. 2. Bruce Haden. 2007, Colored photographic digital print. Openbuildings.com, http://openbuildings.com/buildings/nk-mip-desert-cultural-centre-profile-3726#!buildings-media/3 (accessed September 26, 2014). Fig. 3. Bruce Haden. 2007, Colored photographic digital print. Openbuildings.com,http://openbuildings.com/buildings/nk-mip-desert-cultural-centre-profile-3726#!buildings-media/11 (accessed September 26, 2014). Fig. 4. Bruce Haden. 2007, Colored photographic digital print. Openbuildings.com, http://openbuildings.com/buildings/nk-mip-desert-cultural-centre-profile-3726#!buildings-media/12 (accessed September 26, 2014). Fig. 5. Bruce Haden. 2007, Colored photographic digital print. Openbuildings.com, http://openbuildings.com/buildings/nk-mip-desert-cultural-centre-profile-3726#!buildings-media/13 (accessed September 26, 2014). Fig. 6. Bruce Haden. 2007, Black and White Plan Drawing. Openbuildings.com, http://openbuildings.com/buildings/nk-mip-desert-cultural-centre-profile-3726#!buildings-media/16 (accessed September 26, 2014). Fig. 7. Armando Salas Portugal. 2014, Black and white photographic print. Fuente El Bebedero, Paseo de los Gigantes, Las Arboledas, Atizapán de Zaragoza, Estado de México 1962, http://38.media.tumblr.com/5493383531293af0932314009afe03d2/tumblr_n1cuxymaxI1qg7a6mo1_1280.jpg (accessed September 29, 2014). Fig. 8. Victor Emilio López Terán. 2008, Colored Photographic Print. Flickr.com, https://www.flickr.com/photos/mundovelt/2816755200/ (accessed September 29, 2014). Fig. 9. Victor Emilio López Terán. 2008, Colored Photographic Print. Flickr.com, https://www.flickr.com/photos/mundovelt/2816755200/ (accessed September 29, 2014).. Fig. 10. Diagram of Las Aborledas Subdivision 1 by Author Fig. 11. Diagram of Las Aborledas with trough by Author. Fig. 12. Trevor Patt., 2011, Color photographic print. Flickr.com, https://www.flickr.com/photos/trevorpatt/5734944512/in/photolist-oiv5Mw-9JM6cE-9CZdRA9CZcJA-9HCc6R-9LiWJ2-9HGjbh-9LmHGj-9JvDNS-9G18xV-9CZcDq-9JvfCs-9JLXU9-9G4auE-9G49gN-9G44pN-9G46dq-9JM4tA-9LDHCd-9Lj3aT-9JspSn9G3Y2u-nNQWvP-9JvcD7-9G1cU2-9yQqPw-9G15L4-9yMqut-9yMqe4-9CZcQd-9yMqnD-9yMq6n-9LmGi5-9CWhgp-9CZdEq-nQCqLt-9CZdxS-9CZdi5-a216vk9Kgzjb-9G12Fk-9G41KN-9Jsn3p-9CWh9r-9JsiLz-9LmyGw-9Lj52a-9JvbBf-9HDrbZ-9HGnXG(accessed September 29, 2014). Fig. 13. Alavaro Siza. 1966, Black and white drawing. Blog. http://farquitecturar.blogspot.com/2012/05/alvaro-siza-vieira-swimming-pools-leca.html (accessed September 29, 2014). Fig. 14. Trevor Patt., 2011, Color photographic print. Flickr.com, https://www.flickr.com/photos/trevorpatt/5734944512/in/photolist-oiv5Mw-9JM6cE-9CZdRA9CZcJA-9HCc6R-9LiWJ2-9HGjbh-9LmHGj-9JvDNS-9G18xV-9CZcDq-9JvfCs-9JLXU9-9G4auE-9G49gN-9G44pN-9G46dq-9JM4tA-9LDHCd-9Lj3aT-9JspSn9G3Y2u-nNQWvP-9JvcD7-9G1cU2-9yQqPw-9G15L4-9yMqut-9yMqe4-9CZcQd-9yMqnD-9yMq6n-9LmGi5-9CWhgp-9CZdEq-nQCqLt-9CZdxS-9CZdi5-a216vk9Kgzjb-9G12Fk-9G41KN-9Jsn3p-9CWh9r-9JsiLz-9LmyGw-9Lj52a-9JvbBf-9HDrbZ-9HGnXG(accessed September 29, 2014). Fig. 15. Trevor Patt., 2011, Color photographic print. Flickr.com, https://www.flickr.com/photos/trevorpatt/5734944512/in/photolist-oiv5Mw-9JM6cE-9CZdRA9CZcJA-9HCc6R-9LiWJ2-9HGjbh-9LmHGj-9JvDNS-9G18xV-9CZcDq-9JvfCs-9JLXU9-9G4auE-9G49gN-9G44pN-9G46dq-9JM4tA-9LDHCd-9Lj3aT-9JspSn9G3Y2u-nNQWvP-9JvcD7-9G1cU2-9yQqPw-9G15L4-9yMqut-9yMqe4-9CZcQd-9yMqnD-9yMq6n-9LmGi5-9CWhgp-9CZdEq-nQCqLt-9CZdxS-9CZdi5-a216vk9Kgzjb-9G12Fk-9G41KN-9Jsn3p-9CWh9r-9JsiLz-9LmyGw-9Lj52a-9JvbBf-9HDrbZ-9HGnXG(accessed September 29, 2014). Fig. 16. Trevor Patt., 2011, Color photographic print. Flickr.com, https://www.flickr.com/photos/trevorpatt/5734944512/in/photolist-oiv5Mw-9JM6cE-9CZdRA9CZcJA-9HCc6R-9LiWJ2-9HGjbh-9LmHGj-9JvDNS-9G18xV-9CZcDq-9JvfCs-9JLXU9-9G4auE-9G49gN-9G44pN-9G46dq-9JM4tA-9LDHCd-9Lj3aT-9JspSn9G3Y2u-nNQWvP-9JvcD7-9G1cU2-9yQqPw-9G15L4-9yMqut-9yMqe4-9CZcQd-9yMqnD-9yMq6n-9LmGi5-9CWhgp-9CZdEq-nQCqLt-9CZdxS-9CZdi5-a216vk9Kgzjb-9G12Fk-9G41KN-9Jsn3p-9CWh9r-9JsiLz-9LmyGw-9Lj52a-9JvbBf-9HDrbZ-9HGnXG(accessed September 29, 2014). Fig. 17. Alavaro Siza. 1966, Black and white drawing. Blog. http://farquitecturar.blogspot.com/2012/05/alvaro-siza-vieira-swimming-pools-leca.html (accessed September 29, 2014). Fig. 18. Alavaro Siza. 1966, Black and white drawing. Blog. http://farquitecturar.blogspot.com/2012/05/alvaro-siza-vieira-swimming-pools-leca.html (accessed September 29, 2014). Fig. 19. Trevor Patt., 2011, Color photographic print. Flickr.com, https://www.flickr.com/photos/trevorpatt/5734944512/in/photolist-oiv5Mw-
9JM6cE-9CZdRA-9CZcJA-9HCc6R-9LiWJ2-9HGjbh-9LmHGj-9JvDNS-9G18xV-9CZcDq-9JvfCs-9JLXU9-9G4auE-9G49gN-9G44pN-9G46dq9JM4tA-9LDHCd-9Lj3aT-9JspSn-9G3Y2u-nNQWvP-9JvcD7-9G1cU2-9yQqPw-9G15L4-9yMqut-9yMqe4-9CZcQd-9yMqnD-9yMq6n-9LmGi59CWhgp-9CZdEq-nQCqLt-9CZdxS-9CZdi5-a216vk-9Kgzjb-9G12Fk-9G41KN-9Jsn3p-9CWh9r-9JsiLz-9LmyGw-9Lj52a-9JvbBf-9HDrbZ-9HGnXG(accessed September 29, 2014).
Fig. 20 Paul Hester. 2009, color photographic print. Crowley. Carlos Jiminez. Book. Fig. 21. Paul Hester. 2009, color photographic print. Crowley. Carlos Jiminez. Book. Fig. 22. Paul Hester. 2009, color photographic print. Crowley. Carlos Jiminez. Book. Fig. 23. Paul Hester. 2009, color photographic print. Crowley. Carlos Jiminez. Book. Fig. 24. Carlos Jiminez. 2009, light green CAD drawing. Crowley. Carlos Jiminez. Book. Fig. 25. Carlos Jiminez. 2009, light green CAD drawing. Crowley. Carlos Jiminez. Book. Fig. 26. Bill Timmerman, Wayne Fuji, Andy Tinucci, Tim Hursley, Jeff Goldberg, Jerry Sieve, James McGoon, Undine Prohl, Maartje Steenkamp, Nick Berezenko. 2002. color photographic print., Book. Rick Joy: Desert Works. Fig. 27. Bill Timmerman, Wayne Fuji, Andy Tinucci, Tim Hursley, Jeff Goldberg, Jerry Sieve, James McGoon, Undine Prohl, Maartje Steenkamp, Nick Berezenko. 2002. color photographic print., Book. Rick Joy: Desert Works. Fig. 28. Bill Timmerman, Wayne Fuji, Andy Tinucci, Tim Hursley, Jeff Goldberg, Jerry Sieve, James McGoon, Undine Prohl, Maartje Steenkamp, Nick Berezenko. 2002. color photographic print., Book. Rick Joy: Desert Works. Fig. 29. Bill Timmerman, Wayne Fuji, Andy Tinucci, Tim Hursley, Jeff Goldberg, Jerry Sieve, James McGoon, Undine Prohl, Maartje Steenkamp, Nick Berezenko. 2002. color photographic print., Book. Rick Joy: Desert Works. Fig. 30. Bill Timmerman, Wayne Fuji, Andy Tinucci, Tim Hursley, Jeff Goldberg, Jerry Sieve, James McGoon, Undine Prohl, Maartje Steenkamp, Nick Berezenko. 2002. color photographic print., Book. Rick Joy: Desert Works. Fig. 31. Thomas Eakins, William Rudolf O’Donovan. 1981, Black and white photographic print, 6 x 8 cm. Archives of American Art, Smithsonian Institution, Washington, DC. Available from: Flickr Commons, http://www.flickr.com/photos/smithsonian/2547841439 (accessed September 29, 2009). Fig. 32. Bill Timmerman, Wayne Fuji, Andy Tinucci, Tim Hursley, Jeff Goldberg, Jerry Sieve, James McGoon, Undine Prohl, Maartje Steenkamp, Nick Berezenko. 2002. color photographic print., Book. Rick Joy: Desert Works. Fig. 33. Thomas Eakins, William Rudolf O’Donovan. 1981, Black and white photographic print, 6 x 8 cm. Archives of American Art, Smithsonian Institution, Washington, DC. Available from: Flickr Commons, http://www.flickr.com/photos/smithsonian/2547841439 (accessed September 29, 2009). Fig. 34. Bill Timmerman, Wayne Fuji, Andy Tinucci, Tim Hursley, Jeff Goldberg, Jerry Sieve, James McGoon, Undine Prohl, Maartje Steenkamp, Nick Berezenko. 2002. color photographic print., Book. Rick Joy: Desert Works. Fig. 35. Bill Timmerman, Wayne Fuji, Andy Tinucci, Tim Hursley, Jeff Goldberg, Jerry Sieve, James McGoon, Undine Prohl, Maartje Steenkamp, Nick Berezenko. 2002. color photographic print., Book. Rick Joy: Desert Works. Fig. 36 Rick Joy Studios. 2002. black and white drawing, Book. Rick Joy: Desert Works. Fig. 37. Rick Joy Studios. 2002. black and white drawing, Book. Rick Joy: Desert Works. Fig. 38. Bruce Haden. 2007, Black and White Detail Wall Section Drawing. Openbuildings.com, http://openbuildings.com/buildings/nk-mip-desert-cultural-centre-profile-3726#!buildings-media/15 (accessed September 26, 2014). Fig. 39. Ozetecture. 2008, color photographic print. Ozetecture website. http://www.ozetecture.org/wp-content/uploads/2012/08/PB_126-127.jpg (accessed September 29, 2014).
Victoria A. Menchaca | 2014 | Case Study Analysis
Citation of Images
Fig. 40 Ozetecture. 2008, color photographic print. Ozetecture website. http://www.ozetecture.org/wp-content/uploads/2012/08/PB_126-127.jpg (accessed September 29, 2014). Fig. 41.Ozetecture. 2008, color photographic print. Ozetecture website. http://www.ozetecture.org/wp-content/uploads/2012/08/PB_126-127.jpg (accessed September 29, 2014). Fig. 42. Ozetecture. 2008, color photographic print. Ozetecture website. http://www.ozetecture.org/wp-content/uploads/2012/08/PB_126-127.jpg (accessed September 29, 2014). Fig. 43. Ozetecture. 2008, color photographic print. Ozetecture website. http://www.ozetecture.org/wp-content/uploads/2012/08/PB_126-127.jpg (accessed September 29, 2014). Fig. 44. Anna McMillian. 2012, Diagram. ARCH 3230 Systems, Sites and Building Blog, http://ahm8xs.wordpress.com/2012/11/13/assignment-8first-draft/(accessed September 29, 2014). Fig. 45. Anna McMillian. 2012, Diagram. ARCH 3230 Systems, Sites and Building Blog,http://ahm8xs.files.wordpress.com/2012/11/new-systems-8simspon-lee-house-section.jpg (accessed September 29, 2014). Fig. 46. Anna Lautner. Bernard Anne Spitzer School of Architecture. 1981, color photographic print. http://talent.adweek.com/gallery/3481979/Bernard-Anne-Spitzer-School-of-Architecture-Case-Study (accessed September 29, 2014).
Biblography Lachezar, Tsachev, Tom Mallory, and Adel Zakout. “Nk’Mip Desert Cultural Centre.” OpenBuildings. January 1, 2010. Accessed September 26, 2014. http://openbuildings.com/buildings/nk-mip-desert-cultural-centre-profile-3726. Yung, Kenneth. “Las Arboledas by Luis Barragan 1962.” Web log post. Architect’s Learning Handbook We Learn, We Think, We Design. Archi-learner.blog.com, 2 Jan. 2014. Web. 29 Sept. 2014. “Rick Joy House | Desert Nomad House | Tucson Desert Architecture | Desert Architecture Design.” Rick Joy House Desert Nomad House Tucson Desert Architecture Desert Architecture Design. Desertnomadhouse.com, 1 Mar. 2013. Web. 29, Sept. 2014. Heneghan, Gusheh, Lassen, Seyama “Simpson-Lee House - OZETECTURE.” OZETECTURE. Ozetecture, 2008. Web. 29 Sept. 2014. “Nationally Significant 20th-Century Architecture : Simpson-Lee House II.” Australian Institute of Architects. Australian Institute of Architects, 4 June 2010. Web. 29 Sept. 2014.
Jimenez, Carlos. “Carlos Jiménez Studio.” Carlos Jiménez Studio. Carlos Jimenez, 1 Jan. 2014. Web. 29 Sept. 2014. Siza, Alvaro. “1966 Leça Swimming Pools.” Alvaro Siza Vieira. October 11, 2011. Accessed September 29, 2014. http://alvarosizavieira.com/1966-leca-swimming-pools. Balters, Sofia. “AD Classics: Leça Swimming Pools / Alvaro Siza.” ArchDaily. August 06, 2011. Accessed September 29, 2014. http://www.archdaily.com/150272/ad-classics-leca-swimming-pools-alvaro-siza/.