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MASON CONTRACTORS ASSOCIATION OF NEW MEXICO

• vol. 27 no. 5 • sept. -oct. 1986 • new m exico architecture

International Standard Serial Number-0545-3151

- Official Publication oj the New Mexico Society of Architects , A. I.A .-

Casa Pastoral 14Hutchinson/Brown, Burton & Partners, Arch itects

Un-Built New Mexico 13by Kenneth S. Clark , FAIA , Arch itect

New Mexico Architecture · Committee

John P. Conron, FAIA,-Edito rCarleen Lazzell- Assoc iate Editorl Advert ising Director

Van Dorn Hooker, FAIA -Chairma nGeorge Anse levic ius , FAIA

Marjorie Hooker, AlAChristophe r Larsen, AlA

Charles E. Nolan, Jr., AlAGeorge C. Pearl, FAIA

Glade F. Sperry, Jr., AlAV.B. Price - Former Editor "New Mexico Magazine"

Don P. Schlegel, FAIANancy Weinman , AlA

Christopher Wilson, Architectural Historian

~ The Editor's Column 3

NMA News 9Sigh ts & Sites '86

Senate Approves Reform s To Highway ActNMSA's New Off ice In Santa Fe

Profes sional Direc tory 24

Advertiser's Index 26

(Cover - Casa Pastoral - © Robert Reck, Photographer)

Should There Be A Rocky Mount ain Style? 21by John P. Conron, FAIA

Convocation Address 11UNM Schoo l of Arch itecture and Planning

by V.B. Price

The Legal Dlrnension- Residential Liens 11by Craig Othmer

Societ y Offi cers

President-Don P. Schlegel, FAIAPresident·Elec t- Randall L. KilmerSecretarylTreasurer-John EdenDirector- Peter AllenDirector-Beryl DurhamDirector- Wayne LloydDirector- Roger B. LujanDirector-Steve NewbyDirector-Richard C. ScottDirector-William Friemuth

With th is Issue:Your editor begins his 26th year of deeply

Involved association with New Mexico Ar·chitecture magazine, fi rst as co-editor withBainbridge Bunting and since 1968 as edito r.Serving as editor all these years has been ex­ci t ing , fru itful, frustrating and reward ing.Aithough your edito r may not be omnisci ent ,the magazine has certa inly been omn ipresent.Through so many of those years Mildred Brit ·lelle was the strong arm, seeking financialsupport and paying the bil ls. Carleen Lazzell,with consumate skil l, now fi lls those shoes.o 0 0 0

I see that the U.S. Senate has taken steps,once again, to try to rid our highways of un­sightly billboards. But they passed the buckto the states to find the financ ial resource s tocompensate billboard owners for their rernov ­ed signs. (See NMA News item on page 9.) Asearly as 1962 this editor spoke against thatpart icu lar aspect of the " Ugli ness AroundUs" . As I said then : billboards " can tell usmuch of Interest about the city we are ap ­proachlng; they can actually do us a serviceby their Information. But the billboard ln­dustry has abused its privileges; it seems todisplay a complete lack of graphic designsense. And it places the dreary resuits at suchclose Intervals along the highways that lhepoor tourist cannot possibly assimilate theuseful Information - nor see the sunset.Billboards have earned rigi dly restric tivelegislation. And although I canno t condoneactual violation of the law, I can appreciatethe resuits of the unknown vigil antes of SantaFe who occas ionally clean the entrancehighways of billboards by cutting them down .

Sign builders within the city area haveshown even less regard for the ir commun it y.it is a wonder that the old Amer ican cus tom oftar and feathering has not been revived lorthese offenders. Perhaps the tourist mightmake his l eellng s known to mote l owners whovie for the air righ ts of our ci ties with even big·ger and bubb lier sign s.

It might be poss ible for natio nal corpora­tions such as automobile manufacturers or u­quor disti llers to refrain from clutte ring ourhighways with the ir ads. it might be possib lelor prospective purchasers to buy anotherbrand and Inform the retaile r of the reason. itmight be Interesti ng to see the resuit s of asignificant drop In retail sales of bil lboardadverti sers where such a drop cou ld be direct·ly attributed to advert ising methods." Wehope that lhe U.S. Congress can be effectivethis time at bat; they have struck out previous­ly.o 0 0 0

" The cover of this issue has been madepossible by the kind support of Barbara Hut­chinson, Jerry Rogers and Brown /Burton &Partners, Inc." JPC

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The Board of Directors for the NMSA has appointed John Seaver as Executive Directorand has established its office at 200 West DeVargas St., Suite 6A, in Santa Fe. The mail­ing address is: Post Office Box509, Santa Fe, N.M. 87504. The office can also be reachedby calling (505) 983-5914.

SIGHTS & SITES '86A report by Keith D. Balkcom

Albuquerque is a modern and vital cityin the process of reaching its full potentialas a great American city. Business growthand development is at a pivotal stage.Sights & Sites '86 , the AlbuquerqueDevelopment Tour, sponsored by theGreater Albuquerque Chamber of Com­merce, showcased this growing city onAugust 22, 1986.

Approximately 350 participants weretreated to the three hour bus tour of com­mercia l and residential building projects invarious phases of completion. Projects pro­posed, in progress, or completed sinceAugust, 1985 were included in tourliterature and spotlighted along the route.Journal Center hosted the mid-morningbreak for the caravan of ten buses, givingparticipants a close-up view of one of thefinest examples of office park developmentin New Mexico.

Sights & Sites was the brainchild of BobTurner, an Albuquerque architect and aprincipal with The Boehning Partnership,Inc . Patterned after the San Antonio,Texas development tour , Turner has con­tinued to improve upon a good idea,molding and shaping the tour to meet theexpectations of both out-of-town par­ticipants and local residents . While tourguides pointed out all development pro­jects along the route, they also provided in­sights into the history and dynamic forcesat work in various parts of the city. Ex­perience has shown that many potentialout-of-town developers have the desire tolearn as much as possible about the area inthe shortest amount of time. As a result ,tour guides told the participant detailsabout everything from the effects on theAlbuquerque economy by Kirtland AirForce Base to health care resources, artand cultural districts , and the effect of theUniversity of New Mexico on the attractionof industry to the city .

Sights & Sites '86 began on the eveningof August 21, 1986 with a welcome recep­tion and cocktail party, open to tour par­ticipants and the general membe rship ofthe Cham ber of Commerce. Displaybooths were purchased by architects,developers, cont ractors, leasing agents,and aerial photographers and were openfor display during the reception and atvarious times throughout the day of thetour. After the tour on Friday morning,participants were treated to luncheonspeaker C . Hastings Johnson, Vice­President of Gerald D. Hines Interests,based in Houston. "Hasty" discussed cur-

rent trends in commercial developmentand provided insights into the type of en­vironment best suited to his company'sstyle of development, while showing slidesof many of the projects completed and inprocess by his firm.

After lunch and another opportunity totour the display booths , Sights & Sites '86presented a symposium entitled "Albu­querque Development Perspectives: AnOverview and Forecast." Moderated byTom Joule of The Joule Interests, Inc. , thesymposium featured presentations by:Steve Johnson of Johnson Development inAlbuquerque on retail development;David Freshwater of Elan DevelopmentCorp. in Tucson on multi- family residen­tia l development; Ernest Randall of Van­tage Development Co. in Dallas on evalua­tion of future development; and HerbDenish of Denish & Associates, Inc. on thedevelopment review process in the Albu­querque area .

Randall, a partner in Vantage Develop­ment Co., said Albuquerque seems to haveescaped an overbuilding tren d that has hitDallas especially hard and praised localdevelopers for keeping a lid on buildinggrowth. He feels Albuquerque has beenconservative and shown restraint in itsdevelopment by not putting up buildings

WASHINGTON, DC, September 26,1986- The American Insti tut e of Ar­chitects today lauded the U.S. Senate forapprovi ng a comp rehensive package ofreforms to the Highway Beautification Actof 1965 during its consideration ofhighway-aid reauthorization legislation.

"The Senate has spoken decisively," saidAlA President John A. Busby jr., FAIA."The billboard lobby has been servednotice that its special lien on the federaltreasury and its license to pollute ourhighways have come to the end of theroad,"

The legislation contains an AIA­endorsed amendment that bans the con­struction of new, off-premise billboardsalong federal and primary roads , effective

NMA NEWS

for which tenants are not available.Planning for Sights & Sites '86 began in

late 1985 by the nine Coordinating Coun­cil members : Turner; Keith Balkcom,Balkcom & Company, CPAs, P.A. (vicechairman); Tina Henderson, GreinerEngineering (listings); Laurie Wiggens,Centerwest Properties (tour guides); TomJoule, The Joule Interests (symposium);Jack Corder, Presley Homes (displaybooths); Marcia Mazria, Media Works(publicity); Judy Coors, Cavan Associates,Ltd . (display signs); and Connie Rein(sponsorships). These individuals, most ofwhom have been involved since the pro­ject's inception, were responsible for put­ting together all phases of the tour andrelated events.

Due to the continued success of the pro­ject, the Greater Albuquerque Chamber ofCommerce will again sponsor Sights &Sites '87. Though no specific date has beenset, the third annual tour is tentativelyplanned for early August, 1987, with KeithBalkcom taking over leadership of the pro­ject . Given the dynamic nat ure of develop­ment taking place in Albuquerque, Sights& Sites not only shows what's been ac­complished, but gives you a sense of whatis possible for Albuquerque over the com­ing years. K.D.B.

July 1, 1986. It also requires all illegalb ill boa rds-est im a ted to nu m ber44,000- and certain state-acquired " non­conforming" signs to be removed within 90days of the legislation 's enactment.

In a change from existing law, theamendment allows states and localities,rather than the federal government, todecide whether "nonconforming"billboards-estimated to number112,OOO-shouid be removed, and if remov­ed, how compensation for their removalshould be handled. Although no funds havebeen appropriated for this purpose since1982, the federal government still requires"non-conforming" billboards to be removedand billboard owners to be compensated incash. (Also see Editors Column page 3.)

September - October 1986 /9

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THE LEGAL DIMENSIONBy Craig Othmer, Esquire

RESIDENTIAL LIENS

Architects will now have to be more careful than ever to collectlien waivers on homebuilding project s. A recent New MexicoSupreme Court decision essentially tells subcontractors and sup­pliers to file more liens.

The case concerns a home in Berna lillo County. The cabinetmaker completed work for a genera l contractor on November 27,1984. Two weeks later, on December 11, 1984, the homeownersmade a final payment to the general contractor. At that time , thegeneral contractor signed an affidavit that no liens were on file.The cabinet maker had not received payment as a subcontractorby December 28, 1984, and filed a lien. Unfortunately, thecabinet maker, had not paid much attention to the 1981 NewMexico lien law amendments.

In most situations (public projects are the largest exception),subcontractors and suppliers may file a lien any time within nine­ty days after completion. The theor y is simple. When retail ers selltelevisions or washing machines to homeowners, they canrepossess the merchandise if payment isn't received . However,repossession is not a practical remedy for the lumberyard or bricklayer that has not been paid . Instead, the lumberyard and bricklayer are given lien interests in the real estate which was improvedby their efforts. The prudent owner makes sure that adequate lienwaivers have been executed by the subcontractors and suppliers onthe job before releasing payments. Careful use of good standardform contracts offer excellent protection. For example , executionof the AlA Contractor's Affidavit of Release of Liens form G706Ais designed as a safeguard against liens and is used in connectionwith article 9 of the AlA General Conditions A201-1976 form.Without lien waivers, the owner may be forced to pay for thework twice

In 1981, the New Mexico legislature recognized that manyhomeowners were blissfully unaware of liens at all and receivedtestimony from victims of fly by night general contractors . Thesehomeowners had work done on their homes and made final pay­ment to the general contractor. When the general contractor

"neglected" to pay the subcontractors and suppliers, liens were fil­ed. As the general contractor was no where to be found, thehomeowners were forced to pay a second time for the work.

The problem is not unique to New Mexico. Many states havestrugg led with the issue. Most of the resulting legislat ion added alegal requ irement that some sort of early warning notice be givento owners . Subcontractors and suppliers are generally required tolet owners know through some mechanism that they are workingon the project. The owner then knows which names need to ap­pear on lien waivers before final payment is made.

New Mexico took a different approach. The 1981 amendmentsdischarge any lien on residential structures up to four dwellingsunits unless the lien has already been filed before fina l payment.An exception is made if the general contractor takes certainprecautions. For the most part contractors, subcontractors, andsuppliers have ignored the 1981 amendments.

In the case of the cabinet maker, the general contractor did nottake any precautions, at least on behalf of the cabinet maker .Therefore, even though the cabinet maker filed a lien on the 31stday after comp leting work, well within the 90 day statutorylimitation, the lien was discharged since final payment hadalready occurred. The cabinet maker may still try to collect fromthe general contractor but the right to lien is gone.

As subcontractors and suppliers are not always aware whenfinal payment will be made, they will be more inclined to file liensso that they do not lose their lien rights. In fact, the SupremeCourt says that the subcontractor has a duty to file a lien prior tofinal payment. Subcontractors and supplie rs can be expected totake the direction of the Supreme Court and file more liens. Thetext of the decision may be found in the N.M. Bar Bulletin, Vol.24, No. 18, pages 383-5, May 1, 1986. The case is entitled AztecWood Interiors, Inc. v. Andrade Homes, Inc. Jerry Alcone andPat Alcone. C.O .

Copyr ight 1986. Mr . Othmer is an attorney in private practicein Santa Fe, New Mexico.

CONVOCATION ADDRESSUNM School of Architecture and PlanningV.B. Price

May 17, 1986

It is a grea t pleasure and a great honor for me to be here withyou today.

In keeping with these ceremonies, my talk concerns respon­sibility, reality, and idealism. It is "about" being guided by ourhighest selves, which is, in our context, about nature and ar­chitecture and the role of the arts in the health and evolution ofculture.

This year, the AlA convention in San Antonio has as its majorthemes both the taking and the celebrating of responsibility. Thelead sentence of convention fliers reads "Taking responsibilityfor the quality of life issomething you do every time you design."

Architects, more directly perhaps than any other artists, havethe pleasure and the responsibility of dealing with the real worldand the symbolic world in a dynamic union, which brings qual ­ity to life.

It is a requi rement of their profession, and of planners too, toabandon ivory towers, of course, to mix it up with real humanbeings and real problems, of course, and to be full citizens of thewor ld.

Architects and planners are, or should be, to the arts whatphysicians are, or should be, to the medica l sciences- the cham­pions of act ion, interaction, cooperation, and public creativity .

If myths are public dreams, and dreams pr ivate myths, thenarchitecture and urban form are to the natural landscape whatconsciousness and imagination are to time and space- articulateextensions of mystery, of connection, and of value .

Architects and planners, along with the forces of themarketplace and the scribes of design, make the tangible humanworld, mas 0 menos. It is a vast responsibility, indeed, one to in­spire the highest ideals and perhaps even impose the heaviestsense of burden.

The media of arch itecture and planning are as mucheconomy, psychology, and the often poor design of those whomake the goods from which buildings themselves are made, as itis the history of art and the richness of personality. Yes, the realworld is tough (and, as we all know, when the going get toughthe tough go shopping). But as tough as it is, there are, in it, ar-

Continued on page 13 fAr

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tists who are both true to themselves and to the needs they serve,and artists who are not. So why not be the ones who are? Bothhave , I think, the same chance of financial success.

The real world is tough, paradoxical , sometimes nonsensical ,but ideals are every bit as real and tangible as other forces andrealities , if they are applied with rigor.

If as an artist, as an architect or planner, one is guided byone's highest self, and acts upon what one knows is highest andbest, the responsibility of making the world, of making thehuman correlative of the natural environment, becomes not onlybearable but energizing, for responsibility is, then , seen for whatit is- a struggle for the optimum, for the best, and such a strug­gle can always been endured if the sta kes are high enough, asthey are here .

The task of all contemporary artists is to make works that areas good as nature, or so that saint of perception and modernity,Cezanne, has said. One of his followers , the poet Hainer MariaHilke, put it clearly when he wrote that he yearned "somehow tofind a way of making things; not plastic . . .th ings, but realitiesthat arise from the craft itself.. ." This , of course, is the essence ofarchitecture, and its great fortune.

Architecture is the reality, the connective art , in which otherarts take place. It forms the crafted landscape of a culture; and itis added to non-human nature, added to that which is necessari­ly sublime. And that is part of its responsib ility - to be up to thecompetition of nature, as well as to the latent potential ofculture.

Architects and planners must be champions, and occasionallyeven definers , of the optimum. They owe it to nature, to theirculture, and to their fellow human beings. It must be said over

UN-BUILT NEW MEXICOKenneth s. Clark , FAtA, Architect

and over again that what architects and planners do does matterto the general public, whether the concern is voiced or not.Their work serves undeniable practical, symbolic, and aestheticfunctions. Human beings can no more healthily survive in hostilebuildings than they can in hostile natural environments. This iswhy , really , architecture and planning are the fullest and mostresponsible realization of the arts.

Th ey are an organizing, structuring product of the imagina­tion , and give, as ritual does, form to our lives. They are an ex­tension of the human into which and among which the humanjourneys, seeking to realize its nature. Their influence on the life,the spirit, and the imagination of individuals and societies is asprofound, in many ways, as the influence of nature itself. Andthat is their produc ts must not only be artistic and functio nal ex­pressions, but conscious and ethical ones as well. The same, cer­tainly, is true for any art form and any profession, to a greater orlesser degree.

This responsibility is passed on to all of us who participate inthe creation of cities by Lewis Mumford when he conclu ded hisbook "The City in History" by writing, "The final mission of thecity is to further man 's conscious participation in the cosmic andhistoric process. Through its own complex and enduring struc­ture, the city vastly augments man's ability to interpret theseprocesses and take an active and formative part in them, so th atevery phase of the drama it stages shall have to the highestdegree possible, the illumination of consciousness, the stamp ofpurpose, the color of love."

Congratulatio ns on your accomplishments and tha nk you verymuch.

V. B.P.

This Motel was designed by Kenneth S. Clark , FA/A for a site on the high bluff east of 1-25, south oJ thepresent Big I in Albuquerque. It was designed in 1953. At that time this was an undeveloped area. Thegroup proposing to construct the mot el was inexperienced in project development, and more significantly ,in motel construction and operation. Clark participated in the project to the extent of preliminary designsufficient for a promotional delineation . His efforts were not productive, as the development group f ellapart shortly thereafter. Compensation for design services consisted of one Olivetti calculator and onePaymaster check writ er; these Clark captured from the abandon ed office. Foster Hyatt , ALA Delineator.

September- October 1986 / 13

CASA PASTORAL

Santa Fe

Casa Pastoral is the end product of along and enduring friendship, whose crea­tion embodies all the natural grace andquiet elegance of northern New Mexico.The 6,000 square foot adobe home is theresult of the collaboration of long-timefriends Lee Pittard, builder! developer,Kim Pittard, interior designer ! decorator,and the late Ron Hutchinson, ar­chitect! developer , and his wife Barbara.

The home was conceived and designedto serve as the Pittard family's permanentresidence near Santa Fe . AlthoughPittard's construction companies had builtsome 800 single family homes, townhomesand apartments (interiors designed anddecorated by Kim Pittard) , the couple hadnever built a home specifically as aresidence for their family.

The relationship between builder andarchitect started seventeen years beforeduring the summer after their first year incollege when the two worked together ontheir first serious business venture. Thename of the venture was College TownEnterprises, whose product was blotter­type desk pads designed for formica desktops in college dormitory rooms. Pittardwas the organizer, promoter and salesman.Hutchinson was the ad designer, layoutdepartment" and commercial artist. Theventu re was quite a success, and so too wasthe long-lasting friendship.

Three years later, after each of the thenyoung men had married and started theirfamilies, the two struggling collegecouples' friendship grew as the two NewMexico born collegians worked to finishtheir formal education at Texas TechUniversity in Lubbock, Texas.

Pittard: " I remember both couples wereso broke - going to school and working,each with one young baby and another oneon the way - the only social life we couldafford was to get together on Saturdaynight, bring the babies, a six pack of beer,roast hot dogs and talk about the "big"plans we had when we got back to NewMexico and actually started our careers."

Years later, in 1983 when the Pittardsdecided to move back to Santa Fe after aneight-year stint living near Grants andbuilding and developing in numerous com­munities throughout New Mexico andWest Texas, they contacted their long-timefriends the Hutchinsons to have Ron designtheir new home. Meanwhile Hutchinsonhad spent the last fifteen years building oneof the most successful and prestigious ar­chitectural firms in the state. The awardsand accomplishments of Hutchinson and

14 / Septem ber- October 1986

tThe sunken living room features Italian clay floor tile, a wetbar with German handpain ted and glazed Korzilius ceramictile, caved plaster ceilings with massive native pine vigas andone of the hom e's four fireplaces. The painting over thefi replace is by artist Mare Wallbridge.

Th e spacious master bedroom has spectacular upper levelviews on three sides, and f eatures a fir eplace with a beautiful­ly detailed antique oak mantel.

The formal dining room with tongue and groove ceiling of native aspen from NorthernNew Mexico, the soft lines of native adobe constructions. One end opening to the upperlevel.

Hutchinsonl Brown, Burton & Partners, ArchitectsRon Hutchinson, AlA-Principal DesignerQ. Lee Pittard-BuilderKim Pittard-Interior DesignerRobert Reck-PhotographerLeishman's Furni ture-Furniture for Photographs

16 / September- October 1986

his firm, Hutchinson Brown and Partners,were numerous.

"The actual initial conceptual design,"Pittard said, "was done on a napkin onRon and Barbara's sailboat at CochitiLake,"

After the building site was selected and adetailed topographical survey was com­pleted , the design process began in earnest.Many of the features in the home were bor­rowed from the Pittards' Former residence,which was located twenty miles south ofGrants and was built by the late movie starAnn Baxter (granddaughter of FrankLloyd Wright) .

As owner /builder, Lee Pittard was con­cerned with aspects of structural integrity,especially in light of combining the majorbuilding elements of large timbers, adobeblock, and exposed concrete bond beams.There was also a primary desire that theplan conform as much as practical to theexisting terrain and plant life and thatmost if not all building materials be in­digenous to the area , utilizing the crafts­manship of skilled native artisans in thearea.

Kim Pittard had primary responsibilityfor developing the interior design themeand floor plan utilization, as well as allfinish materials and color selections. Thecountry French theme that utilizes abackdrop of soft, warm white walls madeespecially for the display of art , is accen­tuated by golden oak woodwork andpolished brass hardware and fixtures. Thegenerous use of subtle , almost primitivehandpainted tiles in muted colors is intasteful contrast with the massive vigas setin highcoved plaster ceilings.

Hutchinson was not only a very talenteddesigner and technician, but he alsopossessed an extremely well developed sen­sitivity to the aesthetic and design conceptsdesired by his old friends and clients. Hewas able to bring together the interiordesign theme sought by Kim Pittard andthe structural and exterior features soughtby Lee Pittard, all the while dealing withthe practical space needs and utilization ofthe home by a family of two teenagers , twoadults , and periodic house guests. He wasable to capitalize in every sense on all ofthe spectacular views and create areas forcombined indoor and outdoor livin g,Although the home is truly a work of art ,relatively large, and has many massivefeatures, it maintains a very intimate,warm and friendly quality and a real senseof practicality and efficiency for everydayliving. It is in a very real sense an ongoing

The kitchen , a blend of function and elegance, features a large "restaurant sized" Wolferange, two ovens, a full sized griddle, large hood and exhaust fan , a 48" side by side SubZero refrigerator/freezer, as well as top of the line G.E . Microwave oven , dishwasher ,trash compactor and garbage disposal. Overhead illuminated oak cabinets with leadedglassdoor panels and glassshelves complement the German Korzilius ceramic tiles and solidbutcher block informal bar top.

CASA PASTORALS.nt. Fe, New ....ko

expression of Ron's extraordinary talentand sensitivity.

Not long after construction began, inJanuary 1984, Ron at the age of 36, suf­fered a fatal heart attack and died. He issurvived by his wife Barbara and twochildren, and numerous friends and col­leagues who will long remember his specialqualities. Casa Pastoral is his last work,and represents a culmination of his award­winning design work in the field ofSouthwestern architecture.

Casa Pastoral is situated on a three-acresite covered with native pinon and junipertrees. Field stone has been used throughoutthe grounds to build traditional rock wallsin keeping with the special effort to in­tegrate the home into the beautiful naturalsurroundings. The panoramic view fromthis mountainside setting overlooks the pic­turesque upper Rio Grande Valley. Theview of the valley and adjoining mountainsincludes sites of the earliest Spanish ex­ploration and settlement in NorthAmerican.

The interior plaster throughout thishome is indeed a work of art; William Sim­bola of Picuris Pueblo was the plaster ar­tisan . The method of "hard trowel"plastering is a multi-layer labor-intensiveart form most highly developed in nor­thern New Mexico. The "eoved" plasterceilings between the vigas (main roof sup­port timbers) are especially difficult andequally elegant . The vigas range indiameter from 12" to 36" and are nativepines from northern New Mexico. Thelatillas at the balconies and the tongue­and-groove ceiling in the formal diningroom are native aspen from northern NewMexico. The interior doors are all peggedsolid native pine. The massive front doorsand side panels are two-inch-thick oak en­casing thick antique beveled, leaded glass.Antique leaded glass is also incorporatedinto the oak cabinet doors in the livingroom . A beautiful detailed antique oakmantel encases the fireplace in the mastersuite. The height of the ceiling in the foyeris approximately 22 feet .

The home has: four levels; fourbedrooms with individual vanities andbathing facilities and large walk-in closetsin each room; four fireplaces with oneopening into both the kitchen and diningroom. This doubles as an indoor barbequegrille . Special bathing facilities include afull steam bath and shower in the mastersuite and a year-round outside hot tublocated on the northwest patio.

The kitchen is designed for foodpreparation for large or small groups alike.It includes a large "restaurant size" Wolferange , a large built-in hood, a 48" wideside-by-side SubZero refrigerator/freezer,G.E. Microwave Oven , dishwasher, trashcompactor and garbage disposal. Theoverhead oak cabinets have leaded glassdoor panels, glass shelves, and are lighted.

September- October 1986 / 17

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Another unique feature is the speciallydesigned Chefs Pantry for efficiency andease of access. An excellent food prepara­tion ! serving area has been created withthe 16 foot long butcher block bar top. Thekitchen is as functional as it is beautiful toserve two or two hundred.

Casa Pastoral is currently owned and oe­cupied by Santa Fe entrepreneur andbanker Jerry Rogers, his wife Jean, andtheir one-year-old daughter Anna .

(This article was prepared by the familyand friends of Ron Hutchinson.}

Square Footage and Other Data

Interior Heated Living Areaapproximately 5800 square feet

Three Car Garage! Workshopapproximately 1100 square feet

Tiled Outside Patio Living Areaapproximately 1500 square feet

Redwood Decked Outside Living Areaapproximately 1700 square feet

Total: Approximately 10,000 squarefeet of finished indoor! outdoor livingarea.

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20 / September- October 1986

SHOULD THERE BE A ROCKY MOUNTAIN STYLE?

A talk by John P. Conron, FAIA

A special celebration was undertaken to officially openthe new Design Center in Denver last October. In addi­tion to panel discussions scheduled by the Center's ad­ministrative office, time was set aside for presentations inthe several showrooms located throughout the Center.The major topic for the Center's celebration days address­ed the idea: should there be a Rocky Mountain Style of ar­chitecture and design. I was asked to present my views onthis intriguing idea in the Lynn Ledford Showroom. If thereader is interested in my views , please read on.

When I was aked by Lynn Ledford to express my views on thesubject of today's program, I cringedl The idea of discussing thecreation of a style of architecture unique to such a vast area of ourcontinent seemed to ask for a knowledge of design beyond mycapabilities. In addition the thought seemed to me to call for anego and arrogance that my well known humble being was unableto handle. However, it appears obvious that I said yes, eventhough my first thought was: a Rocky Mountain Style, my GodlWhy? As I prepared this a few days before the program hadbegun, I did not have the benefit of what was to be said, andwhich now has been said by other speakers, on this subject.

In any case, as I thought about the subject, two fundamentalquestions arose in my mind.

Question one is why should we have a Rocky Mountain Style?And the second question seems to me to be: is there something uni­que to the Rocky Mountain area from which a "Style" could bederived, if, indeed, an area wide style should be derived?

Is the weather, in spite of, or even because of, the high RockyMountains, truly unique to the area encompassed by these moun­tains. Perhaps, you might say. But is not the weather of middleNew Mexico just below Santa Fe, where the Rocky Mountainchain reaches its southern tip , different than the weather in Nor­thern Montana and Idaho, where the Rocky Mountains cross intoCanada? Which begs another question: is the Rocky MountainStyle to encompass the Canadian Rockies as well?

Weather, to be sure, should be a strong factor in determiningarchitectural solutions. Of course we know, however, that itseldom is anymore. Double and triple glazing, thick insulationand mechanically operated air conditioning systems let most ar­chitectural solutions forget that Denver summers are hot and itswinters cold. Weather, therefore, doesn't appear to have a uni­queness, nor a unity, throughout the region.

Is history a unifying force upon which to concoct a RockyMountain Style? History often wields a strong influence on pastand current architectural styles and fashions. Without the classicarchitectural styles developed by the Greeks and the Romans, theNeo-Classical Revival Idiom of architectural expression of the late19th and early 20th centuries could not have happened. Nor couldthe current fashion called post-modern have found its inspiration.(Although I suspect that famous exponents of the Neo-ClassicStyle, such as architects McKim, Mead and White, might now bespinning in their graves if they could see what is being wroughtwithin the post-modern stylistic fashion.)

But is the architectural heritage of the vast Rocky Mountainarea unique, or, perhaps more significantly, uniform in historicalexpression from Canada to Arizona and New Mexico? It most cer­tainly is not.

I am not a historian, and I am certainly not fully aware of themany historical events and forces that influenced or developed the

-

Rocky Mountains from Colorado to Canada. But as I understandit, the original Indian tribes that inhabited the vast area of moun­tain and plain north of Arizona and New Mexico left little or noarchitectural heritage for the later invaders from the east toassimilate. The Anglo explorers, hunters and trappers roamed themountains without leaving architectural traces. A few traders didbuild forts, most of which have long since disappeared. (To besure, Bent's old fort on the Arkansas River has been re-constructedby the National Park Service. A reconstruction many, includingmyself, believe was an ill-conceived venture and a drastic waste ofour tax dollars. It is not, thankfully, a subject pertinent to ourdiscussions today.)

It was not until the coming of eastern settlers and the formationof towns that the vast majority of the Rocky Mountain area firstbegan its architectural heritage. (To be sure, the architecturalhistory of New Mexico and, later, Arizona predates by centuriesthat of their northern neighbors, but more on that later.)

The architecture that sprang up throughout the mountains andon the plains to the east of the Rocky Mountain wall was importedfrom the towns and cities from which the settlers came, although,at first, it may have been built of easily accessible lumber, ratherthan brick. The coming of the railroad brought even more easternfashions and the architecture of the west reflected these fashions.Of those reflections that survive the developer's wrecking ball, it isnow the fashion to save. Our efforts in their behalf havesometimes been grand. In the Denver area you have such ex­amples. But sometimes the conflict between owners supposedneeds and their historical carelessness, coupled with unsyrnpathicand unimaginitive architects has occasionally resulted in an ar­chitectural sham. Such a sham, in my view, is the ZCMI Depart­ment Store, once a three dimensional cast-iron building, whichhas become a massive block behind a bare, windowless false mask.

Does architectural history alone , then, provide the inspirationfor a Rocky Mountain Style? Except for the structures built for themining industry in the early days, which gave rise to what has

Pueblo Bonito in Chaco Canyon

September- October 1986 /21

been termed the "Mineshaft School of Architecture", whereinbuildings reflecting the silhouette of mine shafts can be seen inmany Colorado Mountain Valleys. Architectural history,therefore, may be a questionable inspiration by itself for the Cen­tral and Northern areas of The Rocky Mountains.

However architectural history is a real- now imposed-by-law insome communities - possible basis for a regional stylistic expressionin the Southern regions of the Rocky Mountains. Arizona has asimilar ethnic and cultural heritage to that found in New Mexico,albeit some one hundred years younger. But for our purposes here,and because it is more familiar to me, I shall speak of NewMexico's legacy from the past and how I see its potential for thefuture.

As most of you know, New Mexico's architectural record goesback a long way. Pueblo Bonito in Chaco Canyon was by nomeans the oldest Anasazi Indian town, but it is the most elaborateof the early Pueblos. Built around 950 A.D . of stone laid-up inmud mortar, the enclosed city rose up to five stories and contained800 rooms. The adobe Pueblos along the Rio Grande and itstributaries, several of which remain today, date from the late1200's. Taos Pueblo, of course, is the most famous. Its walls areconstructed of mud.

Fo.llowing ~everal decades and several exploratory expeditions,the first Spamsh settlers arrived at San Juan Pueblo to found thefirst European settlement in the Southwestern United States; theyear was 1598. Twelve years later the Spanish moved thirty milesto found Santa Fe in 1610.

It is important to remember that the Pueblos which the Spanishsaw were not completely foreign to their eyes. The Moors in­vading Spain from Morocco, had occupied much of the IberianPeninsula for some four hundred years and had introduced theSpanish to the art of making and building with adobes. Accor­dingly, it was of adobes that the Spanish first constructed theirhomes and villages in New Mexico. Both Indian and Spanishcultures used round pealed logs for roof beams and mud plaster tocover their walls. While the Indian had no metal tools theSpanish had precious few. For the.Spanish to run to the hardwarestore to buy tools and supplies was not easy or quick; the neareststore was some 1500 miles south in Durango, Mexico. It was notuntil the opening of the Santa Fe Trail in 1821 that the store cameto New Mexico in the back of a Conestoga wagon.

For over two hundred years the Spanish lived in relative isola­tion along with their Indian neighbors in a remote province ofNew Spain. During those many decades the architecture remainedvirtually unchanged, but it formed the basis for the architecturalrevival that swept northern New Mexico at the beginning of thetwentieth century, and which continues, even by enforced city or­dinance in Santa Fe, today.

The invasion of the southwest by the United States Army in1846 brought the first change to the architectural scene in NewMexico. The army built forts and compounds. They were con­structed of adobe walls, but the Army used milled lumberpreviously unavailable in New Mexico, for trim, ceiling beam;and window frames . Fired clay bricks were imported or fired atthe building site. This slide illustrates this important architecturalchange. A new style of architecture was begun, which is referredto as the Territorial style. This Territorial style has been joinedwith the earlier Pueblo ! Spanish heritage in ordinances such as theone mentioned before that is in force in Santa Fe.

As happened in Colorado a few short years earlier, the comingof the railroad to New Mexico in 1879, made a plethora of ar­chitectural styles, fashions and materials available and New Mex­ico began to "American-ize" itself. Onto adobe walled newbuildings, and even onto existing older buildings, manufacturedstore fronts, mansard roofs and terne-plate metal roofs were ap­plied. New Mexico wanted to look like and become a part of con­temporary America; it even painted the bricks on, as this slideshows. It tried to forget its architectural past.

22 / September- October 1986

Headquarters - Fort Union, New Mexico

At the turn of the twentieth century, however, New Mexicansb~gan to take a new look at their earlier heritage and they con­sciously created the Pueblo! Spanish revival with the Territorialstyle attached for good measure. The revival syndrome also sawthe attempt to cover over the late 19th century withPueblo! Spanish stucco frosting, as illustrated by these three slides.You have been to Santa Fe and Taos; you have seen the result: avisually unique, but rather monotonous, environment, which is~ow ordained by law. It is pleasant to live in; it even guarantees alively and prosperous tourist trade. But it is architecturally stag­na~t. Even the latest buildings in Santa Fe are , to my mind, ar­chiteeturally dead, except for one or two exemptions. I have saidmany times that there has not been a truly good piece of architec­ture built in Santa Fe in thirty years.

All is not lost, however. In the area around Santa Fe and Albu­querque primarily in residential architecture, as well asthroughout northern New Mexico, some advancements have beentried and successes or failures have occurred. I am speaking ofthose architects who are looking at our historical past as a founda­tion or spring board from which to seek a continuation andgrowth of a heritage, rather than simply hiding within the stylisticframework of the Revival Era. You have heard from one of thoseseekers earlier today; Antoine Predock has sought to bring for­ward the heritage and to use that heritage as a foundation ratherthan a self imposed straight jacket, another example is HaroldBenson formerly of Taos, whose design for the Taos County CourtHouse recognizes it place, its past, and, equally important, its pre­sent.

In addition .to the local weather and historical heritage, yetanother potential source, or feature, into which designers can look

San Miguel Church and College. Note the mansard roof and thepainted on simulated stone masonry.

GR055 ' Kf::LLY _oCCY"\~

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The Gross Kelly office andwarehouse b y Ra pp andRa pp ; A rchi tec ts, 011 earlySpa nish / Pueb lo revi valbuilding.

for local inspiration al forms is the shape and slope of our land­scapes. Much of our natural landscape is dramatic. sharp, massive- and suggestive. It may vary from north to south: it can be closein to your site, or far away on the hor izon . But it ca n be observedand studied for its suggestive form and massing. The natural mesaforms of New Mexico were a proposed ingredient in the sea rch forarchi tect ural form in an expa nding New Mexico State Capitolcomplex by a group of arch itects back in 1962. whe n a masterplan for the State Capitol Complex was proposed. Of course. oursuggestions were ignored . As a result we have a massive, roundedifice ado rned with territorial detai ling. It is un-affectionallyknown throughou t ew Mexico as the "Rou nd House."

In down town Santa Fe, ha mpered by legal restr aints, but gross­ly out of scale with its surro undings, is the new , visually thinEldorado Hotel. La Fond a. originally built in 1920 had more ar­chitectura l vitalitv and exciteme nt, it was also much sma ller.From 1910 to 1940. the revival had a vitalitv and crea tivity lack­ing in too much of today's work . Par t of tha tlessening of qua lity isfinancial. of course: lan d. material s and labor are far more costly.Developers say tha t they need more income producing space inorde r to make a sound return on their investme nt. 1 must admitthat this is tru e to a major degree. but it is not the full reason forthe decline in visual qua lity. Some arch itects and clients havetried. while others seem to have simply opped-out. Still othershave given us laughable buildings, but at the same time perhaps.they have presented us with a tragic insult. Even the nationallyfamous among our pro fession makes us laugh first. but then cryover the ir efforts. This br and new house set in the hills of Santa Fehas been Ca lled " ew Mexico Territori al" by its designer!

Throughout ar chitectural history styles begin. flouri sh, declineand fade away - hopefully, only to be repeated by Walt Disneyand other so-called theme park build ers or for movie sets such as"O ld Tucson".

Architect ur al design must be allowed to grow. to cha nge. to res­pond to new needs, to embody new tech nology. t the same time,to be significant. I feel that it must recognize the reali ty of thosequestions [ asked earlier in this talk. To my mind arch itecturemust conside r the past as a potenti al foundation for new expres­sions without aping history. It must realize, tha t in spite ofmecha nical ach ievements. the southern facing facade has a dif­ferent weather condition than does the northern facing facade;that our southern deserts reflect the sun. while the northern forestsabsorb the sun, Snow is deeper in Vail than in Tucson. It must beexpressive of the needs - yes. the functio n - it is to house. To stea l aphrase. or title, from a recent TV program . it should express a

"P ride of Place" . (I might suggest that the title of the pro gram wasbett er than the substance of the show.)

In discussing the creation of a Rocky Mountain Style, I must re­mind you that architec tural styles have a habit of not lastin g for avery long period of tim e. Are we asking, here today, that we setthe stage for the short or long run ? Can we impose upon ourselvesa style. a Rocky Moun ta in Style, that will continue for a millen­nium? Th at thought suggests an arrogrance that I I we cannotassume.

I may be too young, and therefore naive, but I would like topostulate that a solid philosophical foundation for thinking ofcreating an architectura l style must em body the historic al founda­tions of the place and those elements of nature that affect the irn-

A rece ntly completed house. locat ed a few miles no rth of SantaFe. Rath er than "New Mexico Territorial" in style. to my mind itmo re accurately recalls a uiestern f alse [ront mod e set. How ever .I may learn to love it !

mediate _environment. such as the weather - the climate ufwin ter, the clima te of summer: the angle of the sun as it movesacross the sky (I know. the eart h is the object doing the act ualmoving): the topography of the site and the shape of the landscapefeatu res that surround it; the neighboring architecture , andman kind . itself. who. after aIL has to use the finished arch itec­tural product.

In additio n products. building materials will change: somegood ones will come along, others will pass into history. Life styleswill change. life styles will evolve. The architecture that we pro­duce . the arch itecture that the next generation will produce mustreflect an on going cur rent of history. with, it is hoped - a "P rideof Place" . ]PC

Septembe r- October 1986 / 23

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Publi shed bi-monthly by ew Mexico Society of Architects,Amer ican Institute of Arch itects, a non-profit organization . Ed ito rialCo rrespo ndence sho uld be addressed to John P. Conron, Box 935 ,Santa Fe, N.M. 87504 . (505) 983·6948 .

Ed ito rial Policy: Opinions expr essed in all signed articles are th oseof the author and do not necessarily represent the official position ofthe publishing organization .Additional copies of NMA available f rom Joh n P. Conra n,FAlA IFASID, P.O . Box 935 . Santa Fe. N .M. 87504 .

• Interior and Exterior Flush Doors• Exterior Metal Entry Doors• Int e ri or Panel Doors• Class ic St ile and Ra il Ent ry Doors• Windows• Fireplaces• Skylights• Garage Doors• Hollo w Metal Door s &: Hardware• Close t Maid Vent ila t ed Shelving• Cabinets

Change of address: Notifications should be sent to New Mexico Ar­chitec ture , Box 935 , Santa Fe, N.M . 87504 (505) 983-69 48 at least 45days prior to effective date. Please send both old and new addresses.

Subscr iptions: Write Circu lati on , Ncw Mexico Arch itecture , Box935, San ta Fe, N.M . 87504 . Single Co py S3.00 . Yearly subscriptionSI5 .00.

Advertising: Send requests for rates an d information to C arleenLazzell, Adve rtisi ng Editor, 8515 Rio Grande Boulevard , N.W.,Alb uquerque, N.M. 87 114, 505 /898 - 1391.

FEATURING: Oak Exterior and Interior Flushand Panel Doors wit h Oak Jambs and Trim.

3600 Pan Amer ican Free way NE

This SpaceFO R

SALECall:

Carleen Lazzell505/898·1391

(505) 884·1601

IND EX O F FIRMS who make possible the publica tion of NMA andthe page upon which thei r message can be found :

Albuquerque Door Company 26

Albuquerque Gravel Products Company 27

Ame rican Business Interior s 20

APS Estimating Inc 20

Bishop , Jim , Ge neral Co ntractor , Inc 4

Builders Block 27

Crego Block Co 8

C rego Block Co 28

Data Han dli ng Co. , Inc 4

Featherlite Building Products Corp 18

Featherlite Building Products Corp Insert

Great Southwest Kitchen Co ., The 18

Holman's, Inc 18

Innovative Co ncepts, Inc 12

Kinn ey Brick Co mpany 5

Kitts E nterprises, Inc. . 18

Kohler Insert

L umi ns Lighting Specialtie 7

Mason Contract ors Associat ion of ew Mexico 2

New Mexico Travertine 5

.. .. .. .. .7

. 27

... 6

. .6

. 6

. . . . . . . 10

Paxton. Frank, L umber Company 20

Pell a Rio Grande Inc. . . . . . . . . . . . . . . . . . . 6

Plant Designs 27

Roswell Imported Cars, In c 7

Santa Fe Light s .

Securit y Alarm System s, Inc.

Signal Systems . . . .

South Sun Products ...

TypArt . .

Video Scan .

Printed by l lall-Poorbaueh Press. Inc. . Rosw ell. New Mexi co

26 / Septembe r- October 1986

BU I LD E R 5 Members:New Mexico Concrete

IB3]L(Q)CCJXS: Ma~onry AssociationD National Concrete

Masonry Association

to contractors.

The Professionol Plant People

(505) 888-5821

INTERIOR LANDSCAPING DESIGN

LEASING • MAINTENANCE

,I plant dC/ignl..~

DEDICATED TO QUALITYAND SERVICE

ALBUQUERQUE GRAVEL PRODUCTS COMPANY

600 John Street S.E. Tel. (505)242-5265P.O. Box 829 Albuquerque, NM 87103

Andersen:W.,-dowo..lh

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I~1-=-=..·_4:...

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SOUTH SUN PRODUCTSis the stocking distributor ofANDERSEN WINDOWS

Come home toquality.Come home toAndersen:

CUREYOURWINDOW

PAINS.

Sou th Su n Produ cts will cont inue III furnish Na turali te Skylightsand Janco G reenho uses 10 builder» throughout New Mexico.

•

South 1313 12th Street NW. Sun Albuquerque. NM 87104

Products 843..7899

PITTSBURGH CORNING

P rnllffi~~PRODUCTS

Postmaster: Address Correction RequestedNew Mexico Arch itecture8515 Rio Grande Blvd. , N.W.Albuquerque, NM 87114

("0008'9-04 ~ -- 1352 ._.I ZIMMERMAN LIBRARY

UNM

ALBUQUERQUE NM 81131

Bulk RateU.S. Postage

PA I DRoswell , N.M.Permit No. 47

GlassBi kfort e8 s

•••design with confidence

DISTRIBUTORS FOR THE STATE OF NEW MEXICOWAREHOUSED IN ALBUQUERQUE