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88
88
HOUSE AND
STUDIO AT
TORO CANYON,
Montecito
An interview with Barton Myers by Suzanne Myers
Q: Can you talk about finding the site and how you originally decided to build a house in
Santa Barbara?
Barton Myers: Vicki and I were very happy living in the Hollywood Hills. We had an
extraordinary, circa 1928 house there, with great views over Los Angeles and the Hollywood
Bowl. But I wanted to do something myself, something new. It seemed like the timing was
good, and Vicki was very supportive of the idea. We had originally thought about building
something in Hawaii and had gone through the whole process of trying to find land there,
but we started thinking about the fact that its seven hours over, and wed only get there a
couple of times a year, so it would have been a huge expenditure. Instead, we decided to
look in Santa Barbara, a place we could really live and still work in Los Angeles. (Fig. 1) All of
the houses I knew up here, particularly the George Washington Smith houses down in the
flats of Montecito, did a brilliant job of building walled gardens. When youre in one of these
gardens, the hedges are so high that you have no idea theres anybody else around. You only
see the mountains, or maybe a distant view of the ocean. We thought we would find one of
those kinds of sites, so I started thinking a lot about the idea of the wall and garden. I felt
that a lot of the contemporary architects here were too caught up in object-making, that
their buildings were very introverted, sculptural, and had lost the connection between
house and garden which is so special to California. The Modern movement was so influenced
by Japanese architecture. The Frank Lloyd Wright houses, Schindlers Kings Road house,
had brilliant relationships to the outdoors. I was thinking of Mies van der Rohes Barcelona
But the interesting sites tended to be high in the mountains, not in the flats where the
walled gardens were. (Fig. 2) When we found this site, I couldnt believe it hadnt sold. I was
so knocked out by it. One thing that was special was that the building platforms, the level
areas, are so contained by the walls of the canyon and the creek that your garden walls are
Q: This site or area has particular concerns with fire risk. Was that something that you
Barton Myers: Yes and no. Although Hollywood was a fire zone, it was not as dangerous as
Toro Canyon. The elements that make this canyon beautiful also have a negative side:
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terrible threat of fire, erosion problems, unstable hills in many places, and earthquake.
These are real factors that you have to be very careful about. I approached the problem in a
Barton Myers: The site is relatively steepits probably a 2025 percent gradeand there
couple of ways. Since the Malibu and Laguna Beach fires, the codes have been tightened
had been two pads partially leveled. It became apparent that you couldnt do one big house
up. I had also heard about a UCLA thesis on building in fire zones, which turned out to be
structure. There is a height restriction here of 16 feet average from finished grade, so that
very helpful. So, between looking at the new county requirements and the work at UCLA,
meant you couldnt stack a two or three-story house up here. And then I was interested in
I had a good idea of what to do. First you have to reduce the amount of fuel. These canyons
the idea that you could distribute the buildings among the trees. Were in a forest of ancient
burn at about 3000 degrees. You need to clear enough to reduce the heat to around 7001000
oaks, but the oaks seem to have survived the earlier fires fairly well. The pavilion idea
degrees. Steel deforms at about 1400 degrees. Theres a catch-22 there, because as you clear,
if youre not careful you can get into huge water run-off and erosion problems. Secondly,
allowed me to set the houses within the oak trees, and not take any out. (Fig. 6)
4
you have to build out of non-combustible materials. You can use heavy timber. Wood is com-
I liked the idea of an Adirondack camp: you could have the main house, with the living
bustible, but heavy timber will burn and char, which kind of protects it. You have to have
room, dining room, kitchen and the bedrooms isolated in separate buildings. The Santa
sprinklers, and I even looked at having exterior sprinklers on the building, but found that
Barbara code wont allow you to do that exactly. You have to have a climate-controlled,
wasnt necessary. The codes encourage you to use highly reflective glass, but nobody wants
heated connection from the living room/dining room/kitchen to the bedroom. That seemed
to put mirror glass up here. Its just wrong for the area. The house has to have smoke
strange to me, because my favorite houses here are the old mission style homes, which had
detectors, with notification to the fire department. On the large sites, you need to store
wonderful courtyards and patios. You would go out of the living room along an open arcade
water for fire fighting. Those were the basic things. (Fig. 4)
to your bedroom.
So what I did was to take those ideas and try to incorporate them in a strong way. First, we
When we discovered this extraordinary site, the original idea of high walls and gardens sort
could reduce the fuel on the up-slope sides. We cant touch the creek because thats a
of vanished. Id been aware of Persian gardens, which had beautiful high pavilions within
natural preserve. We hired a landscape consultant and worked out techniques to protect
the garden, buildings which in the summer opened up, using big shade devices. I started
from fire and erosion at the same time. For instance, the trees are widely spaced, so they
thinking more about this as a model for objects within the garden.
dont burn like an orchard would. We used a lot of cactus, which stores water. We planted
hedges of vetiver, a sterile grass, which stabilizes the hillside.
On the lowest terrace, we put the garage and a detached guest house. (Fig. 7) It has a
reflecting pond and lap pool on its roof. The garage is the only building that doesnt have
On the houses I obviously used steel, and wherever there were glass openings, I introduced
the rolling insulated fire shutter. The doors are manually operated, because of the risk of
water on it, and I wanted to use that as a terrace on the next level for the main house. The
6
studio, which sits on the highest point of the site, is a library and workspace, officially an
power failure in a big fire. I can close the three structures in 2030 minutes.
archive building.
The other idea was the introduction of water. You have to have a roof that is non-
Q: The house feels very Japanese, even though the materials are primarily industrial.
combustible. So I decided to do something quite extraordinary and put water on the roofs.
Obviously then theyre not going to burn, and they provide insulation. Theyre beautiful as
Barton Myers: The Japanese influences in the United States have primarily been in
reflecting ponds, but they also serve as water reservoirs. I was always concerned, because
California architecture, though certainly Frank Lloyd Wright was one of the great proponents
the house is sited so that you constantly look down at the roof of the other buildings. So
of Japanese work. On trips to Japan, Ive been particularly inspired by the zen gardens of
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California is also interesting because of the Spanish/Moorish influences. And the climate: we
Another thing Vicki and I decided to do to control the cost was to act as the contractor
are relatively bug-free in this part of the world, so without the mosquito problems you might
ourselves. I had a great cost estimator, so we had pretty good targets. We then could go
have in the east and south, we can keep the house open much of the time. Id say that we are
find local builders and hit all those targets. I hired a young contractor here who had no
experience with this type of work, but would help me manage the site and could help find
some of the trades. This turned out to be a very successful strategy.
Q: What drew you back to the idea of a steel house for this?
Barton Myers: Id always had a love of steel. (Fig. 8) I dont know whether it was from the Navy
or the Air Force. Obviously I had a terrific experience building our own house at Berryman.
The Wolf house had been very successful, as well as other steel buildings wed done. But Im
Barton Myers: All of the steel is in basically off-the-shelf standard shapes. You just order
8
the size that you want, and they cut it and weld it together. This is done in a plant, then
also interested in reinforced concrete, because I think in many ways its the new adobe of
shipped out, and assembled on site. All the doors are standard doors. We modified some of
California: the idea of the mass of the wall, versus the laciness, the lightness of steel. (Fig. 9)
the hardware on them. For instance, in most garages, if you look at the way the sectional
The play of those two is really great. I did a steel house studio with my students at UCLA,
door is done, the way the tracks are hung, its terrible. But by making my own brackets, and
and we started by doing a whole lot of research on the subject. When I say steel houses,
the chain holders and all of those things, I can transform what is a pretty sloppy industrial
I mean houses in which steel is the dominant material that you see, the major expression.
piece to a very beautiful industrial piece. (Fig. 12) The sliding doors are made by a wonderful
There are a lot of housesa lot of the Neutra houses for examplethat are steel, but theyre
local company. Theyre the highest doors that they would make, about a 12-foot slider. All
composite. The steel is not an architectural element. Even though the Crystal Palace of 1855
the bathroom fittings are simple fittings, off-the-shelf, as well as the hardware.
and the idea of cast iron and glass had affected the commercial world, its not until the 1920s
that architects really begin to discover steel for domestic use. The famous Chareau house,
12
9
Its basically catalogue housing. Toro Canyon is really stuff all out of the catalogue,
which we talked about earlier, is the temple of steel. Then you have Mies, Philip Johnson and
modified. A number of people have asked me if I would tell them where to find all these
so forth. Its a beautiful material and its extraordinarily precise, which is nice, particularly in
parts, so they can build this house themselves, and you can almost do that. (Fig. 13) The
this high, intense light where you get defined shadows. Another thing thats interesting today
exception being that somebody then has to engineer the steel and do the foundationsthe
is that its a green material, in that most of the steel that we use in North America is made
soil is going to be so different depending on where you are if youre in an earthquake zone;
from scrap metal, from automobiles. We make very little steel from ore now, so I like to think
Q: Had you used the idea of the rolling garage doors before?
Barton Myers: I had. Id been very interested in sectional doors and rolling garage doors.
10
narrow road coming up Toro Canyon, and an even narrower road up to the site. (Fig. 14) They
I was looking for ways that you can quickly transform space. In Canada, even though you
had to deliver the steel and then offload it to a smaller truck and bring it up here. We also
have a cold winter, the summers are gorgeous, so we did a lot of experimentation with large,
built during one of the wettest winters, so pouring the concrete was a real problem for us.
beautiful, sectional doors. I did a restaurant in Toronto that had huge aluminum doorsthey
13
must have been 20 feet highthat slid vertically up the walls. It meant that the restaurant
became an instant sidewalk caf. So a lot of my projects have tried to incorporate them, but
The hardest construction detail was probably the concrete. But theyre all hard. The concrete
none as much as this house. This must be one of the largest sales of sectional doors and
was very, very difficult, because we didnt have a guy with a lot of experience with concrete
rolling shutters for a non-industrial project. There are 11 large sectional doors, and then there
finishes. And, because we werent here around the clock, there were sometimes things that
must be 20 rolling steel shutters. At the end of the studio, the whole wall rolls up into a drum.
we could have caught earlier. But the general effect is that its very precise, its very
(Fig. 10)
Its really quite an amazing device. Some of these doors weigh over 1000 pounds.
beautifully done. I think all architects probably are crazy about perfection, but you never
14
get it.
Q: Was it important to use as many off-the-shelf materials as possible?
Barton Myers: Yes, we were trying to do this house as inexpensively as possible, and I was
also trying to prove that I could do a house thats competitive to theI thinkterrible, fake
Tuscan architecture thats being built in this area. But you pay a penalty for building this kind
11
of house, because there are very few house builders who know how to do them. You really
need an industrial or commercial buildersomeone who knows how to pour concrete, how to
organize steeland thats more expensive. Traditionally built houses are going for as much as
$1000 per square foot. We needed to stay under $200 per square foot. Thats where off-theshelf materials can really help you. If you can work out an element and repeat it, then you get
a certain value out of it. It allows you to maintain the control. If youve got a hundred different
details, its very hard for a contractor to get all of them right, but if you have five or six details,
you can perfect and repeat (Fig. 11)
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Q: From a distance when you look up the creek, the house disappears much more than
Barton Myers: The idea of the buildings, the three tiers, was there from the beginning.
I went through a whole series of options in the section: do you slope the roofs to follow the
Barton Myers: Everybody, whether this is their cup of tea or not, almost universally says
hillside? How do you step them? So, as you see in the section drawings, there are probably
how much they love the way its integrated into the landscape.
six or seven different ideas there. The idea of the modules stayed, but the refinement and
the development of those, I think, got better as we went along. The shifting of the garage to
Q: The landscaping is on a bigger scale and quite different from your other projects.
a parallelogram, to make the entrance a little more dramatic as you come up, happened in
Barton Myers: We were looking for somebody who could help us with the agriculture. We
the design phase. The only big change as we were under construction was that the wall at
the end of the archives/studio was going to be drywall and steel stud with plaster outside,
had enough land that we wanted to try planting some grapes, and we thought, if grapes
15
work, what about oranges, what about olives, and so on. We found a terrific guy named
and I was going to use it for hanging all my drawings. But, when I saw the site, I realized
Douglas Richardson, who seemed to have a real sense of what would work in these
I didnt want to lose the view, so then I changed it to a rolling insulated shutter. (Fig. 15)
canyons. So, Doug worked with Vicki and me on selection of plant material. There was a
19
natural terracing that we needed to do, so we began alternating olives, blood oranges,
Once I drew the section of the site, and we began to position the buildings on it, I realized
cacti and other fruit trees down them. (Fig. 18) Now, Vicki and I always disagree a little bit
by accident that one could line up the clerestories, and you could see right through two of
the three structures. We wanted the great ocean view, but also to look back into the
I think there's a nice play here between the order of the design and the informal order
mountains. The proportions of the high clerestories give you the panoramic view, so you
nature imposes.
feel like youre buried in the hill, but youre really not. (Fig. 16) When the studio has all its
doors open, and youre standing below, the only thing you see is the roof, floating.
When we were planning the landscape, we were concerned about the erosion control. Doug
had been very interested in vetiveria grass. Though its not a native plant, it does not seem
Q: Do you feel like you took a more environmental approach to this project, or was that
to be invasive, and its terrific for hillside stabilization. It makes an interesting hedge. It
changes color, from green to kind of reddish in the winter, and it follows the contours of the
Barton Myers: This was my first Californian house. Vicki and I both felt that this was a very
landscape, so you get these rows of grass hedges that are undulating slightly like waves.
special piece of land, and we wanted to live in it in a most natural way, not try to transform
it into an English or an Italian garden. We wanted to do something that seemed to be more
Q: How are you different as an architect than you were 30 years ago, designing the
previous steel houses, and how does that affect this house?
Barton Myers: You know, its interesting, I dont know if I can answer that. Berryman was so
urban, and my preoccupations were with building cities, changing cities and trying to make
Q: One thing thats very special about the house is the color palette. Can you describe its
development?
16
Barton Myers: The guidelines here, basically, are that the houses should disappear, which I
think is good: the idea is to use natural materials and colors that blend into the landscape.
In our first years in the air force, we lived in the country in England, so weve always loved
The green steel does not mimic the trees. Its a green of its own, but works with oaks and
the idea of rural life. And I guess every Virginian dreams of being Jefferson, and building his
the other plants we have here. When the steel arrived, it had been treated with a special
own farm. This is the first time Ive really had the chance to do something in this kind of
kind of green primer that is used on oil rigs to prevent rust. The buildings looked so great
environment.
green, we decided to go with that instead of the grays and khaki colors wed been
considering. (Fig. 17) The plaster inside is a skim coat and thats just a natural gray, and it
In terms of my attitude toward steel, I think the houses have all given me a lot of confidence.
turned out to be extraordinarily warm. We didnt color the floors, but the natural concrete is
Im not sure Ive advanced the technology. In fact, Im still using a lot of the same kind of
also very warm. And then, once you add your books and rugs and things, the quality seems
17
off-the-shelf technology. But, spatially theyre so different, mainly due to the climate and
much less industrial, more human than what you would imagine if you described the
the sites. Berryman was introverted. Wolf is floating out on the end of the site in a suburban
houses materials. The galvanized steel, which is matte, will age and become a pewter-like
situation. This is the first chance Ive had to work with a large piece of land.
charcoal gray. The only thing that will stay shiny is the aluminum. The surfaces are quite
I remember reading Aldo Leopold, who said that if you have a good understanding of the
ecology, that you could walk out into the landscape and you would know its history and you
could suggest what to do to keep it in balance. (Fig. 19) I always applied that as an urbanist:
if I could walk into a city and understand its history, what phase its in, I would know what
to do to make it a better kind of city. I applied Leopolds idea to urban design, and, now I get
a chance to think about Leopold in the landscape.
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89
PRESENTATION DRAWINGS
A
B
C
D
Studio
Main Residence
Guest House
Garage
32
A
D
B
C
64 ft
4
3
13
1
2
3
4
5
6
7
8
9
10
11
12
13
11
7
10
12
MAIN RESIDENCE
Terrace
Master Bedroom Terrace
Living / Dining
Kitchen
Garden
Master Bedroom
Master Bath
Dressing room
Guest Room
Utility Room
Guest Bath
Guest Room
Recirculating Tank
16
32
64 ft
1
2
3
4
SITE PLAN
Studio
Main Residence
Guest House
Garage
0
4
90
16 ft
1
2
3
4
Site plan
Site section
Site perspective
Main residence floor plan
91
water line
waterproof membrane
foam insulation
light fixture
duplex receptacles
beam
column
roll-up hood
2"
4"
11
2"
4"
12
2
1
16 ft
10
92
1 Utility Room
2 Kitchen
3 Gallery
5
6
7
8
9
10
11
12
13
14
13
14
93
SKETCHES AND
WORKING DRAWINGS
94
95
10
13
17
11
14
12
15
18
19
16
96
97
20
23
24
21
22
98
25
99
100
101
11
10
12
102
103
13
14
15
17
16
104
105
19
20
22
21
23
107
28
24
25
26
108
27
109
29
30
32
31
110
111
34
35
36
33
112
BARTON MYERS:
BIOGRAPHY
Born in Norfolk, Virginia, Barton Myers graduated from the United States Naval Academy
and served as a jet-fighter pilot for five years in the United States Air Force, based for three
years in England. Following this period, he attended architecture courses at Cambridge
University and returned to the United States to study architecture. Mr Myers received his
Master of Architecture degree from the University of Pennsylvania and subsequently
worked with Louis I. Kahn. He established his own practice in Toronto in 1968, where he
was principal in the firm of Diamond and Myers until 1975, when he formed Barton Myers
Associates in Toronto. In 1984, he opened an office in Los Angeles that is now the firms
base with a staff of approximately 25 professionals.
In 1986, Mr Myers was the recipient of the first Toronto Arts Award for Architecture in
recognition of his contribution to the city, and in 1994 was awarded the Royal Architectural
Institute of Canada Gold Medal. Most recently, he received the 2002 American Institute of
Architects/Los Angeles Chapter Gold Medal.
Barton Myers has taught architecture and planning at both the University of Toronto and
Waterloo University. He has also served as the Thomas Jefferson Professor at the
University of Virginia, the Graham Professor at the University of Pennsylvania, and has
been a Visiting Professor at the Harvard Graduate School of Design. Mr Myers has held a
continuing appointment as Professor of Architecture at UCLAs School of Architecture and
Urban Design since 1980 and lectures extensively throughout North America and abroad.
The Los Angeles office is organized to emphasize the active leadership of Mr Myers on
projects, a commitment that includes involvement during all phases of design. As lead
design architect, he is assisted by other outstanding and experienced associates in key
roles, fulfilling the full range of design and execution responsibilities.
115
CHRONOLOGY
OF SINGLE-FAMILY
HOUSES
Tahoe Residence
Design/Completion: 1999/2002
Lake Tahoe, California
Laguna Beach House (Fig. 5)
Design: 2000
Laguna Beach, California
1
10
11
12
Design/Construction: 2002/current
Los Angeles, California
Manhattan Beach House (Fig. 7)
Design: 2002
Manhattan Beach, California
2
Smith/Hamilton House
Design/Construction: 2003
Design: 1966
Design: 1977
Norfolk, Virginia
Design: 2003
Design: 1967
Design: 1978
Toronto, Ontario
Hamilton, Ontario
Toronto Residence
Design: 1969
Design: 1983
Toronto, Ontario
Blade Residence
Design: 2003
Design/Completion: 1969
Design: 1983
Montecito, California
Unionville, Ontario
Schwartz House
Design: 1969
Design: 1985
Malibu House
Design: 2003
Design/Completion: 1970
Design: 1986
Toronto, Ontario
Malibu, California
Montecito, California
Montecito Residence II
Graphic House
4
Design/Construction: 2002/current
Venice, California
Studio City Residence (Fig. 10)
Qubec House
Design: 2004
Design: 1971
Design/Completion: 1987/1988
Montecito, California
Toronto, Ontario
Design: 2004
Design/Completion: 1972
Montecito, California
Toronto, Ontario
Design/Completion: 1997/1999
Montecito, California
116
117
SELECTED
EXHIBITIONS
SELECTED
COMPETITIONS
Winning Entry
Finalist
Finalist
the Contemporary
Tempe, Arizona
Manchester, UK
Fremont, California
Koplin Gallery
2001
1995
1988
Philadelphia, Pennsylvania
1987
2003
1990
Finalist
Finalist
Finalist
Museum
Toronto, Ontario
Toronto, Ontario
Architecture in Transition
Ventura, California
1994
1988
and Drawings
1986
2002
2000
Finalist
Winning Entry
Finalist
Toronto, Ontario
Nemzetkzi
Architecture
1987
Galeria Centrlis
1994
Winning Entry
2000
Architects Drawings
1990
Budapest, Hungary
2002
1985
Second Place
Finalist
Phoenix, Arizona
Association of Architects
Recent Work
New Mexico
1985
Boston, Massachusetts
1992
California
Kitchener, Windsor
Cambridge, England
Second Place
1989
1985
Winning Entry
2001
Finalist
Mississauga, Ontario
1982
1991
1998
Architecture of Democracy
Winning Entry
Competition
Winning Entry
1984
Finalist
Portland, Oregon
1988
Seville, Spain
1982
1991
Bristol, UK
1989
1997
1996
Dreams of Development
Reconnaitre Le Corbusier
Toronto, Ontario
of Toronto, Ontario
1984
1987
118
119
London, England
Toronto, Ontario
1984
1982
1975
Toronto, Ontario
Toronto, Ontario
1983
1981
Mirvish Gallery
Abroad
School of Architecture
Toronto, Ontario
1980
SELECTED
AWARDS
Toronto, Ontario
1974
Minneapolis, Minnesota
1983
Exhibition of Ghent Square Housing
1974
School of Architecture
AIACC
Historical Preservation
Academy of Arts
Housing
Outstanding Design
1983
Toronto, Ontario
City Hall
2000
1974
1980
Toronto, Ontario
2002
1974
Selected Works
Gold Medal
AIA PIA
1994
1973
1986
Ontario
1983
City Segments
School of Architecture
Minneapolis, Minnesota
2002
1980
1973
Special Award
Hallwalls Gallery
1971
Selected Works
Exploring Toronto
1983
Housing Award
Norfolk, Virginia
Phillips Square
20012002
1980
Toronto, Ontario
1973
Houses
Sunset Magazine Award
Wolf Residence
Exhibition of Drawings
1981
2001
Housing Award
Toronto, Ontario
A Design Process, A Grand Avenue
Wolf Residence
1977
2000
1979
University of Virginia
Charlottesville, Virginia
1982
University of California
Exhibition of Design Drawings
Honor Award
1979
1977
Design Award
Architects
Vancouver, British Columbia
Design Award
1982
Queens Park
2000
Toronto, Ontario
1977
120
121
BIBLIOGRAPHY
Wolf Residence,
Toronto
pp. 2833.
Myers Residence,
Montecito
Television Programs
pp. 5055.
Gillespie, Bernard, Perspectives: Project,
Toronto
pp. 1314.
Entertainment), 2000.
1999, p. B42.
Television), 2000.
pp. 118121.
pp. 4649.
pp. 4245.
pp. 2629.
Schofield, Maria, ed., Decorative Art and
pp. 146147.
International Architecture Yearbook, Volume
Publications
Myers Residence,
p. 15.
pp. 196199.
pp. 7477.
Hine, Thomas, Wolf House, Modern
4261.
pp. 8083.
123
ACKNOWLEDGMENTS
126.
Family
Victoria Myers, Wife
Suzanne Myers, Daughter
Adam Pincus, Son-in-law
Structural Engineers
G. Granek & Associates,
Mechanical Engineers
A. J. Vermeulen, Inc.,
Quantity Surveyors/Cost Consultants
Lawrence Wolf, General Contractor
Associate
Don Mills, Associate
124
Clients
Victoria and Suzanne Myers,
Book
125
ADDITIONAL
PHOTO CREDITS
Cover Image:
Russ Widstrand
Back Cover Images:
(Myers Residence) Ian Samson
(Wolf Residence) John Fulker
(House & Studio at Toro Canyon) Grant Mudford
Chapter Opening Images double page spreads:
(Myers Residence) Ian Samson
(Wolf Residence) John Fulker
(House & Studio at Toro Canyon) Russ Widstrand
Kurt G. F. Helfrichs Forward:
(Fig. 1) Architecture & Design Collection, UCSB
(Fig. 2) Marvin Rand
(Fig. 3) Barton Myers Associates, Inc.
(Fig. 4) Bent Rej
(Fig. 5) Yukio Futagawa & Associated Photographers
(T. Kitajima)
(Fig. 6) Barton Myers Associates, Inc.
(Fig. 7) Grant Mudford
(Fig. 8) Architecture & Design Collection, UCSB
(Fig. 9) Architecture & Design Collection, UCSB
(Fig. 10) Julius Shulman
(Fig. 11) Marvin Rand
(Fig. 12) David Gebhard
(Fig. 13) Wayne McCall & Associates
126
Bartons Introduction:
(Fig. 1) Barton Myers Associates, Inc.
(Fig. 2) Barton Myers Associates, Inc.
(Fig. 3) Barton Myers Associates, Inc.
(Fig. 4) Barton Myers Associates, Inc.
(Fig. 5) Paul B. Lowney
(Fig. 6) Barton Myers Associates, Inc.
(Fig. 7) Karl Sliva
(Fig. 8) Barton Myers Associates, Inc.
(Fig. 9) Karl Sliva
(Fig. 10) Barton Myers Associates, Inc.
(Fig. 11) Barton Myers Associates, Inc.
(Fig. 12) SPIRO Architectural Image Database;
Architecture Visual Resources Library, University of
California, Berkeley, Lifchez Collection
88