By Barton Myers Associates, Inc

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House and Studio at Toro Canyon Montecito, California Design/Completion 1997/1999 HOUSE AND Barton and Vicki Myers 40 acre mountain site Family residence of 6,000 square feet in 4 STUDIO AT structures; garage, guest house, main residence, and studio/archive Glass, steel, concrete, aluminum, water TORO CANYON,

The House at Toro Canyon is a residence sited in a secluded mountain canyon in Montecito, with Montecito panoramic views of the ocean and the Channel Islands to the south and mountain peaks to the An interview with Barton Myers by Suzanne Myers north. A creek runs the length of the site, through

native oaks and rich ochre sandstone, forming a 1 serene Southern California landscape. The siting strategy was to make a series of smaller, discrete Q: Can you talk about finding the site and how you originally decided to build a house in interventions, thus preserving and enhancing the Santa Barbara? natural landscape of the site. 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 “To conserve the beauty of the landscape and save Bowl. But I wanted to do something myself, something new. It seemed like the timing was its trees, Myers...decided to put his studio at the good, and Vicki was very supportive of the idea. We had originally thought about building top of the steep slope, a guest house and garage something in Hawaii and had gone through the whole process of trying to find land there, below, and the main house on a level pad between. but we started thinking about the fact that it’s seven hours over, and we’d only get there a Lofty steel-framed pavilions have roll-up segmented couple of times a year, so it would have been a huge expenditure. Instead, we decided to glass doors opening onto terraces and roll-down look in Santa Barbara, a place we could really live and still work in Los Angeles. (Fig. 1) All of shutters to provide security when the owners are the houses I knew up here, particularly the George Washington Smith houses down in the away, to protect from brush fires, and screen the flats of Montecito, did a brilliant job of building walled gardens. When you’re in one of these sun. As an added safeguard and to insulate the gardens, the hedges are so high that you have no idea there’s anybody else around. You only interiors from the heat of summer, each flat roof see the mountains, or maybe a distant view of the ocean. We thought we would find one of

serves as a shallow pool, containing water that is those kinds of sites, so I started thinking a lot about the idea of the wall and garden. I felt 2 re-circulated from uphill storage tanks. Nature that a lot of the contemporary architects here were too caught up in object-making, that conditions the air, and a lap pool runs along the their buildings were very introverted, sculptural, and had lost the connection between edge of the guest house roof. ” [Michael Webb, on house and garden which is so special to California. The Modern movement was so influenced the ‘Myers House’, in Brave New Houses: Adventures by Japanese architecture. The Frank Lloyd Wright houses, Schindler’s Kings Road house, in Southern California Living (2003)] had brilliant relationships to the outdoors. I was thinking of Mies van der Rohe’s Barcelona Pavilion and how to do that again in a new way. “The House at Toro Canyon is an ‘elegant warehouse’ in the tradition of Eames and early Barton Myers But the interesting sites tended to be high in the mountains, not in the flats where the

houses. It builds upon the Southern California walled gardens were. (Fig. 2) When we found this site, I couldn’t believe it hadn’t sold. I was 3 tradition of seamless spatial integration of indoors so knocked out by it. One thing that was special was that the building platforms, the level and out and continues Barton Myers’ explorations in areas, are so contained by the walls of the canyon and the creek that your garden walls are

steel housing in which industrial materials are used basically the mountainsides. (Fig. 3) It switches the relationship—the house becomes an out of context; an emphasis first developed with the object within the garden. Wolf House, and the earlier Myers Residence in Toronto.” [‘Barton Myers: 3 Steel Houses,’ exhibition Q: This site or area has particular concerns with fire risk. Was that something that you press release, University Art Museum, University of had encountered before? California, Santa Barbara (2001)] 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. Q: How did you decide where to site the pavilions? These are real factors that you have to be very careful about. I approached the problem in a Barton Myers: The site is relatively steep—it’s probably a 20–25 percent grade—and 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 couldn’t 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 couldn’t 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. We’re in a forest of ancient burn at about 3000 degrees. You need to clear enough to reduce the heat to around 700–1000 oaks, but the oaks seem to have survived the earlier fires fairly well. The pavilion idea degrees. Steel deforms at about 1400 degrees. There’s a catch-22 there, because as you clear, allowed me to set the houses within the oak trees, and not take any out. (Fig. 6)

if you’re not careful you can get into huge water run-off and erosion problems. Secondly, 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 won’t allow you to do that exactly. You have to have a climate-controlled, wasn’t 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. It’s 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 5 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 can’t touch the creek because that’s a of vanished. I’d 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. don’t 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 doesn’t have On the houses I obviously used steel, and wherever there were glass openings, I introduced water on it, and I wanted to use that as a terrace on the next level for the main house. The

the rolling insulated fire shutter. The doors are manually operated, because of the risk of 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 20–30 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. How do those influences come in? Obviously then they’re not going to burn, and they provide insulation. They’re 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, I’ve been particularly inspired by the zen gardens of the water solved that from an aesthetic point of view. (Fig. 5) Kyoto, the interrelationships between the indoor and outdoor.

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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. I’d say that we are find local builders and hit all those targets. I hired a young contractor here who had no open 75 percent of the time. 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: I’d always had a love of steel. (Fig. 8) I don’t know whether it was from the Navy Q: So which of the elements are prefab? or the Air Force. Obviously I had a terrific experience building our own house at Berryman. Barton Myers: All of the steel is in basically off-the-shelf standard shapes. You just order

The Wolf house had been very successful, as well as other steel buildings we’d done. But I’m 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 it’s 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, it’s 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 houses—a lot of the Neutra houses for example—that are steel, but they’re local company. They’re 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, it’s not until the 1920s 12

that architects really begin to discover steel for domestic use. The famous Chareau house, 9 It’s 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. It’s a beautiful material and it’s 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 that’s interesting today exception being that somebody then has to engineer the steel and do the foundations—the is that it’s 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 you’re in an earthquake zone; from scrap metal, from automobiles. We make very little steel from ore now, so I like to think this could almost be a catalogue house. of my house as being made of Ferraris, Maseratis, Fords and Cadillacs... Q: What was challenging about building on the site? Q: Had you used the idea of the rolling garage doors before? Barton Myers: It was very challenging because it’s hard to bring the steel up here. There’s a

Barton Myers: I had. I’d 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 13 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 doors—they You had to be careful not to create any erosion or water problems. must have been 20 feet high—that slid vertically up the walls. It meant that the restaurant became an instant sidewalk café. So a lot of my projects have tried to incorporate them, but The hardest construction detail was probably the concrete. But they’re 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 didn’t 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 weren’t 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 it’s very precise, it’s very

(Fig. 10) It’s 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 that’s competitive to the—I think—terrible, fake

Tuscan architecture that’s 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 builder—someone who knows how to pour concrete, how to organize steel—and that’s more expensive. Traditionally built houses are going for as much as $1000 per square foot. We needed to stay under $200 per square foot. That’s where off-the- shelf 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 you’ve got a hundred different details, it’s 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: How did the house change through the design process? 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. any of the other houses up here. It sits very low. 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 it’s 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 had enough land that we wanted to try planting some grapes, and we thought, if grapes

the end of the archives/studio was going to be drywall and steel stud with plaster outside, 15 work, what about oranges, what about olives, and so on. We found a terrific guy named 19 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 didn’t 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 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 about order versus informality. As an architect I always like an ordered landscape. So 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 you’re buried in the hill, but you’re really not. (Fig. 16) When the studio has all its doors open, and you’re 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 it’s 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 it’s terrific for hillside stabilization. It makes an interesting hedge. It just a factor of the conditions? 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 Californian, more agrarian, preserving as much of the beautiful landscape as possible. previous steel houses, and how does that affect this house? Barton Myers: You know, it’s interesting, I don’t know if I can answer that. Berryman was so Q: One thing that’s very special about the house is the color palette. Can you describe its urban, and my preoccupations were with building cities, changing cities and trying to make

development? 16 cities better. I was so focused for so long on that. 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 we’ve always loved The green steel does not mimic the trees. It’s 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 I’ve 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 we’d been considering. (Fig. 17) The plaster inside is a skim coat and that’s 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 didn’t color the floors, but the natural concrete is I’m not sure I’ve advanced the technology. In fact, I’m 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 they’re 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 house’s materials. The galvanized steel, which is matte, will age and become a pewter-like situation. This is the first chance I’ve 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 muted and work very well together. 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 it’s in, I would know what to do to make it a better kind of city. I applied Leopold’s idea to urban design, and, now I get a chance to think about Leopold in the landscape.

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PRESENTATION DRAWINGS

A Studio A B Main Residence D C Guest House B D Garage C 1 0 32 64 ft

4 3

13 MAIN RESIDENCE 1 Terrace 2 Master Bedroom Terrace 3 Living / Dining 11 4 Kitchen 7 8 9 10 5 Garden 6 Master Bedroom 7 Master Bath 6 12 8 Dressing room 9 Guest Room 10 Utility Room 11 Guest Bath 12 Guest Room 13 Recirculating Tank

2 3 4 5

0 16 32 64 ft SITE PLAN 1 Studio 1 2 Main Residence 3 Guest House 0 8 16 ft 4 Garage

4 1 Site plan 2 Site section 3 Site perspective 4 Main residence – floor plan

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water line upward acting sectional door

waterproof membrane roll-up door guide

foam insulation steel chanel track support 5 conduit for building services sectional door track steel column steel decking (steel to fascia)

light fixture

duplex receptacles beam

column

roll-up hood 6

0 2" 4" 0 2" 4"

11 12

8 9

2 1 3 5 Main residence – longitudinal section 6 Main residence – north elevation 7 Main residence – south elevation 8 Main residence – west elevation 9 Main residence – east elevation 0 8 16 ft 1 Utility Room 10 Main residence – section 2 Kitchen 11 Section detail at roof edge 3 Gallery 12 Plan view detail at steel columns 10 13 Detail of steel beam and column intersection 14 Detail of roll-up door tracks at column 13 14

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1 In this early site plan, the idea to terrace the buildings was yet to come. Here, Myers considered dividing the SKETCHES AND main residence into several buildings, with gardens inserted between. 2 An early site elevation shows Myers planning a main WORKING DRAWINGS residence, a studio/archives building, and a ramped plat- form for cars. 3 In this early site plan, the garage is connected to the main residence, while the studio/archives building has been made part of the complex. However, the guest house is not yet conceived. 4 The final site plan, with four buildings inserted into the existing landscape. 5–8 Myers experimented with several roofing and door alternatives prior to final design; the ultimate selection was chosen to exploit thermal insulation and passive solar techniques, as well as for aesthetic purposes. The re-circulating pool atop three of the four buildings mirrors the Pacific Ocean in the distance, as well as recalling the trickle of the natural creek on site.

1 3 4

2 5 6 8

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10 11 12

9 Once the building shape was determined, the matter of fire protection and wall material still remained. Two preliminary sketches show a section of the main residence, as well as an exterior elevation, with the bi-fold door option. 10 Myers studied many different door systems, this particular one dependent on bi-folding doors that would act as porch awnings when lifted. Clerestory windows serve to augment the visibility to and from each building, 13 14 15 and to the exterior landscape. 11 This section of the main residence shows the experimentation with clerestory windows, as well as a sloped roof with a bi-fold door system. Myers felt 18 compelled to maintain the spectacular mountain vistas of the site, as well as the views to the ocean. 12 Section of a bi-fold door with a sloped roof. The sloped roof was later changed to flat, to allow for a re-circulating pool system atop each building. 13 In this early flat roof alternative, in which the basic structure of the house is nearing finality, Myers is still considering a bi-fold door for the entrance façade and porch of the main residence. 14, 15 Side elevations of the main residence showing preliminary window layouts, as well as early flat roof alternatives, with a bi-fold door façade. 16 As the roof of the main residence approached final design, Myers began to experiment with glazed sectional doors. These doors would be complemented by outer rolling steel insulated shutters for fire protection. 17 Elevation with a combined flat roof and sloped clerestory windows, using rolling steel shutters on the east façade of the main residence. 18 The importance of line-of-sight in each building was a concept present in Myers’ designs from the beginning. This section shows the final flat roof design, with a steel awning and vertical rolling doors on the entrance façade, as well as interior design elements. From where the sketched figure stands, the view to the upper terrace, where the studio/archives building stands, and to the surrounding canyon, mountains, and the Pacific Ocean in the distance is virtually unobstructed. 19 An early elevation of the east façade of the main residence, showing the porch and awning with sectional glass doors, while Myers was still experimenting with façade materials.

16 19

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20 Myers has included an awning above the bi-fold door option, as well as interior design ideas. 21 Side elevation of the main residence showing alternatives for the mechanical towers of the main residence. 22 Myers considers the scale relation between the building and average human height. 23 Section of the main residence, with specific measurements and sight lines to the upper terrace and studio/archives building. 24 The bathrooms in the buildings are direct and simple; here, Myers sketched measurements and plumbing details for the master bathroom in the main residence. 25 Resembling the corner entablature of an ancient temple, this detail of a roof corner of the main residence has Myers considering measurements.

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1 2

1 In Southern California, where life outdoors is considered a major defining element of architecture, the seamless nature of the house at Toro Canyon is exemplary of contemporary regional style and innovation. Photography: Grant Mudford 2 The openness of the main residence is indicative of how the natural environment is completely integrated into this complex of buildings, making it seem as though the buildings truly belong to the site. Photography: Grant Mudford 3 From the rear of the main residence, the rooftop pools echo the Pacific Ocean in the distance. Native oaks provide shade and shelter, helping to provide a degree of privacy to each building. Photography: Grant Mudford 4 The approach to the site reveals the terracing of the buildings, a technique that was devised to not only take advantage of the panoramic views, but to also avoid the removal of the ancient oaks on the site by simply inserting the buildings between them. Photography: Grant Mudford 5 The garage, a separate building, is realized in the form of a parallelogram. The roof of the garage serves as a zen garden. Photography: Grant Mudford 3 4 5

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6 Open-riser stairs from the garage terrace lead to the main residence, here shown completely open. Photography: Russ Widstrand 7 Rooftop pools grace each building, with the exception of the garage, providing protection in the face of sweeping canyon fires that are common to the area. Photography: Grant Mudford 8 Deceptively simple elements combine to create an overall effect of fluidity versus solidity: when open, the steel rolling shutters disappear; when closed, they cocoon the building. Photography: Robert Polidori 9 The living room and kitchen space of the main residence can be open to the outdoors, or enclosed, while still 10 receiving the visual pleasures of the site and natural outdoor lighting. Photography: Russ Widstrand Nestled among the mountains and native trees, the 11 main residence springs vertically from the earth, yet appears part of the natural surroundings. Photography: Russ Widstrand 12 Clerestory lighting enhances the visual stimuli present 6 throughout the site. From the top terrace, the view to the Pacific Ocean in the distance is unobstructed. Photography: Grant Mudford The steel rolling shutters, though immense in size, can easily be lifted and lowered by one person. Photography: Grant Mudford

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9 10

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14 15

17 13 At every turn, the transparency of the buildings provides conspicuously visible entertainment. In this photo, the eye travels from the living room to the studio on the terrace behind, to the master bedroom and back to the porch, always finding a delightful view. Photography: Richard Powers 14 A steel canopy juts forth from the main residence providing sun control. Photography: Grant Mudford 15 The architect and his wife, Vicki. Photography: Russ Widstrand 16 The living room of the main residence spills onto the porch, blurring the boundary between indoors and out. Photography: Grant Mudford 17 The living room of the main residence, bathed in natural light from all angles, is exemplary of the manner in which the industrial nature of steel and concrete is tempered by the books and textured furnishings. 16 Photography: Grant Mudford

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18 Nowhere is the distinction between indoors and out blurred so much as at the main residence, where a corner of the living room seems to have only trees and canyons as its walls. Photography: Russ Widstrand 19 Even on an incredibly foggy day, the structural clarity and relative openness of the main residence is tangible. Photography: Richard Powers 20 Steel I-beams, chain and pulley systems, and steel drums become the only form of solidity between indoors and out when the rolling doors are raised. Photography: Richard Powers 21 The kitchen and living/dining room at the main residence are separated by a partition wall, creating an informal space for preparation, and a formal space for entertaining. Photography: Russ Widstrand 22 The kitchen at the main residence features open shelving and stainless steel cabinets. Photography: Richard Powers 23 A chain and pulley system is used to lift the rolling steel shutters. Every glass area has a shutter for fire protection. Photography: Grant Mudford 18 23

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24, 25 The stone retaining wall, laid in a manner that recalls the Roman opus incertum style, and the terraced landscape behind the main residence serve as the ‘headboard’ for the bed in the master bedroom. Photography: Robert Polidori, Richard Powers 26 The master bedroom opens on the north and south sides, allowing Myers and his wife, Vicki, to extend their bedroom space to the small courtyard, complete with an outdoor fireplace. Here, sleeping outdoors takes on a whole new meaning. Photography: Russ Widstrand 27 The kitchen and living room of the main residence are warmed by a mixture of modern and antique furnishings, such as the Canadian refectory table used for formal dining. Photography: Robert Polidori 28 Master bathroom. Photography: Leif Wivelsted

26 27

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29 The studio/archives building is tucked into the highest terrace of the site, where the approach to the structure resembles the ascent up a meandering stair to an ancient temple. Photography: Russ Widstrand 30 The studio/archives building is a smaller version of the main residence. It too can be completely open, providing the perfect space for office retreats and meetings. Photography: Grant Mudford 31 The east wall of the studio/archives is one large rolling steel shutter, leaving the structure with only one opaque wall when completely open. Photography: Grant Mudford 32 The studio becomes a covered porch when completely open, creating an airy, sun-drenched space for work, study, or leisure. Photography: Russ Widstrand

31 32

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33 33 A retaining tank catches the overflow from the pool atop the guest house; the re-circulating pool system provides thermal insulation, fire protection and recreation in the form of a lap pool. Photography: Grant Mudford 34 The kitchen of the main residence glows in the light from the clerestory windows and glass walls, which reflect the colors and shadows of the furnishings. Photography: Robert Polidori 35 East wall of the guest house. Photography: Grant Mudford 36 The entrance façade of the guest house, which occupies the lowest terrace of the site, provides a greater degree of privacy to its occupants, as well as panoramic views of the surrounding canyons and the Pacific Ocean. Photography: Grant Mudford

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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 firm’s 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 UCLA’s 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.

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Tahoe R e s idenc e Design/Completion: 1999/2002 CHRONOLOGY Lake Tahoe, California

Laguna Beach House (Fig. 5) OF SINGLE-FAMILY Design: 2000 Laguna Beach, California

1 5 6 HOUSES West Los Angeles Residence (Fig. 6) Design/Construction: 2002/current Los Angeles, California

Manhattan Beach House (Fig. 7) Design: 2002 Manhattan Beach, California

2 Santa Ynez/Los Olivos Residence (Fig. 8) 7 8 George House Addition Smith/Hamilton House Design/Construction: 2003 Design: 1966 Design: 1977 Los Olivos, California Norfolk, Virginia Port Hope, Ontario Toronto House Renovation

STELCO Catalogue Housing (Fig. 1) Virginia Beach House Design: 2003 Design: 1967 Design: 1978 Tor ont o, O nt ar io Hamilton, Ontario Virginia Beach, Virginia Montecito Residence (Fig. 9) 3 9 10 Blade Beach House To r on t o R e s i d e n c e Design: 2003 Design: 1969 Design: 1983 Montecito, California Virginia Beach, Virginia Tor ont o, O nt ar io Montecito Residence II Blade Residence Union Villa Residence Design: 2003 Design/Completion: 1969 Design: 1983 Montecito, California Virginia Beach, Virginia Unionville, Ontario Graphic House

Schwartz House Beverly Hills House Renovation 4 Design/Construction: 2002/current 11 12 Design: 1969 Design: 1985 Venice, California Virginia Beach, Virginia Beverly Hills, California Studio City Residence (Fig. 10)

Myers Residence, Toronto (Fig. 2) Malibu House Design: 2003 Design/Completion: 1970 Design: 1986 Studio City, California Tor ont o, O nt ar io Malibu, California Toro Canyon House II (Fig. 11) Bush House Québec House Design: 2004 Design: 1971 Design/Completion: 1987/1988 Montecito, California Tor ont o, O nt ar io Ivry sur le Lac, Québec Toro Canyon House III (Fig. 12)

Wolf Residence (Fig. 3) House & Studio at Toro Canyon (Fig. 4) Design: 2004 Design/Completion: 1972 (Myers Residence, Montecito) Montecito, California Tor ont o, O nt ar io Design/Completion: 1997/1999 Montecito, California

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SELECTED SELECTED COMPETITIONS EXHIBITIONS

Winning Entry Finalist Finalist West Coast Residential: The Modern and 100 for 100 Exhibition of Barton Myers Associates: Tempe Center for the Arts Manchester City Art Gallery Fremont Cultural Center the Contemporary Graduate School of Fine Arts, University of Models, Drawings and Sketches Te mpe, A r i z ona Manchester, UK Fremont, California Charles H. Scott Gallery, Emily Carr Pennsylvania; Model and drawings Koplin Gallery 2001 1995 1988 Institute of Art and Design exhibition devoted to graduates of the GSFA Los Angeles, California Vancouver, British Columbia Philadelphia, Pennsylvania 1987 Finalist Finalist Finalist 2003 1990 Ventura County Museum of History and Art Tip Top Tailors Master Plan Competition Ballet Opera House A Measure of Consensus: Canadian Museum Tor ont o, O nt ar io Tor ont o, O nt ar io Barton Myers: 3 Steel Houses Exhibition of Phoenix Municipal Architecture in Transition Ventura, California 1994 1988 Perloff Hall Gallery, University of California Government Center Competition Model Vancouver, New York, Toronto, Montreal 2000 Los Angeles, California and Drawings 1986 Finalist Winning Entry 2002 Mandeville Gallery, University of California Finalist University of Maryland, College Park Art Gallery of Ontario, Stage III San Diego, California Architect’s Drawings University of New Mexico School of Center for Performing Arts Tor ont o, O nt ar io Nemzetközi 1990 The Charles H. Scott Gallery, Emily Carr Architecture College Park, Maryland 1987 Galeria Centrális College of Art and Design Albuquerque, New Mexico 1994 Budapest, Hungary Viewpoints: One Hundred Years of Vancouver, British Columbia 2000 Winning Entry 2002 Architecture in Ontario, 1889–1989 1985 Second Place Phoenix Municipal Government Center Traveling Exhibition, organized by Ontario Finalist Native American Preparatory School Rowe, Phoenix, Arizona Barton Myers: 3 Steel Houses Association of Architects Recent Work MIT Sloan School of Business New Mexico 1985 University Art Museum, University of Kingston, Toronto, Thunder Bay, London, Clare Hall, Cambridge University Boston, Massachusetts 1992 California Kitchener, Windsor Cambridge, England 1998 Second Place Santa Barbara, California 1989 1985 Winning Entry Mississauga City Hall Design 2001 Finalist UNLV School of Architecture Mississauga, Ontario Architecture of Democracy Monument: Manifestation on Dealing with United States Federal Courthouse Las Vegas, Nevada 1982 The Competition for the United States Wight Art Gallery, University of California; Ancient Monuments Now Salt Lake City, Utah 1991 Pavilion, Expo ‘92, Seville, Spain Exhibition of Phoenix Municipal Center Studium Generale Rijksuniversiteit 1997 Winning Entry Graduate School of Architecture and Urban Competition Limburg, The Netherlands Winning Entry Portland Center for the Performing Arts Planning, University of California San Diego, California 1984 Finalist U.S. Pavilion Expo ‘ 92 Portland, Oregon Los Angeles, California 1988 Bristol Centre for the Performing Arts Seville, Spain 1982 1991 Dreams of Development Bristol, UK 1989 Reconnaitre Le Corbusier The Market Gallery 1996 Faculty of Architecture Gallery, University Tor ont o, O nt ar io of Toronto, Ontario 1984 1987

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Barton Myers Associates: Recent Work Conference and Exhibition CMHC Infill Housing Study, Graduate School of Architecture and Institute of Contemporary Art (in collabo- Dundas Sherbourne Infill Housing Urban Planning, University of California, ration with sculptor Anthony Caro) The Art Gallery at Harbourfront SELECTED Los Angeles, California London, England Tor ont o, O nt ar io 1984 1982 1975 AWARDS The Urban Solution: Toronto Life Exhibition of Spadina Quay Competition Perspectus ‘74: Exhibition of City of Sable Castelli Gallery The Art Gallery at Harbourfront Toronto Planning and Architecture Tor ont o, O nt ar io Tor ont o, O nt ar io Toronto Chapter of Architects, David 1983 1981 Mirvish Gallery Tor ont o, O nt ar io Fresh Frontiers: Canadian Architects Exhibition of Selected Projects 1974 Abroad School of Architecture The Art Gallery at Harbourfront University of Toronto, Ontario Exhibition of the Housing Union Building Tor ont o, O nt ar io 1980 Walker Art Gallery 1983 Minneapolis, Minnesota Exhibition of Ghent Square Housing 1974 Seagram Museum Exhibit The Canadian National Exhibition Gold Medal Award, Honor Award in Design Award of Merit for Contribution to School of Architecture sponsored by the Royal Canadian Exhibition of Dundas Sherbourne Infill Lifetime Achievement for AIACC Historical Preservation University of Toronto, Ontario Academy of Arts Housing Outstanding Design Myers Residence, Montecito Toronto Historical Board 1983 Tor ont o, O nt ar io City Hall AIA Los Angeles 2000 1974 1980 Tor ont o, O nt ar io 2002 Seagram Museum Exhibit 1974 Gold Medal Design in Steel Award Program University of Waterloo Selected Works Innovation in Housing Design Award Royal Architectural Institute of Canada Myers Residence, Toronto Ontario Walker Art Center, as published by The Work of Diamond and Myers AIA PIA 1994 1973 1983 City Segments School of Architecture Myers Residence, Montecito Minneapolis, Minnesota University of Toronto, Ontario 2002 First Toronto Arts Award Residential Design Award Aesthetics for the Cold 1980 1973 for Architecture and Design Canadian Housing Design Council Hallwalls Gallery Special Award 1986 Myers Residence, Toronto Buffalo, New York Selected Works Exploring Toronto Western Home Awards 1971 1983 Old Dominion University Toronto Chapter of Architects, Nathan Myers Residence, Montecito Housing Award Norfolk, Virginia Phillips Square 2001–2002 Architectural Record: 25 Years of Record Major Projects, Canada in Berlin 1980 Tor ont o, O nt ar io Houses Akademie der Künste 1973 Sunset Magazine Award Wolf Residence West Berlin, Germany Exhibition of Drawings Myers Residence, Montecito 1981 1982 Ballenford Architectural Books 2001 Tor ont o, O nt ar io Housing Award A Design Process, A Grand Avenue 1979 Design Award Citation Architectural Record: Homes University of Virginia AIA Los Angeles Wolf Residence Charlottesville, Virginia The Work of Barton Myers as Published in Myers Residence, Montecito 1977 1982 Design Quarterly No 108 2000 University of California Landscape Ontario Award Exhibition of Design Drawings Los Angeles, California Honor Award Myers Residence, Toronto Noval Gallery, Vancouver League of 1979 AIA Summit Western International 1977 Architects Design Award Vancouver, British Columbia Architectural Awareness Week Myers Residence, Montecito Design Award 1982 Queen’s Park 2000 Ontario Association of Architects Tor ont o, O nt ar io Dundas Sherbourne Infill Housing & 1977 Myers Residence, Toronto 1976

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Wol f Residence, Tilley, Michael, ‘World: Toronto House’, The Bertelsen, Ann, Daniel Gregory, and Peter To r on t o Architectural Review, Vol. CLXII O. Whiteley, ‘2001–2002 Western Home BIBLIOGRAPHY No. 967, September 1977, pp. 140–143. Awards’, Sunset; The Magazine of Western ‘Architectural Signals: five unique houses Living, October 2001, p. 118. that point the way to the twenty-first ‘Wolf Residence’, Process: Architecture, century’, Building Magazine; A House & Vol. 5, April 1978, pp. 118–123. Details in Architecture, Volume 2, The Garden Guide, Fall/Winter 1976, pp. 54–59. Images Publishing Group, Mulgrave, ‘Wolf Residence, Toronto’, Canadian Australia, 2000, pp. 18–23. ‘Barton Myers, Wolf House’, GA Houses, Architect, Vol. 21, No. 10, October 1976, Vol. 2, 1977, pp. 94–103. pp. 28–33. Domus, April 2000.

‘Built Like a Warehouse’, Canada Home Myers Residence, Gazette Alumni magazine, University of Décor, Fall/Winter 1978, pp. 38–42. Montecito Pennsylvania, March/April 2000.

‘Case nuove fuori cittá: Un container di Television Programs Giovannini, Joseph, ‘Customizing the vetro’, Abitare, No. 180, December 1979, Ready-made’, Architecture, Vol. 88, No. 6, pp. 50–55. 21st Century Homes, HGTV (Home & Garden June 1999, pp. 96–101. Myers Residence, Gillespie, Bernard, ‘Perspectives: Project’, Morris, Neal, ‘Innovative Architecture’, Te le v i s i on ) , 2 0 0 0 . To r on t o The Canadian Architect, Vol. 15, No. 9, Building News, No. 584, March 5, 1982, ‘A Century of Canadian Architecture’, Giovannini, Joseph, ‘Open to Nature, but September 1970, pp. 6–8. pp. 13–14. Canadian Architect, January 2000, p. 32. House Beautiful, A&E (Arts and Ready for Fire’, The New York Times, May 7, ‘19 Berryman Street, Toronto’, Baumeister, Entertainment), 2000. 1999, p. B42. Vol. 12, December 1972, pp. 1444–1445. Hix, John, The Glass House, The MIT Press, Mutsch-Engel, Annemarie and Alexander ‘Contemporary Houses of the World: Wolf Cambridge, MA, 1974, p. 179. Koch Verlagsantalt, Wohnegebaude Wand an Residence’, Architecture and Urbanism, Liquid Design, HGTV (Home & Garden Giovannini, Joseph, ‘Open to Nature, but Alaton, Salem, ‘Architects: Public visions, Wand, 1980, p. 55. No. 101, February 1979, pp. 37–41. Te le v i s i on ) , 2 0 0 0 . Ready for Fire’, The Ventura County Star, private styles’, The Globe and Mail Lifestyle ‘Industrial Design: Crystal Palace on a June 4, 1999, p. D1. Magazine, September 4, 1982, pp. 6–11. domestic scale’, House Beautiful’s Building ‘Myers Residence, Toronto’, The Canadian ‘Domestic Plan with Industrial Materials’, Publications Manual, Vol. 80, No. 1, Spring 1980, Architect, Vol. 17, No. 2, February 1972, House & Garden, Vol. 32, No. 7, September Giovannini, Joseph, ‘Open to the Outdoors’, ‘Apertures II’, House Beautiful, Vol. 120, pp. 118–121. pp. 46–49. 1977, pp. 76–79. 100 of the World’s Best Houses, The Images Santa Barbara News-Press, May 23, 1999, No. 4, April 1978, pp. 100–101. Publishing Group, Mulgrave, Australia, 2002, pp. D1, D10. ‘Infill Townhouse’, The Architectural Forum, Ripley, Jim, ‘Successful Home Marketing: ‘Einfamilienhaus in Toronto, CDN’, pp. 146–147. ‘Architects Own Houses of the World: Vol. 136, No. 3, April 1972, pp. 62–65. Focus on a unique market niche’, Canadian Baumeister, Vol. 4, April 1977, pp. 345–348. International Architecture Yearbook, Volume Barton Myers’, Toshi-Jutaku Urban Housing Building, Vol. 28, No 9, September 1978, A+U magazine, Tokyo, Japan, May 2000. 7, The Images Publishing Group, Mulgrave, Magazine, Vol. 2, No. 190, August 1983, King, Annabelle, ‘Design Homes ‘71; Two pp. 26–29. ‘Focus: Steel-Component Housing: The Wolf Australia, 2001, pp. 180–181. pp. 42–45. Urban Solutions’, Chatelaine, Vol. 44, No. 9, Residence’, Toshi-Jutaku Urban Housing, arcCA: Journal of the American Institute of September 1971, pp. 81, 86–88. Schofield, Maria, ed., Decorative Art and No. 133, November 1978, pp. 30–36. Architects, California Council, Design Lang Ho, Cathy and Raul A. Barreneche, Dendy, William and William Kilbourn, Modern Interiors: Environments for People, Awards Issue, January 2001, p. 31. ‘House: American Houses for the New Toronto Observed: Its Architecture, Patrons Kron, Joan and Suzanne Slesin, High-Tech: Vol. 69, Studio Vista Publishers, Sydney, Gordon, Barclay F., ‘Record Houses of 1977: Century’, Universe Publishing, New York, and History, Oxford University Press, The Industrial Style and Source Book for the Auckland, 1980, pp. 20–25. The Wolf Residence’, Architectural Record, ‘Architecture and Urban Design’, UCLA NY, 2001, pp. 64–73. Oxford, England, 1986, p. 259. Home, Amilcare Pizzi, S.p.A. Publishers, May 1977, pp. 49–53. Arts magazine, Vol. 4, No. 2, Spring 2001, Milan, Italy, 1978, pp. 42, 47, 162, 183–184. Skurka, Norma, ‘Toronto Townhouse: A Year- p. 15. McGuire, Penny, ‘House: Montecito, ‘Diamond & Myers: Casa e serra (House Round Garden’, The New York Times Hine, Thomas, ‘Ever-Changing, Conflicting California, USA: Barton Myers’, The and Greenhouse) in Canada’, Domus, Lasker, David, ‘The Great Space Debate’, Magazine, August 21, 1977, pp. 52–53. Aesthetics’, 25 Years of Record Houses, ‘At Home with Barton Myers’, The National Architectural Review, Vol. CCVIII, No. 1242, No. 540, pp. 34–37. Canadian House & Home, Vol. 8, No. 5, Herbert L. Smith, Jr., ed., Architectural Post, November 13, 1999, p. 28. August 2000, pp. 87–89. November/December 1986, pp. 50–57. ‘Toronto, the “English” City: Courtyard Record Books, New York, NY, 1981, ‘Diamond & Myers: Toronto, Canada’, Global House’, Abitare, Vol. 233, April 1985, pp. 196–199. ‘Barton Myers: 949 Toro Canyon Road’, GA Moonan, Wendy, ‘Water Shed’, House & Interiors, Houses in U.S.A. series, Vol. 2, Lewin, Susan Grant, ‘High-Tech Moves In’, pp. 74–77. Houses, Volume 61, September 1999, pp. Garden, February 2002, pp. 98–105. 1974, pp. 114–121. House Beautiful, Vol. 120, No. 7, July 1978, Hine, Thomas, ‘Wolf House’, Modern 42–61. pp. 80–83. Whiteson, Leon, Modern Canadian American Houses: Four Decades of Award- Mountain Houses, Loft Publications, ‘Ein Schmalhans Mit Reichem Innenleben’, Architecture, Hurtig Publishers Ltd., Winning Design in Architectural Record, Barcelona, Spain, 2000. Häuser, January 1982, pp. 124–131. Edmonton, Alberta, 1983, pp. 152–155. Clifford A. Pearson ed., Harry N. Abrams, Inc. New York, NY, 1996, pp. 126–129.

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Rasch, Horst, ‘Time Out for the Fire Brigade’, Häuser International, March/April 2001, pp. 82–87. ACKNOWLEDGMENTS

Residence magazine, Stockholm, Sweden, Number 5, 2000.

Webb, Michael, ‘Back to Basics’, Los Angeles Times Magazine, February 20, 2000, pp. 24–29.

Webb, Michael, Brave New Houses: Adventures in Southern California Living, Stephen Case, ed., Rizzoli International Publications, Inc., New York, NY, 2003, pp. 156–163.

Webb, Michael, ‘Fire and Water’, Belle Looking over almost 30 years of practice, it is Project Teams, Consultants, and Contractors • Aaron Campbell, Associate magazine, April/May 2000, pp. 96–103. only appropriate that I acknowledge at least a • Barton & Victoria Myers, Contractors few of the many who have influenced me and Myers Residence, Toronto • Epstein/Francis and Associates, Zwerling, Philip, ‘Steeling Beauty’, Santa helped make our practice what it is. • Diamond & Myers, Architects Consulting Structural Engineers Barbara Magazine, Special Issue: Homes & To them and others who, because of space, • Barton Myers, Principal-in-Charge • Ove Arup & Partners, California, Gardens, February/March 2002, pp. 98–104, could not be listed here, my great • Tony Marsh, Project Architect Consulting Mechanical & Electrical 126. appreciation and thanks. • Morden S. Yolles & Associates, Engineers Structural Engineers • Norman H. Caldwell, Civil Engineer Family • G. Granek & Associates, • Davis, Langdon & Adamson, Cost • Victoria Myers, Wife Mechanical Engineers Consultant • Suzanne Myers, Daughter • Helyar, Vermeulen, Rae & Mauchan, • Douglas G. Richardson, • Adam Pincus, Son-in-law Quantity Surveyors/Cost Consultants Landscape Designer/Agriculturist • McMullen and Warnock, Contractors Santa Barbara • Stuart Ash, Graphic Designer Book • Kurt G. F. Helfrich, Curator For the production of this monograph I would • Architecture & Design Collection Wolf Residence, Toronto like to thank Kelly Robinson and Peter • University of California, Santa Barbara • Diamond & Myers, Architects Robertson, who acted as editors and project • Barton Myers, Principal-in-Charge managers; Kurt Helfrich who wrote the Los Angeles • Read Jones Christofferson, Ltd., Foreword; Suzanne Myers who conducted • Barton Myers Associates, Inc., Architects Structural Engineers project interviews and provided criticism; and • Peter Robertson, Graphic Designer, • G. Granek & Associates, Victoria Myers for her extreme attention to Barton Myers Associates, Inc. Mechanical Engineers detail in proofreading. I would also like to • Kelly Robinson, Archivist, • A. J. Vermeulen, Inc., thank Paul Latham and Alessina Brooks at Barton Myers Associates, Inc. Quantity Surveyors/Cost Consultants The Images Publishing Group for their assis- • Lawrence Wolf, General Contractor tance in the publication of this book, as well Clients as for the publication of a monograph of my • Victoria and Suzanne Myers, House and Studio at Toro Canyon, Montecito work, titled Master Architect Series: Barton Myers Residence, Toronto • Barton Myers Associates, Inc., Myers: Selected and Current Works (1994), and • Lawrence and Mary Wolf, Architects the monograph of the New Jersey Performing Wolf Residence • Barton Myers, Principal-in-Charge Arts Center, titled New Stage for a City; • Victoria Myers, • Clint Wallace, Project Architect, Designing the New Jersey Performing Arts House and Studio at Toro Canyon Associate Center (1998); and Paola Faoro for designing • Don Mills, Associate this beautiful book.

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ADDITIONAL PHOTO CREDITS

Cover Image: (Fig. 4) Barton Myers Associates, Inc. (Fig. 21) Yukio Futagawa & Associated Photographers Russ Widstrand (Fig. 5) Barton Myers Associates, Inc. (T. Kitajima) (Fig. 6) Barton Myers Associates, Inc. (Fig. 22) John Fulker Back Cover Images: (Fig. 7) Ian Samson (Fig. 23) Barton Myers Associates, Inc. (Myers Residence) Ian Samson (Fig. 8) Barton Myers Associates, Inc. (Wolf Residence) John Fulker (Fig. 9) Bent Rej House & Studio at Toro Canyon Interview: (House & Studio at Toro Canyon) Grant Mudford (Fig. 10) Bent Rej (Fig. 1) Barton Myers Associates, Inc. (Fig. 11) Barton Myers Associates, Inc. (Fig. 2) Barton Myers Associates, Inc. Chapter Opening Images – double page spreads: (Fig. 12) source unknown, Property of (Fig. 3) Russ Widstrand (Myers Residence) Ian Samson Barton Myers Associates, Inc. (Fig. 4) Russ Widstrand (Wolf Residence) John Fulker (Fig. 13) Steven F. Schar (www.taskforce1.org) (Fig. 5) Russ Widstrand (House & Studio at Toro Canyon) Russ Widstrand (Fig. 14) Ian Samson (Fig. 6) Barton Myers Associates, Inc. (Fig. 15) Horst Ehricht (Fig. 7) Annette Del Zoppo Kurt G. F. Helfrich’s Forward: (Fig. 16) Bill Maris (Fig. 8) Barton Myers Associates, Inc. (Fig. 1) Architecture & Design Collection, UCSB (Fig. 17) Patricia Layman Bazelon (Fig. 9) Barton Myers Associates, Inc. (Fig. 2) Marvin Rand (Fig. 18) Horst Ehricht (Fig. 10) Grant Mudford (Fig. 3) Barton Myers Associates, Inc. (Fig. 19) Horst Ehricht (Fig. 11) Barton Myers Associates, Inc. (Fig. 4) Bent Rej (Fig. 20) Bill Maris (Fig. 12) Thomas Schneider (BMA inc.) (Fig. 5) Yukio Futagawa & Associated Photographers (Fig. 21) Bill Maris (Fig. 13) Thomas Schneider (BMA inc.) (T. Kitajima) (Fig. 22) Karl Sliva (Fig. 14) Barton Myers Associates, Inc. (Fig. 6) Barton Myers Associates, Inc. (Fig. 23) Bent Rej (Fig. 15) Barton Myers Associates, Inc. (Fig. 7) Grant Mudford (Fig. 24) Barton Myers Associates, Inc. (Fig. 16) Russ Widstrand (Fig. 8) Architecture & Design Collection, UCSB (Fig. 25) Barton Myers Associates, Inc. (Fig. 17) Russ Widstrand (Fig. 9) Architecture & Design Collection, UCSB (Fig. 26) Bent Rej (Fig. 18) Russ Widstrand (Fig. 10) Julius Shulman (Fig. 27) Bent Rej (Fig. 19) Russ Widstrand (Fig. 11) Marvin Rand (Fig. 28) John Fulker (Fig. 12) David Gebhard (Fig. 29) Bill Maris Chronology of Single Family Houses: (Fig. 13) Wayne McCall & Associates (Fig. 1) Barton Myers Associates, Inc. Wolf Residence Interview: (Fig. 2) Ian Samson Barton’s Introduction: (Fig. 1) Barton Myers Associates, Inc. (Fig. 3) John Fulker (Fig. 1) Barton Myers Associates, Inc. (Fig. 2) Barton Myers Associates, Inc. (Fig. 4) Grant Mudford (Fig. 2) Barton Myers Associates, Inc. (Fig. 3) Barton Myers Associates, Inc. (Fig. 5) Stephen Lee, (BMA Inc.) (Fig. 3) Barton Myers Associates, Inc. (Fig. 4) Barton Myers Associates, Inc. (Fig. 6) Jorge Narino, Kengo Nozu (Fig. 4) Barton Myers Associates, Inc. (Fig. 5) Ian Samson (Fig. 7) Kengo Nozu (Fig. 5) Paul B. Lowney (Fig. 6) John Fulker (Fig. 8) Jorge Narino (Fig. 6) Barton Myers Associates, Inc. (Fig. 7) Barton Myers Associates, Inc. (Fig. 9) Stephen Lee, (BMA Inc.) (Fig. 7) Karl Sliva (Fig. 8) John Fulker (Fig. 10) Stephen Lee, (BMA Inc.) (Fig. 8) Barton Myers Associates, Inc. (Fig. 9) Barton Myers Associates, Inc. (Fig. 11) Jorge Narino (Fig. 9) Karl Sliva (Fig. 10) John Fulker (Fig. 12) Aaron Campbell (Fig. 10) Barton Myers Associates, Inc. (Fig. 11) John Fulker (Fig. 11) Barton Myers Associates, Inc. (Fig. 12) John Fulker (Fig. 12) SPIRO Architectural Image Database; (Fig. 13) Barton Myers Associates, Inc. Architecture Visual Resources Library, University of (Fig. 14) Barton Myers Associates, Inc. California, Berkeley, Lifchez Collection (Fig. 15) Barton Myers Associates, Inc. (Fig. 16) John Fulker Myers Residence Interview: (Fig. 17) Barton Myers Associates, Inc. (Fig. 1) Bent Rej (Fig. 18) Ian Samson (Fig. 2) Barton Myers Associates, Inc. (Fig. 19) Timothy Hursley (Fig. 3) Karl Sliva (Fig. 20) Patricia Layman Bazelon

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Every effort has been made to trace the original source of copyright material contained in this book. The publishers would be pleased to hear from copyright holders to rectify any errors or omissions. The information and illustrations in this publication have been prepared and supplied by Barton Myers Associates, Inc. While all reasonable efforts have been made to ensure accuracy, the publishers do not, under any circumstances, accept responsibility for errors, omissions and representations express or implied.