31295009353433

EARTH ARCHITECTURE
by
Juli Detrick
A THESIS
IN
ARCHITECTURE
Submitted to the Architecture Faculty

of the College of Architecture
of Texas Tech University in
Partial Fulfillment for
the Degree of
BACHELOR OF ARCHITECTURE
Chairman of the Committee
Programming Instructor (ARCH 4395): Professor Danny Nowak

Design Critic (ARCH 4631): Professor %^€ ^ ,
Accepted
Dean, Coêge)of Ajxhitecture
% 1990
So?. 2
T3
at), |5 TABLE OF CONTENTS
LIST OF FIGURES ill
THESIS STATEMENT 1
BACKGROUND 4
SANTE FE CAPITOL AND TOURISM 5
THE SETTING AND HISTORY 6
ARCHITECTURE 13
ENVIRONMENTAL/SITE ANALYSIS 14
ENVIRONMENTAL ANALYSIS 15
NATURAL ENVIRONMENT 16
SPACE SUMMARY 25
ACTIVITY LIST 27
ACTIVITY SPACE/ANALYSIS 29
ECONOMICAL ANALYSIS 35
RESIDENTIAL COST ESTIMATES 36
CASE STUDIES 39
BUILDING PERFORMANCE CRITERIA 60
BIBLIOGRAPHY 64
11
LIST OF FIGURES
1. Native American Settlements 7
2. Spanish Exploration 8
3. Spanish Colonization 1598-1821 9
4. Mexican Control 1821-1846 10
5. Mexican Control 1821-1846 U
6. Sante Fe 12
7. General Reference Map of New Mexico 15
8. Geologic Structure 16
9. Physiographic Divisions 17
10. Annual Temperature 18
11. Annual Precipitation 19
12. Frost Conditions 20
13. Soil 21
14. Vegetation 22
15. Vertebrate Fossil and Paleindian Sites 23
16. Vertebrate Fossil and Paleindian Sites 24
ill
An Adobe House and Gallery for an Artist and
His Family in Sante Fe, New Mexico
Earth, which has been one of the most basic building materials
since the beginning of human existence, is still being used by over
one-third of the world's population for housing purposes. Even though
earth architecture is so widely used, it is also regarded with ridicule
and prejudice by a majority of the architectural establishment outside
the developing world. This prejudice often prevents the use of earth
material which is very versatile, adaptable, and has great economic and
thermal advantages. These prejudices are now being faced by an orga-
nization in Europe, called Craterre. This organization's purpose is to
convince architects and the public alike of the effectiveness of earth
construction.
Architects have historically been faced with the problem of how to

achieve sensible, environmentally responsive and energy efficient
buildings in the hot, arid regions of the United States. These regions
continually have extremely high daytime temperatures, with cool or cold
nights and very low humidity. Even the most prominent architects in
this region, including Antoine Predock of Albuquerque, New Mexico, have
neglected the tectonic and environmental lessons provided by the ver-
nacular architecture and architects of the Middle East, who have been
providing us with solutions of these problems for thousands of years.
In the last 20 years, Hassan Fathy, of Egypt, has begun to decipher
these miraculous solutions. He, and several of his followers, have
often been cast out as primitive by architects in the United States who
do not take the time to investigate these solutions thoroughly. The
Middle East's solutions have vast amounts to teach us about the formal
opportunities and sensitive adaptation to environmental conditions that
earth architecture and construction offers.
Precisely, my goals and objectives in exploring new uses of this

material are as follows:
1. To research and explore the recent formal possibilities offered

by adobe construction. This exploration will be based on the
newly development of advanced production methods, including:
A. The Cinva Ram, in Colombia, South America, which has just

been invented to standardize the manufacturing of mud
bricks.
B. New admixtures that have been upgraded to strengthen mud

brick.
THESIS STATEMENT 2
2. To explore the new formal possibilities of passive energy
offered by the combined use of open, central courtyards. To
utilize the principles of convection, explored and demonstrated
by the research of Alan Cain, John Norton, and Omar El-Farouk
in Cairo, Egypt, in 1977.
3. To explore the new formal possibilities of passive energy

advantages and residential uses of a cooling tower, which was
recently developed by the Environmental Research Laboratory of
the University of Arizona. This tower resembles the towers of
the Middle East, and uses natural ventilation, defected over a
water spray, which cools the building's interior. These towers
are constructed of the most recent materials, including cellu-
lose pads, which achieve impressive results.
4. To create interior and exterior spaces complimentary to the

existing Santa Fe environment.
A. By minimizing the external impact of physical changes on

the site and surroundings.
B. By creating flexible spaces using local materials.
Without losing respect for creativity or the individual, I intend

to apply the following research to produce an adobe residence and
gallery for an artist and his family in Santa Fe, New Mexico.
In nature, no two men are alike. Even if they are twins and
physically identical, they differ in their dreams. The
architecture of the house emerges from the dream; this is why
in villages built by their inhabitants, we will find no two
houses identical. This variety grew naturally as men designed
and built their thousands of dwellings through the millenia.
But when the architect is faced with the job of designing a
thousand houses at one time, rather than dream for the thou-
sand whom he must shelter, he designs one house and puts three
zeroes to its right, denying creativity to himself and humani-
ty to man. "Human Settlements in Newly Reclaimed Lands"
References
Jean Dethier, "History, Present and Future of Earth Architecture,"

al-Mohandis, Issue 7, Ramadan, 1408H. Riyadh KSA.
2
Hassan Fathy, Natural Energy and Vernacular Architecture, Univer-
sity of Chicago Press, 1988.
THESIS STATEMENT 3
3
Abdullah Nuridin Durkee, "Hassan Fathy in New Mexico," Via 7. Ed.
Paula Behrens and Anthony Fisher, Architectural Journal of the Graduate
School of Fine Arts, University of Pennsylvania and the MIT Press,
1980).
4
Omar El-Frouk, et al. , "Climatic Study of Traditional Buildings,
Cairo," The Third World Studies Unit, Architectural Association of
Architecture, London, 1973.
Kathryn Kent, "Unpublished Findings on the Use of Cooling Towers

for Natural Ventilation," Environmental Research Laboratory, University
of Arizona, Phoenix, Arizona, July, 1988.
BACKGROUND
BACKGROUND
SANTA FE CAPITOL AND TOURISM
The moment I saw the brilliant,

proud morning shine high up
over the desserts of Santa Fe,
something stood still in my
soul, and I started to attend.
There was a certain
magnificence in the high-up
day, a certain eagle-like
royalty . . . A h , yes, in New
Mexico the heart is sacrificed
to the sun and the human being
is left stark, heartless, but
undauntedly religious.
- D. H. Lawrence
BACKGROUND
THE SETTING AND HISTORY
Santa Fe, a small town of 55.000, is located in what is known as

the Historical Cradle of New Mexico. For over three and a half cen-
turies. Santa Fe has attracted artists, photographers, and writers, as
well as those in search of physical and spiritual cures. Although this
city attracts many visitors, its heritage has mainly consisted of three
cultures: Indian (nomadic and pueblo), Spanish and American.
Santa Fe is the oldest capitol city in the United States. It was

founded in the winter of 1609-10 by Don Juan Peralta, the third governor
of the New Spanish Colony, Nuevo Mexico. The town was settled for the
purpose of converting the Pueblo Indians to Catholicism. The original
settlement was a simple adobe fortress and central plaza, which was
intended to provide protection for the Spanish missionaries and be the
headquarters for military leaders. Over 60 of New Mexico's governors
eventually ruled from this fortress, which became known as the "Palace
of the Governors."
Historical Outline
1609-10 Founding of the Spanish Fortress La Villa Real de la Santa

Fe de San Francisco de Assisi
1626 First missionaries came to Santa Fe
1680 Pueblo Indians raid Santa Fe and take over the fortress.
1692 Spanish regained control of Santa Fe and rebuilt the city
1714-1721 Catholic church was built
1821 Santa Fe becomes the Mexicans' seat of government for the

New Mexico Territory. Santa Fe Trail is opened.
1846 Santa Fe and New Mexico Territory annexed into the United
States
1862 Confederates take over
1878 Railroad spur enters into Santa Fe
1912 Santa Fe is the capitol of New Mexico, 47th State

BACKGROUND
native american settlements
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BACKGROUND 8
Spanish exploration
BACKGROUND
Spanish colonization 1598-1821

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BACKGROUND 10
mexicon control 1821-1846
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BACKGROUND 11
mexican control 1821-1846
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BACKGROUND 12
Today Santa Fe clearly reflects its tri-cultural heritage—one in
which Indians, Spaniards, and Americans have all attributed—but it is
the Spanish influence that dominates throughout the city, from architec-
ture to street names and food. As you might wonder through the crooked
streets and alleys, you realize that not much has changed, except for
the addition of cars and pavement, from three centuries ago. All new
construction in Santa Fe must meet very strict building codes in order
to keep the tradition alive.
References
McAllister, Williams. New Mexico in Maps, University of New

Mexico Press, Albuquerque, New Mexico, 1979.
Merzger, Stephen. New Mexico Handbook, Moon Publications, Inc.,

1989, pp. 267-287.
BACKGROUND 13
ARCHITECTURE
Since its founding in 1610, Santa Fe has grown from a religious and
governmental settlement for the Spanish to the trade capitol of the
Upper Rio Grande Valley. The original city was developed around a
central plaza in which over the years sporadic growth occurred around
and adjoining the main plaza.
Santa Fe's underlying structure consists of long corridors and

block forms, which provide context for individual buildings and styles
which are loosely grouped into distinct townscapes. Each townscape
relates to a particular time or function of the city. Santa Fe's
architecture is also characterized by various design principles which
enrich and integrate the city's visual history.
Each of these design principles/themes are expressed through a

variety of reoccurring elements or "design motifs." Some of these
design motifs have become quite synonymous with Santa Fe, such as the
wide use of earth colors, solid street walls, and mountain views.
According to archaeologists, Indians began to settle in Santa Fe

shortly before the time of Christ. Instead of continuing to be roman-
tic, the Indians learned to plant and were no longer forced to move
about, they could build permanent houses, stay in one place for years,
and accumulate material possessions.
Today, Santa Fe is covered with hundreds of ancient ruined houses

and villages. The earliest ones are seldom larger than a few rooms,
while the more recent ones may have 500 rooms or more (Taos Pueblo).
Constructed of adobe and other materials, these flat-topped build-

ings are cool in the summer and warm in the winter. They are located in
a variety of terrains and are often referred to as pueblos.
Santa Fe's old architecture consists of many adobe forms while its
newer architecture is often fake adobe—although not completely offend-
ing but quite misleading.
ENVIRONMENTAL/SITE ANALYSIS
ENVIRONMENTAL ANALYSIS
LOCATION
Santa Fe is located in the North Central part of New Mexico at

160''30' north latitude and at 35''30' west longitude. Surrounded by the
Southern Rocky Mountains, Santa Fe is 7,000 feet above sea level.
Individual ranges that can be seen from Santa Fe are the Sangre De
[ Crlsto Range on the north and east, the Sandia Range on the south, and
the Jemez Range on the west. The major water source, the Rio Grande
River, runs north to south, ten miles west of the city. A tributary to
the Rio Grande, the Santa Fe River, runs east to west through the city
of Santa Fe. On these banks Santa Fe's origin began.
QMMroJ imtitKM mop ci iwn* OMXICO

NATURAL ENVIRONMENT
GEOLOGIC STRUCTURE
The geology of New Mexico has undergone vast changes since its
beginnings. The following map analyses four time periods in New
Mexico's geologic history: the Precambrian (more than 600 million years
ago) , the Paleozoic (230 to 600 million year ago) , the Mesozoic (70 to
230 million years ago), and the Cenozolc (70 million years ago to
present).
The City of Santa Fe lies within the Cenozoic area. The Cenozoic
Era is responsible for the appearance of New Mexico's present day
landscape. The Santa Fe region saw the beginning of mountain forms
along vast fault lines, and it also saw the beginning of many valleys
which were formed by downfaultlng.
gacloQic tu\jctut9
LANDFORMS
The State of New Mexico has 121,666 square miles of extremely

diverse topographic and geologic terrain. Topographically, New Mexico
is divided into four separate divisions: the Southern Rocky Mountain
Province, the Intermotane Plateaus, the Basin and Range Province, and
the Great Plains Province.
Santa Fe lies in the Southern Rocky Mountain Province, which only

Includes a small part of New Mexico along its northern border, and
terminates at the southern end of the Sangre de Cristo Range (north of
Glorleta Mesa).
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V^..- Physiographic Divisions

4' ^ C—Basin and Range Plateau
\' A—Southern Rocky
Cl —Mexican Highland Section
Mountain Province C2—Sacramento Section
B—Intermontane Plateau D—Great Plains Province
B1—Navajo Section 01—Raton Section
B2—Oatil Section 02—High Plains Section
03—Pecos Valley
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TEMPERATURE
Exposure and the lay of the land has great effects on temperatures.
Santa Fe lies in the Northcentral part of New^Mexico. It is surrounded
by the Southern Rocky Mountains with the Sangre De Cristo Peak to the
north and the east. When the sun passes over to the west flank of the
Sangre Peak, casting a shadow on the east, the air on the west warms
considerably.
July is normally the warmest month in Santa Fe and January the

coldest. Temperatures vary little during the summer and greatly during
the winter. This is because of the frequent storms and cold air which
are pushed into Santa Fe during the winter months. During the summer
months, the mountains block most of the showers moving into Santa Fe.
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PRECIPITATION
There are three major sources of moisture in New Mexico: the

northwest winds which bring moisture from the Pacific Ocean during the
winter, the southwest winds that bring showers to Southwest New Mexico,
and the Gulf of Mexico which is the major moisture source for the state.
During the spring and the summer, the rainiest months, the state re-
ceives most of its moisture from southeasterly and southerly winds from
the Gulf.
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FROST CONDITIONS
The most influential factors in Santa Fe's length of frost-free

seasons is the local wind condition and terrain or topography. Santa Fe
lies in a basin which blocks wind flow and allows the more dense cold
air to settle in lower areas, which increases the severity of the frost.
This physical property often causes frost: damage in low-lying areas
while plants in higher areas escape damage.
froat condWon*
T - l,,.-S,
SOILS
The five orders of soil in New Mexico are Andisols, Mollisols,

Entisols, Inceptisols and Alflsols. Santa Fe is dominated by Entisols.
Entisols have very little noticeable horizon development because they
are too young. Entisols support plant growth, but they do not biologi-
cally weather as other soil orders.
VEGETATION
Within the borders of New Mexico, ten major types of natural

vegetation can be found. Santa Fe is located in the Southern region of
the Western forest, in an area known as Juniper Pinyon Woodland.
Common Trees
Deciduous Conifers
Elm Pinyon Pine

Maple White Pine
Birch Red Cedar
Fruit Trees White Cedar
Fir
Common Grasses
Alkali Sudan
Blue Gramma Bermuda
Black Gramma Buffalo
Sand Rhodes
Smooth Brome Weeping Love
V9«<attoo
VERTEBRATE FOSSIL AND PALEINDIAN SITES
Fossils as old as 500 million years are present in sedimentary

rocks exposed over most of New Mexico. The following map displays the
following known vertebrate fossil distributions in New Mexico: Paleo-
zoic sites (600 to 230 million years old) , Mesozoic sites (230 to 65
million years old), and Cenozoic sites (65 to 1 million years old).
Santa Fe is located in a Cenozoic vertebrate fossil site.
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References
McAllister, Williams, New Mexico in Maps, University of New Mexico

Press, Albuquerque, 1979, pp. 1-27.
SPACE SUMMARY
SPACE SUMMARY 26
SPACE SUMMARY
The space summary consists of a listing of all spaces in the

facility, square feet per person, and the total square feet for the
facility.
Residence Sq.ft./Person # People Totals
Garage 575 sq.ft.

Entry 20 sq.ft. 4-10 200
Living 25 sq.ft. 2-20 500
Dining 15 sq.ft. 2-20 300
Recreation/Entertainment 25 sq.ft. 2-20 500
Kitchen 3 250
Master Bedroom 2 500
Master Bath 2 200
Guest Bedroom 2 350
Guest Bedroom 2 350
Guest Bath 2-4 200
Bedroom 1 350
Bath 1-2 200
Study 100 sq.ft. 4 400
Personal Storage 500
Total Net 5,725 sq.ft.
Studio Sq.ft./Person # People Tota Is
Studio 125 sq.ft. 4 500 sq.ft.

Storage 300
Bathroom 200
Gallery Sq.ft./Person // People Totals
Entry 20 sq.ft. 10-20 200 sq.ft.

Art Display 75 sq.ft. 20 1,500
Restroom 200
Bar 100
FACILITY TOTAL 8,725 sq. ft

ACTIVITY LIST
ACTIVITY LIST 28
ACTIVITY LIST
Residence
Entry
Food Preparation
Eating
Cleaning
Studies
Recreation/Entertainment
Bathing/Washing
Dressing
Sleeping
Studio
Art Works
Cleaning
Thinking
Studying
Gallery
Entry
Entertaining
Displaying Art
ACTIVITY/SPACE ANALYSIS
ACTIVITY/SPACE ANALYSIS 30
ACTIVITY/SPACE ANALYSIS
Food Preparation
— Large efficient kitchen with the capacity to serve both small and
large groups.
— All major appliances (stove-oven, sink, and refrigerator) located in
a convenience triangle.
— Gas appliances would be preferred over electric due to economy.
— Food and utensil storage will be located in the food preparation area
on accessible adjustable shelving.
— Ceramic tile and wood will be used for interior kitchen finishes.
— Visual control of adjoining rooms should be maintained.
— Private exterior views.
Eating
— There will be two specific eating areas located in the residence—one

for informal dining, and one for formal dining.
— The eating areas should be visually separate from the food prepara-
tion area, but on the same elevation.
— Seating for one to eight people will be required in the informal
area. Seating for one to twenty people will be required in the
formal area for entertainment purposes.
— Storage should be provided in both of these areas for display of
utensils (china, silver, linens, and furniture).
Studies
— A study will be required where books may be stored and read.

— This room should be quiet and secluded in which one may read and
think. It should be personal in nature and accessible to as many as
four people at any one time.
— Space for 100 books is required with room for future growth.
— Spaces for hanging and displaying artwork are desired here.
Cleaning
— A cleaning closet will be provided.

— This area will provide storage for laundry, ironing, and storage of
cleaning supplies (brooms, mops, chemicals, vacuum, etc.).
— A utility sink would also be desirable.
Recreation and Entertainment
— This area will become one big multi-purpose area that can be totally
flexible.
— This area will be used for both private and non-private entertaining,
the number usually does not exceed twenty people.
— Storage and preparation space for liquor should be located in this
area.
— Storage for visual and audio equipment—either built in or moveable.
— Accommodations should be made for displaying paintings, drawings,
sculptures, and pottery.
Bathing and Washing
Master Bath
— This should be a very private and personal space.

— A great deal of time is spent here, so it should be spacious and
luxurious.
— Separate areas of lavatories, mirrors, and medicine chests, as
well as a walk in shower, sauna, and tub are desired.
— Several full-length mirrors will be provided, as well as storage
for two dozen towels, wash clothes, soap, etc., will be easily
accessible to the bathing area.
Baths
— These two baths will be connected to the remaining four sleeping

areas.
— They will be scaled down versions of the master bath excluding
the sauna.
Dressing
— Dressing areas separate yet directly connected to the bath and

sleeping areas is desired.
— Approximately 15 to 20 feet for hanging and storage space.
~ Storage for shoes (his/hers) under socks, etc., should also be in
this area.
~ Coats and heavy clothing will be stored at the entry of the house.
— A bench will be provided for sitting.
Sleeping
Master Bedroom
— Not much time will be spent in the bedroom. This area will not
be a sitting room.
— Accommodations for watching TV and reading will be needed.
— Storage for magazines and a few books should be provided.
— Bed linens and blankets will be stored in this general area.
— Space for a king-size bed and furnishings should be provided
with plenty of walking space.
— Wall area for paintings and artwork should be provided.
— The degree of light and sound should be controllable.
Bedrooms
— Two separate bedrooms will be provided for children.

— Storage for books and toys should be provided.
— These two rooms may be joined by an activity or craft room.
— Each room will contain room for a full-size bed and furnishings.
— This will be an area of sleeping and also an area for entertain-
ing friends.
— Storage should be provided for linens.
Guest Rooms
— Two guest rooms are provided for visiting and studying artists.
— These two rooms will be scaled down versions of the master
bedroom.
— Space for full-size beds and storage of suitcases will be
provided.
Studio
— A great deal of time will be spent in this area.

— Activities that will take place will include drawing, painting,
sculpting, building, slide viewing, thinking, teaching, etc.
— Light and flexible space are the two most important factors.
— This space should be integrated with the out-of-doors, its scenery
and vegetation.
— This space will accommodate up to four people (teacher and students
or guests).
— The studio shall be separate, but close to the residence in order to
create a sense of isolation. They may be connected by an arcade,
breezeway, etc.
— This area should not be elaborate.
— An abundance of openings are desired.
~ Both natural and artificial light will be used to create a balance in
color.
— Variated ceiling heights may be needed to accommodate different
artistic processes.
— Areas for personal evaluation and observation of drawings and paint-
ings will be required.
— Durable walls with abundant light are needed for viewing work.
— An area for siting and talking will be required.
— Drawing tables and chair for up to four people should be provided.
— Storage space for paintings (hanging racks) should be provided.
— Flat bed lockers should be provided for storage of drawings and
materials.
— A lavatory and coimnode are desired in close vanity.
— Two or three multiple easels should be provided for painting.
— Work tables should be provided for building, cutting matts and
frames, sculpting, etc.
— A palate table is necessary.
— Large sinks with hot and cold water should be available.
— Inside storage should be provided for all small materials and tools.
— Exterior storage should be provided for wood and larger materials.
— A separate secure area should be provided for storage of flammable
materials and rags.
— Shelves will be needed for displaying purposes.
— Space will be provided for power tools and tables.
— Provisions must be made for disposal of large amounts of trash.
— A sound system may be required.
— The walls should be soft and light in color. Every inch that is not
a window should be usable.
— The floor should be durable and easy to clean.
— The studio needs an opening large enough for a car to drive into in
order to unload materials.
— Provisions should be made for exterior parking of two to three cars.
— This space will not be designed for any particular artistic func-
tions, but it will appear aesthetically complete.
Gallery
— A gallery situation will be considered for viewing and displaying two

and three dimensional art.
— This gallery will be cooperative.
— A small office will be provided with a desk for writing and typing,
files for storage will also be provided.
— The gallery will be both adjacent to the residence and the studio.
— The interior walls will be neutral because this color does not
compete with the work.
~ Hanging space should be flexible, at eye level, and versatile.
— Large areas for large works and intimate areas for smaller works are
required.
— A durable and flexible lighting system is needed.
~ Natural light should be filtered or directed away from paintings so
as not to destroy painting surfaces.
Entry
— Two main entrances will be required—one for the residence and one
for the gallery.
Residence
— The residence entrance should be large enough to greet all

guests and visitors.
— One should be able to see out without opening the door.
— A storage closet should be provided for coats.
Gallery
— The gallery entrance should be large enough to accommodate up to

20 people (a small lobby).
— The entry area should allow space for coat storage.
— Some flexible seating should be provided.
— A wet bar may be provided for entertaining purposes.
General
— Santa Fe offers many breathtaking views throughout the seasons, so it

is important that these views be incorporated into the design of the
residence.
— Indoor-outdoor spaces are also very important in order to convey the
reaction of various components of nature.
ECONOMICAL ANALYSIS
RESIDENTIAL COST ESTIMATES
Class of Construction Luxury
Residence Type One Story
Configuration Detached
Occupancy One Story
Exterior Wall System Adobe
Living Area (Main Building) 4,250 sq. ft.
Living Area (Studio) 1,000 sq. ft.
Living Area (Gallery) 2,000 sq. ft.
Main Building Cost/sq. ft. of Living Area

Cost per sq. ft. of living $ 69.60
Roof cover adjustment: adobe 3.65
Central air conditioning: heating ducts 2.30
Heating system adjustment: hot water 2.55
Adjusted Cost per sq. ft. of Living Area $ 78.10
Main Building Total Cost: $78.10 x 4,250 sq. ft. = $331,925.00
Studio Area Cost/sq. ft. of Living Area

Adjusted Cost per sq. ft. of Studio Area $ 80.20
Studio Area Total Coat: $80.20 x 1,000 sq. ft. = $ 80,200.00

Gallery Building Cost/sq. ft. of Living Area

Adjusted Cost per sq. ft. of Studio Area $ 78.10
Gallery Building Total Cost: $78.10 x 2,000 sq. ft. = $156,200
Building Total Cost per sq. ft. $ 78.10
Building Total Cost $568,325.00
Building Adjusted Cost Total Cost
Additional Bathrooms: 2 full baths $ 7,540.00
Breezeway: opened 3,660.00
Covered Porch: opened 6,540.00
Fireplace: exterior chimney 2,280.00
Appliances 13,555.00
Kitchen Cabinets 1,520.00
2 Car Garage 4.430.00
Miscellaneous 4.000.00
Adjusted Cost Total $ 43,525.00
Adjusted Cost $ 43,525.00

Replacement Cost Total Cost
Site Improvement
Paving and Sidewalk $ 1.500.00

Landscaping 4,000.00
Fences 1.075.00
Swimming Pool 8.850.00
Miscellaneous 500.00
Total Site Improvements 15.925.00
Location Factor: Sante Fe, New Mexico X 0.86
Location Replacement Cost $539,886.50
Depreciation (20 Years) $ 44,250.00
Local Depreciation Cost $495,636.50
Reference
Means Square Foot Costs Residential Commercial Industrial Institutional

1988, 9th Annual Edition. R. S. Means Company, Inc., Construction
Consultants and Publishers, 1987.
CASE STUDIES
CASE STUDIES 40
Frank Lloyd Wright's Pottery House, Santa Fe, New Mexico
Frank Lloyd Wright
Description/Analysis
Between 1939 and 1942, Wright drew up plans of an adobe house for a
client in El Paso, Texas, but because of World War II and the death of
the client, the home was not built. Several years ago a developer from
Santa Fe, New Mexico, bought Wright's adobe house design from the Frank
Lloyd Wright Foundation. The developer took the design and proceeded to
build the home in the foothills of Santa Fe. The home was completed,
with a few modifications, in 1984.
In his design. Wright took full advantage of the sculptured prop-

erties of adobe construction. The outside walls, which are shaped like
the two intersecting hemispheres of a pot, contain arched, curved, and
avoid shaped windows that have been sculpted into the adobe. The window
shapes reflect the hills and mountains located around the site. Sculpt-
ed adobe buttresses are used to support the walls. All interior and
exterior surfaces seem to curve and swell, reminiscent of the New Mexico
landscape. Because the house is so perfectly adapted to the medium, it
is hard to imagine it constructed of anything except adobe.
References
Douglas Preston, "Building with Mud Signifies Success in the

Southwest," Smithsonian, November 1989, pp. 145-154.
Îbid., pp. 145-154.

CASE STUDIES 41
CASE STUDIES 42
CASE STUDIES 43
The New Mexico Adobe of Nathaniel and Margaret Owings, New Mexico
Nathaniel and Margaret Owings
Margaret Owings, wife of Nathaniel Owings (Skidmore, Owings, and

Merrill), is an artist in a variety of media. In 1956, she and her
husband began construction on an art studio nearby their ranch in New
Mexico. The art studio, which eventually grew to include a main house
and several high walled courtyards, is made mainly from adobe.
The Owings' house only deviation from traditional adobe construc-

tion is the use of skylights and wood flooring. The skylights are long,
narrow slots placed along the walls of several rooms, so that they throw
a brilliant wash of light across the walls. The light dramatically
highlights whatever is being displayed on the wall. Only one wall in
the house has been painted over, all of the others have been left the
color of adobe and naturally textured by the straw used in the bricks.
The wood floors are planks salvaged from barns and other structures.
The Owingses made a hobby of collecting old wood which they used
not just on the floors, but on the ceilings, doors, window facings, and
the shutters of their adobe home. The stockpile of different woods
mixed with the adobe bricks provided a textural richness to the house.
The overall curved form of the studio and house seem to blend
easily with the sculpted natural forms of Northern New Mexico. The
design appears very successful because it does not compete with the
landscape, but rather accepts it and becomes a part of it.
References
Sohn Beach. "In Partnership with Nature," Architectural Digest,

August 1985, p. 78.
Ibid., p. 150.
CASE STUDIES 44
CASE STUDIES 45
ARCHITECTURE
BY NATHANIEL A OWINGS
TEXT BY JOHN BEACH
PHOTOGRAPHY BY TERRY HUSEBYE
CASE STUDIES 46
ABOVE Artist Mar);arel Owings

reciils how she and her husband
gathered a main structural ingrfdicnl
when building their compound: "We
collected old wixxi—going out in
our truck to the mountjin villages."
OPiHJSiTE A pot-bellied stove, placed
against an unsurlaced adobe wall si'pa-
rating the kitchen and living roi>m, can
warm the main house—which has 25-
inch-thick walls—even in zero-degree
weather. The cabinet diK>r under the
hreplace (lelt) is made ot WIHHJ the
couple pieced together AIKA I- I H T Other
works from their lolk art collection, in-
cluding a tin-covered church lectern
and a carved and painted cow, hnd a sun-
washed space in the living rix)m, along
with a large 19th<enturv grain chest
LEFT A wooden door with a spindle-dec-
orated transom frames a metal rixjster the
Owingses found on a trip to Pans.
CASE STUDIES 47
The Tesuque House, Tesuque, New Mexico
Antonine Predock. FAIA
It is very difficult to call Antoine Predock a true regionalist.

because he uses regional idioms as only a bases to which he adds sur-
prising types of architecture. His house in Tesuque. New Mexico, offers
just such an example of Predoct's regional-nonregional architecture.
At first appearance, the house looks like a typical New Mexico

adobe—short and massive, wood beams and small square windows—but upon
further investigation one finds inventive departures from familiar adobe
prototypes. The house is very long and narrow, and it does not have the
traditional courtyards. Part of the roof is pitched instead of the
familiar flat. The windows appear small, yet combined with large
expanses of glass are able to open the interior spaces. This house most
definitely resembles a pueblo-style house that has been artfully
abstracted and extruded.
The Tesuque house emphasizes the site dramatically. It sits on a

long open ridge offering spectacular views of Los Alamos and the Sangre
de Cristo Mountains. The house appears to be very fitting in its
context, but it also clearly transcends local and regional conventions.
"It is rich in subtle tensions—between sun and shadow, formality and
informality, openness and enclosure." Through this house, Predock was
able to introduce enough turns and divisions to make the architecture
"fresh and provocative."
References
Mavid Dillion, "But With Many Inventive Twists," Architecture,

July 1988.
CASE STUDIES 48
1 Living room
2 Alcov* (untxiitt)
3 LiOrary/txr
4 Greenhouse
b Second tMdroom
6 Laundry
7 Tnird Dedroom (untMilt)
8 Dining room
9 Kilcnen
10 Garage
11 Master beOmom
12 Study
CASE STUDIES 49
CASE STUDIES 50
CASE STUDIES 51
CASE STUDIES 52
4
CASE STUDIES 53
Dar al-Islam Foundation Village project near Aliquiu, New Mexico, in the
Chama River Valley
Hassan Fathy
The Chama River Valley in New Mexico shares many geographic,

climatic, and cultural characteristics with the major Islamic groups of
this world. It also shares a history of mud brick architecture. The
Indians of New Mexico had learned the tradition of poored earth archi-
tecture from Spanish settlers, who had learned the technology from the
Moroccans, who had learned it from the Arabs. The only forms of adobe
architecture that did not survive in the Southwest were the knowledge of
brick vault and dome construction.
In the 1970s, two square miles of land was purchased in the Chama
River Valley of New Mexico by the late King Khalid of Saudi Arabia. The
Egyptian Foundation, Dar al-Islam, gained possession of the land in 1980
and proceeded to conceive an agrarian and craftmaking village for
approximately 100 Moslim families. The community included a place of
worship, a school, housing, shops, small industry, and an agriculture
facility. Dr. Hassan Fathy, a prominent Egyptian architect, agreed to
be the master planner for Dar al-Islam. Dr. Fathy, deeply committed to
innovative ideas in appropriate architecture, was enthusiastic about
building in the Santa Fe area because Santa Fe is the foremost area for
Southwestern adobe architecture, which is an "evolving technology
responsive to human values."
Fathy designed the village with reflections of traditional Islamic
customs in plan, form, and detail. Under the guidance of Dr. Fathy and
two skilled Nubian builders, the entire community was constructed using
ancient building techniques and materials (mud, straw, water).
Dr. Fathy believes that in our present age, the art of ancient
techniques has been lost. He also believes that building is no longer
an act of cooperation between the Master Craftsman and Apprentices, it
is now referred to as Architect-Contractor-Laborer. In other words,
knowledge has been replaced by machine and the result is buildings in
which the arbitrary outweighs the important and sacred.
There are very few master builders practicing in our time, and
perhaps Dr. Fathy is the only one working with the material earth. At
the age of 82, he still works out of the upper floors of a sixteenth-
century Mamluk townhouse in Cairo, Egypt. Through his persistence in
teaching others and the introduction of ancient Egyptian building
techniques to the Southwest United States, Hassan Fathy is revitalizing
traditional Islamic crafts responsive to human values.
CASE STUDIES 54
Construction
The first priority was for the construction of a place of worship

(a masjid). The methods of constructing the masjid were very similar to
those used by the Middle East. The only differences occurred in the
domes and vaults. Other differences involved the use of labor-saving
devices, such as cement truck mixers instead of hand mixers, and fort
lifts rather than human labor.
The Bricks
In the masjid, three sizes of bricks were used, standard New Mexico
brick, and two sizes of Middle East brick for the domes and vaults.
Middle East adobe bricks were used because their smaller size allowed
brick layers to articulate better curves in domes and vaults. The
bricks also reduced the weight of the "green" courses of the domes and
vaults.
Reference
Durkee, Adbolla Nuridin. "Hassan Fathy in New Mexico," via 7.

Ed. Paula Behrens and Anthony Fisher, Architectural Journal of Graduate
School of Fine Arts. University of Penn and MIT Press, 1980, pp. 72-88.
CASE STUDIES 55
^^ktJLZ
J'mliiilh loiiildrird inasjid. Willi jminlrd mill m'ri rnlimnr

(Irjl) and Sa-smiid dmnr jimikrd liy lalniaiy .'anils inmkin,' llir
jiiayri liall (iif^lil).
PC
•LW
II
.V7A-*j^- ;t*-r
l.nmldrtrd inas/id. sliiiwiiif^ (rrslint^ alnix'r rnliaiirr and Innk Ila.vsmi l-iilliy's iiinslri jdmi jm llir i miijilrlrd I
rlaii\liawmk in windnw njiriiiii^.s. liii^r. Masjid and nllinlird iiiadirssn mr nl Irjl.
'•'fci. * « i ' •• *et:JkJllJ HlMMlMlClJ

TT::r;rrrx::i.LJ i-
^ ^TU::U::J;IT";, i
um^ i::mT:x:xTt u T.IT:x:> r-

.A.i:ij;i;xix:xii.4.i'sx!Xii;i... e:
BfeB-'^
1^:^ £-^/, i^ far—^—ri—•—f^ S-: t: t:
i I liiiil
I'Imi nj villai^r rnilri nl Dm nl-lslmii. Miidirssii and rmii-

jArlril ina.sjid (mimlrd In Miil.ka) mr nl Irjl.
CASE STUDIES 56
^sSS^f-t^
'«fW.T.«*i.:,
Xmllira.sl .nail nj iiias/id. Qildali niinilrd In.nini MaJdm jim-

•ilidr.s /loin wall lirl.iw Sassanid dmnr nj Jmiyrr hail.
» ,'\rii(il i'lr.ii nj cmiijdrird masjid mid iniii irlr jn.inilalnnis nj

iiiadirssa.
CASE STUDIES 57
liasii liinis and liiiiLs iisrd in adnlir i misli iirlinii. I'.ilr anil
sink iisril jni layiiii^ mil lailins nj li\..miliiir dmnr mr slinwii al liiji:
Iliirr Innk sius n\rd mr. jiniii li jl In iii:,lil: llir jliil I'i^yjilimi sl\lr
Innk ii.sril jm nanlls mid dmiirs; a lait^ri k i^yjilimi Innk iisnl j.n
.t'lills^ and llir slaiidiinl .Sniilliwrslri n mlnlir iisril jm .rails. .\l linl-
Imii mr Innis iiiadr nj iiirliil lalli mi .I'linil. nsrd jm sliiijiiinj^ Iniiks
and an Ill's.
Mixiiifi mud jm inmlm iliiiiiii^ nnisjiil i misliin limi.
^\s^.,J^
.\Uid,rs.sa midri i nnslini linn. Willi .mils imnjilrlrd iiji In

sjiiiii'^ jiniiil nj an Ill's. .Masjid slnni'ii lr\nnd.
CASE STUDIES 58
I'lywniid/nniLs nsrd in imislinilinn nj 1 i jininird milirs.
(ilila.i'iiy iliawiiii^ nj Alnijliiil masjid slni.nn^ llir liasn lyjirs nj

rmisli III linn llir J . i jininird mill (I): llir lalrnaiy .'mill {2i: llir
liyzanlinr dmnr (>) i niisliiiiIrd mi jirndrnli.'rs (/). mid llir
Sas.smiid dmnr ( 5 ) imisliin Ird mi sijiiiinlirs (h). .\lsn slin.rn mr
iiiiij ciiiLsli III linn (7), wiiiid lalliir (.S) lirlwrrii inlrnin sjiairs. mid
buck ilmisliawmk in nj/niiiii^s In llir niilsnlr f'J).
CASE STUDIES 59
"V . > ^ . ^ >
v..*---
i^:;:-^
(.niisli uriimi nj a jn'iidrnli.'r.
(.iinslnii lain nj masjid. I'tiinlrd milirs in jnn f^mmid j.nni

liasr jm liy~milinr dmnr. Sijiiiinlirs midri imishmlimi in Innk-
lîiimid jm III bii.sr jm Snssmiid dmnr.
BUILDING PERFORMANCE CRITERIA
BUILDING PERFORMANCE CRITERIA
The following criteria is associated with the specific concerns

which relate to the user satisfaction and design effectiveness of the
building. This criteria should apply to the following systems: struc-
tural, mechanical, electrical, lighting, acoustics, water system,
communication, and fire protection.
Structure
— The building will conform to all fire codes sited in the U.B.C.
— The structure will be suited to resist various wind loads from the
mountains.
— The structural system will not interfere with the mechanical, elec-
trical, and plumbing systems.
— Clear spans will be used in the studio and gallery in order to create
larger spaces.
Mechanical
— The mechanical system will be comprised of heating, cooling, and

ventilation.
1. Heating will be accomplished through the use of new formal
possibilities of passive energy offered by thick adobe walls, and
the combined use of open central courtyards.
— This system is to overcome heat lost and infiltration due to
winter weather.
— The kitchen will generate heat from the oven and stove.
— A fireplace will also provide sufficient amounts of heat.
2. Cooling will be accomplished by the new formal possibilities

offered by passive energy, courtyards, and a cooling tower.
3. Ventilation will be provided naturally and mechanically.
Electrical
— All electrical components will comply to the National Electric Code

(N.E.C.), which is a division of the National Fire Protection Asso-
ciation (N.F.P.A.).
— All service lines will be underground in order to provide reliabil-
ity, long life, and to preserve the natural quality of the site.
— Interior walls will be provided with U O volt outlets.
— Shop areas, laundry room, sauna, swimming pool equipment and the
kitchen will be provided with 110v/220v outlets wherever necessary.
Lighting
— Natural light should be utilized during daylight hours in order to

reduce electrical loads.
— Diffused natural light will be used in the gallery in order not to
destroy paintings.
— Artificial and accent lighting will be used during evening hours.
Acoustics
— The exterior walls should be designed to minimize outside noises.

— The library should be designed to minimize noises from within the
residence.
Communication
— Telephone service will be provided by Mountain Bell.

— An innercom system will be provided throughout the residence, and it
will also be connected with the studio and the gallery.
— A separate line will be provided for the office in the gallery.
Water System
— Water will be provided by the Santa Fe Water System.

— A water pressure level of 50 to 70 psi will be adequate to operate
all equipment.
— All plumbing pipe, fittings, and fixtures will conform to the Nation-
al Standard Plumbing Code.
— Shut off valves will be provided for all plumbing fixtures.
Fire Protection
— The National Fire Protection Association Standards will be used as a

guideline for planning consideration.
a. Structural members will have a 1-hour fire rating.
b. Automatic sprinklers will be utilized in the gallery.
c. Smoke and heat detectors will be provided in all areas
References
El-Farouk.
2
Kathryn Kent.
3
McGuinness, Stein, Reynolds, Mechanical and Electrical Equipment
for Buildings (New York: John Wiley and Sons, 1980), p. 585.
4
International Conference of Building Officials, Uniform Building
Code (Whittier, CA: 1982), p. 63).
BIBLIOGRAPHY 64
BIBLIOGRAPHY
Books
Chiara, Joseph. Time Saver Standards for Residential Development. New

York: McGraw-Hill Book Company, 1984.
Fathym Hassan. Architecture for the Poor. Chicago: The University of

Chlcage Press, 1969.
Farthy, Hassan. Natural Energy and Vernacular Architecture. Chicago:

The University of Chlcage Press, 1969.
McAllister, Williams. New Mexico In Maps. Albuquerque, NM: University

of New Mexico Press, 1979.
Metzger, Stephen. New Mexico Handbook. Moon Publications, Inc., 1989.
Steel, James. Architectural Monographs Hassan Fathy. Academy

Editions/St. Martins Press, 1988.
Sturm, Fred. Pueblo Style and Regional Architecture. Van Norstand

Reinhold. 1990.
Magazines
Beach. John. "In Partnership with Nature." Architectural Digest. August

1985.
Dillion, David. "But With Many Inventive Twists," Architecture, July

1988.
Durkee, Abdullah Nuridin. "Hassan Fathy in New Mexico," Via 7. Ed.

Paula Behrers and Anthony Fisher, Architectural Journal of the
Graduate School of Fine Arts, University of Pennsylvania and the MIT
Press, 1988.
El-Frook, Omar, et al. "Climate Study of Traditional Buildings, Cairo."

The Third Word Studins Unit, Architectural Association of
Architecture, Lindon, 1973.
Freeman, Allen. "Five Volumes Strong Along a Hillside," Architecture,

July 1987.
BIBLIOGRAPHY 65
Kent, Kathryn. "Unpublished findings on the use of coding towers for
natural ventilation." Environments Research Laboratory, University
of Arizona, Phoenix. Arizona. July 1988.
Preston. Douglas. "Building with Mud Signifies Success in the

Southwest." Smithsonian. November 1989.
Stover. Dawn. "Cool House for a Hot Climate." Popular Science, August
1989.
IXXTDMIiNTATlON
AIOJST 1..^,, 1990
AN MX)m IKM\E AND GAlilil'TUy VOU AN Aim^.T AND

HIS FAMILY IN SAWJ-K FR, NI-^W Hl-Xia)
r--c.-ivn''?+^'^'^""'^ . •'^' ^'"'•-'^'^ s t r u c t m - e which explore:! tiie new foriral

•j""/ ^ -^ -*" '-'^ P'-i-".-slve enere^/ tliroi.igh coiu'tvc-irds, now r.treiwt-iieniiw
fiarraxi..nves, a i d t h e ijse of r e s i d e n t i a l coolinw tc->wer?^ y.•=^•y. tlie 1-vM-;ir; for
rrij' p)-o,tiT.Hiij and uiy t}-ie.sis.
Pro^rariimLng atid t h e a c t i i r a l tiesign of t h e adote s t u d i o . g a J l e r y and

toi.j.-;e proveti t o by very different,. The program .served as a gooil bask
and . s t a r t i n g prjint. but i t 3 u.se f e l l tc. t h e .?lde a.-, t b - desig-n prcx-es.s
tegan to b!>oorrft nm-e and rrore indepth.
T b-egan rr^' defiien proce,'3.s by addre.ssing tlie foi.u: rr>ajor goals and
ob.ie<jtive.s st.ated a t t h e têgirming of tM.s dcx-i.irifcnt. Fii-st I chyrjsQ
v a r i o u s adrnixtLU'e.?,, .such a.s ct-jncrete and wocx:! which could te added i n
o r d e r t o upgrade, and strengtlien t h e rrud brick .structure.
After d e c i d i n g on t h i various adrnixtiu-es I tegan t o experiment

with t h e forrrvaJ. de;.ii8ri p:)S.?o.bilities of pris.sive enenTv. Two c e n t r a l
courtyard-s a r e used i n t h e desigi'i i.n oirler tx") -cool t h e galJ.ery. Tlie
(iionrtyard on t h e .-ioutljeastern end i s landscaped in cvrder tcj c'xA.
incoriii.n.g -sout.Vjrv'i.y t c r l y breese-s. The nortViwest/rî-n court.yaixl i s u-nvei.!
witli. Concrete t i l e s i n order t/.i <?.ausi.H a form of convection whi.tjli woulcl
draw tlie OCT)J a i r from tlie landscaped (:;oui'tyard uiiderneath Lfie / / a l l e r y .
thus ooti'ling t.te g a l l e r y nabi.u-ally.
A t h i r d aspec-t wldch was addres.sed i n t h e design of t h e adolre

hoi.ise was f:,te use of iiew and forrrjal pv'ssibiiit.ies of re.-ijidential ci^.'olirig"
tAjwers. The t h r e e towers located on t h e soui-heastern end of t h e s t u d i o ,
.gallery, arid house a r e u.sed as a i r i n t a k e s . TVie t h r e e 1:owe].'s on t t e
nc>}'thwe3tye.rn ends of t h e t h r e e u n i t s a r e usexi. as a i r o u t l e t s . Tte
towt^T's ope.rat,<:; on n a t u r a l vent j J a t ic^n. The o u t l e t tower.^ a r e t h i n n e r
and fie.ît i.jp riore qi.ji.ckly i n order tA.) c.:iuse convention t,x:> cjctîjr. Tl»c-.
convection (Venti.uivi e f f e c t ) draws c x i l a i r in tte- intake towi-rs and
tjlrcvilales i t throi.igho.j.i.. tlie stui'lio, gc^llery, .'uid teuse relcâsing i t by
way cif t h e oil H e L tcjwei'S.
Over a l l .1 fee.l tliat I addressed an obtained the gi;:.a.ls I s e t for

rij^T.eJf a t tlie beginning of t h i s p r o j e c t . As usual irore tirrr^ would liave
hieen t/j rny advant'ige, liul, one rriust s t o p designing a t some tiirn^ in order
1x) corripl(--te. If tiri>^ liad not teen a considering Pactor I would liav-^.
bikîd t o addressed t h e i n b i r i o i ' S of my projet^t a t a rnucli greater- (jxtont.
r wcji.ild have a l s o l i k e d t o sperid rrore tirre designing t t e srrall d e t a i l s
w[ii»::}i W(.)uld have given rrf.' buLldi.rig a iiore ijiiique q u a l i t y .
Through rriy da-;igti I would l i k e t o b r i n g a t t e n t i o n t o i n d i v i d u a l s

al.>"'ut the pre.iudi(.:e3 t h a t e x i s t t-'^wards e a r t h a-rchitc^cturt! and t t e uses
!.f n a t u r a l v-.^ntblation. fiV.irth architet-.ture has teen one of riost b a s i c
'm-Lding rraterials since t t e bjeginning of tirrie. I t is very v e r s a t i l e ,
adaptable, and lia.s great economic and theriral advantages. I would like
to s t r e s s to the public t t e effer:tivenes.s of eai'th construt^tlon and i t e
great e s t t e t i c a l p o s s i b i l i t i e s .
SCULPTOR'S ADOBE
STUDIO, GALLERY AND RESIDENCE

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STRUCTURAL PLAN AIR MOVEMENT
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EARTH ARCHITECTURE

Submitted to the Architecture Faculty

Chairman of the Committee

Programming Instructor (ARCH 4395): Professor Danny Nowak

Dean, Co^ege)of Ajxhitecture

at), |5 TABLE OF CONTENTS

LIST OF FIGURES ill

SANTE FE CAPITOL AND TOURISM 5

THE SETTING AND HISTORY 6

RESIDENTIAL COST ESTIMATES 36

BUILDING PERFORMANCE CRITERIA 60

1. Native American Settlements 7

3. Spanish Colonization 1598-1821 9

4. Mexican Control 1821-1846 10

5. Mexican Control 1821-1846 U

7. General Reference Map of New Mexico 15

10. Annual Temperature 18

11. Annual Precipitation 19

12. Frost Conditions 20

15. Vertebrate Fossil and Paleindian Sites 23

16. Vertebrate Fossil and Paleindian Sites 24

Architects have historically been faced with the problem of how to

Precisely, my goals and objectives in exploring new uses of this

1. To research and explore the recent formal possibilities offered

A. The Cinva Ram, in Colombia, South America, which has just

B. New admixtures that have been upgraded to strengthen mud

3. To explore the new formal possibilities of passive energy

4. To create interior and exterior spaces complimentary to the

A. By minimizing the external impact of physical changes on

B. By creating flexible spaces using local materials.

Without losing respect for creativity or the individual, I intend

Jean Dethier, "History, Present and Future of Earth Architecture,"

Kathryn Kent, "Unpublished Findings on the Use of Cooling Towers

The moment I saw the brilliant,

Santa Fe, a small town of 55.000, is located in what is known as

Santa Fe is the oldest capitol city in the United States. It was

1609-10 Founding of the Spanish Fortress La Villa Real de la Santa

1626 First missionaries came to Santa Fe

1692 Spanish regained control of Santa Fe and rebuilt the city

1714-1721 Catholic church was built

1821 Santa Fe becomes the Mexicans' seat of government for the

1862 Confederates take over

1878 Railroad spur enters into Santa Fe

1912 Santa Fe is the capitol of New Mexico, 47th State

native american settlements

o fartyWU ^ ^ . CuilwH aounaaiv

Spanish colonization 1598-1821

mexicon control 1821-1846

>«IIIIIM«II Mounl^n Biwtcli o< S«nU H Trail (1t31|

O w a ^ w M i Trail Ctmwron Cut-on 0< S M U M Trail ( 1 U 9

ChMMMAua TraM (ISM) •^•••— AfinyallMMMMItMl

mexican control 1821-1846

Mounlain BranoA o4 ( a n u F* Trail (1*21)

O M t p M t a n Tr«l Ctmwron Cul-0« ol Unu f* Trail l l U l t

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McAllister, Williams. New Mexico in Maps, University of New

Merzger, Stephen. New Mexico Handbook, Moon Publications, Inc.,

Santa Fe's underlying structure consists of long corridors and

Each of these design principles/themes are expressed through a

According to archaeologists, Indians began to settle in Santa Fe

Today, Santa Fe is covered with hundreds of ancient ruined houses

Constructed of adobe and other materials, these flat-topped build-

Santa Fe is located in the North Central part of New Mexico at

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