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Q: Can you talk about finding the site and how you originally decided to build a house in

Santa Barbara?

Barton Myers: Vicki and I were very happy living in the Hollywood Hills. We had an

extraordinary, circa 1928 house there, with great views over Los Angeles and the Hollywood

Bowl. But I wanted to do something myself, something new. It seemed like the timing was

good, and Vicki was very supportive of the idea. We had originally thought about building

something in Hawaii and had gone through the whole process of trying to find land there,

but we started thinking about the fact that it’s seven hours over, and we’d only get there a

couple of times a year, so it would have been a huge expenditure. Instead, we decided to

look in Santa Barbara, a place we could really live and still work in Los Angeles. (Fig. 1) All of

the houses I knew up here, particularly the George Washington Smith houses down in the

flats of Montecito, did a brilliant job of building walled gardens. When you’re in one of these

gardens, the hedges are so high that you have no idea there’s anybody else around. You only

see the mountains, or maybe a distant view of the ocean. We thought we would find one of

those kinds of sites, so I started thinking a lot about the idea of the wall and garden. I felt

that a lot of the contemporary architects here were too caught up in object-making, that

their buildings were very introverted, sculptural, and had lost the connection between

house and garden which is so special to California. The Modern movement was so influenced

by Japanese architecture. The Frank Lloyd Wright houses, Schindler’s Kings Road house,

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.

But the interesting sites tended to be high in the mountains, not in the flats where the

walled gardens were. (Fig. 2) When we found this site, I couldn’t believe it hadn’t sold. I was

so knocked out by it. One thing that was special was that the building platforms, the level

areas, are so contained by the walls of the canyon and the creek that your garden walls are

basically the mountainsides. (Fig. 3) It switches the relationship—the house becomes an

object within the garden.

Q: This site or area has particular concerns with fire risk. Was that something that you

had encountered before?

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:

HOUSE ANDSTUDIO AT TORO CANYON, MontecitoAn interview with Barton Myers by Suzanne Myers

House and Studio at Toro Canyon

Montecito, California

Design/Completion 1997/1999

Barton and Vicki Myers

40 acre mountain site

Family residence of 6,000 square feet in 4

structures; garage, guest house, main

residence, and studio/archive

Glass, steel, concrete, aluminum, water

The House at Toro Canyon is a residence sited in

a secluded mountain canyon in Montecito, with

panoramic views of the ocean and the Channel

Islands to the south and mountain peaks to the

north. A creek runs the length of the site, through

native oaks and rich ochre sandstone, forming a

serene Southern California landscape. The siting

strategy was to make a series of smaller, discrete

interventions, thus preserving and enhancing the

natural landscape of the site.

“To conserve the beauty of the landscape and save

its trees, Myers...decided to put his studio at the

top of the steep slope, a guest house and garage

below, and the main house on a level pad between.

Lofty steel-framed pavilions have roll-up segmented

glass doors opening onto terraces and roll-down

shutters to provide security when the owners are

away, to protect from brush fires, and screen the

sun. As an added safeguard and to insulate the

interiors from the heat of summer, each flat roof

serves as a shallow pool, containing water that is

re-circulated from uphill storage tanks. Nature

conditions the air, and a lap pool runs along the

edge of the guest house roof. ” [Michael Webb, on

the ‘Myers House’, in Brave New Houses: Adventures

in Southern California Living (2003)]

“The House at Toro Canyon is an ‘elegant warehouse’

in the tradition of Eames and early Barton Myers

houses. It builds upon the Southern California

tradition of seamless spatial integration of indoors

and out and continues Barton Myers’ explorations in

steel housing in which industrial materials are used

out of context; an emphasis first developed with the

Wolf House, and the earlier Myers Residence in

Toronto.” [‘Barton Myers: 3 Steel Houses,’ exhibition

press release, University Art Museum, University of

California, Santa Barbara (2001)]

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terrible threat of fire, erosion problems, unstable hills in many places, and earthquake.

These are real factors that you have to be very careful about. I approached the problem in a

couple of ways. Since the Malibu and Laguna Beach fires, the codes have been tightened

up. I had also heard about a UCLA thesis on building in fire zones, which turned out to be

very helpful. So, between looking at the new county requirements and the work at UCLA,

I had a good idea of what to do. First you have to reduce the amount of fuel. These canyons

burn at about 3000 degrees. You need to clear enough to reduce the heat to around 700–1000

degrees. Steel deforms at about 1400 degrees. There’s a catch-22 there, because as you clear,

if you’re not careful you can get into huge water run-off and erosion problems. Secondly,

you have to build out of non-combustible materials. You can use heavy timber. Wood is com-

bustible, but heavy timber will burn and char, which kind of protects it. You have to have

sprinklers, and I even looked at having exterior sprinklers on the building, but found that

wasn’t necessary. The codes encourage you to use highly reflective glass, but nobody wants

to put mirror glass up here. It’s just wrong for the area. The house has to have smoke

detectors, with notification to the fire department. On the large sites, you need to store

water for fire fighting. Those were the basic things. (Fig. 4)

So what I did was to take those ideas and try to incorporate them in a strong way. First, we

could reduce the fuel on the up-slope sides. We can’t touch the creek because that’s a

natural preserve. We hired a landscape consultant and worked out techniques to protect

from fire and erosion at the same time. For instance, the trees are widely spaced, so they

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 houses I obviously used steel, and wherever there were glass openings, I introduced

the rolling insulated fire shutter. The doors are manually operated, because of the risk of

power failure in a big fire. I can close the three structures in 20–30 minutes.

The other idea was the introduction of water. You have to have a roof that is non-

combustible. So I decided to do something quite extraordinary and put water on the roofs.

Obviously then they’re not going to burn, and they provide insulation. They’re beautiful as

reflecting ponds, but they also serve as water reservoirs. I was always concerned, because

the house is sited so that you constantly look down at the roof of the other buildings. So

the water solved that from an aesthetic point of view. (Fig. 5)

Q: How did you decide where to site the pavilions?

Barton Myers: The site is relatively steep—it’s probably a 20–25 percent grade—and there

had been two pads partially leveled. It became apparent that you couldn’t do one big house

structure. There is a height restriction here of 16 feet average from finished grade, so that

meant you couldn’t stack a two or three-story house up here. And then I was interested in

the idea that you could distribute the buildings among the trees. We’re in a forest of ancient

oaks, but the oaks seem to have survived the earlier fires fairly well. The pavilion idea

allowed me to set the houses within the oak trees, and not take any out. (Fig. 6)

I liked the idea of an Adirondack camp: you could have the main house, with the living

room, dining room, kitchen and the bedrooms isolated in separate buildings. The Santa

Barbara code won’t allow you to do that exactly. You have to have a climate-controlled,

heated connection from the living room/dining room/kitchen to the bedroom. That seemed

strange to me, because my favorite houses here are the old mission style homes, which had

wonderful courtyards and patios. You would go out of the living room along an open arcade

to your bedroom.

When we discovered this extraordinary site, the original idea of high walls and gardens sort

of vanished. I’d been aware of Persian gardens, which had beautiful high pavilions within

the garden, buildings which in the summer opened up, using big shade devices. I started

thinking more about this as a model for objects within the garden.

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

water on it, and I wanted to use that as a terrace on the next level for the main house. The

studio, which sits on the highest point of the site, is a library and workspace, officially an

archive building.

Q: The house feels very Japanese, even though the materials are primarily industrial.

How do those influences come in?

Barton Myers: The Japanese influences in the United States have primarily been in

California architecture, though certainly Frank Lloyd Wright was one of the great proponents

of Japanese work. On trips to Japan, I’ve been particularly inspired by the zen gardens of

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

are relatively bug-free in this part of the world, so without the mosquito problems you might

have in the east and south, we can keep the house open much of the time. I’d say that we are

open 75 percent of the time.

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

or the Air Force. Obviously I had a terrific experience building our own house at Berryman.

The Wolf house had been very successful, as well as other steel buildings we’d done. But I’m

also interested in reinforced concrete, because I think in many ways it’s the new adobe of

California: the idea of the mass of the wall, versus the laciness, the lightness of steel. (Fig. 9)

The play of those two is really great. I did a steel house studio with my students at UCLA,

and we started by doing a whole lot of research on the subject. When I say steel houses,

I mean houses in which steel is the dominant material that you see, the major expression.

There are a lot of houses—a lot of the Neutra houses for example—that are steel, but they’re

composite. The steel is not an architectural element. Even though the Crystal Palace of 1855

and the idea of cast iron and glass had affected the commercial world, it’s not until the 1920s

that architects really begin to discover steel for domestic use. The famous Chareau house,

which we talked about earlier, is the temple of steel. Then you have Mies, Philip Johnson and

so forth. It’s a beautiful material and it’s extraordinarily precise, which is nice, particularly in

this high, intense light where you get defined shadows. Another thing that’s interesting today

is that it’s a green material, in that most of the steel that we use in North America is made

from scrap metal, from automobiles. We make very little steel from ore now, so I like to think

of my house as being made of Ferraris, Maseratis, Fords and Cadillacs...

Q: Had you used the idea of the rolling garage doors before?

Barton Myers: I had. I’d been very interested in sectional doors and rolling garage doors.

I was looking for ways that you can quickly transform space. In Canada, even though you

have a cold winter, the summers are gorgeous, so we did a lot of experimentation with large,

beautiful, sectional doors. I did a restaurant in Toronto that had huge aluminum doors—they

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

none as much as this house. This must be one of the largest sales of sectional doors and

rolling shutters for a non-industrial project. There are 11 large sectional doors, and then there

must be 20 rolling steel shutters. At the end of the studio, the whole wall rolls up into a drum.

(Fig. 10) It’s really quite an amazing device. Some of these doors weigh over 1000 pounds.

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

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)

Another thing Vicki and I decided to do to control the cost was to act as the contractor

ourselves. I had a great cost estimator, so we had pretty good targets. We then could go

find local builders and hit all those targets. I hired a young contractor here who had no

experience with this type of work, but would help me manage the site and could help find

some of the trades. This turned out to be a very successful strategy.

Q: So which of the elements are prefab?

Barton Myers: All of the steel is in basically off-the-shelf standard shapes. You just order

the size that you want, and they cut it and weld it together. This is done in a plant, then

shipped out, and assembled on site. All the doors are standard doors. We modified some of

the hardware on them. For instance, in most garages, if you look at the way the sectional

door is done, the way the tracks are hung, it’s terrible. But by making my own brackets, and

the chain holders and all of those things, I can transform what is a pretty sloppy industrial

piece to a very beautiful industrial piece. (Fig. 12) The sliding doors are made by a wonderful

local company. They’re the highest doors that they would make, about a 12-foot slider. All

the bathroom fittings are simple fittings, off-the-shelf, as well as the hardware.

It’s basically catalogue housing. Toro Canyon is really stuff all out of the catalogue,

modified. A number of people have asked me if I would tell them where to find all these

parts, so they can build this house themselves, and you can almost do that. (Fig. 13) The

exception being that somebody then has to engineer the steel and do the foundations—the

soil is going to be so different depending on where you are if you’re in an earthquake zone;

this could almost be a catalogue house.

Q: What was challenging about building on the site?

Barton Myers: It was very challenging because it’s hard to bring the steel up here. There’s a

narrow road coming up Toro Canyon, and an even narrower road up to the site. (Fig. 14) They

had to deliver the steel and then offload it to a smaller truck and bring it up here. We also

built during one of the wettest winters, so pouring the concrete was a real problem for us.

You had to be careful not to create any erosion or water problems.

The hardest construction detail was probably the concrete. But they’re all hard. The concrete

was very, very difficult, because we didn’t have a guy with a lot of experience with concrete

finishes. And, because we weren’t here around the clock, there were sometimes things that

we could have caught earlier. But the general effect is that it’s very precise, it’s very

beautifully done. I think all architects probably are crazy about perfection, but you never

get it.

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Q: How did the house change through the design process?

Barton Myers: The idea of the buildings, the three tiers, was there from the beginning.

I went through a whole series of options in the section: do you slope the roofs to follow the

hillside? How do you step them? So, as you see in the section drawings, there are probably

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

a parallelogram, to make the entrance a little more dramatic as you come up, happened in

the design phase. The only big change as we were under construction was that the wall at

the end of the archives/studio was going to be drywall and steel stud with plaster outside,

and I was going to use it for hanging all my drawings. But, when I saw the site, I realized

I didn’t want to lose the view, so then I changed it to a rolling insulated shutter. (Fig. 15)

Once I drew the section of the site, and we began to position the buildings on it, I realized

by accident that one could line up the clerestories, and you could see right through two of

the three structures. We wanted the great ocean view, but also to look back into the

mountains. The proportions of the high clerestories give you the panoramic view, so you

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.

Q: Do you feel like you took a more environmental approach to this project, or was that

just a factor of the conditions?

Barton Myers: This was my first Californian house. Vicki and I both felt that this was a very

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

Californian, more agrarian, preserving as much of the beautiful landscape as possible.

Q: One thing that’s very special about the house is the color palette. Can you describe its

development?

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.

The green steel does not mimic the trees. It’s a green of its own, but works with oaks and

the other plants we have here. When the steel arrived, it had been treated with a special

kind of green primer that is used on oil rigs to prevent rust. The buildings looked so great

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

turned out to be extraordinarily warm. We didn’t color the floors, but the natural concrete is

also very warm. And then, once you add your books and rugs and things, the quality seems

much less industrial, more human than what you would imagine if you described the

house’s materials. The galvanized steel, which is matte, will age and become a pewter-like

charcoal gray. The only thing that will stay shiny is the aluminum. The surfaces are quite

muted and work very well together.

Q: From a distance when you look up the creek, the house disappears much more than

any of the other houses up here. It sits very low.

Barton Myers: Everybody, whether this is their cup of tea or not, almost universally says

how much they love the way it’s integrated into the landscape.

Q: The landscaping is on a bigger scale and quite different from your other projects.

Barton Myers: We were looking for somebody who could help us with the agriculture. We

had enough land that we wanted to try planting some grapes, and we thought, if grapes

work, what about oranges, what about olives, and so on. We found a terrific guy named

Douglas Richardson, who seemed to have a real sense of what would work in these

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,

cacti and other fruit trees down them. (Fig. 18) Now, Vicki and I always disagree a little bit

about order versus informality. As an architect I always like an ordered landscape. So

I think there's a nice play here between the order of the design and the informal order

nature imposes.

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

to be invasive, and it’s terrific for hillside stabilization. It makes an interesting hedge. It

changes color, from green to kind of reddish in the winter, and it follows the contours of the

landscape, so you get these rows of grass hedges that are undulating slightly like waves.

Q: How are you different as an architect than you were 30 years ago, designing the

previous steel houses, and how does that affect this house?

Barton Myers: You know, it’s interesting, I don’t know if I can answer that. Berryman was so

urban, and my preoccupations were with building cities, changing cities and trying to make

cities better. I was so focused for so long on that.

In our first years in the air force, we lived in the country in England, so we’ve always loved

the idea of rural life. And I guess every Virginian dreams of being Jefferson, and building his

own farm. This is the first time I’ve really had the chance to do something in this kind of

environment.

In terms of my attitude toward steel, I think the houses have all given me a lot of confidence.

I’m not sure I’ve advanced the technology. In fact, I’m still using a lot of the same kind of

off-the-shelf technology. But, spatially they’re so different, mainly due to the climate and

the sites. Berryman was introverted. Wolf is floating out on the end of the site in a suburban

situation. This is the first chance I’ve had to work with a large piece of land.

I remember reading Aldo Leopold, who said that if you have a good understanding of the

ecology, that you could walk out into the landscape and you would know its history and you

could suggest what to do to keep it in balance. (Fig. 19) I always applied that as an urbanist:

if I could walk into a city and understand its history, what phase 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

Site plan Site sectionSite perspectiveMain residence – floor plan

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MAIN RESIDENCETerraceMaster Bedroom TerraceLiving / DiningKitchenGardenMaster BedroomMaster BathDressing roomGuest RoomUtility RoomGuest BathGuest RoomRecirculating Tank

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StudioMain ResidenceGuest HouseGarage

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SITE PLANStudioMain ResidenceGuest HouseGarage

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Main residence – longitudinal sectionMain residence – north elevationMain residence – south elevationMain residence – west elevationMain residence – east elevationMain residence – sectionSection detail at roof edgePlan view detail at steel columnsDetail of steel beam and column intersectionDetail of roll-up door tracks at column

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Utility RoomKitchenGallery

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water line

waterproof membrane

foam insulation

conduit for building services

steel decking (steel to fascia)

beam

column

roll-up hood

upward acting sectional door

roll-up door guide

steel chanel track support

sectional door tracksteel column

light fixture

duplex receptacles

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In this early site plan, the idea to terrace the buildingswas yet to come. Here, Myers considered dividing themain residence into several buildings, with gardensinserted between.An early site elevation shows Myers planning a mainresidence, a studio/archives building, and a ramped plat-form for cars.In this early site plan, the garage is connected to themain residence, while the studio/archives building hasbeen made part of the complex. However, the guesthouse is not yet conceived.The final site plan, with four buildings inserted into theexisting landscape.Myers experimented with several roofing and door alter-natives prior to final design; the ultimate selection waschosen to exploit thermal insulation and passive solartechniques, as well as for aesthetic purposes. The re-cir-culating pool atop three of the four buildings mirrors thePacific Ocean in the distance, as well as recalling thetrickle of the natural creek on site.

SKETCHES ANDWORKING DRAWINGS

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Once the building shape was determined, the matter offire 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.Myers studied many different door systems, this particular one dependent on bi-folding doors that wouldact as porch awnings when lifted. Clerestory windowsserve to augment the visibility to and from each building,and to the exterior landscape.This section of the main residence shows the experimentation with clerestory windows, as well as asloped roof with a bi-fold door system. Myers felt compelled to maintain the spectacular mountain vistasof the site, as well as the views to the ocean.Section of a bi-fold door with a sloped roof. The slopedroof was later changed to flat, to allow for a re-circulatingpool system atop each building.In this early flat roof alternative, in which the basicstructure of the house is nearing finality, Myers is stillconsidering a bi-fold door for the entrance façade andporch of the main residence.Side elevations of the main residence showing preliminary window layouts, as well as early flat roofalternatives, with a bi-fold door façade.As the roof of the main residence approached finaldesign, Myers began to experiment with glazed sectionaldoors. These doors would be complemented by outerrolling steel insulated shutters for fire protection.Elevation with a combined flat roof and sloped clerestorywindows, using rolling steel shutters on the east façadeof the main residence. The importance of line-of-sight in each building was aconcept present in Myers’ designs from the beginning.This section shows the final flat roof design, with asteel awning and vertical rolling doors on the entrancefaçade, as well as interior design elements. From wherethe sketched figure stands, the view to the upper terrace,where the studio/archives building stands, and to thesurrounding canyon, mountains, and the Pacific Oceanin the distance is virtually unobstructed.An early elevation of the east façade of the main residence, showing the porch and awning with sectionalglass doors, while Myers was still experimenting withfaçade materials.

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Myers has included an awning above the bi-fold dooroption, as well as interior design ideas. Side elevation of the main residence showing alternativesfor the mechanical towers of the main residence. Myers considers the scale relation between the buildingand average human height. Section of the main residence, with specific measurements and sight lines to the upper terrace andstudio/archives building. The bathrooms in the buildings are direct and simple;here, Myers sketched measurements and plumbingdetails for the master bathroom in the main residence.Resembling the corner entablature of an ancient temple,this detail of a roof corner of the main residence hasMyers considering measurements.

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In Southern California, where life outdoors is considereda major defining element of architecture, the seamlessnature of the house at Toro Canyon is exemplary of contemporary regional style and innovation. Photography: Grant MudfordThe openness of the main residence is indicative of howthe natural environment is completely integrated intothis complex of buildings, making it seem as though thebuildings truly belong to the site. Photography: Grant MudfordFrom the rear of the main residence, the rooftop poolsecho the Pacific Ocean in the distance. Native oaks provide shade and shelter, helping to provide a degree ofprivacy to each building. Photography: Grant MudfordThe approach to the site reveals the terracing of thebuildings, a technique that was devised to not only takeadvantage of the panoramic views, but to also avoid theremoval of the ancient oaks on the site by simply inserting the buildings between them. Photography: Grant MudfordThe garage, a separate building, is realized in the formof a parallelogram. The roof of the garage serves as azen garden. Photography: Grant Mudford

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Open-riser stairs from the garage terrace lead to themain residence, here shown completely open. Photography: Russ WidstrandRooftop pools grace each building, with the exceptionof the garage, providing protection in the face of sweeping canyon fires that are common to the area. Photography: Grant MudfordDeceptively simple elements combine to create an overall effect of fluidity versus solidity: when open, thesteel rolling shutters disappear; when closed, theycocoon the building.Photography: Robert PolidoriThe living room and kitchen space of the main residencecan be open to the outdoors, or enclosed, while stillreceiving the visual pleasures of the site and naturaloutdoor lighting. Photography: Russ WidstrandNestled among the mountains and native trees, themain residence springs vertically from the earth, yetappears part of the natural surroundings. Photography: Russ WidstrandClerestory lighting enhances the visual stimuli presentthroughout the site. From the top terrace, the view to thePacific Ocean in the distance is unobstructed. Photography: Grant MudfordThe steel rolling shutters, though immense in size, caneasily be lifted and lowered by one person. Photography: Grant Mudford

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At every turn, the transparency of the buildings providesconspicuously visible entertainment. In this photo, theeye travels from the living room to the studio on the terrace behind, to the master bedroom and back to theporch, always finding a delightful view. Photography: Richard PowersA steel canopy juts forth from the main residence providing sun control. Photography: Grant MudfordThe architect and his wife, Vicki. Photography: Russ WidstrandThe living room of the main residence spills onto theporch, blurring the boundary between indoors and out. Photography: Grant MudfordThe living room of the main residence, bathed in naturallight from all angles, is exemplary of the manner inwhich the industrial nature of steel and concrete is tempered by the books and textured furnishings.Photography: Grant Mudford

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Nowhere is the distinction between indoors and outblurred so much as at the main residence, where a corner of the living room seems to have only trees andcanyons as its walls.Photography: Russ WidstrandEven on an incredibly foggy day, the structural clarityand relative openness of the main residence is tangible. Photography: Richard Powers Steel I-beams, chain and pulley systems, and steeldrums become the only form of solidity between indoorsand out when the rolling doors are raised. Photography: Richard PowersThe kitchen and living/dining room at the main residenceare separated by a partition wall, creating an informalspace for preparation, and a formal space for entertaining. Photography: Russ WidstrandThe kitchen at the main residence features open shelvingand stainless steel cabinets. Photography: Richard Powers A chain and pulley system is used to lift the rolling steelshutters. Every glass area has a shutter for fire protection. Photography: Grant Mudford

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109108

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27

The stone retaining wall, laid in a manner that recallsthe 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 PowersThe master bedroom opens on the north and southsides, allowing Myers and his wife, Vicki, to extend theirbedroom space to the small courtyard, complete withan outdoor fireplace. Here, sleeping outdoors takes on awhole new meaning. Photography: Russ WidstrandThe kitchen and living room of the main residence arewarmed by a mixture of modern and antique furnishings, such as the Canadian refectory table usedfor formal dining. Photography: Robert PolidoriMaster bathroom. Photography: Leif Wivelsted


24, 25

26

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3231

The studio/archives building is tucked into the highestterrace of the site, where the approach to the structureresembles the ascent up a meandering stair to anancient temple. Photography: Russ WidstrandThe studio/archives building is a smaller version of themain residence. It too can be completely open, providingthe perfect space for office retreats and meetings. Photography: Grant MudfordThe east wall of the studio/archives is one large rollingsteel shutter, leaving the structure with only one opaquewall when completely open. Photography: Grant MudfordThe studio becomes a covered porch when completelyopen, creating an airy, sun-drenched space for work,study, or leisure. Photography: Russ Widstrand

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A retaining tank catches the overflow from the poolatop the guest house; the re-circulating pool systemprovides thermal insulation, fire protection and recreation in the form of a lap pool. Photography: Grant MudfordThe kitchen of the main residence glows in the lightfrom the clerestory windows and glass walls, whichreflect the colors and shadows of the furnishings.Photography: Robert PolidoriEast wall of the guest house. Photography: Grant MudfordThe entrance façade of the guest house, which occupiesthe lowest terrace of the site, provides a greater degreeof privacy to its occupants, as well as panoramic viewsof the surrounding canyons and the Pacific Ocean. Photography: Grant Mudford

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115

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.

BARTON MYERS:BIOGRAPHY


117116 3 STEEL HOUSES CHRONOLOGY OF SINGLE-FAMILY HOUSES

George House Addition

Design: 1966

Norfolk, Virginia

STELCO Catalogue Housing (Fig. 1)

Design: 1967

Hamilton, Ontario

Blade Beach House

Design: 1969

Virginia Beach, Virginia

Blade Residence

Design/Completion: 1969


Schwartz House

Design: 1969


Myers Residence, Toronto (Fig. 2)


Toronto, Ontario

Bush House

Design: 1971

Toronto, Ontario

Wolf Residence (Fig. 3)


Toronto, Ontario

Smith/Hamilton House

Design: 1977

Port Hope, Ontario

Virginia Beach House

Design: 1978


Toronto Residence

Design: 1983

Toronto, Ontario

Union Villa Residence

Design: 1983

Unionville, Ontario

Beverly Hills House Renovation

Design: 1985

Beverly Hills, California

Malibu House

Design: 1986

Malibu, California

Québec House

Design/Completion: 1987/1988

Ivry sur le Lac, Québec

House & Studio at Toro Canyon (Fig. 4)

(Myers Residence, Montecito)



Tahoe Residence


Lake Tahoe, California

Laguna Beach House (Fig. 5)

Design: 2000

Laguna Beach, California

West Los Angeles Residence (Fig. 6)

Design/Construction: 2002/current

Los Angeles, California

Manhattan Beach House (Fig. 7)

Design: 2002

Manhattan Beach, California

Santa Ynez/Los Olivos Residence (Fig. 8)

Design/Construction: 2003

Los Olivos, California

Toronto House Renovation

Design: 2003

Toronto, Ontario

Montecito Residence (Fig. 9)

Design: 2003


Montecito Residence II

Design: 2003


Graphic House

Design/Construction: 2002/current

Venice, California

Studio City Residence (Fig. 10)

Design: 2003

Studio City, California

Toro Canyon House II (Fig. 11)

Design: 2004


Toro Canyon House III (Fig. 12)

Design: 2004


CHRONOLOGY OF SINGLE-FAMILYHOUSES

10

11 12

51

2

3

4

7

6

8

9


119118 3 STEEL HOUSES SELECTED COMPETITIONS / SELECTED EXHIBITIONS

Finalist

Manchester City Art Gallery

Manchester, UK

1995

Finalist

Tip Top Tailors Master Plan Competition

Toronto, Ontario

1994

Finalist

University of Maryland, College Park

Center for Performing Arts

College Park, Maryland

1994

Second Place

Native American Preparatory School Rowe,

New Mexico

1992

Winning Entry

UNLV School of Architecture

Las Vegas, Nevada

1991

Winning Entry

U.S. Pavilion Expo ‘ 92

Seville, Spain

1989

Finalist

Fremont Cultural Center

Fremont, California

1988

Finalist

Ballet Opera House

Toronto, Ontario

1988

Winning Entry

Art Gallery of Ontario, Stage III

Toronto, Ontario

1987

Winning Entry

Phoenix Municipal Government Center

Phoenix, Arizona

1985

Second Place

Mississauga City Hall Design

Mississauga, Ontario

1982

Winning Entry

Portland Center for the Performing Arts

Portland, Oregon

1982

Winning Entry

Tempe Center for the Arts

Tempe, Arizona

2001

Finalist

Ventura County Museum of History and Art

Museum

Ventura, California

2000

Finalist

University of New Mexico School of

Architecture

Albuquerque, New Mexico

2000

Finalist

MIT Sloan School of Business

Boston, Massachusetts

1998

Finalist

United States Federal Courthouse

Salt Lake City, Utah

1997

Finalist

Bristol Centre for the Performing Arts

Bristol, UK

1996

SELECTED COMPETITIONS

SELECTED EXHIBITIONS

West Coast Residential: The Modern and

the Contemporary

Charles H. Scott Gallery, Emily Carr

Institute of Art and Design

Vancouver, British Columbia

2003

Barton Myers: 3 Steel Houses

Perloff Hall Gallery, University of California


2002

Nemzetközi

Galeria Centrális

Budapest, Hungary

2002

Barton Myers: 3 Steel Houses

University Art Museum, University of

California

Santa Barbara, California

2001

The Competition for the United States

Pavilion, Expo ‘92, Seville, Spain

Graduate School of Architecture and Urban

Planning, University of California


1991

Exhibition of Barton Myers Associates:

Models, Drawings and Sketches

Koplin Gallery


1987

A Measure of Consensus: Canadian

Architecture in Transition

Vancouver, New York, Toronto, Montreal

1986

Architect’s Drawings

The Charles H. Scott Gallery, Emily Carr

College of Art and Design


1985

Recent Work

Clare Hall, Cambridge University

Cambridge, England

1985

Monument: Manifestation on Dealing with

Ancient Monuments Now

Studium Generale Rijksuniversiteit

Limburg, The Netherlands

1984

Dreams of Development

The Market Gallery

Toronto, Ontario

1984

100 for 100

Graduate School of Fine Arts, University of

Pennsylvania; Model and drawings

exhibition devoted to graduates of the GSFA

Philadelphia, Pennsylvania

1990

Exhibition of Phoenix Municipal

Government Center Competition Model

and Drawings

Mandeville Gallery, University of California

San Diego, California

1990

Viewpoints: One Hundred Years of

Architecture in Ontario, 1889–1989

Traveling Exhibition, organized by Ontario

Association of Architects

Kingston, Toronto, Thunder Bay, London,

Kitchener, Windsor

1989

Architecture of Democracy

Wight Art Gallery, University of California;

Exhibition of Phoenix Municipal Center

Competition

San Diego, California

1988

Reconnaitre Le Corbusier

Faculty of Architecture Gallery, University

of Toronto, Ontario

1987


121120 3 STEEL HOUSES SELECTED EXHIBITIONS / SELECTED AWARDS

Barton Myers Associates: Recent Work

Graduate School of Architecture and

Urban Planning, University of California,


1984

The Urban Solution: Toronto Life

Sable Castelli Gallery

Toronto, Ontario

1983

Fresh Frontiers: Canadian Architects

Abroad

The Art Gallery at Harbourfront

Toronto, Ontario

1983

Seagram Museum Exhibit

School of Architecture

University of Toronto, Ontario

1983

Seagram Museum Exhibit

University of Waterloo

Ontario

1983

Aesthetics for the Cold

Hallwalls Gallery

Buffalo, New York

1983

Major Projects, Canada in Berlin

Akademie der Künste

West Berlin, Germany

1982

A Design Process, A Grand Avenue

University of Virginia

Charlottesville, Virginia

1982

Exhibition of Design Drawings

Noval Gallery, Vancouver League of

Architects


1982

Conference and Exhibition

Institute of Contemporary Art (in collabo-

ration with sculptor Anthony Caro)

London, England

1982

Exhibition of Spadina Quay Competition


Toronto, Ontario

1981

Exhibition of Selected Projects



1980

Exhibition of Ghent Square Housing

The Canadian National Exhibition

sponsored by the Royal Canadian

Academy of Arts

Toronto, Ontario

1980

Selected Works

Walker Art Center, as published by

City Segments

Minneapolis, Minnesota

1980

Selected Works

Old Dominion University

Norfolk, Virginia

1980

Exhibition of Drawings

Ballenford Architectural Books

Toronto, Ontario

1979

The Work of Barton Myers as Published in

Design Quarterly No 108

University of California


1979

Architectural Awareness Week

Queen’s Park

Toronto, Ontario

1977

CMHC Infill Housing Study,

Dundas Sherbourne Infill Housing


Toronto, Ontario

1975

Perspectus ‘74: Exhibition of City of

Toronto Planning and Architecture

Toronto Chapter of Architects, David

Mirvish Gallery

Toronto, Ontario

1974

Exhibition of the Housing Union Building

Walker Art Gallery

Minneapolis, Minnesota

1974

Exhibition of Dundas Sherbourne Infill

Housing

City Hall

Toronto, Ontario

1974

The Work of Diamond and Myers



1973

Exploring Toronto

Toronto Chapter of Architects, Nathan

Phillips Square

Toronto, Ontario

1973

Gold Medal Award,

Lifetime Achievement for

Outstanding Design

AIA Los Angeles

2002

Innovation in Housing Design Award

AIA PIA

Myers Residence, Montecito

2002

Special Award

Western Home Awards


2001–2002

Sunset Magazine Award


2001

Design Award Citation

AIA Los Angeles


2000

Honor Award

AIA Summit Western International

Design Award


2000

Honor Award in Design

AIACC


2000

Gold Medal

Royal Architectural Institute of Canada

1994

First Toronto Arts Award

for Architecture and Design

1986

Housing Award

Architectural Record: 25 Years of Record

Houses

Wolf Residence

1981

Housing Award

Architectural Record: Homes

Wolf Residence

1977

Landscape Ontario Award

Myers Residence, Toronto

1977

Design Award

Ontario Association of Architects

Dundas Sherbourne Infill Housing &


1976

Award of Merit for Contribution to

Historical Preservation

Toronto Historical Board

1974

Design in Steel Award Program


1973

Residential Design Award

Canadian Housing Design Council


1971

SELECTEDAWARDS


123122 3 STEEL HOUSES BIBLIOGRAPHY

Myers Residence,

Toronto

‘19 Berryman Street, Toronto’, Baumeister,

Vol. 12, December 1972, pp. 1444–1445.

Alaton, Salem, ‘Architects: Public visions,

private styles’, The Globe and Mail Lifestyle

Magazine, September 4, 1982, pp. 6–11.

‘Apertures II’, House Beautiful, Vol. 120,

No. 4, April 1978, pp. 100–101.

‘Architects Own Houses of the World:

Barton Myers’, Toshi-Jutaku Urban Housing

Magazine, Vol. 2, No. 190, August 1983,

pp. 42–45.

Dendy, William and William Kilbourn,

Toronto Observed: Its Architecture, Patrons

and History, Oxford University Press,

Oxford, England, 1986, p. 259.

‘Diamond & Myers: Casa e serra (House

and Greenhouse) in Canada’, Domus,

No. 540, pp. 34–37.

‘Diamond & Myers: Toronto, Canada’, Global

Interiors, Houses in U.S.A. series, Vol. 2,

1974, pp. 114–121.

‘Ein Schmalhans Mit Reichem Innenleben’,

Häuser, January 1982, pp. 124–131.

Gillespie, Bernard, ‘Perspectives: Project’,

The Canadian Architect, Vol. 15, No. 9,

September 1970, pp. 6–8.

Hix, John, The Glass House, The MIT Press,

Cambridge, MA, 1974, p. 179.

‘Industrial Design: Crystal Palace on a

domestic scale’, House Beautiful’s Building

Manual, Vol. 80, No. 1, Spring 1980,

pp. 118–121.

‘Infill Townhouse’, The Architectural Forum,

Vol. 136, No. 3, April 1972, pp. 62–65.

King, Annabelle, ‘Design Homes ‘71; Two

Urban Solutions’, Chatelaine, Vol. 44, No. 9,

September 1971, pp. 81, 86–88.

Kron, Joan and Suzanne Slesin, High-Tech:

The Industrial Style and Source Book for the

Home, Amilcare Pizzi, S.p.A. Publishers,

Milan, Italy, 1978, pp. 42, 47, 162, 183–184.

Lasker, David, ‘The Great Space Debate’,

Canadian House & Home, Vol. 8, No. 5,

November/December 1986, pp. 50–57.

Lewin, Susan Grant, ‘High-Tech Moves In’,

House Beautiful, Vol. 120, No. 7, July 1978,

pp. 80–83.

Morris, Neal, ‘Innovative Architecture’,

Building News, No. 584, March 5, 1982,

pp. 13–14.

Mutsch-Engel, Annemarie and Alexander

Koch Verlagsantalt, Wohnegebaude Wand an

Wand, 1980, p. 55.

‘Myers Residence, Toronto’, The Canadian

Architect, Vol. 17, No. 2, February 1972,

pp. 46–49.

Ripley, Jim, ‘Successful Home Marketing:

Focus on a unique market niche’, Canadian

Building, Vol. 28, No 9, September 1978,

pp. 26–29.

Schofield, Maria, ed., Decorative Art and

Modern Interiors: Environments for People,

Vol. 69, Studio Vista Publishers, Sydney,

Auckland, 1980, pp. 20–25.

Skurka, Norma, ‘Toronto Townhouse: A Year-

Round Garden’, The New York Times

Magazine, August 21, 1977, pp. 52–53.

‘Toronto, the “English” City: Courtyard

House’, Abitare, Vol. 233, April 1985,

pp. 74–77.

Whiteson, Leon, Modern Canadian

Architecture, Hurtig Publishers Ltd.,

Edmonton, Alberta, 1983, pp. 152–155.

BIBLIOGRAPHY Wolf Residence,

Toronto

‘Architectural Signals: five unique houses

that point the way to the twenty-first

century’, Building Magazine; A House &

Garden Guide, Fall/Winter 1976, pp. 54–59.

‘Barton Myers, Wolf House’, GA Houses,

Vol. 2, 1977, pp. 94–103.

‘Built Like a Warehouse’, Canada Home

Décor, Fall/Winter 1978, pp. 38–42.

‘Case nuove fuori cittá: Un container di

vetro’, Abitare, No. 180, December 1979,

pp. 50–55.

‘A Century of Canadian Architecture’,

Canadian Architect, January 2000, p. 32.

‘Contemporary Houses of the World: Wolf

Residence’, Architecture and Urbanism,

No. 101, February 1979, pp. 37–41.

‘Domestic Plan with Industrial Materials’,

House & Garden, Vol. 32, No. 7, September

1977, pp. 76–79.

‘Einfamilienhaus in Toronto, CDN’,

Baumeister, Vol. 4, April 1977, pp. 345–348.

‘Focus: Steel-Component Housing: The Wolf

Residence’, Toshi-Jutaku Urban Housing,

No. 133, November 1978, pp. 30–36.

Gordon, Barclay F., ‘Record Houses of 1977:

The Wolf Residence’, Architectural Record,

May 1977, pp. 49–53.

Hine, Thomas, ‘Ever-Changing, Conflicting

Aesthetics’, 25 Years of Record Houses,

Herbert L. Smith, Jr., ed., Architectural

Record Books, New York, NY, 1981,

pp. 196–199.

Hine, Thomas, ‘Wolf House’, Modern

American Houses: Four Decades of Award-

Winning Design in Architectural Record,

Clifford A. Pearson ed., Harry N. Abrams,

Inc. New York, NY, 1996, pp. 126–129.

Tilley, Michael, ‘World: Toronto House’, The

Architectural Review, Vol. CLXII

No. 967, September 1977, pp. 140–143.

‘Wolf Residence’, Process: Architecture,

Vol. 5, April 1978, pp. 118–123.

‘Wolf Residence, Toronto’, Canadian

Architect, Vol. 21, No. 10, October 1976,

pp. 28–33.

Myers Residence,

Montecito

Television Programs

21st Century Homes, HGTV (Home & Garden

Television), 2000.

House Beautiful, A&E (Arts and

Entertainment), 2000.

Liquid Design, HGTV (Home & Garden

Television), 2000.

Publications

100 of the World’s Best Houses, The Images

Publishing Group, Mulgrave, Australia, 2002,

pp. 146–147.

A+U magazine, Tokyo, Japan, May 2000.

arcCA: Journal of the American Institute of

Architects, California Council, Design

Awards Issue, January 2001, p. 31.

‘Architecture and Urban Design’, UCLA

Arts magazine, Vol. 4, No. 2, Spring 2001,

p. 15.

‘At Home with Barton Myers’, The National

Post, November 13, 1999, p. 28.

‘Barton Myers: 949 Toro Canyon Road’, GA

Houses, Volume 61, September 1999, pp.

42–61.

Bertelsen, Ann, Daniel Gregory, and Peter

O. Whiteley, ‘2001–2002 Western Home

Awards’, Sunset; The Magazine of Western

Living, October 2001, p. 118.

Details in Architecture, Volume 2, The

Images Publishing Group, Mulgrave,

Australia, 2000, pp. 18–23.

Domus, April 2000.

Gazette Alumni magazine, University of

Pennsylvania, March/April 2000.

Giovannini, Joseph, ‘Customizing the

Ready-made’, Architecture, Vol. 88, No. 6,

June 1999, pp. 96–101.

Giovannini, Joseph, ‘Open to Nature, but

Ready for Fire’, The New York Times, May 7,

1999, p. B42.

Giovannini, Joseph, ‘Open to Nature, but

Ready for Fire’, The Ventura County Star,

June 4, 1999, p. D1.

Giovannini, Joseph, ‘Open to the Outdoors’,

Santa Barbara News-Press, May 23, 1999,

pp. D1, D10.

International Architecture Yearbook, Volume

7, The Images Publishing Group, Mulgrave,

Australia, 2001, pp. 180–181.

Lang Ho, Cathy and Raul A. Barreneche,

‘House: American Houses for the New

Century’, Universe Publishing, New York,

NY, 2001, pp. 64–73.

McGuire, Penny, ‘House: Montecito,

California, USA: Barton Myers’, The

Architectural Review, Vol. CCVIII, No. 1242,

August 2000, pp. 87–89.

Moonan, Wendy, ‘Water Shed’, House &

Garden, February 2002, pp. 98–105.

Mountain Houses, Loft Publications,

Barcelona, Spain, 2000.


125124 3 STEEL HOUSES BIBLIOGRAPHY / ACKNOWLEDGMENTS

Rasch, Horst, ‘Time Out for the Fire

Brigade’, Häuser International, March/April

2001, pp. 82–87.

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

magazine, April/May 2000, pp. 96–103.

Zwerling, Philip, ‘Steeling Beauty’, Santa

Barbara Magazine, Special Issue: Homes &

Gardens, February/March 2002, pp. 98–104,

126.

Looking over almost 30 years of practice, it is

only appropriate that I acknowledge at least a

few of the many who have influenced me and

helped make our practice what it is.

To them and others who, because of space,

could not be listed here, my great

appreciation and thanks.

Family

• Victoria Myers, Wife

• Suzanne Myers, Daughter

• Adam Pincus, Son-in-law

Santa Barbara

• Kurt G. F. Helfrich, Curator

• Architecture & Design Collection

• University of California, Santa Barbara

Los Angeles

• Barton Myers Associates, Inc., Architects

• Peter Robertson, Graphic Designer,

Barton Myers Associates, Inc.

• Kelly Robinson, Archivist,

Barton Myers Associates, Inc.

Clients

• Victoria and Suzanne Myers,


• Lawrence and Mary Wolf,

Wolf Residence

• Victoria Myers,

House and Studio at Toro Canyon

ACKNOWLEDGMENTS

Project Teams, Consultants, and Contractors


• Diamond & Myers, Architects

• Barton Myers, Principal-in-Charge

• Tony Marsh, Project Architect

• Morden S. Yolles & Associates,

Structural Engineers

• G. Granek & Associates,

Mechanical Engineers

• Helyar, Vermeulen, Rae & Mauchan,

Quantity Surveyors/Cost Consultants

• McMullen and Warnock, Contractors

• Stuart Ash, Graphic Designer

Wolf Residence, Toronto

• Diamond & Myers, Architects


• Read Jones Christofferson, Ltd.,

Structural Engineers

• G. Granek & Associates,

Mechanical Engineers

• A. J. Vermeulen, Inc.,

Quantity Surveyors/Cost Consultants

• Lawrence Wolf, General Contractor

House and Studio at Toro Canyon, Montecito

• Barton Myers Associates, Inc.,

Architects


• Clint Wallace, Project Architect,

Associate

• Don Mills, Associate

• Aaron Campbell, Associate

• Barton & Victoria Myers, Contractors

• Epstein/Francis and Associates,

Consulting Structural Engineers

• Ove Arup & Partners, California,

Consulting Mechanical & Electrical

Engineers

• Norman H. Caldwell, Civil Engineer

• Davis, Langdon & Adamson, Cost

Consultant

• Douglas G. Richardson,

Landscape Designer/Agriculturist

Book

For the production of this monograph I would

like to thank Kelly Robinson and Peter

Robertson, who acted as editors and project

managers; Kurt Helfrich who wrote the

Foreword; Suzanne Myers who conducted

project interviews and provided criticism; and

Victoria Myers for her extreme attention to

detail in proofreading. I would also like to

thank Paul Latham and Alessina Brooks at

The Images Publishing Group for their assis-

tance in the publication of this book, as well

as for the publication of a monograph of my

work, titled Master Architect Series: Barton

Myers: Selected and Current Works (1994), and

the monograph of the New Jersey Performing

Arts Center, titled New Stage for a City;

Designing the New Jersey Performing Arts

Center (1998); and Paola Faoro for designing

this beautiful book.


88126 3 STEEL HOUSES ADDITIONAL PHOTO CREDITS

ADDITIONAL PHOTO CREDITS

Cover Image:Russ Widstrand

Back Cover Images:(Myers Residence) Ian Samson(Wolf Residence) John Fulker(House & Studio at Toro Canyon) Grant Mudford

Chapter Opening Images – double page spreads:(Myers Residence) Ian Samson(Wolf Residence) John Fulker(House & Studio at Toro Canyon) Russ Widstrand

Kurt G. F. Helfrich’s Forward:(Fig. 1) Architecture & Design Collection, UCSB(Fig. 2) Marvin Rand(Fig. 3) Barton Myers Associates, Inc.(Fig. 4) Bent Rej(Fig. 5) Yukio Futagawa & Associated Photographers (T. Kitajima)(Fig. 6) Barton Myers Associates, Inc.(Fig. 7) Grant Mudford(Fig. 8) Architecture & Design Collection, UCSB(Fig. 9) Architecture & Design Collection, UCSB(Fig. 10) Julius Shulman(Fig. 11) Marvin Rand(Fig. 12) David Gebhard(Fig. 13) Wayne McCall & Associates

Barton’s Introduction:(Fig. 1) Barton Myers Associates, Inc.(Fig. 2) Barton Myers Associates, Inc.(Fig. 3) Barton Myers Associates, Inc.(Fig. 4) Barton Myers Associates, Inc.(Fig. 5) Paul B. Lowney(Fig. 6) Barton Myers Associates, Inc.(Fig. 7) Karl Sliva(Fig. 8) Barton Myers Associates, Inc.(Fig. 9) Karl Sliva(Fig. 10) Barton Myers Associates, Inc.(Fig. 11) Barton Myers Associates, Inc.(Fig. 12) SPIRO Architectural Image Database;Architecture Visual Resources Library, University ofCalifornia, Berkeley, Lifchez Collection

Myers Residence Interview:(Fig. 1) Bent Rej(Fig. 2) Barton Myers Associates, Inc.(Fig. 3) Karl Sliva

(Fig. 4) Barton Myers Associates, Inc.(Fig. 5) Barton Myers Associates, Inc.(Fig. 6) Barton Myers Associates, Inc.(Fig. 7) Ian Samson(Fig. 8) Barton Myers Associates, Inc.(Fig. 9) Bent Rej(Fig. 10) Bent Rej(Fig. 11) Barton Myers Associates, Inc.(Fig. 12) source unknown, Property of Barton Myers Associates, Inc.(Fig. 13) Steven F. Schar (www.taskforce1.org)(Fig. 14) Ian Samson(Fig. 15) Horst Ehricht(Fig. 16) Bill Maris(Fig. 17) Patricia Layman Bazelon(Fig. 18) Horst Ehricht(Fig. 19) Horst Ehricht(Fig. 20) Bill Maris(Fig. 21) Bill Maris(Fig. 22) Karl Sliva(Fig. 23) Bent Rej(Fig. 24) Barton Myers Associates, Inc.(Fig. 25) Barton Myers Associates, Inc.(Fig. 26) Bent Rej(Fig. 27) Bent Rej(Fig. 28) John Fulker(Fig. 29) Bill Maris

Wolf Residence Interview:(Fig. 1) Barton Myers Associates, Inc.(Fig. 2) Barton Myers Associates, Inc.(Fig. 3) Barton Myers Associates, Inc.(Fig. 4) Barton Myers Associates, Inc.(Fig. 5) Ian Samson(Fig. 6) John Fulker(Fig. 7) Barton Myers Associates, Inc.(Fig. 8) John Fulker(Fig. 9) Barton Myers Associates, Inc.(Fig. 10) John Fulker(Fig. 11) John Fulker(Fig. 12) John Fulker(Fig. 13) Barton Myers Associates, Inc.(Fig. 14) Barton Myers Associates, Inc.(Fig. 15) Barton Myers Associates, Inc.(Fig. 16) John Fulker(Fig. 17) Barton Myers Associates, Inc.(Fig. 18) Ian Samson(Fig. 19) Timothy Hursley(Fig. 20) Patricia Layman Bazelon

(Fig. 21) Yukio Futagawa & Associated Photographers (T. Kitajima)(Fig. 22) John Fulker(Fig. 23) Barton Myers Associates, Inc.

House & Studio at Toro Canyon Interview:(Fig. 1) Barton Myers Associates, Inc.(Fig. 2) Barton Myers Associates, Inc.(Fig. 3) Russ Widstrand(Fig. 4) Russ Widstrand(Fig. 5) Russ Widstrand(Fig. 6) Barton Myers Associates, Inc.(Fig. 7) Annette Del Zoppo (Fig. 8) Barton Myers Associates, Inc.(Fig. 9) Barton Myers Associates, Inc.(Fig. 10) Grant Mudford(Fig. 11) Barton Myers Associates, Inc.(Fig. 12) Thomas Schneider (BMA inc.)(Fig. 13) Thomas Schneider (BMA inc.)(Fig. 14) Barton Myers Associates, Inc.(Fig. 15) Barton Myers Associates, Inc.(Fig. 16) Russ Widstrand(Fig. 17) Russ Widstrand(Fig. 18) Russ Widstrand(Fig. 19) Russ Widstrand

Chronology of Single Family Houses:(Fig. 1) Barton Myers Associates, Inc.(Fig. 2) Ian Samson(Fig. 3) John Fulker(Fig. 4) Grant Mudford(Fig. 5) Stephen Lee, (BMA Inc.)(Fig. 6) Jorge Narino, Kengo Nozu(Fig. 7) Kengo Nozu(Fig. 8) Jorge Narino(Fig. 9) Stephen Lee, (BMA Inc.)(Fig. 10) Stephen Lee, (BMA Inc.)(Fig. 11) Jorge Narino(Fig. 12) Aaron Campbell


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 publica-

tion 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,

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representations express or implied.


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