Category: Women’s History

As part of an ongoing effort to digitize records representing Beverly Willis’s significant works and projects, I’ve been highlighting some of her work in posts here. In November 2019 I wrote a post about her firm’s work in developing a program called “CARLA” or Computerized Approach to Residential Land Analysis and its use in a land development project (Pacific Point Condominiums). This week I’ll be looking at a smaller scale, but no less stunning, project: the River Run Residence. The house itself is beautiful, but I wanted to examine how it embodies Willis’s approach to design. When looking at a final product (a building facade, polished interiors) it can be easy to forget just how many choices went into creating something cohesive. Yet looking at design records can tease out some of the labor and give perspective on the process of designing and building that’s often obscured or mystified in the way we talk about and look at architecture. While this post won’t go deeply into the design process, it will touch on a few of the generative ideas and organizing principles behind the final building.

The axis of Beverly Willis’s design philosophy hews to that line between formal and informal: the formal geometries of classicism and the informal rusticity of regionalism. Willis believes that at its core, design is about the investigation of the symbolic content of forms/shapes, and the manipulation of images (for more on this, see Invisible Images). When thinking about design, it can be a long and iterative process of drafting, layering, modeling – leaving aside sourcing materials and overseeing construction – this amounts to creating and blending images to form novel yet coherent aesthetics.

The Willis-designed Palladian villa cum rustic ranch in Napa Valley, called River Run, is emblematic of this mode of design thinking. The balance of the colonnaded portico, dramatic windows, grand approach mixed with the redwood shingle siding – classicism inflected by the vernacular – are all the more impressive given River Run’s relaxed atmosphere as a retreat. This is an interesting example of how works are often colored by different influences that are channeled through a designer. “While she abided by general principles of symmetry and proportion, the local shingle style — with its spreading roof, plentiful windows, and use of natural colors and regional materials — was also a powerful influence” (58-59). Willis seems to view it as a process of simplification – synthesis and streamlining. “Although the house is quite large, it displays a consistent economy of lines and means. It draws from the vocabulary of classicism, but there’s nothing complicated about it” (Willis qtd in Nelson 60). The nature and geometry mentioned in the title – and, indeed, Willis’s philosophy in general – refer to some of the central tenets of classicism and classical philosophy – that there are natural ideals that humans gravitate toward, that shapes and forms reveal a hidden geometry.

Further reading

• Nelson, Christina. “Modern Retreats.” Home. 1986: 58-61.
• Nelson, Christina. “Powder Room Poise.” Home. August 1986: 70-74.
• Willis, Beverly. Invisible Images: The Silent Language of Architecture. National Building Museum, 1997.

The Beverly Willis Architectural Collection, open for research at Special Collections and University Archives, holds many treasures: sumptuous drawings, correspondence, and photographic materials documenting the work of one of America’s great twentieth century designers. One such project we’ll be highlighting here shows Willis and Associates, Inc.’s, (WAI’s) work on an early land analysis program called CARLA. CARLA, or Computerized Approach to Residential Land Analysis, was a program developed by the firm in the 1970s that was on the vanguard of employing computing applications in site development.

The programs aim was to reduce construction costs by instrumentalizing and automating much of the initial planning process and environmental impact research. To this end, the firm enlisted the skills of a young urban design grad student, Jochen Eigen, to study and model the architectural planning process. His work aggregated and analyzed data on the proposed project’s user needs and the site’s zoning and topography (via a client-submitted map), which was then correlated with an internally developed database that contained information on thousands of residential sites and floor layouts – planners would iterate through the process repeatedly to determine ideal land allocations for building.

At the time of CARLA’s advent, land analysis was a fairly lengthy ordeal. It would take companies 4-6 months using traditional methods before they would be able to properly estimate financial cost and environmental impact. Implementing and using this new tool reduced that timeline to about three weeks. The process would result in a site perspective, analysis of soil and natural drainage patterns, areas of a plot suitable for development and areas in need of cut and fill. The program allowed easy comparison of design solutions and their respective costs.

While CARLA was specifically geared toward site analysis, it is still ancestrally linked to modern computer aided design programs. Its primary function was to optimize land use by determining the best planning unit, its placement on a parcel, the cost of doing cut and fills, etc., and these are all necessary design considerations that are layered into modern CAD/BIM software (the BIM stands for Building Information Modeling). The program turned a time-consuming, bespoke research process into something comparatively data-driven and efficient, enabling Willis’s firm to maintain its competitive edge during the recession of the 1970s. At the time of its implementation, its aim was to get more contracts for lucrative housing developments, while it also addressed another fundamental need, namely, environmental considerations in urban design.

The first such development WAI used the software for were condominiums commissioned by the Alpha Land Company, to be located on a sloping 9-acre beachfront property. In her book Invisible Images, Willis writes about the beginning of her work on the Pacific Point Condominiums, and the inadequacy of available tools for assessing cost and estimating damage to existing ecosystems. Early iterations of mapping and topographical analysis programs were created by the government during World War II and later adapted for use by oil companies for industrial use; by 1971, the Kansas Geological Survey department at the University of Kansas had developed a mapping and contour program called SURFACE II. This program would form the backbone of Eigen’s/WAI’s land analysis software. Willis recalls,

With these tools I carefully planned stepped terraces on the bluff side of the site downward toward the ocean and designed a bridgelike entry to the three-story building’s mid-section. My design used diagonally placed interior walls that slice through the apartment facades, elongating one side like a fan. These subtle diagonal wall planes direct the eye to a breathtaking view of the Pacific Ocean.

The history of CARLA’s development is further documented here. Some of the firm’s internal documentation of the software’s development is available in the Beverly Willis Architectural Collection and will soon be digitized and made available online as part of the library’s new digital platform.

When taking part in Frank Lloyd Wrights preeminent architectural school known as the Taliesin Fellowship, Lois Gottlieb came to understand architecture as a kind of Lebensphilosophie, in that she came to consider it a mode of living that touched on and derived inspiration from all aspects of life. Hence the title of her account of her apprenticeship A Way of Life, which deftly highlights the interplay of the rarefied and the mundane, the interdependence of humans and their natural surroundings, and the fluidity between the concreteness of day-to-day living and abstract worldview. Furthermore, it presents art as an act of cultivation and sustained effort, rather than a quasi-mysterious realization of personal genius.

It’s of note that Wrights teaching style deviated significantly from the norms of his time and tended to subvert the traditional master-apprentice relationship. His radically egalitarian approach to pedagogy came to inform Gottliebs own teaching style and her outlook on the ways humans shape and control the environment. Her first major publication, the book Environment and Design in Housing, first workshopped as a series of lectures at UC – Riverside, articulates the effects of design on both the micro- and macro-scale, i.e., the way the [physical] environment we each create for ourselves and our families does affect every part of our lives ^[1] and the implications of poor design in terms of ecological sustainability and financial cost. In her view, humans have an unrivaled capacity to adapt the environment to their needs – a capacity that is problematic at scale and exacts high tolls, both from the land itself and from people affected by landslides or other natural disasters (see picture below). In light of these concerns, she advocates a more thoughtful approach based on client needs and leveraging the natural assets of building sites rather than the one-size-fits-all attitude of traditional design. (As a side note, Julius Shulman, famed architectural photographer, worked with Gottlieb on this book as photography consultant. The work itself features many of his gorgeous black-and-white photographs, prints of which are available for viewing as part of Gottliebs architectural collection here at Virginia Tech. Two copies of Environment and Design in Housing are also available for research as part of Special Collections selection of rare books – the captions and broader expositions provide invaluable context for the photographs.)

Design and Gender Norms

A notable feature of this book is its emphasis on practice and its demystification of architectural knowledge. While much of Gottlieb’s approach is informed by cultivating self-knowledge and considering the dwelling as a vehicle for personal expression, it tends to balance this view with injunctions to draw on the specialized knowledge of experts – lending itself to a kind of tempered humanism and recognition of personal limitations. This methodology, I think, can also be traced to Gottliebs time spent at Taliesin, which, for the time, was certainly unique in its combination of self-reliance and communal dependencies.

A different, but related, novelty of the schools social structure was its disregard for gender norms. It is generally recognized these days that, historically, there have been gender-inflected labor divisions in both the public and domestic sphere. At Taliesin, these traditional divisions were not enforced – men would often perform tasks like preparing dinner while women would thresh wheat. Homemaking was not the strictly circumscribed domain of women, nor was outdoor labor the exclusive domain of men. While her works primary focus isnt on cultural assumptions regarding women, Gottlieb clearly has thoughts on the connections between gender and under-recognized labor. On the subject of domesticity, design, and value, she offers the following observations:

Another attitude toward the occupation of homemaking is that it is nothing or of little importance. An answer to the typical question What does Jane Doe do? is Oh, nothing, or She doesnt work, she is just a housewife. Yet this housewife is supposed to do most of the buying for the family, keep them all in good physical condition, keep them attractively housed and clothed, see to it that the children are educated, and so on and on.

In other situations any of these tasks is considered a field of specialized knowledge…But the homemaker is supposed to have absorbed and be all these things at once, a sort of twentieth-century version of the Renaissance man (without any of the credit for doing so, presumably).^[4]

 

It’s clear that Environment and Design in Housing is at least partially intended to serve as a practical resource for homemakers. It’s also clear that the book is meant to bring analysis to typically underserved segments of society and to address real (if hidden) needs.

References

1. Lois Davidson Gottlieb, Environment and Design in Housing (New York: Macmillan, 1966), 1.

2. Gottlieb, 5.

3. Lois Davidson Gottlieb Architectural Collection, Ms1997-003, Special Collections, Virginia Polytechnic Institute and State University, Blacksburg, Va.

4. Gottlieb, 231.