TMW 2015 Guide

TUCSONMODERNISM WEEK

2015

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Tucson Modernism Week Committee Demion Clinco Committee ChairmanAndie Zelnio Creative DirectorSuzy Gershman Administration & Event CoordinatorDarren Clark Expo ManagerMichael Fassett Event CoordinatorSebastian Ahmad Graphic Design Carrie Dally Secretary and Event Coordinator Chris Green Web Development DesignMichelle Hotchkiss Home Tour Curator Amelia Lavery Home Tour Coordinator Carlos Lozano Lecture Programming Gretchen Lueck Vintage Trailer Show ManagerPatricia Katchur SponsorshipAlex Mastrangelo Car Show ManagerJennifer Meed Affiliate Coordinator Jen Powers Media & Public RelationsElizabeth Przygoda Special ProgrammingLinda Ray Volunteer Coordinator Thom Sherwood Automotive Programming Dave Temple Fashion Programming

Tucson Historic Preservation FoundationDemion Clinco Executive Director Elizabeth Guevara Administrative Coordinator

Suzy Gershman President Michael Fassett Vice President Jennifer Levstik SecretaryKegan Tom Treasurer Darren Clark Diane DittemoreChris Evans Julie HeckerAdelaide Kimble Amanda Paul William R. Ward II Andie Zelnio

Contents

4 The DeGrazia Fabrics: A Collision of Western Art and Fashion by Demion Clinco

14 The Firebird III: Norm James, Jim Ewen and the Greatest Car Show on Earth by Linda Ray

20 Desert Dreaming: The Landscape Architecture of Guy Greene by Helen Erickson

28 Sculpting Space: Nicholas Sakellar Introduction by Andie Zelnio; Essays by William Kirby Lockard and James A. Gresham

42 Tucson Modernism Week Expo

44 Event Schedule

46 Event Map

(front) Bea Barcelo Fashion Photograph, ca. 1955photo courtesy of Gilbert Urias Collection

(back) Fountain Plaza at TCC designed by Garrett Eckbo, ca. 1973vintage photo composite

photo courtesy of Charles Clement Family Collection

© Tucson Historic Preservation FoundationGuide design by Demion Clinco + Andie ZelnioPrinted by Arizona Lithographers, Tucson, Arizona

Artist Charles Clement working on plaster relief wall sculpture at thePhoenix Tile Building, 177 N. Church Ave, 1962

THPF is not responsible for loss or damage to unsolicited editorial or photography.

On behalf of the board of directors of the Tucson Historic Preservation Foundation and the Tucson Modernism Week Committee, I want to extend a warm welcome to our fourth annual Tucson Modernism Week. Each year we strive to bring the most dynamic local, regional and national speakers, highlight hidden modernist treasures scattered throughout our community and present the insightful and often overlooked history of our regions’ post WWII era.

This year Modernism Week explores the dynamic legacy of post WWII southwest design and desert living that shaped Southern Arizona and influenced perceptions of the American west. Special tours and events will highlight extraordinary homes (many open to the public for the first time) designed by mid-century modern architectural masters including: Louis Coon, Nicholas Sakellar, Arthur Brown, William Wilde and the firm of Cain Nelson & Wares. TMW is proud to continue our commitment and tradition of holding our events and programs in as many mid century modern spaces as possible to raise awareness and change perceptions of these undervalued resources. This year, we are thrilled to move our opening weekend headquarters and Expo to the Tucson Community Center meeting rooms, designed in 1971 by the architects, Cain, Nelson & Wares and Friedman & Jobusch. The building complex is surrounded by the nationally recognized modernist landscape, designed by Garrett Eckbo.

We are excited to turn our focus towards the Tucson fabric and fashion designers who cultivated and were instrumental in sparking the western wear trends of the 1950’s. We will present an exhibition of dresses designed by Dolores Gonzales and highlight our new partnership with the DeGrazia Gallery in the Sun with an exhibit of Ted DeGrazia textile designs and modern work. We are especially proud of this year’s partnership with the GM Heritage Center and MOCA Tucson to display the iconic 1958 Firebird III concept car, its’ designer, Norman James and Jim Ewen in conjunction with an exhibit of the experimental GM design drawings.

Your participation in Tucson Modernism Week provides an important benefit to the preservation community. The Tucson Historic Preservation Foundation is a 501(c)(3) nonprofit with a mission to preserve Tucson’s unique architectural environment and cultural heritage. This annual week of events supports our mission and is helps to elevate an awareness of the value of Tucson’s mid century modern buildings and history.

We want to extend an enormous thank you to our Monument level sponsors: the DeGrazia Gallery in the Sun, Copenhagen Imports, as well as our media sponsors: Edible Baja Arizona and Zocolo. Tucson Modernism Week is generously supported by numerous corporate and media sponsors, hotels, restaurants, partner organizations, and community leaders. These events would be impossible without the tireless efforts of the Tucson Modernism Week committee, event captains and volunteers and to everyone, we say thank you.

We hope you enjoy Tucson Modernism Week 2015 and look forward to the growth of this event in the years to come. Please mark your calendars now for the 5th Annual Tucson Modernism Week in October 2016.

Demion Clinco Executive Director Tucson Historic Preservation Foundation

THE DeGRAZIA FABRICSA Collision of Western Art and Fashion

by Demion Clinco

Photo by fotovitamina; Styling by Sydney Ballesteros at the DeGrazia Mission in the Sun(left) Stampede/Running Horses pattern skirt designed by Ted DeGrazia, 1952; (right) Vintage skirt inspired by DeGrazia designs

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Fuller Fabrics stylist, Peter Kaiser (left) and Ettore “Ted” DeGrazia, ca 1952

Fuller fabric patterns (1952 - 1955) clockwise from left: Drums, Roadrunners, Apache Deer, Beethoven Symphony, Brands, Papago Life, Hohokam Indian Figures, Concha Belt, Hohokam Sunflowers

photos courtesy of the DeGrazia Foundation

photo courtesy of the DeGrazia Foundation

The evolving, emotive and often contradictory approach to fine art by Ted DeGrazia (1909–1982) shaped not only the artistic identify of Southern Arizona, but the style of the southwest. Born in the mining town of Morenci, Arizona in 1909, DeGrazia attended the University of Arizona under Katherine Kitt before traveling to Mexico City to study with modern muralists Diego Rivera and Jose Clement Orozco.1 His earnest contribution to Arizona’s culture and artistic identity was in many ways eclipsed by the popularity and mass production of his saccharine images of children, flow-ers and Native Americans that graced countless greeting cards and Goebel figurines. Although for many, the DeGra-zia name became synonymous with “Western Kitsch,” De-Grazia’s remarkable and influential artistic identity shaped Tucson’s style at a time when interest in the Southwest was becoming an American obsession.

The surging popularity of western gun-slinging films creat-ed an iconographic visual language of wagon wheels, dude ranches and saguaro cacti which permeated the American populist vision of the Southwest. These nationally accepted

notions of exotic western life were more aligned to a per-vasive fantasy of mythic individual ruggedness, rather than emerging modern cities. Nationwide consumer demand for western trappings fueled a regional exportation of ideas. Tucson, like many of the emerging twentieth century south-western cities, struggled to reconcile conflicting identities of a “wild-west” past and a future defined by progressive modernism. These colliding intersections often produced cliché: ranch houses, ornamental desert landscaping, ranch oak furniture, rodeo parades and western wear all com-bined to create a popular vision of the southwest, which was entirely authentic in its own context. Cultural appro-priation of visual ideas from Native American and Mexican cultures, blending with the idealized and unrealistic notions of cowboys and ranching, swirling into a romantic construct that permeated the 1950s and 60s. Howdy Doody, Rex Allen, and Gunsmoke all fueled the flames.

Following World War II, Tucson was poised to become an epicenter of western style and design. By 1950, a group of designers had created a robust western fashion industry,


Detail of Stampede/Running Horses pattern signed by DeGrazia, January 1952

Promotional photo published in Women’s Wear Daily, January 22, 1952. Stamped/Running Horses and Square Dance pattern skirts. (Model on left is Ted’s daughter, Lucia DeGrazia)


photo by fotovitamina

cultivating an array of western wear trends which swept the nation and helped cement national views of the southwest. The patio dress, the Tohono dress, the circle skirt and the pejorative “squaw dress”2 were created and recreated in endless variations to appeal to this new national market.

By the early 1950s ten garment designers were producing eight million dollars of annual product sales in Tucson.3 Designers like Sonora-born Delores Barcelo Gonzales launched Delores Resort Wear4; George Fine, who moved to Tucson from New York by way of Los Angeles in 1950 to start Georgie of Arizona, quickly became the industry’s big-gest booster.5 A 1952 Tucson Daily Citizen article exam-ined the significant and rapid growth of the fashion indus-try, with Fine concluding that Ettore “Ted” DeGrazia had jump started the industry in the Tucson Valley.6

DeGrazia was not a tailor or a fashion designer, he was fine artist. Before WWII, his work was substantially influenced by social realism, expressing the milieu and often harsh re-alities of the Arizona-Mexico borderlands. After his time in Mexico City, he returned to Tucson and challenged the traditionalist gallery system by opening his own adobe stu-dio and gallery on the southeast corner of Campbell Av-enue and Prince Road. DeGrazia’s work following WWII embraced the popularization of Southwestern vernacular iconography, while his larger than life persona began to attract regional and national attention.

By 1949, DeGrazia began branching out into various media that would attract press attention. One of these endeav-ors included developing hand painted dresses for Stein-feld’s department store in downtown Tucson, using what

he called “authentic Apache designs.”7 The story was fea-tured in NBC’s Watch the World newsreel and by 1952 De-Grazia was commissioned by New York-based Fuller Fab-rics to create fifteen fabric designs, each influenced by the tonality and graphics of the southwest.

Fuller Fabrics was founded in New York City by Daniel B. Fuller in 1933, specializing in women’s sportswear fabrics.8 DeGrazia worked with the company to develop a rich, lush color palette and graphic language that simultaneously captured the sensibility of the desert and an aesthetical-ly aware mid century era. The company, Touraine Sports-wear, designed and manufactured prêt-à-porter skirts sold throughout the country. In January 1952 the Citizen report-ed the details of the fabric launch:

Dresses throughout the nation will display the striking southwest scenes this winter when designs by Tucson Artist Ted DeGrazia go on sale in hundreds of depart-ment stores this week. A nationwide advertising cam-paign planned by dress manufacturers and textile mills will be touched off here Saturday when DeGrazia ap-pears at Levy’s department store to personally auto-graph the skirts.

It will be the first time Tucson designs have appeared on such a large scale, according to Abe Blumberg, New York textile man who coordinated the program. Blumberg said the total yardage from at least eight of the 14 designs is expected to “run into the millions.”

He said it all started last summer when he became fas-cinated with DeGrazia’s work and saw the possibility of using it in designs on cloth. Fuller Textiles, N.Y., one of the of the worlds largest mills, became interested by Blumberg’s enthusiasm and flew out their head styl-ist Peter Kaiser. Kaiser worked with DeGrazia and ex-

plained the process of printing in color on cloth and worked out mechanical details with him. DeGrazia then went to work on the designs and the result is remark-able and outstanding according to Blumberg. “I don’t think the American woman has seen anything like it be-fore,” he said. “and I am sure they will find the scenes and the colors irresistible.” The company is negotiating a five-year contract with DeGrazia.

The circle skirts which go on sale at Levy’s Saturday were manufactured by Touraine and will feature eight designs. Tucson will be the first city in the country to get them and additional designs and skirts are being flown here as quickly as they can be produced. […]

Designs printed so far are: Square Dance, Papago Life, Running Horses, Carousel, Apache Deer, Cactus, and overall patterns of 14 Hohokam figures and something DeGrazia calls “my little story of the Hohokam sunflow-er.” They are all printed in color on various materials.9

The fabrics were a sensation. Levy’s Department Store, an anchor in downtown Tucson, in advertising the promo-tional ballyhoo, stressed that the launch was a sell out: “A complete sell out...the first time!” The advertisement an-nounced the arrival of another shipment. The skirts includ-ed “the exciting, vibrant Stampede pattern in three color patterns: purple, aqua, lime; rust, brown, green; and red, blue, green.” The skirt sold at Levy’s for $7.98; Carousel pattern on white piqué in yellow, green and red patterns for $5.98.10

George Fine was one of many designers to utilize the De-Grazia fabric, and masterfully incorporated them into trend-ing silhouettes. In Los Angeles, Samuel Goldwyn and RKO Radio Pictures included one of the fabric prints in their pro-duction, Hans Christian Andersen, starring Danny Kaye.11

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The national success of the fabric and skirt designs were the jump start to the local design industry that George Fine ascribed to DeGrazia. In September of 1953, the Tucson Daily Citizen reported that buyers from the St. Louis de-partment store, Stix, Baer, and Fuller, worked with DeGra-zia to re-create a full size replica his studio in their store windows, to promote the western garments coming out of Tucson.12 As the nation came to view Southern Arizona as a leader in the western dress design, throughout the 1950s, Tucson’s fashion industry flourished. The success of De-Grazia’s fabrics were a prelude to the Fuller Fabric patterns released in 1955 called “Modern Masters,” which featured interpreted designs by thirteen modern artists including: Joan Miró, Raoul Dufy, Pablo Picasso, Fernand Léger, and Marc Chagall.13

By the end of the mid-1950s, DeGrazia’s interests had shift-ed to other projects, including the full fledged licensing on his beloved images that would fund his artistic empire. De-Grazia died in 1982, leaving the DeGrazia Foundation and his beloved Gallery and Mission in the Sun to the people of Southern Arizona, a legacy of his distinctive independent brand of western art.

Dress design by Georgie of Arizona featuring DeGrazia-designed fabric, ca.1954


NOTES1 In August of 1942, DeGrazia and his wife, Aleksandra Diamos, traveled to Mexico City intending to meet the internationally famous Mexican muralists. A day after their arrival, the couple offered a $5 bribe to a guard from the Palacio Municipal with the assurance that “somos buena gente,” to let them inside to watch Diego Rivera paint. After showing Rivera and his wife, Frieda Kah-lo, five sketches, Rivera offered to take DeGrazia on as a student and assistant. He worked with both Rivera and Jose Clemente Orozco, assisting with mural projects at the Palacio Nacional and the Hospital de Jesus. Rivera and Orozco sponsored a critically acclaimed exhibit of his paintings at Palacio de Belles Artes in Mexico City. 2The term, “squaw dress”refers to “several types of one and two-piece dresses that were a regional style in the American Southwest in the late 1940’s, becoming a national trend in the 1950s.” The term’s history is detailed in an essay by Nancy J. Parezo and Ange-lina Jones, “What’s In a Name?: The 1940’s–1950’s Squaw Dress,” published in the American Indian Quarterly, vol 33 (Summer, 2009), pp 373-404. The word “generally tended to ignore its negative connotations when it was associated with an aestheticized com-modity. Regional associations, cultural identifications and post-World War II gender roles were linguistically and visually encoded into resort and leisure-wear style.” They further explore the “mul-ticultural origins in Navajo, Western Apache, Tohono O’odham and Mexican attire and how selective borrowing created a unique, easily recognized style with a questionable name.”3Abbott, Clifton, Tucson Daily Citizen, “Needle Industry Booming in Tucson: Cash Registers Jingle Sweetly”, October 2, 1953.4Born in Sonora, Mexico in June 1907, Dolores Barcelo immigrated with her family to Arizona in 1912. She moved to Los Angeles and worked for 15 years in the garment industry while enrolled at the Woodbury School of Design. She returned to southern Arizona,

married Leo Gonzales and purchased a dress shop on Stone Avenue. She is credited with popularizing the “Squaw Dress”, and within a few years, changed the name of the store to Dolores Resort Wear. She employed a team of ten seamstresses and was a central figure in the creation of the western wear industry in Tucson during the 1950s. She died in 1994. 5George Fine moved from Los Angeles to Tucson, and was instru-mental in establishing Tucson as a western fashion hub. He served as the vice-president and chairman of the executive committee of the Arizona Fashion Council in the early 1950’s. His designs were sold under the label, Georgie of Arizona. The label was sold to Robert Moser, who died unexpectedly in 1959. In March of 1961 the assets of Georgie of Arizona were sold in a bankruptcy auction. 6Abbott, Clifton, Tucson Daily Citizen, “Needle Industry Booming in Tucson: Cash Registers Jingle Sweetly”, October 2, 1953.7Pagel, Dorothy M., Tucson Daily Citizen, “De Grazia to use Ho-hokam Motif in Textiles, Jewelry”, November 9, 1949.8Jackson, Lesley, Twentieth Century Pattern Design, Princeton Architectural Press, New York, New York 2002. Pg 116.9Tucson Daily Citizen, “Tucson Artist Ted De Grazia Produces Nov-el Skirt Design”, January 10, 1952. ( Sedley-Hopkins Photo) 10Levy’s of Tucson, Advertising, Tucson Daily Citizen, “Skirts and Blouses designed by DeGrazia – Our very own Arizona Artist”. January 24, 1952. 11Tucson Daily Citizen, “De Grazia Designs Ballet Print”, January 22, 1953. 12Tucson Daily Citizen, “Store Features DeGrazia, Western Style”, September 22, 1953. 13Life Magazine, “New Fabrics Put Modern Art in Fashion”, No-vember 14, 1955.

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Firebird III, GM Concept Car, 1958photo courtesy of GM Media Archives

The FIREBIRD IIINorm James, Jim Ewen

and the Greatest Show Car on Earth

by Linda Ray

The apotheosis of the fin era, and perhaps its sexiest avatar, the Firebird III can still move its designer almost to tears.

Norm James apologizes for his passion, but it’s what makes his storytelling a thrill. He can take you right there with him to the moment Harley Earl seized his design and said “This is it. This is exactly what I wanted.”

It turns out that what Earl wanted, James says, was a “floozy”— a statuesque beauty with lots of feathers and frills that could draw a crowd four deep around the block.

Earl was the stuff of legend. He was the automotive indus-try’s first professional automobile designer, and in hiring him General Motors took a dramatic leap into the future. Known throughout GM Styling as Mister Earl, he loomed over staff in stature as well as authority. Tucsonan Jim Ewen, another GM designer at the time, says “He was a huge man, and very impressive. He was the most forceful man I’ve ever seen. He was the boss, and everything revolved around him.”

In Earl’s wake followed a GM hiring trend that favored radical thinking over conventional wisdom. Sputnik 1 had grabbed the world’s attention in October, 1957, and by 1958, the space age was the hottest thing on the ground. The company sought out industrial artists and sculptors in the nation’s top schools—the Art Center School in Los An-geles and Pratt Institute in Brooklyn—and brought them in as much for their imaginations as their skills.

They plucked James straight from his junior year at Pratt, and negotiated with the school to furnish on the job train-ing to complete his degree requirements. James was put to work almost immediately on MOTORAMA cars, the one-of-a-kind stars of the free, annual MOTORAMA car show where the next year’s production autos were introduced. The show traditionally debuted at the prestigious Waldorf Astoria Hotel in New York before touring around the coun-try. It was in that setting that Earl’s vision lay.


MOTORAMA, 1958 photo courtesy of GM Media Archives

Firebird III, 1958 photo courtesy of GM Media Archives

James recalls Earl’s words from an early meeting of the de-sign team for the Firebird III team, “’You know, when you go to Las Vegas to see a floor show you don’t expect to see your wife on the stage, you expect to see a real floozy.” Sev-eral engineering decisions already were firm. The car was to be operational (some years’ cars were not), and was to fea-ture an innovative gas turbine engine, as had the Firebird II.

But as for the surface design, Earl’s vision was only defined by a sense of irresistible impact, a nearly over-the-top spectacle that wafted pure charisma through a charged atmosphere.

James says, reliving the moment, “He started describing how people would come to see the (MOTORAMA) show, and they’d line up around the block and around the build-ing three or four deep. And when they get into the auditori-um to see the car, there would be so many people around it that you couldn’t see the car, and you would have to stay an extra show, and that would make it even more spectacular.

“(So) my first drawing was of a crowd scene …. I envisioned fins and things sticking out at angles so if you’re standing around it, they’re threatening your personal space, and that would make little breaks in the crowd, which would make it an interesting scene. I literally took Earl’s first description to do a crowd scene and worked on it from there.” James also made sure some tantalizing fins stood up just enough over the crowd to keep those waiting enthralled.

There’s nothing like hearing him tell it in person but James’ 2007 biography, Of Firebirds and Moonmen, includes that drawing among many others that illustrate the book’s end-to-end, pre-CAD processes in designing, developing and building the classic Firebird III. His portrayal of the person-

alities and the take-no-prisoners brio of mid-century GM Styling culture seems to beg for its own Mad Men series. Eight years on, the popular memoir is available in hardcov-er, paperback and now in Kindle.

James will share all that, including many color images that are only black and white in the book, and videos recently constructed from films of the test run and the 1958 MO-TORAMA, in his presentation on Saturday, Oct. 3. The event recognizes an extremely rare outing for the Firebird III, which is preserved in Detroit by the General Motors Heritage Center. General Motors is bringing its star vehicle to Tucson at its own expense in recognition of Modernism Week’s devotion to the design elements of its era.

Ewen will be present as well, to swap stories, answer ques-tions and tell tales. He was responsible for interior features like the joy stick used for steering. He says the challenge was, “You have to hang onto it all the time, so it has to be very comfortable.” Ewen was made part of Earl’s and James’ team after just six months with GM, based on what he calls the “rocket-shippy” nature of his drawings.

But Ewen acknowledges that James deserves credit for the Firebird III’s overall design. “We broke a lot of design rules that General Motors had,” James says, and once he ap-proved James’ design, James says Earl told GM’s design committee to stay out of the studio.

James gets a little choked up recalling his most exciting moment in the development process. “I just was in the ma-chine shop watching them assemble it, and I saw them put on the front panel, the fiberglass. All of a sudden the thing came to life. Oh it was fantastic!”

Firebird III Clay Model and Engineering Study Model photo courtesy of GM Media Archives

ATOMICTUCSON Curator of the Home Tour &

Tucson Modernism Week SponsorMichelle HotchkissRE/MAX Results520.878.6399

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MIDCENTURY MODERN

DESERT LIVING

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DESERT DREAMINGThe Landscape Architecture of Guy Greene

by Helen Erickson

Sunset Magazine Case Study Garden, Arizona-Sonora Desert Museumphoto by Jude Ignacio + Gerardine Vargas


Fountain detail designed by Guy Greene for Sunset Magazine Case Study Garden, Arizona-Sonora Desert Museum

photo by Jude Ignacio + Gerardine Vargas

1972 Sunset Magazine cover featuring the Case Study Garden at the Arizona-Sonora Desert Museum

photo courtesy of the Tucson Historic Preservation Foundation Collection

Tucson Modernism, defined by clean, simple lines and a casual informality, captured the exuberance of the post World War II era. In the southern Arizona desert, this style has come to be known as Sonoran Modern, emphasizing regional materials, adaptation to the desert climate, and an indoor/out door living. Landscape architecture played a critical role in creating a southwest style, and one of Tucson’s leading landscape architects was Guy S. Greene. Born in Geneva, New York, in 1922, he served as a U.S. Army Air Corps navigator during World War II. Subsequent-ly he attended Amherst College and Iowa State University, where he received a BA in Landscape Architecture in 1948. After graduation, he moved to Tucson to work with John Harlow, Sr., at Harlow Gardens.1 By the late 1950s his work appeared in national journals such as The New York Times,2 and by 1962 he was undertaking large-scale projects such as the golf course at Skyline Country Club in Tucson.

Twentieth-century landscape architecture had evolved as an interdisciplinary profession encompassing horticulture, ar-chitecture, ecology and urban planning. Led by innovators such as Garrett Eckbo,3 who drew inspiration from sources ranging from the arts to physical sciences and sociology, it was a profession well-suited to Greene’s wide-ranging interests, which included city planning and psychological inquiry as well as horticulture and design.

In 1966 he joined the Department of Horticulture at the University of Arizona, teaching landscape architecture and collaborating with such academic luminaries as Warren Jones, a passionate advocate for the use and development of native xeric plants. By 1972 there were thirty-eight un-dergraduates enrolled in the Landscape Architecture pro-gram and nine graduate students.4 A year later there were eighty-three undergraduates and twelve graduate students, and the name of the Department had been changed to the Department of Horticulture and Landscape Architecture.5 By 1973 the Landscape Architecture program had been reviewed for state accreditation and had been accorded independent status within the Institute for Natural Resourc-es of the College of Agriculture. As one of only two faculty members in Landscape Architecture, Greene was obviously a motive force in this development, and it was not surpris-ing that he became the first chair of the program.6

In the course of his work at the University, Greene partici-pated in a cooperative research project with Dr. Lawrence Wheeler, Professor of Psychology and Optical Science. Un-derwritten by the U.S. Forest Service, the goal of the study was to devise “methods of testing people’s preferences and responses to various environmental situations, either natural or man made.”7


9Ibid., 11.10Guy S. Greene, A General Plan for Cottonwood, Arizona (1967).11“Santa Cruz Riverpark Master Plan,” (City of Tucson, 1976).12The Sunset Garden is part of a larger post World War II cultural phenomenon of magazine-sponsored design, of which the Case Study houses sponsored by Arts and Architecture Magazine are perhaps the best known. In these projects architects and landscape architects created model houses and gardens that to serve as models for the general public. 13[Arizona-Sonora Desert Museum], “Proposed Desert Museum - Sunset Magazine “Demonstration Desert Garden” at the Arizona-Sonora Desert Museum, Tucson Mountain Park, Tucson, Arizona,” (1960).14Gene Brooks, “Desert Garden Ready,” Tucson Daily Citizen May 4, 1963.15Sunset Magazine, “The Desert Museum and Sunset Co-Sponsor a New Demonstration Desert Garden,” (May 1963). 16“Last of Museum Garden Dedicated,” Tucson Citizen November 1, 1971; Sunset Magazine, “The Desert Museum and Sunset Co-Sponsor a New Demonstration Desert Garden.”17“The Desert Museum and Sunset Co-Sponsor a New Demonstration Desert Garden,” 118.

NOTES1Blake Morelock, “Landscape Designer Had Jobs Worldside,” Tucson Citizen June 6, 2003.2“Private Swimming Pools Now within Reach of Moderate-Income Families,” The New York Times June 20, 1959.3Eckbo (1910-2000) developed a theoretical basis for the practice of twentieth-century landscape architecture. He advocated for the integration of the arts, science and democratic social practice. Greene’s work incorporated these principles.4Anson E. Thompson, “Department of Horticulture: Summary of Highlights of President’s Report 1971-1972,” (University of Arizona, 1972).5“Annual Report for the College of Agriculture 1972-1973: Department of Horticulture and Landscape Architecture,” (University of Arizona, 1973).6“Annual Report for the College of Agriculture 1973-1974: Department of Horticulture and Landscape Architecture,” (University of Arizona, 1974), 10-11.7Anson E. Thompson, “Research in Landscape Architecture,” (Tucson, AZ: College of Agriculture and School of Home Economics, The University of Arizona, [1973]).8See photo in ibid., 8. It has been suggested, but not substantiated, that Greene invented this type of pool.

Postcard, ca. 1963, Sunset Magazine Case Study Garden, Arizona-Sonora Desert Museum

photo courtesy of the Tucson Historic Preservation Foundation Collection

During the same period, he was exploring a wide range of other interests, experimenting with infinity edge swimming pools8 and studying desert plants with his colleague, Pro-fessor Warren Jones.9 Greene excelled in planning as well as design, creating a master plan for Cottonwood, Arizo-na10 and the concept plan for the Santa Cruz linear park.11

One of his most successful collaborations was with the Ar-izona-Sonora Desert Museum, located fourteen miles west of Tucson. In 1958 Sunset Magazine had sponsored an ini-tial experimental garden in Arcadia, California, to demon-strate regional garden practice.12 In 1960 Sunset provided initial funding for Greene and the museum to design a se-ries of exhibition spaces for native xeric native plants from the Sonoran Desert.13 The garden was to provide a source of ideas for Arizona homeowners by illustrating the use of a range of paving materials and by developing and testing useful plant varieties. The first section of the garden was completed in 1963,14 to be celebrated in the May issue of Sunset Magazine.15

This initial section of the garden is dominated by a hyper-bolic paraboloid ramada of poured reinforced concrete. Under this shade structure is a naturalistic rock water fea-ture inserted into a retaining wall. During rain events this is fed by rainwater collection from the roof of the ramada. Moving down the slope, a second section of the garden

is reached by a paired set of stairs and a ramp designed to provide “wheelchair access”. The diversity of hardscape materials offers a number of options for construction, in-cluding stone, poured concrete and several types of pav-ers. Unlike the trees, which were intended to be long-term structural features of the design, planting areas were to provide space for experimentation with new cultivars as they became available.

A second section of the garden was completed in 1971.16 Linked by steps and a ramp to the upper areas, the new “Mexican Garden” included a geometric fountain with tile inserts made by Nathan Perlman and a traditional Tohono O’Odham ramada. Local Yaqui Indians created a curved wall of mud adobe to function as a windbreak against the open desert. River rock paving flowed from the area around the fountain into a shady retreat surrounded by palms. Large concrete containers were fashioned by Jack Hastings.17

The Sunset Garden provided Greene with a demanding site, set on a steep incline. Taking advantage of the topography, he designed a sequence of garden rooms that flow from one level to another, linked by paired stairs and ramp. For the visitor, the result is a journey through space enhanced by the native plantings that the garden was designed to accommo-date. On the warmest of desert days, it offers a shady oasis enhanced by the soft sound of desert water.

photo by Jude Ignacio + Gerardine VargasLandscape & hardscape detail designed by Guy Greene for Sunset Magazine Case Study Garden, Arizona-Sonora Desert Museum

SCULPTING SPACEThe Architecture of Nicholas Sakellar, FAIA

Introduction by Andie ZelnioEssays by William Kirby Lockard, FAIA

& James A. Gresham, FAIA

Wilmot Branch Library, Tucson, Arizona, 1964photo courtesy of Sakellar pllc


Nicholas G. Sakellar, FAIA (1918–1993) photo courtesy of Sakellar pllc

NICHOLAS G. SAKELLAR

William Kirby Lockard, FAIA (1930–2007) was asked to con-tribute an essay for a book commemorating the 50th an-niversary of Sakellar Associates. This essay was used with permission from CN Dino Sakellar, AIA.

Rendering of Levy’s Plaza Entrance at El Con Shopping Center,Tucson, Arizona, 1959 (demolished)

photo courtesy of Sakellar pllc

Nicholas Gust Sakellar was born to a Greek immigrant family in Indiana, was raised in Ohio, and graduated with an architectural degree from the University of Michigan in 1941. After serving in the U.S. Air Army Corps during World War II, he worked briefly in Cleveland and married his archi-tect wife before moving to Tucson in 1947.1

Beginning in the mid-1960’s, Sakellar broke away from a more purist modern expression of intersecting planes and began to develop a more sculptural vocabulary, where curvilinear forms and massive cantilevered planes became more prominent. Experimenting with new materials, he used technology to fuse his design aesthetic with the cli-matic extremes of the desert.2

Nick was awarded more than 250 architectural commis-sions during his forty-year career. In 1986 he was awarded the highest professional honor when named a Fellow in the American Institute of Architects (FAIA).

An entire generation of young architects came to Tucson because of Nick’s reputation for design excellence, includ-ing the two men whose personal essays about Nick are

In the buildings he designed and in his vision of what archi-tecture should be, Nicholas Sakellar has left us a heritage of beauty and inspiration. Along with Arthur Brown and Wil-liam Wilde, Nick Sakellar introduced modern architecture to Tucson and Southern Arizona, a region that had, except for a few earlier buildings by Henry Trost, simply copied various historic styles. The firm of Scholer, Sakellar and Fuller, which he founded with Emerson Scholer and Santry Fuller, and later his own firm of Sakellar Assocaites, were the busiest architecture offices of their time, producing an unprecedented number of excellent modern buildings, all the creations of Nicholas Sakellar, as the designing partner. His legacy remains not only in the buildings he designed, but in the lasting influence he had on the many young ar-chitects who worked with him over those years.

Nick seldom entered his buildings in awards programs, or even documented them with photographs, because he was always looking forward to the next building, the one on his drawing board, as the drawings so beautifully demonstrate. He was also of the generation of architects who felt that self-promotion was immodest and even unprofessional. The first time, and one of the only times, his buildings were ever entered in a design awards program was at the AIA’s Regional Convention in Phoenix in 1957. Three of Nick’s buildings were entered: Dr. Darwin Neubauer’s Office, the Tucson Clinic and the Wilcox Elementary School. They swept the awards, winning the only three awards given, an accomplishment never equaled before or since.

Nick’s buildings are unmistakably marked by an intimate sense of scale, an innovative use of structure and a sensitive combination of materials appropriate to the Southwest. The laminated wood roof decks of the Oro Valley or El Rio Clubhouses, the floating roof planes of the Wilmot Branch Library or the Tucson Clinic, the extensive use of thin-shell concrete for the Saddle and Sirloin were all firsts of their kind in Tucson. It was not these innovations, however, that gave his buildings their distinctive character, but the build-ing as a unified environment, a satisfying whole. He never designed a building that failed to show his creative touch, and he was a master at making fairly large spaces, like the sanctuary at First Methodist Church or the cafeteria or audi-torium at Catalina High School, feel intimate and personal.

In addition to a fierce pride in his own designs, Nick also evidenced a real respect for other architects. The sanctuary addition to the First Methodist Church on the University of Arizona campus is surely one of the most sensitive addi-tions to an existing building in Tucson, and an example of what a responsible second architect should do.

Nicholas Sakellar was also a real character, in the best sense of that overused word. He flew B-24’s over “the hump” in WWII and was fond of telling about attending pilot’s re-unions where he and his fellow former pilots stood around shouting at each other because they were all deaf (in the left ear) from the hours of B-24 engine noise. Other stories about his way with clients (told by others) include the time he rolled up all his drawings and walked out on an unap-preciative client during a presentation, or told the entire Flowing Wells School board they “had no soul.”

The drawings of Nicholas Sakellar tell us more about his de-sign ability and his mastery and passion for his profession than further words can convey. He was a marvelously “gift-ed” architect, as we are fond of saying—but I know him well enough to know that most of that gift was self-given —by the deepest feeling for the importance of design, by the very highest personal standards of excellence, by tire-less hours of work and rework and by a boundless, lifelong enthusiasm for architecture and life. Dismissing the abilities you see in Nicholas Sakellar’s buildings and in these beau-tiful drawings as some sort of gift takes away the credit he deserves as an architect and as a human being.

reprinted here. Both William Kirby Lockard and James A. Gresham moved to Tucson as young architects to work in Nick’s office. Each went on to develop their own reputa-tions as important architects and educators .

During my years as an architecture student at the University of Arizona, I was impressed with the progressive, sculptur-al expression of the buildings designed by Nick Sakellar. Kirby Lockard was one of my favorite college professors, teaching me how to see and draw. I was very fortunate to work for several years as an intern in the office of Jim Gresham and his partner, Jim Larson. Jim’s passion for his-tory and design was infectious, perhaps influencing me to be active today in preserving Tucson’s architectural legacy. These three men taught me about design integrity. They were influential to me as a young architect, and many years later, they still are.

NOTES1Annie M. Nequette and R. Brooks Jeffery, A Guide to Tucson Architecture (The University of Arizona Press, 2002), 261.2Ibid., 261.


Francisco Grande Tower, Casa Grande, Arizona, 1963 photo courtesy of Sakellar pllc

I did not work for Nick Sakellar very long—but he was the reason I came to Tucson. I worked for Scholer, Sakellar and Fuller for about six weeks in 1956, at which time Nick left the firm to start a new practice. A year or two later I again worked for Nick for a few months as a "loner" from another firm. De-spite this brief professional relationship, Nick's talents and his strength of character became an abiding influence.

Never was anyone more committed to architecture. Nick had an unmatched passion for it. You could see it in his buildings and how he talked about architecture—he was very serious about it and practiced under an enormous mor-al imperative. He was of that unlucky generation that had survived both the depression and WWII. He was anything but intellectual. To Nick, architecture was an immensely honorable profession to which he was married—and you should not cheat on your wife. I don't know one project which did not get his complete attention—and there were no potboilers. Usually, when architects move into a bigger practice, certain jobs get a short shrift. But not with Nick, he was professional to the core and accepted each project, no matter how small, as a gift from the lord.

I am not aware that Nick considered himself an artist, al-though most certainly he was one. He was a craftsman who was intensely proud of his ability to draw, design and man-age big projects. He was very holistic about architecture, and I don't think he ever deluded himself into believing that architecture was an art form suitable for self-expres-sion. A true craftsman searches for expressiveness, in the case of architecture it is, among others, the expressiveness of structure, material and shelter.

Nick was a hands-on designer—I don't think he was really comfortable delegating design work. Since he was often in great demand, he found it necessary to depend upon design assistants. Bob Swaim, Jim Merry and Kirby Lockard were a few of those who, over the years, passed through his office. Nick's design philosophy was entirely personal and not easy to communicate to others. His moral courage was matched by his design courage. He constantly took risks

and pushed materials and structures to their limits. This led him, in mid-career, to design buildings with extremely massive beams and large cantilevers supporting dead level roofs.

Nick would never have admitted it, but he was a mannerist. His is an architecture of extreme expressiveness—and this is the reason his buildings are fascinating. He aggressive-ly pursued not only structural limits but also visual limits where building elements were stretched to the point of dis-tortion. Horizontal lines, such as canopies, were extended to the visual snapping point. Beams could not be made to appear more massive or more long. His rough wood ceil-ings could not be more rough. Combinations of materials, such as burned adobe and concrete, combined soft forms with hard forms in a splendidly expressive manner.

The result of all of this energy and intensity was an architec-ture which was especially appropriate to the desert, where extreme measures must be taken to obtain shelter and a sense of protection. Unlike much modern architecture, which functions only as a background, Nick's buildings, especially the ones of the sixties and early seventies, are alive with tactile effects and poignant feeling. If Nick had practiced anyplace other than the Southwest, he would not have had the opportunity to develop an architecture so filled with conviction and intuition.

Nick was enormously proud of his large family, all raised in Tucson, and of his Greek heritage—I am certain he con-sidered himself the worthy and proper descendant of the builders of the Parthenon! The sources of his courage and strength as an architect were to be found in both family and heritage. In this respect he was luckier than most of us. Although he treated all his colleagues as equals, which in most instances was not the case, he was, for many years, overlooked by his peers. He was very self-effacing and found self-promotion distasteful. Nick finally received a Fel-lowship in the AIA very late in life, while many lesser archi-tects succeeded, and only after at least five futile attempts to be recognized. To my knowledge he never complained.

Today, I wish we could share Nick's courage and optimism. Instead, we seem faced with cynicism and self-doubt for a profession increasingly eclipsed by competing values. Perhaps there was a certain innocence in how Nick viewed things, but his deeply felt convictions and beliefs were the manifestation of a genuine moral force which we now des-perately need if the profession of architecture is to survive and prosper.

NICK

James A. Gresham, FAIA (1928–2014) wrote this essay about Nick Sakellar in 1995, during the fight to save Catalina High School from demolition. This essay was used with permission from Florence Gresham.

Rendering of Horizon Corporation Offices, Horizon City, Texas, 1969 photo courtesy of Sakellar pllc

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TUCSON MODERNISM EXPO OCT 2, 3, 4

opening night gala friday october 2nd at 7 pm

at the tucson convention center

Friday 7p-10p Saturday 9a-4p Sunday 9a-3p

T u c s o n M o d . c o M

Light hors-d’oeuvres and a no-host bar.

Adobe House Antiques

AZ Modern

Boxhill Design

Clever Vintage Clothing

Copenhagen

Delores Gonzales

Elissa Fazio

Goodmans

Herman Miller

Kathy McMahon

La Cortina

Patch & Clark Design

Rameen Ahmed Designs

Twinkee Silver

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Come join us for fun, furniture, home goods, clothing, jewelry, custom fabricators, Interior and landscape designers and scads more.


SEPTEMBER–DECEMBEREXHIBIT: TUCSON: Change, Growth, MemoriesUrban Renewal photographs, Mid Century Housing Development brochures and books & ephemeraUniversity of Arizona Special Collections Library1510 E. University Blvd. 9:00 AM–5:00 PM, Monday–Friday through December, free

FRIDAY, OCTOBER 2LECTURE: Saving Urban Renewal?Adrian Scott Fine, LA ConservancyTCC, Leo Rich Theatre260 S. Church Ave.6:00–7:00 PM, free

Tucson Modernism Week Expo Opening PartyTCC Meeting Rooms (north side)260 S. Church Ave.7:00–10:00 PM, free

EXHIBIT: Delores of TucsonVintage Fashion Designs by Delores GonzalesTCC Lobby260 S. Church Ave.7:00–10:00 PM, Oct 3 and 9:00 AM–4:00 PM, Oct 4 & 5, free

SATURDAY, OCTOBER 3Tucson Modernism Week ExpoTCC Meeting Rooms (north side)260 S. Church Ave.9:00–4:00 PM, free

LECTURE: Sign-O-Rama: Reading Mid Century NeonCarlos Lozano, Vanishing TucsonMOCA265 S. Church Ave.9:00 AM–10:30 AM, $5

Vintage Trailer ShowTCC Eckbo Plaza260 S. Church Ave.10:00 AM–3:00 PM, $10

EXHIBIT: Ultimate Fins: A Vintage Car Show & the Firebird III Concept CarMcCormick Street (between Church & Stone) MOCA, 265 S. Church Ave.10:00 AM–4:00 PM, $10

Modernism Downtown: A Walking TourGuided tours offered by the Living Streets AllianceMeet at the TMW Headquarters in the TCC Meeting Rooms260 S. Church Ave. 10:30 AM, 12:00 PM, 1:30 PM & 3:00 PM, $15

Restoring Modern SignsOpen Studio Demonstration with Jude CookCook & Co. Signmakers134 S. Tucson Blvd.10:30 AM–12:00 PM, free

LECTURE: Garrett Eckbo: Modern Landscape in Tucson Helen Erickson, ASLA, Historic Landscape ArchitectMOCA265 S. Church Ave.10:30 AM–12:00 PM, $5

LECTURE: The Experimental Films of Charles & Ray EamesAdam Call, Herman Miller Collection SpecialistMOCA265 S. Church Ave.12:00 PM–1:30 PM, $5

LECTURE: The American West and Modernism in Commercial and Popular DinnerwareCorinne Joy Brown, Denver AuthorMOCA265 S. Church Ave.1:30 PM–3:00 PM, $5

LECTURE: Modernism’s Back: The Past & Future of Mid Century Modern ArchitectureAlan Hess, Los Angeles Architect and HistorianMOCA265 S. Church Ave.3:00 PM–4:30 PM, $5

FEATURED EVENT: Designing the Firebird IIINorman James & Jim Ewen, Automobile DesignersModerator: Thom SherwoodMOCA265 S. Church Ave.4:00 PM–5:30 PM, $15

VIP RECEPTION: Motorama, Firebird III & the GM ExperienceSee the 1958 Firebird III concept car, vintage automobile design drawings & meet the designersMOCA265 S. Church Ave.5:30 PM–7:00 PM, $45

Fabulous Modernist Cocktail Party & THPF FundraiserFlecha Caida foothills home, designed by Cain, Nelson & Wares in 1963Address revealed with ticket purchase 7:00 PM–10:00 PM, $65 (proceeds benefit the non-profit Tucson Historic Preservation Foundation)

SUNDAY, OCTOBER 4Tucson Modernism Week ExpoTCC Meeting Rooms (north side)260 S. Church Ave.9:00 AM–3:00 PM, free

Vintage Trailer ShowTCC Eckbo Plaza260 S. Church Ave.9:00 AM–2:00 PM, $10

Mid Century Modern Home TourTCC Meeting Rooms, TMW Headquarters 260 S. Church Ave. Tickets & location maps–available at 9:00 AM, Sunday, Oct 4Tour: 10:00 AM–4:00 PM, $25

EXHIBIT RECEPTION: The Modern Work of Ted DeGraziaFeaturing the DeGrazia textile designs & modern workDeGrazia Gallery of the Sun6300 N. Swan Rd. 4:00 PM–6:00 PM, freeOpen to the public, Oct. 2–10 from 10:00 AM–4:00 PM daily

MONDAY, OCTOBER 5Moderne Dude Ranch at the Downtown CliftonReception & Presentation by the Designer, Clifton TaylorThe Downtown Clifton485 S. Stone Ave.6:00 PM–8:30 PM, free

TUESDAY, OCTOBER 6A Retro Bus Tour: Miracle MileKen Scoville, HistorianOld Pueblo Trolley Bus Division Shop10 N. Park Ave.5:00 PM–7:00 PM, $25 (limited to 24)

FILM: Modern Film SeriesThe Loft Cinema3233 E. Speedway Blvd. 6:00 PM–8:00 PM, $10

Bon Voyage Retro Cocktail PartySunshine Mile Merchants242 S. Park Ave. 6:00 PM, free

WEDNESDAY, OCTOBER 7A Retro Bus Tour: Miracle MileKen Scoville, HistorianOld Pueblo Trolley Bus Division Shop10 N. Park Ave.5:00 PM–7:00 PM, $25 (limited to 24)

THURSDAY, OCTOBER 81950’s 3-D Experience!!!Vintage 3-D Slide Show Keith Pawlak, UA Music Curator & HistorianVisit our website, tucsonmod.com, for location update7:00–9:00 PM, $10

FRIDAY, OCTOBER 9RECEPTION: Danish Modern FurnitureCopenhagen Imports3660 E. Ft. Lowell Rd.5:00–8:00 PM, free

LECTURE: Danish Modern Furniture DesignMark Mussari, PhD., Author & HistorianCopenhagen Imports3660 E. Ft. Lowell Rd.6:30–7:30 PM, free

SATURDAY, OCTOBER 10Guy Greene’s Desert Museum Landscape TourHelen Erickson, ASLA, Historic Landscape ArchitectArizona-Sonora Desert Museum2021 N. Kinney Rd. 10:00 AM–12:00 PM, $10; (limited to 25)

LECTURE: The Life & Death of the Blackwell House Chris Evans, Architect & HistorianFaith Lutheran Church3925 E. 5th St. 9:00 AM–10:30 AM, $5

LECTURE: Spilled Ink: The Art of the Fountain PenEldon Braun, UA Professor EmeritusFaith Lutheran Church3925 E. 5th St.10:30 AM–12:00 PM, $5

LECTURE: Better Living in the BurbsClare Robinson, PhD., UA Assistant ProfessorFaith Lutheran Church3925 E. 5th St.12:00 PM–1:30 PM, $5

LECTURE: Judith Chafee, Artifact of Desert MagicChristopher Domin, Architect & UA Associate ProfessorFaith Lutheran Church3925 E. 5th St.1:30 PM–3:00 PM, $5

LECTURE: The Work of William & Sylvia WildeDemion Clinco, Executive Director, THPFFaith Lutheran Church3925 E. 5th St.3:00 PM–4:30 PM, $5

LECTURE: The Life & Work of Nicholas Sakellar, FAIADino Sakellar, Principal, Sakellar AssociatesMurphy Wilmot Library530 N. Wilmot Rd. 5:00 PM–6:00 PM, free

Closing Party: Silent Disco & 1965 Fashion Show Styling by Clever Vintage Clothing; Fundraiser for THPFMurphy Wilmot Library530 N. Wilmot Rd.7:00 PM–10:00 PM, $45

SCHEDULE OF EvENTSTUCSON MODERNISM WEEK 2015

* All events, locations, pricing and times are subject to change or cancellation. Visit tucsonmod.com for updates.


Tucson Community Center (TCC)260 S. Church Ave.

Museum of Contemporary Art (MOCA)265 S. Church Ave.

Cook & Co. Signmakers134 S. Tucson Blvd.

De Grazia Gallery of the Sun 6300 N. Swan Rd.

The Downtown Clifton485 S. Stone Ave.

The Loft Cinema3233 E. Speedway Blvd.

EVENT LOCATIONSOld Pueblo Trolley Bus Division Shop10 N. Park Ave. Copenhagen Imports 3660 E. Ft. Lowell Rd.

Arizona Sonora Desert Museum2021 N. Kinney Rd.

Faith Lutheran Church3925 E. 5th St.

Murphy Wilmot Library530 N. Wilmot Rd.

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Copenhagen Imports

MurphyWilmot Library

Old Pueblo Trolley

UA

Downtown Clifton

Cook Signs

TUCSON MODERNISM WEEK 2015

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Tickets & more information are available online at tucsonmod.com

All events, locations, pricing and times are subject to change or cancellation. Visit tucsonmod.com for the latest updates.

Between October 2–4, visit us at the Tucson Modernism Week Headquarters and the Goodmans/Herman Miller Lounge for tickets and information. We are inside the Modern Expo at the Tucson Community Center Meeting Rooms (TCC).

If you have purchased tickets online, please arrive 5-10 minutes prior to the start time to check-in at the will-call table at the event location.

VIP passes allow entrance to all events except the Walk-ing Tours, Bus Tours and Desert Museum Tour.

INFORMATION & PARKINGPay parking is available at TCC lots, nearby parking garages and metered street parking. (PLEASE NOTE: Other events are scheduled at the TCC and Down-town area, so parking spaces may be in demand.)

Tucson Modern Streetcar stops are nearby along Broadway, Congress and Granada. For a complete route map, go online to sunlinkstreetcar.com.

Walking Tours will meet 10 minutes prior to the event at TMW Headquarters, TCC.

Home Tour maps will be available for pick-up at 9 AM Sunday, October 4 at TMW Headquarters, TCC.

Bus Tours will meet 10 minutes prior to the event at Old Pueblo Trolley Bus Division Shop, 10 N. Park.

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Documents

TMW 2015 Guide