Indoor Air Quality – The biggest pollutants are paints, stains, and sealers, as well as the adhesives and glues used in such things as particle board, cabinets,and carpet.  Include systems to control, condition, ventilate, and filter the air inside the home; and make sure the systems can recover the energy (heating or cooling). Isolate the air from your garage and mechanical room from the interior of the home. Use cement-type board under wet applications like bath tile. Fix all water leaks immediately, don’t let mold get started. Use  integrated pest management for insect control.

Thermal Performance – Insulation and air infiltration are two of the biggest factors in how much energy is required to operate a building. The most efficient insulator is an uninterrupted wall surface or roof such as spray foam, or structural insulated panel. Also important is the solar orientation and thermal mass of the building. Maximize solar gain in the winter with south-facing glazing along the long side of the house, but protect the house from solar gain in the summer. Use enough thermal mass to absorb the heat from the winter sun and coolness from the summer nights.Efficient heating and cooling equipment and appliances have a dramatic effect on energy consumed. Use fluorescent lighting as much as possible, especially in lights that are used all the time. Solar water heaters and photovoltaic electric systems will further reduce energy consumption.

Embodied Resources – There are large amounts of energy and/or other resources used in the manufacture and transportation of many building materials. For instance, the manufacture of Portland cement used to make concrete requires a tremendous amount of heat.  Compare that to an adobe made on site and baked in the sun.  Also consider the amount of clean-up needed, waste generated, the recycleability of the materials, and the “hazard” to the environment and employees.

Water Conservation – Reduce water use with water-saving dishwashers and washing machines, low-flush toilets,and low-flow faucets. Use point-of-use water heaters or hot-water recirculating loops so that it is not necessary to run the water to get it hot. Use drip irrigation with a weather-activated timer and zone plantings according to water needs. Reclaim waste water and capture rainwater.Green buildings are more energy-efficient, healthier, and reduce the environmental impact of a structure.  They can reduce some short- and long-term costs and provide a more enjoyable living solution for any new home or remodel.

Contact Kurt Faust

Cell: 505.780.1157

The U.S. Department of Energy, U.S. Environmental Protection Agency, and the National Association of Home Builders are promoting the goals of the National Energy Policy Act by encouraging the adoption of economically competitive Zero-Energy building practices.

With Zero-Energy home construction methods homeowners benefit from energy efficiency and lower utility costs, increased comfort, better indoor air quality, increased resale value, and a sense of environmental responsibility.  Utility companies benefit from less peak demand and a more stable grid as well as meeting their renewable production targets and quotas.  The public benefits from reduced air emissions, less reliance on energy imports, and a reduction in the vulnerability of the energy infrastructure.  As fossil-fuel sources become depleted and energy prices climb, Zero Energy becomes more and more of a necessity.

There are two basic elements in building Zero-Energy homes.  First is the design and performance of the home’s thermal, heating, cooling, and lighting systems.  This includes passive solar, shade structures, the type and amount of insulation and air infiltration, the efficiency of the appliances, and the amount of electricity or gas used by these systems.  The other component is the use of active renewable-energy technologies including solar water heating and storage, photo voltaics, wind power, small-scale hydro power, and fuel cells.

Technology advances play a big part in all of these elements.  The cost and aesthetics of fluorescent lighting have improved dramatically.  Using spray foam for roofing systems and in-the-wall insulation systems increases the thermal performance of a building.  Appliances are becoming much more efficient.  Photovoltaic panels produce more electricity and are less expensive.  However, there are still cost barriers to solar thermal and photovoltaic technology being rapidly embraced, especially given that property appraisals often under-value the added features.

There are now state and federal tax credits for active solar-thermal and photovoltaic systems installed that started in 2006.  The maximum credit available is $9,000 and is scheduled to continue through the year 2015 even if the federal credit expired in 2008. The rules and the certification program will be published by mid-year by the New Mexico Energy, Minerals & Natural Resources Department.  See http://www.emnrd.state.nm.us, and see http://www.pnm.com for more about a Public Service Company of New Mexico program in which approved, grid-tied photovoltaic systems are paid a rebate of 13 cents/kwh.

Between the tax credit and the rebate, solar energy is now more feasible than ever.

Contact Kurt Faust

Cell: 505.780.1157

Each home site has its own unique character. The view, the privacy issues, and the entry sequence – how one gets from the street to the front door – must all be carefully regarded. The floor plan, the aesthetics of the styling, the curb appeal, how the home fits into the landscape, and any special features of the home all work together to connect the home to your own style of living.

Custom design gives you control over options such as finishes.  The view is one of the primary considerations and must be nailed dead on. I don’t know how many times I’ve been in a home where the view was off to one side or,worse yet, the best view was from the garage. When protecting the privacy of the home it is wise to understand exactly where all of the surrounding home sites are located and design accordingly. There are two entry sequences;one that the guests see and one the owners use everyday. The former must have “curb appeal” and must have a sense of logic as to where the front door is located.

The kitchen is often the center of activity.  Whether you are a gourmet cook or not, the kitchen layout for food prep and storage will dramatically effect your enjoyment of your home.  Your entertaining may be formal or  informal. There can be large family gatherings, a small quiet intimate group of friends, or elaborate holiday celebrations. Don’t forget television and music and how they will be enjoyed.

A custom home will address exactly how you use the private space in the home, such as for bathing, sleeping ,study, work, fitness, or hobbies. This space can be as sequestered or connected to the public spaces as needed . It can be as simple as a cabinet near the dining table to store special supplies or as elaborate as a garage decked out with hookups for special equipment and multiple surfaces to work on.

The advantages of custom design provide the most enjoyable living experience possible from your new home. With custom design you will experience a sense of accomplishment and pride of personal ownership that makes it well worth the effort.

Contact Kurt Faust

Cell: 505.780.1157

Insulation consideration in home construction is the biggest contributing factor in the energy required to keep your house warm.  Every home we build today has to meet the Model Energy Code,which measures the insulation in the walls, the roof, and around the perimeter of the slab and compares it to the amount of heat lost through windows, doors and skylights.

The most common and cheapest insulation is still the spun fiberglass batts. Our standard is R-19 in the walls and under the joisted floors with R-39 in the ceilings.  The batts are prone to convection and air infiltration, both of which decrease the thermal performance.  Convection occurs in wall cavities where there are gaps between the insulation and the wood studs.  The warm air rises, causing air infiltration and a transfer of heat to the exterior.  There is a trend toward using sprayed-in-place, expanding foam for insulating the walls and ceilings.  Although a bit more expensive, the foam provides a complete seal against air infiltration.

Air infiltration is the next largest culprit in robbing your house of heat in the winter.  Filling all the little cracks and gaps that let air in with caulk or weather stripping will make a big difference in your comfort.  One trick youcan use to locate air leaks in your home is to close all the windows and doors and make sure the fireplace damper is closed; then turn on your bathroom exhaust fan and kitchen exhaust fan.  This will draw air in from outside.  With the smoke from a lighted stick of incense you can actually see drafts around doors, windows, electric outlets and other places.

Look around any penetration to the outside such as where the gas or electric enter the house, around outdoor hose bibs, a mail chute, behind the bathtub or shower surround, or where the portal connects to the house.

Storm windows and doors are a necessity for those old homes with single-pane glazing units. They are a significant investment but well worth it in the long run.  Another good investment is to go ahead and seal up all those cracks and gaps once you’ve found them.  Solvent-based caulks tend to last a lot longer while water-based caulks are much easier to use and clean up.  If a gap is deep or wide fill it with a foam backer rod first.

Weatherstripping comes in a variety of materials.  Each must be considered as to how much wear and tear it will receive and if there is moisture or heat involved.  Felt and open-cell foams tend to be inexpensive and susceptible to moisture.  Vinyl is a little more expensive but is more durable and not water-sensitive.  Bronze, copper and other metals can be more difficult to use but will last for years.

After you have tightened up your home, don’t forget to consider the indoor air-quality issues. Some homes contain dust, mold, carbon dioxide, and other contaminants.  Make sure you have proper ventilation as well.

Contact Kurt Faust

Cell: 505.780.1157

From the Anasazi ruins we find evidence of the use of vigas or logs, as structural members to hold up the flat roof. They show some fine examples of stacked stone (especially at Chaco Canyon), the south facing courtyard, and the round shape of the kiva.

Taos Pueblo, much the same today as it was when the Spaniards arrived in the late 1500′s, with its soft rounded adobe walls and multi-levels shows the small windows and doors and the massive walls used to protect the interior from the summer heat.

From the early dwellings we learn how latillas were used to span between the vigas to hold up the sod roofs. Many types of small trees were used for this purpose such as small aspens, young spruce or ponderosa pine, split cedar branches or what ever other scraggly material was at hand. On the interior sometimes the latillas were covered with plaster between the vigas creating a coved ceiling which kept so much dirt from falling through onto the occupants below. Canales, used to direct rain water off of the roof and away from the walls of the house, were often made from a section of hollow log.

The Spanish developed a “U” shaped courtyard house which offered protection from hostile forces. Often, the courtyard was entered through a zaguan, or a thick walled passageway containing large double doors for passage of livestock and wagons with a smaller door installed in one of the larger doors for everyday pedestrian usage.

The mission churches needed especially thick walls due to the height of their adobe walls.  Some of the most beautiful forms come from the thick buttresses functioning to hold the walls up.  The buildings of a church would attract the areas finest craftsmen. These craftsmen would build the doors, railings and other details. Ornate carving often embellished the woodwork and carrying beams. Corbels were often used to hold up the ends of the beams and help with the long structural spans.

Decorative elements from Anasazi and Pueblo pottery and patterns from woven baskets and textiles are deeply ingrained into the regional style. Influences found their way into the designs of furniture, doors, and just about every household item  needed for early frontier life.

The craftsman who immigrated employed the local population to help in the trades. The local craftsmen in turn added their own influence to the objects they made. Our regional style owes much of its development to the relative isolation of the cultures working together for two centuries in their remote location. This is the reason Santa Fe has such a unique style.

Contact Kurt Faust at Tierra Concepts, a Santa Fe Custom Home Builder

Cell: 505.780.1157

At the time design was considered to be a practical, logical, problem solving process.  It was something done to products such as cars, furniture buildings, etc.  It was an ingredient in the thing which made it better.  Design was, in this elitist world view, distinguished from style or fashion which were thought to be equal to surface decoration.

Through all the Middle Ages surface embellishment was the normal expression and the Modernist movement rejected this tradition.  This was expressed by such artists as the Impressionists, Picasso, and Matisse.  These artists were some of the pioneers developing our modern forms of painting, drawing, and sculpture.

Instead of having the goal to making paintings look real, the artists began working more two dimensionally employing the elements of design.  These elements such as shape, line, value, color, and movement, etc. were used more literally.  The conservative critics of the time wrote scathing reviews of the  work and called them derogatory names such as “wild beasts”. Modernist critics began to assert themselves and gradually established themselves as the arbiters of what is good design and what is good art.

Art and design have been vigorously held as separate and distinct disciplines. Art is for galleries and museums and is held in noble esteem.  It is placed on pedestals and on pristine white walls with guards all around. Design has been for the “lesser” goals of manufacturing or for advertising, yet design still has its elitist award winners and arbiters.  It has been performed by experts and, until recently, controlled by these experts promoting the idea that the design object contains internal qualities which make it “different” from ordinary things.

A recent trend is that of the “designer label”.  Individual designers have risen to the star status once reserved for artists.  Names such as Tom Ford and Ralph Lauren come to mind.  These designer labels broke the once held boundary between design and style and fashion.  It solidified for the masses the value of a subjective experience of good design.  It shows us that design also is the emotional content and the deeper meaning of the objects, even if the meaning is merely the status conferred by the object.  The designer label syndrome has pushed so far into daily life that it is now ubiquitous like the “Designer Phone with caller ID” or the“Pet Select Designer Adjustable Collar”seen recently at the big-box store.

Design has broken out of the functional constraints of the past and now encompasses the whole spectrum of creativity.  As we move into the global economy, creativity becomes the priceless resource to cultivate.  It still holds true that design will focus on the needs, wants and limitations of the end user as well as the aesthetic appearance of the form, but the newest frontier for designers will be to add meaning and emotional connection to the things in our lives.  Each of these components represents a little piece of information.  The challenge for the 21st century designer is to be the one who can add the most quality information to their designs.

Contact Kurt Faust at Tierra Concepts, a Santa Fe Custom Builder.

Cell: 505.780.1157

With the cost of land and the cost of materials and energy sky rocketing, less is more when it comes to  architectural design.  The trend is to design what feels like more space with less actual square footage.  This is done with intelligent design.

The program for a large custom home is often a spacious living/dining/kitchen area, some kind of breakfast room or den, the master suite, two guest bedrooms with one or two baths, the powder,the formal entry and the owner’s entry near the garage, sometimes an office or other auxiliary room, the laundry, the closets and other storage areas.  In the recent past this was taking up to 4,000 square feet, but are now fitting this program into a much smaller foot-print.

The mantra is reduce the hallways, reduce the wasted space, reduce dead space and, to a certain extent, reduce opulent space.  The trick is to reduce the square footage without reducing the appeal or function.  In order to accomplish this you must examine your lifestyle and assess your needs.  How much space do you really need?  Where in your home do you really live?

One of the keys to providing a smaller home that functions like a larger home is to understand how big each space must be.  A bedroom needs certain space for the bed, end tables, dressers and such, but it can be smaller if the dressers are in the closet.  A living room must have its seating arrangement, but it can be smaller if it does not also need to accommodate pass-through foot traffic.

Another key is providing for one space to share space with another.  For instance, the entry could share space with the living room to make it seem bigger or it could be a connecting hallway between two wings of the house.  A family room could double as an office space and also handle guest overflow.

A bar top or kitchen counter could serve as the informal eating space, eliminating the need for a breakfast nook and providing a place for socializing with the cook. Outdoor spaces, when utilized with the right doors and windows, can extend the indoor spaces.  A master suite can be more comfortable if it is intimate and cozy rather than cavernous.

Pay special attention to the details.  Built-ins, tile trim, wood, stone, nichos and other such details give the home character.  Try to incorporate a long line of site to a view of something interesting, a distant window or a skylight at the end of a hall.

With the baby boomers maturing and their children moving out, the market is changing.  A house is an extension of the lifestyle of those living in it.  Many people are now rethinking their lifestyle. More and more are becoming environmentally conscious and, in the higher end, reconsidering conspicuous consumption.  Not to mention it is a great way to save money.

Contact Kurt Faust at Tierra Concepts, Santa Fe Custom Home Builders.

Cell: 505.780.1157

The ancient streets and old buildings were seen as some of the City’s greatest assets and the first attempt at an architectural-styles code came in 1912 during the renovation of the Palace of the Governors.  The push to establish the historic preservation codes was lead by the coalition of civic & business leaders, anthropologists, artists and writers involved in the Palace renovation.

One of the first renovations of this time was the old San Miguel mission, which dates back as early as 1610.  By 1887 the old mission was in a serious state of disrepair, the bell tower having collapsed sometime earlier.  It was renovated with a new tower having a hip roof and other Romanesque features in complete disregard to the original three-tiered tower.

The Palace, which also dated back to 1610, had features from several different eras including square Territorial-type posts and a Victorian bric-a-brac cornice around the roof  line of the portal. These were removed and replaced with the heavy round posts and rounded parapet in keeping with the romantic notion of what old Santa Fe could have or should have been.

Even though the architectural code proposed in 1912 was not adopted, the movement gained momentum and the Old Santa Fe Association was founded in 1926 to encourage the preservation of the city’s architectural and cultural heritage.  A competition to redesign the Plaza was held in1930 with John Gaw Meem winning with a plan to add portals to the facades and to re-create them into adobe and Territorial-style buildings.  By the mid-1950′s the Plaza had had an extreme makeover.  Comparing old photos show the extent to which many of these buildings have been changed.

On the northeast corner of the Plaza is the Catron building built in 1891, which has been covered over, and a Territorial-style portal added to both street scapes.  Next to the Catron building on the East side of the Plaza was the old First National Bank building.  The new building was built in the Greek-Revival style with four large Corinthian columns across the facade.  The columns were removed and Pueblo-style stucco and portals added. On the South side of the Plaza, on San Francisco Street, in 1881 and 1882 the Spiegelberg brothers built two Italianate brick buildings with metal cornices and windows they could order and receive by rail.  These have had the cornices removed, a long portal added and everything covered with stucco.

There have been many heated debates since the introduction of the first proposal to legislate Santa Fe style.  At issue is the legitimacy of an architectural style based mostly on a restricted  interpretation of the old Pueblos and Missions, which severely limits expression and authenticity,versus the need to preserve what makes Santa Fe different and keep it from being diluted with a hodgepodge of styles having no relationship to the regional context.

Contact Kurt Faust, Santa Fe Builder Tierra Concepts

Cell: 505.780.1157

When the railroad finally came to New Mexico, the main line went from Las Vegas to Albuquerque.  Santa Fe was serviced only by a spur from Lamy which arrived in 1880.  The railroad’s ability to carry passengers and freight made the Santa Fe Trail from Missouri obsolete and caused a general decline in the Santa Fe economy, which lasted many years.  The railroad made new building materials readily available and in an effort to gain statehood, the entire territory began adopting building styles from “back east.”  Santa Fe rapidly became a hodgepodge of building styles.

It was in this mood that a number of the business and civic leaders resurrected the dormant Historical Society of New Mexico.  Its purpose, among other things, was to protect and collectartifacts from the earlier generations of peoples of the Southwest.  To that end, the group obtained space n the historic Palace of the Governors on the Santa Fe Plaza in which wasdisplayed a substantial collection of Pueblo Indian artifacts and attracted numerous visitors. With persistent effort by some members of the group, the Territorial Legislature in 1909established the Museum of New Mexico and landed a home for the newly created (by U.S.Congress) School of American Archaeology.  Edgar Hewett, a national leader in the field ofarchaeology, was named director of both the museum and the school.

Artists were attracted to New Mexico by the clean dry air, the clarity of light, and the cultural uniqueness of the area.  Under Hewett’s guidance, the Museum had an open door policy for any new artist arriving in Santa Fe. The Museum would offer studio space at the Palace and help the new arrivals find suitable housing.  The Museum also frequently showed the work of the artists and promoted them in their newsletter El Palacio.  With the founding of the Museum and the School of American Archaeology and the coming of artists and writers to the region in the early1900′s the stage was set for the transformation of Santa Fe.

Carlos Vierra was the first of the aritsts to immigrate to Santa Fe for health reasons.  He relocatedhere in 1904.  After regaining his health he traveled extensively throughout the region paintingand sketching the Pueblo architecture and the old missions.  Vierra was passionate about the preservation of the remaining remnants of “old” Santa Fe and held a strong vision of what the new style should be.  He built, in 1918, one of the first homes in the new style at the SW cornerof what is now Old Pecos Trail and Coronado Street.  Vierra’s vision for his home was tocombine the elements he had observed in the local indigenous architecture and to make thebuilding look old from the very start.  Vierra’s sketches were intrumental in the design of theFine Arts Museum by I.H.Rapp, which was constructed on the northwest corner of the Plaza in 1917. Vierra became active in civic groups and advocated for adopting a new “Old Santa Fe Style” for new buildings.  He was vocal about the need to reject California Mission style.

Many of the artists settled and built homes in the Canyon Road and Camino del Monte Sol area. In 1916 Alice Corbin Henderson came to Santa Fe to recover from tuberculosis.  Her husband, William Pennhallow Henderson, was an accomplished painter.  The family rented a small place at 452 Camino del Monte Sol until Henderson built a new adobe house and studio at 555/557 Camino del Monte Sol.  Henderson was very active in the creation of the new style and started Pueblo Spanish Building Company, a construction company.  He designed and built the Museum of  Navajo Ceremonial Art, the Freemont Ellis house on Canyon Road, a house for Amelia andMartha White on Garcia Street, and he remodeled Sena Plaza.

Frank Applegate was teaching ceramics and sculpture at a school in New Jersey until, in 1921, hecame with his family to visit artist friends Gerald and Ina Sizer Cassidy at their home on thecorner of Canyon Road and Acequia Madre.  Applegate soon bought a tract of land on Caminodel Monte Sol.  Applegate built several houses in the area and was a major supporter of theCinco Pintores, helping them to acquire the land and materials for their own constructionprojects.  His homes are at 408 Camino del Monte Sol, 830 El Caminito, 544 Camino del MonteSol (purchased by artist Andrew Dasburg), and 558 Camino del Monte Sol.  Frank was educatedin architecture and gave good advice and help to many of the other artists and writers who settledin the area.

The Cinco Pintores were a younger group of artists who came to Santa Fe in the 20′s.  They banded together for promotional purposes.  They were Willard Nash, Jozef Bakos, Will Shuster, Fremont Ellis, and Walter Mruk. They all built and lived near each other on Camino del MonteSol.  Some built more than one house on the Camino: Willard Nash lived at 538 and 566 Camino del Monte Sol, Joseph Bakos lived at 576, Will Shuster, over time, built three houses at 542, 550,and 580, Freemont Ellis lived at 586, and Walter Mruk lived at 558.  These houses were built in the early to mid 1920′s.

Most of the artists and writers of the time were involved in the creation of Santa Fe Style.  Mary Austin built on Camino del Monte Sol.  Olive Rush – restored an old home on Canyon Road and used it for gatherings of  the Society of Friends.  Gustave Baumann built a house in 1923 on Camino de las Animas.  Henry Balink built a home and studio on Old Santa Fe Trail just across the field from Gustave Baumann. Witter Bynner owned an estate at Old Santa Fe Trail andBuena Vista which had several small spaces he rented to artists.  Bynner’s Estate, on the outskirtsof town, became a veritable artists colony.  Theodore Van Soelen built a beautiful house inTesuque in 1926.  Randall Davey bought and restored a home and orchard at the entrance to the Santa Fe Forest now home to the Audubon Society.  Amelia White, a very active patron of the arts, donated the land for the International Folk Art Museum, the Laboratory of Anthropology, and the Museum of Navajo Ceremonial Art.  She donated her house and land to the School of American Research and a small house for the Garcia Street Club.

The artists of the late teens and early 20′s had a keen influence on the future of Santa Fe.  They had passion for the land and a strong vision for the unique architectural opportunity present in Santa Fe at the turn of the century.  They pushed for a styles ordinance that would protect and encourage furtherance of the local architecture and followed up with action by building their own homes in the style.  They were very involved in the social fabric of the community and were instrumental in ushering in the legacy of arts we enjoy here today.

Contact Kurt Faust

Cell: 505.780.1157

As people came along the Santa Fe Trail during the 1800′s, the adobe style they encountered wasremarkably different than anything they had seen back East.  The baked mud bricks and the mudplaster combined with the flat roof is such a simple solution and fits in so well with the landscapeit amazed the visitors.  The locals noticed how impressed the newcomers seemed to be with thearchitectural style.  The idea of Santa Fe as a “style” slowly began to emerge.  However, noteveryone was impressed for the better.  Some complained about being overwhelmed by livingwith all the dirt – dirt walls, dirt floors, dirt streets, dirt filtering in from the ceilings.

A major turning point for Santa Fe came when the railroad passed up Santa Fe and headed forBernalillo instead.  This extinguished the Santa Fe Trail as the primary trade route from the Eastand ended Santa Fe’s monopoly as the destination for trade in these parts.  Bernalillo had moreagricultural products for shipping and Santa Fe was 2,000 feet uphill and out of the way of therailroads’ western trajectory.  This caused a tremendous economic crisis in Santa Fe andinfluenced a trend toward preserving the architectural character of Santa Fe as a way to attractvisitors.  Santa Fe Style began to solidify in people’s minds.

There has always been a strong preservation component to Santa Fe Style.  In the mid-1800′s thephilosophy of the Arts and Crafts Movement was gaining acceptance along with its appreciationfor the intrinsic value and beauty of the simple lifestyle of indigenous peoples.  This was areaction against the increasing industrialization here and abroad.  Concurrently, in the Southwestwere those who desired to preserve and collect the artifacts of the Native Americans and theSpanish culture.  The Historical Society of New Mexico was formed in 1859 for that very purpose.

With the railroad came more people and more fascination with the anthropological and cultural history of the area. There was growing national support to study the archaeology of America. Adolf Bandelier documented the pueblo ruins in the late 1800′s.  With support from theArchaeological Institute of America, the School of American Archaeology was established inSanta Fe in the early 1900′s.  At the same time the State legislature created the Museum of NewPage 2 of 2Mexico and many artists and writers began to locate here.  Santa Fe shifted its focus from beingthe center of trade to being the cultural center of the region.

The face of Santa Fe visibly changed during the early years of the 20 century, ushering in whatthmight be called the “Golden Age of Santa Fe Style.”  The Palace of the Governors wasremodeled form an assortment of Territorial and Victorian styles into one of the first prototype“Santa Fe Style” buildings.  Also built at the time were several other prototype buildings: theMuseum of Fine Arts, La Fonda Hotel, the old Post Office across from the Cathedral, and theGross Kelly warehouse.  These buildings, built in a relatively short time span, dramaticallychanged Santa Fe’s skyline and anchored the notion of preserving the architectural heritage ofSanta Fe.  The local artists were largely responsible for the look of the new architecture.

It cannot be overstated how much impact the newly forming artist community had on the look ofSanta Fe Style.  The decade from 1912 to 1922 saw a major influx of artists living and workingin Santa Fe.  The first to come were Carlos Vierra, Gerald Cassidy, Sheldoh Parsons, and WarrenRollins.  Following them were the well-known artists W.P. Henderson and wife Alice, JohnSloan, Randall Davey, and Robert Henri.  And finally, Frank Applegate and the Cinco Pintores. The artists were attracted by the brilliant light and the beautiful landscapes of the area.  Theyoften used the soft adobe houses and churches as subjects in their paintings.

Most of these artists were enthusiastic and vocal about their love for the local style ofarchitecture.  They were proponents for the establishment of an Historic Zone to protect theexisting structures and to compel new buildings to conform as well.  Many built their own homesin this style.  Vierra provided some of the aesthetic influence for the design of the Museum ofFine Arts and was involved in a civic group proposing the new architectural design guidelines. Henderson started his own construction company committed to building Santa Fe Stylearchitecture and furniture.  Applegate built a home on Camino del Monte Sol and then sold landto each of the Cinco Pintores and helped them to build their own adobe homes.  John GawMeem, who is probably the most notable architect, began his practice of architecture in 1924, andcalled the old buildings a “fundamental form” of America.

It was these, and other artists who took the idioms of the simple structures of the local people andinvented Santa Fe Style as we know it today.  It is the “artist’s eye” which takes the idioms oftoday and reinterprets them, thus continuing the evolution of Santa Fe Style.  Hopefully, as youtour the homes in our Parade, you will be inspired to use your own “artist’s eye” and the help ofthe many talented designers and builders to create a Santa Fe Style just right for you.

Contact Kurt Faust

Cell: 505.780.1157