
Publications
BOOKS
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“Chicanx Architecture: Divine Suppositions in a Multi-cultural Society”
Excerpts
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The Five Principles of The Chicano Architecture Style, individually, collectively, and/or in any combination thereof, will form the basis of the language for the articulation of "built-form" and "contextual-space". In some regards these principles are not new, merely brought forth from a “lost history” and waiting to be re-discovered. They are:
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1. Pictorial Storytelling - The transcription of "folklore carved into stone" celebrating Rituals, Beliefs and Ceremonies, past and/or present, and highlighted by Motifs, Masks and Facades. Architecture is a permanent art – writing the next chapter with indelible ink causes the practice of architecture to take greater responsibility for its actions. The environment does not appreciate “junk” nor does the neighborhood, and for that matter neither do the individual building materials enjoy being abused. Furthermore, this holds true for the Story (e.g., design parti): no one-liners, only mesmerizing Actos, binary Diamantes, and/or diced Hikaus. In short, let the story be the story of the story of its locale.
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2. Decorative Monumentality - Color, Texture, Pattern, and Mathematics as exalted in the architecture of the Maya, Aztecs, Anasazi and other Nations of the Americas. Accordingly, the basis of design and aesthetics has been established by the Ancient Ones. The expression of key architectural elements of the composition goes hand-in-hand with its symbolic, cultural and societal values. Moreover, the self-referential magnitude of Nature cannot be understated. For example, consider a sea shell. Simultaneously its truths are: a spiral formal character, a unique growth pattern, an opalescent color, and its equation r=aø. Now, instantaneously contemplate its multi-dimensional truths as a singularity.
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3. Exuberant Juxtaposition - Materials, Functionality and Compositional Hierarchy. The celebration of various architectural elements – A palette of materials, everything from flamed polished granite to split-face block, from low-E glass, tinted vision glass to spandrel and/or reflective glass, and metal panels systems to stucco plaster surfaces, each revealing its inherent beauty (e.g., veins, grain, texture, and/or color), in order to experience the finesse of sophisticated detailing to ensure its overall functionality is a worthy composition and a cultural legacy.
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4. Axiality and Astronomy - Solar Orientation, Spatial Alignment, and Procession. That is too say, the solemn journey and reverence of Procession reveals the essence of its place (e.g., rooms, structures, campus complex) by matching its locale wherein a congruence occurs with the framework plan of the region. Similarly, the place will exhibit a meaningful solar “thumbprint” of its shadow, and the “light” consistent with the anticipation of the aforementioned solemn journey.
5. Sustainability - Passive Energy Design Systems and Water Conservation, and a Multiplicity of Re-uses. In particular, the management and use of resources to meet individual, community, and regional needs in order to maintain a wholesome lifestyle will become paramount in the 21st Century. Further, the interdependence of all living things, and its relationship to the air, sunlight, climate, soil, and water, mandate optimization for the well-being of Mother Earth and Father Sky. Similarly, the increased disparity between socio-economic groups only causes the delicate equilibrium of the planet to become more untenable. At the end of the day, this will become a Human Rights issue.
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Pictorial
Storytelling
San Diego State Univ.
Calexico Campus (1994)

Decorative
Monumentality
Barrio Logan Library,
City of San Diego (2009)

Exuberant
Juxtaposition
Cesar E. Chavez Campus, San Diego Community
College District (2015)

Axiality and
Astronomy
Cesar E. Chavez
Elementary San Diego
Unified School
District (1997)

Sustainability
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Southwestern College,
Otay Mesa Campus
(2007)
In the abstract, it is the alchemy (e.g., mixing, collision, combustion, Big Bang) of attributes coalesced into the design parti which guides/directs/mandates the form-shaping of individual elements of the composition, as well as clarifying the prioritization of its formal and spatial hierarchies. Moreover, the final selection, implementation and construction of an element (e.g., material-type, finish quality, dimensions, etc.) are dictated by budget, scheduling, latitude/longitude and/or the client.
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Excerpts from “Chicanx Architecture: Divine Suppositions in a Multi-cultural Society”
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Divine Suppositions: The dynamics and vitality of customs, traditions and beliefs, past and present, give meaning to one’s life and promotes cultural identity. Some traditions and folklore are obvious and well-known, others are more obscure. Yet their value is undeniable. Moreover, at the dawn of the 21st Century their continuity is paramount in order for the Latinx community to make its contribute to the America Mosaic. As the greatest generation passes, as rural life fades, and as our lives become directed by technology and mass consumption, the risk of losing tradition and folklore is fundamentally a loss for all of mankind. Imagine, the American Mosaic without jazz, Cajun cuisine, and gospel music. Unthinkable! Now, contemplate these traditions and their more profound essence via a Supposition.

Self Expression: Promoting a Cultural Legacy
Divine Supposition: The Low-Rider Car -- A kinetic work of Art worthy of transporting such ancient rulers as Montecuhzoma Xocoyotzin (Aztec) or Pachacuti-Cusi Yupanqu (Inca).

La Marcha
Supposition: We did not have the horse, therefore we walked, jogged and ran. For significant occasions it was a Processional March in full regalia.

Quinceañera
Supposition: A once in a lifetime celebration, 15 years in the making – the Indigenous Peoples of the Americas had many different ceremonies to mark the passage of space-time.

La Piñata of the Americas
Supposition: Huitzilopochtli decreed his birthday celebration, and that of his heirs, would culminate in the obliteration of the piñata; after all, he is the Aztec deity of war.