Lake Mudge Chronicle Octovember Online

Octovember 2009
Lake Mudge Chronicle
A publication of the Southern California Regional
Organization of Tough Individuals
Inside
Editor’s Page
2
Green Building Tech
3
Ballarat Bandit
5
Desert Architect
7
Desert Living Issue!
Volume 1
Number 10/11
“Am I willing to give up what I have in order to be what I am not yet?
Am I able to follow the spirit of love into the desert?
It is a frightening and sacred moment. There is no return.
One’s life is charged forever. It is the fire that gives us our shape.”
~ Mary Richards
Greetings, One and All! This is your Master Editor Sam Hallmark and I’d like to welcome you to
the tenth/eleventh issue of the Lake Mudge Chronicle. This newsletter is a publication of the
Southern California Regional Organization of Tough Individuals (S.C.R.O.T.I.),
a loosely organized group of like minded adventurers, outdoorsmen, bon vivants and lunatics with
a deep and abiding interest in the deserts of Southern California and the strange and lonely places
found therein. E-mail all submissions to the Master Editor at sidestreetsam@netscape.net.
Here is a nice shot of the Colorado River Basin just north of Lake Mudge. ~ Master Ed.
Lake Mudge is a real place. It may not be a real name, but it does really exist.
It’s a place of fragile beauty and historic significance. As such, we have no desire to promote
nor advertise it’s true identity or location. You figure it out!
Enough said. Happy Trails!
~Master Editor
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Octovember 2009
Green Building Tech
Binary Design’s Study of Desert Plants and Ancient Dwellings Leads to New Green Building Technologies
Oct 13, 2008
By Thomas Whittingslow
A group of young architects in Tucson is studying desert plants and the positioning of primitive dwellings
to create new techniques in environmental architecture for hot climates. They are part of a school known as
Emerging Material Technologies. In Arizona they are represented by Binary Design, founded by Dale Clifford
and Jason Vollen, former professors at the University of Arizona School of Architecture.
Binary Design is founded on Aristotle’s theory of “praxis,” where theoretical knowledge is manifest as practical,
hands-on solutions. Through careful observation of programmed natural forces, Binary takes the theoretical or
abstract data that emerges from a particular location or building site, and then develops it into a unique kind
of architecture that is both sustainable and practical. Binary has created a new genre of Green building for hot
desert climates by turning conventional models of architecture inside out. Their first speculative home called
“Mariposa de Acero,” or Steel Butterfly is located on a hillside south of Tucson and will be placed on the market
in early 2009. Clifford and Vollen act as architects and work closely with Todd Wilson, the innovative developer
and builder of Steel Butterfly. This working relationship is essential to ensure quality design at relatively low
cost. By taking binary patterns which they learned from the hillside, then applying them to practical solutions,
Vollen and Clifford have come up with some revolutionary ideas. In order to keep disruption of the soil to an
absolute minimum the entire structure is mounted on bridgework of steel struts. Cool air comes down from
the mountain in the evening then it is “pulled” through the building by an open courtyard that separates the
two major elements of the house. This application is based on studies of primitive dwellings sites that were
created by the Hohokam who separated family modules by breezeways. Learning from the water-harvesting
mechanisms of native plants photo-chromatic coatings , the exterior courtyard surface of the Mariposa home is
lined with “passive” cooling blocks, utilizing the same membrane/capillary principles, found in barrel cactus
e.g. water trickles down the blocks and draws cool air into the house, similar in principle to an evaporative
cooler. Currently, Vollen and Clifford are involved with Carnegie Mellon University and the Rensselear
Polytechnic Institute — pursuing advanced analysis, modeling and testing emerging materials for greater
physical efficiencies in home construction. As part of that ongoing process, they are producing ceramic blocks,
Octovember 2009
Continued on page 4
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Continued from page 3
based on the thermodynamic strategies of barrel
cacti and termite mounds. In keeping with
Binary’s philosophy of learning through work,
Vollen and Clifford will manufacture the blocks
themselves. They hope that these materials will
soon be available in new homes. “Contemporary
housing strategies in southern Arizona satisfy
LEED standards with high insulation and tight
construction. The premise is that a highly insulated,
tight house will take less energy to mechanically
condition,” said Clifford. Binary Design looks to
surpass LEED Green Building Council certification,
the current standard for the industry. “Our approach
is quite different: depending upon a combination
of vernacular and high tech strategies that engage
a specific site, we might open the house up and
bring the outside in, resulting in a home that is
sensitive to the changing environment of that
particular location, such as we did with the Steel
Butterfly. It’s a different way of living. As much
as possible, we’re using passive principles like
natural ventilation, orientation and overhangs,
augmented with the technology and materials that
make the building more efficient. As you learn to
live in this house, your energy bills will go down.
Without a doubt, the same principles could work on
production housing.
At the outset, the builder would have to pay more attention to orientation, which would get away from
monotonous siting, typical of PUD’S.” Clifford and Vollen not only want to impact the architectural design
community, but also to change how we think about living in our homes. Vollen offered some “binary” advice
on green construction to local home builders: “The best thing that Arizona builders and developers could do
is avoid building with 2x4 lumbers in a place where there are no trees. We are in an area where historically
lots of masonry and ceramic products have been produced, but we don’t seem to be taking advantage of that.
Perhaps by training new entry-level people in the trades, we could regain some of that skill. It could be 30 to
40 percent cheaper if we build with masonry rather than wood, or a combination of wood and stucco.” Clifford
went on to explain that stucco was originally designed to be applied on top of masonry products — not wood.
When discussing ways to save energy, Clifford made some surprising observations: “One thing we notice in
stucco production houses is that the openings were designed for locations like Tallahassee or Chattanooga, not
the Desert Southwest. By taking more time to manipulate these openings and tune them to the environment,
you could have a much better house and achieve significant energy savings. If you have the right view and
make the right arrangement, the value of the home is increased both aesthetically and financially.” The demand
for sustainability is not just a builder or homeowner issue but it dictates the core values of half of the world’s
500 largest companies, which say they want to build and occupy real estate that reflects their values, while
others are still struggling to define it. To major builders like Pulte and US Homes it is often part of a marketing
campaign aimed at “Green” concision buyers, based on the LEED scale. To others, like Al Gore and William
McDonough, it has become a moral or political issue. For a snapshot of how big the sustainable vision is, the
Brookings Institute says that half of the buildings that we will live in by 2030 don’t even exist today. This
translates into a $25-trillion building boom—an opportunity so enormous that the building industry could
literally change the face of how and where we live. Nowhere will this be more evident than in the Desert
Southwest. Acknowledging the social contract of architects to serve those in need, Binary has also created
small SEED (pods) as an alternative form of affordable dwelling for that segment of the global market that
cannot qualify for a traditional home. Essentially is the smallest liveable module that that be added to as the
situation or need arises. It is also applicable for those who want to add additional living space at minimal cost
while maintaining sensitivity to aesthetics and sustainability. Examples of this for SEED (pod) installations can
be seen in Tucson, Arizona.
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Octovember 2009
By ROBIN FLINCHUM
Mystery of the Ballarat Bandit
Apparently, it was a wandering pig that tipped the hand of fate for the man who would eventually become
known as the Ballarat Bandit. If the pig, belonging to a neighboring farmer on Canada’s Prince Edward Island,
had never found its way into the field of 4,000 marijuana plants being cultivated by 43-year-old George Robert
Johnston in 1997, things might have been different for a lot of people. For instance, life might have been a little
easier for Inspector Dave Van Norman of the San Bernardino County Coroner’s Office, who spent more than a
year doggedly following every lead, no matter how unlikely, in a fruitless effort to identify the corpse of John
Doe #39-04, AKA the Ballarat Bandit. Van Norman then spent another four months shopping from one Canadian
agency to another, through INTERPOL and back again, for a fingerprint search before finally receiving positive
confirmation of the man’s identify from the Royal Canadian Mounted Police last week. Things might have been
less complicated or frustrating for the people whose vehicles, weapons, food and other supplies were stolen during
Johnston’s eventual crime spree through Death Valley, Nye County and other parts of the American West. Things
might have been different for the hundreds of officers in at least four states who pursued him uphill, across the
scorched desert, through blinding snowstorms and into thin air between August of 2003 and July of 2004. The
burden of sorrow might have been a little easier to bear for Patricia Johnston, loving mother and proud widow
of a World War II hero in her home on Prince Edward Island, who hadn’t seen her son in seven years and was
bewildered by the news of his death and the nature of his recent exploits. But most especially they might have
been different for George Johnston, whose marijuana crop, according to previous writings by his former wife
Tommi Johnston, earned him an eight and a half year sentence in a Canadian prison; whose prison sentence
separated him from his terminally ill wife and his four young daughters; and who, some time after the death of
his father in 1999, jumped parole in Vancouver and fled to the United States, where he surfaced in Death Valley
in 2003 and soon became a legend. Starting with a string of thefts in and around the desert ghost town of Ballarat,
Johnston (then known only as the Ballarat Bandit) led law enforcement officials in at least four western states
on a massive manhunt for nearly a year. They tracked him on foot, on horseback, using all terrain vehicles, fourwheel drives, and even airplanes, calling in extra manpower and coordinating efforts between a number of federal,
state, and local agencies interested in the capture. They looked for him by day and by night using infrared vision
equipment. In Nye County law enforcement officers doubled and tripled their forces, spending sixteen hours a
day in the field - and the mission wreaked havoc on Sheriff Tony DeMeo’s overtime budget. They spoke of the
frustration created by the elusive Bandit and quietly marveled at his seemingly superhuman endurance. But they
couldn’t catch the mystery thief who could run five miles straight uphill into the setting sun and cross 60 miles
of snow-covered high desert on foot. Not until the following year, when the searing heat of a July day in Death
Valley drove him to the end of his rope. Then, when misstep after misstep brought him to the brink of capture, he
took his own life. That was in July of 2004, the end of a massive manhunt pursuing the lean, blue-eyed Bandit
through Death Valley’s Inyo County, Nye and Washoe counties in Nevada, and on into Utah and Oregon. In the
end, the Bandit put a finish to the pursuit in a sandy wash just over the Inyo County line, outside the edge of
Death Valley National Park, in San Bernardino County. Surrounded by police on the ground and in the air above
him, he stripped off his clothing and shot himself in the head, leaving an already overworked coroner to answer
the burning question - who was this man? Investigator Van Norman struggled with the case for more than a
year, finding not one single fingerprint or missing person description match in any of the U.S. databases he tried,
before he received a suggestion from a source who now wishes to remain unnamed. In July, a year after the still
unidentified Bandit’s suicide, Van Norman buried him in San Bernardino County’s potter’s field. That October, a
colleague of Van Norman’s received an e-mail tip from a visitor to Death Valley who had heard the Bandit legend
and given the matter some thought. The colleague considered the message “bizarre,” but passed it on to Van
Norman. “Who talks like an American, looks like an American, acts like an American, but isn’t American?” the
anonymous tipper wrote. “A Canadian. Maybe the Bandit was a Canadian ... Maybe the (Royal Canadian Mounted
Police) ... might be able to provide some help.” Intrigued by the idea and willing to try anything, Van Norman
began the long and tedious process of connecting across national boundaries with Mounties. Since October of last
year, Van Norman’s requests for a fingerprint search on his John Doe #39-04 have been bouncing around through
various Canadian agencies, through INTERPOL and back again, finally resulting in a solid match last week.
Intrigued by the idea and willing to try anything, Van Norman began the long and tedious process of connecting
across national boundaries with Mounties. Since October of last year, Van Norman’s requests for a fingerprint
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Octovember 2009
Continued on page 6
Continued from page 5
search on his John Doe #39-04 have been bouncing around through various Canadian agencies, through
INTERPOL and back again, finally resulting in a solid match last week. Now, pieces of the puzzle of the
Bandit’s enigmatic life and American criminal career are slowly rising to the surface. Though the story has not
been officially confirmed by the Royal Canadian Mounted Police, writings by Tommi Johnston indicate that her
husband George first began cultivating marijuana because she chose it over morphine as a form of pain relief for
her terminal leukemia. While 4,000 plants was certainly far more than one ailing woman could use, and the Royal
Canadian Mounted Police assumed it was grown to sell, Tommi Johnston spoke out about what she considered
the injustice of her husband’s arrest and the treatment her family received. According to her writings from the late
1990s, the couple’s four children were taken into protective custody, their property seized, and Johnston herself
was remanded into a rehab program when she admitted to using marijuana for her illness. Though her daughters
were eventually returned to her, she railed against Canada’s harsh anti-drug policies as she struggled to secure the
return of her home and belongings. In a diary she kept in the third person, Johnston recorded her thoughts about
her incarcerated husband one night while she looked out the window, wondering if she and he might be watching
the same stars in the sky. “Is he sleeping and does he know what a foolish world [we] live in?” she wrote. “A
world that puts a man who nurtures and grows the only peace [his wife] knows in prison? A world that takes a
father from his children...when they love him more than magic? That takes a husband from his wife when she
needs him so, and loves him more?” Later, one of the things anyone who spoke with Johnston during his time in
Inyo and Nye counties would remember is that he had an intense hatred of government. In the last days before his
death Johnston was still actively cultivating marijuana plants inside Death Valley National Park, and died with
a handful of marijuana seeds in the pocket of the shorts found near his body. To date, further information about
what happened to the Johnstons, either George or the ailing Tommi or their children, in the intervening years has
been difficult to extract over international boundaries. Sources at the Royal Canadian Mounted Police have not yet
cleared the release of further background information and Patricia Johnston, still reeling from the shock, declined
to be interviewed at this time. How George Johnston made the transition from a man with a name, a family, a
home and a history to the mysterious Ballarat Bandit, a man who died nameless, naked and alone on the empty
desert by his own hand, remains a mystery. Detective Jeff Hollowell, of the Inyo County Sheriff’s Department,
who dedicated many hours to the pursuit of the elusive Bandit, said the identification had come as a relief. “I
stared at that picture of him on my computer many times and wondered all the time who he was,” Hollowell said.
But while law enforcement officers now have a name to apply to the man who caused so many sleepless nights
among them, they are still working to piece together the history that brought him into their territory. And relics
of his Death Valley adventures continue to surface. A blue and white 1980 Ford Bronco was recently recovered
from a very remote area in the national park’s Butte Valley region, according to Detective Hollowell. The vehicle
was stolen in Mancos, Colo., in 2003 and had apparently been collecting dust in Death Valley for more than two
years before it was spotted and towed out about two weeks ago. Hollowell said authorities suspect the vehicle was
another of the Bandit’s casualties. So far there is no indication that George Johnston, whom his wife described
as having worked as a painter and drywaller for 25 years, ever received any specialized military training, though
many law enforcement officials, especially Nye County’s Sheriff Tony DeMeo, wondered if he had. However,
Patricia Johnston indicated that her husband, George Johnston’s father, had been a brigadier general in the armed
forces and had been present at D-Day during World War II. One officer speculated that having grown up with a
career military man probably exposed Johnston to a great deal of the knowledge and procedures that so impressed
and worried authorities responsible for the military facilities in Nye County.Van Norman said he notified Patricia
Johnston of her son’s death on Feb. 17, and said that she was “bewildered” to learn not only of the manner of his
death but his exploits in the year leading up to it. According to Van Norman, Johnston said she had last seen her
son seven years ago, around the time of his father’s death, and had no idea of where he had gone or what he had
been doing since. “She didn’t say so directly, but my impression was this just didn’t sound like the son she knew,”
Van Norman said. Now that the Ballarat Bandit has been identified, his family will have the option of claiming
George Johnston’s remains from the lonely potter’s field in San Bernardino County and returning them to Prince
Edward Island for reburial, Van Norman said, but as yet no decisions had been made in the matter. Meanwhile,
as has been the case all along, George Johnston, better known in Death Valley country as the Ballarat Bandit, still
leaves in his wake many mysteries unsolved and many questions unanswered.
Octovember 2009
6
albert
frey
deser t architect
ALBERT FREY, FAIA, was born 1903 in Switzerland, and educated there. Worked
for Le Corbusier in Paris in 1928. Moved to New York in 1930 and became partners with
A. Lawrence Kocher, where they built the Aluminaire House. Came to Palm Springs
in 1934 to supervise construction of the Kocher-Samson Building. He permanently
relocated to Palm Springs in 1939, where he would design a body of work including
residential, commercial, institutional and civic buildings.
Tramway Gas Station
Palm Springs City Hall, 1952
Frey House I
North Shore Yacht Club
Frey House II
1958 North Shore - Salton Sea
Palm Springs City Hall, 1952
(Frey & Chambers and E. Stewart)
Kauffman House
Alpha Beta Food Market
Loewy House
1965 (Frey & Chambers)
1948 (Frey)
Octovember 2009
Frey & Chambers and E. Stewart
1960 (Frey & Chambers)
Continued on page 8
1953 Addition
1963-1964
1946-47 (Frey)
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Continued from page 7
~ An interview with Albert Frey ~
Q: What was the process for you to become an architect?
AF: When I was young, I was more interested in mechanical things, rather than architecture. My father talked me into becoming an
architect because he would have liked to have become one himself. He was not able to because he was the first son of a printer, a
lithographer, in Zurich, Switzerland. He was expected to go into that business instead of becoming an architect. One reason I was not
interested in becoming an Architect was because what was being built in Switzerland at the time was not that interesting, very traditional
houses and chalets and things like that. But then I went to Brussels and discovered the work of Le Corbusier in books and magazines
and decided to work for him.
Q: So how did this come about? Did you actually see his buildings or just photographs in the books?
AF: I went to Paris to work with him.
Q: How did you meet him? Did you just walk up and knock on his door?
AF: Yes, that is right. At the time he was so famous that students from all over the world would work there for free, just for the privilege
of working with him. At first I did that too, but after a few months I ran out of money. Since he saw that I was productive, he paid me
wages. He was impressed that I did not just come in to pick up what I could, but worked eight hours a day or at night when needed.
Q: What were some of the projects you worked on in his studio?
AF: I worked on the Villa Savoye working drawings when it was under construction. I also worked on the Centrosoyus Administration
Building in Moscow, making a model of it.
Q: What was it like to work in the Le Corbusier Studio? How was the work done?
AF: Corbusier came in around noon, after spending the morning painting at home. His cousin and partner, Pierre Jeanneret, was there
all the time and we would work out the practical things with him. Then Corbusier would go from table to table, look over the work and
make corrections or sketches.
Q: Would he talk to you about why he was doing what he was doing?
AF: Oh yes.
Q: Did you do models of the projects at the same time you were doing the drawings?
AF: Yes.
Q: Did he talk about art with you?
AF: No, not about art, since that was his private life. But I think it comes through in the color and proportion of his work.
Q: I have seen his work in India.
AF: Yes, I have been there too, in Chandigarh. His cousin, Pierre Jeanneret was there to oversee the work. It was an exciting time.
Q: I do not think any photograph has or could capture what it felt like to be there.
AF: Yes, it was amazing and very primitively built. There were women carrying sand and gravel on their heads. They did not have
modern facilities, but they had a lot of woman power.
Q: Yes, if you want a job done, ask a woman. It sounds like quite an experience.
AF: It was a wonderful experience and also helped me to get work when I came to the United States.
Q: Why did you leave Europe?
AF: Well, at that time the building techniques in America were more advanced than in Europe. The prefabrication of things was much
farther along and that was something that really interested me.
Q: Did you have a sponsor lined up?
AF: No.
Q: (Laughs) You just got on a boat and came to America?..
AF: Yes. (laughs) I came on an immigration visa. I knew some of the architects, like Kocher, and knocked on their doors. Kocher
engaged me right away.
Q: Did you come in at a design level or did you do working drawings? How did you fit into that office structure?
AF: Well, with Kocher I was the only man that worked with him, so I did everything.
Q: Did you also supervise the construction?
AF: Oh yes, that too. From sketching, we would discuss it to model making, to working drawings, then to site visits during construction.
Q: So that was when an architect had full control.
AF: Yes, that is right. It was not divided up the way it is today. That is one reason I did not want to be at a big firm? I worked for awhile
for Philip Goodwin at the time he and Edward Stone did the Museum of Modern Art. I detailed the glass wall. Since there was no glass
walls produced by manufacturers at that time, it had to be detailed in aluminum sections, extruded aluminum, and so on. It was a
challenging position.
Q: What was it like working with Edward Stone?
AF: Well, I actually worked with Goodwin more. He did not know much about modern design, so that was why he engaged me to work
with him.
Q: So how did you come to the West Coast?
AF: I had come to Palm Springs to design the Kocher-Samson building, which was for Lawrence Kocher’s brother, here in 1934. Then
I worked with John Clark, who was already established here. He was a traditional architect, so we got together and did a lot of work.
Then in 1937 the opportunity came to work with Goodwin, so I went back to work on the Museum, which lasted two years. But I knew
that I wanted to be in Palm Springs and not in New York, so I came out here to stay.
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Continued on page 9
Octovember 2009
Continued from page 8
Q: So you loved the Desert?
AF: Yes, I like the Desert, and when you look at this view??
Q: Yes, it is hard to go back.
AF: Yes, that is right.
Q: How did you discover this property for your house?
AF: Well, the first house was down in the flat land, “House Number Two” (Arts & Architecture - Case Study Houses) and well, I am from
Switzerland and I kept looking up at these mountains?.. (laughs). I thought someday I would like to live up there and look down. So for
five years I looked, and it was just luck that I found it. There was only a turnaround in the road and no flat pad to put a house, just rock.
So I was able to buy the property from the owner. But when he saw what I did, he was sorry he had sold it to me.
Q: How has designing and building in the Desert affected your view of architecture?
AF: Well, we had to design mostly in the traditional form. Most people wanted the traditional ranch style houses. So in order to keep the
practice going, we designed in that style. There is a ranch property called “Smoketree Ranch” and I probably designed 50 houses there.
They had to be ranch style, not modern. But whenever I had a chance I would do modern style houses.
Q: How did you feel about that? The difference between architecture as a service and an architecture of vision?
AF: Well, to keep an office going you had to know the difference. At the time, there was not enough Modern work to make a living. But it
eventually came about and it was rewarding. You can always introduce new ideas, even in traditional architecture.
Q: Did you find it difficult to develop traditional architectural projects when you knew there were modern solutions?
AF: When I was with Clark, he was trained in the Traditional Architecture, you see. So he would do those jobs and I would do the
progressive ones.
Q: In this house, you have a large amount of south facing glass. This is something that the building codes now discourage. How do you
compensate for the heat gain?
AF: One thing is to understand how the sun is positioned. See the sun is very low in the winter and comes in to help heat the house. In
the summer, it is very high and is kept out by the overhang of the roof. It does not even come through the glass into the house. So that
is why the overhang of the roof is this way. As you can see, I have drapes and this (he gets up and pulls down a six foot, plastic mylar
window shade), which is reflective on the outside. I also have a heat pump, which you must have for the really hot summer days.
Q: Does the rock inside help? Does it stay cool?
AF: Yes, not too hot and not too cool. More or less a constant temperature and that helps.
Q: When Richard Neutra was doing work in Palm Springs, did you meet him? Did you visit his projects?
AF: Oh yes, I know him quite well, as a matter of fact. In my other house I had a guest room and sometimes on the weekends he would
stay there. The Loewy House and the Kauffman House were built at the same time and with the same contractor.
Q: What was he like as a person?
AF: Well, he was involved with his work, so we did not go out to dinner or do other things like that. He did his work all the time.
Q: Did he watch your work?
AF: Oh yes. He talked about my work in a book he wrote.
Q: Were you able to talk about ideas, exchange thoughts with each other?
AF: Yes. In 1932, when I drove across the country and back, I visited him and Shindler in Los Angeles. Shindler had come out first and
then Neutra came. They lived together for awhile.
Q: They seem very different.
AF: Yes, they were. Shindler was much more amiable, I would say, very nice.
Q: Had you seen the Neutra “Health House” for the Lovell Family?
AF: Yes, I saw it in 1932 when it was first built, when I visited Neutra there.
Q: Was that inspiring to the Modern Architects in this area at that time?
AF: Yes, it was. It is, of course, a concrete architecture and painted white. Of course, photographs at that time were only black and
white, color did not show. I thought lighter materials like aluminum would be more suitable. Masonry is fine in connection with the
ground, but when you start overhead, I believe in lighter materials. These materials (pointing to the roof panels in his house) come
from the aluminum manufacturer already with color so I did not have to do any painting. It came finished this way. The only thing is you
cannot weld aluminum to is steel, you know, so it must be screwed in the structural frame. There are about 600 screws here, (laughs)
so it must be set in silicon. When I did the (guest bedroom) addition, I used “Corten Steel” because it can be spot welded to the steel
frame. So that makes a perfect roof.
Q: Because it oxidizes and then stops?..
AF: And the color then goes with the rocks.
Q: (laughs) Yes, those are Corten rocks.
AF: When I submitted this house to the Building Department, they could not figure it out, but said, “you know what you are doing, so go
ahead.”
Q: I do not think they would let you build with this much glass today.
AF: Yes. Today they may not let me do it, but it does work out very well.
Q: It is a very livable house. So maybe what we are saying is that the rules are wrong, not the buildings.
AF: Well, you can see that the officials can only base things on the past and an architect has an imagination and he thinks ahead. He
figures things out by studying the conditions.
Octovember 2009
9
Time Dated Material
14614 Bowdoin Rd.
Poway, California 92064
phone: (858)722-0795
email: sidestreetsam@netscape.net
www.desertwindgraphics.com
Lake Mudge Chronicle
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Issue!
Jan Ault, Master Storyteller
Dr. Jerry Ault, Exalted Grand Poobah
Sam Hallmark, Master Editor
John McNabb, Master of Reality
Scott Robertson, Master Viking
Tom Walsh, Master Timekeeper
Chuck Zumwalt, Master Tracker
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