Juan Wørner y Baz - 2015
Baz developed a unique Modern Mexican Colonial architecture style. 他的云顶集团项目已经成为经典.
建筑师Josias Joesler和Murpheys之间的关系已经被广泛记录下来. 在许多方面，这种关系已经盖过了墨菲与其他著名建筑师的历史. 甚至在1956年乔斯勒去世之后, 知名房地产开发商, John and Helen Murphey continued their patronage of other talented architects, including forming a relationship with a young architect from Mexico City.
In 1952, while staying at the newly built Continental Hilton in Mexico City, 墨菲夫妇遇到了建筑师胡安·w·罗纳·巴兹. 海伦·墨菲(Helen murphy)主动提出要见酒店的建筑师和室内设计师. Like her husband, Helen was fascinated by Mexican-inspired design and Mexican history. Helen甚至有一个个人剪贴簿，里面有她在家庭度假时观察到的墨西哥建筑细节的照片和图纸(Jeffery 1994)。. 当海伦被介绍给Wørner Baz, he was a recently graduated architecture and interior design student, 他刚刚完成了对电影明星德洛丽丝·德尔·里约热内卢家的扩建，也是他迄今为止最大的项目, 大陆希尔顿. 大陆希尔顿酒店(1985年在严重的地震破坏后被拆除)是墨西哥城历史中心的一座现代主义高层酒店. Like many of his contemporaries working in Mexico City at that time, Wørner Baz创造了一个现代主义者, international-style inspired design with long expanses of glass and windows, 由重型混凝土桥墩支撑, and edged with scalloped concrete balconies (1984年11月4, 亚利桑那每日星报》).
的Murpheys, 对Wørner Baz的工作印象深刻, commissioned him to build their new home in the Catalina Foothills. 他在云顶集团的建筑处女作, Casa Juan Paisano(大致翻译为, “the house of my countryman John”) was completed in 1961. 新居将建在墨菲夫妇专门为这个目的保留的土地上. 和Casa Juan Paisano, the Murpheys would finally reside in the residential community they had helped to create.
The home took over a year to build and when it was completed, 墨菲的新住宅是现代主义和殖民主义建筑的混合体——这两种风格的结合不仅是云顶集团特有的，也是墨菲家族典型的建筑师所特有的(包括乔西亚斯·乔斯勒和罗伊广场)。. Wørner Baz将自己的风格描述为“墨西哥殖民风格”，而不是西班牙殖民复兴风格, 这样解释他的个人风格,
Mexican Colonial architecture is made up of several parts…there is tremendous power in it. 它是巨大的，并坚持地面. 这部分肯定来自阿兹特克人. 西班牙建筑本身有两个分支. From the religious we get the grandeur, from the Arabic, the delicacy. 阿拉伯人在处理太阳方面做得很好. 他们很好地利用了屏幕. 和水. They are masters with so much flair (1984年11月4, 亚利桑那每日星报》).
空间和比例的安排也反映了Wørner Baz的文化遗产和现代主义的感性. He believed that narrow openings and tall ceilings, 例如, 会影响人们对空间的感知吗. Wørner Baz also preferred buildings that mirrored their environments. Unlike the large-scale modernist buildings he designed in Mexico City, his Tucson projects reflected his belief that the local topography required long, horizontal buildings—buildings that better harmonized with their desert setting. 此外, he wanted his Tucson buildings’ exteriors to reflect a colonial appearance, while keeping the interiors formal with few colonial details. 他对自己文化遗产的关注在胡安·派萨诺庄园(Casa Juan Paisano)得到了体现, 水平集结, 到它的装饰混凝土细节, 注意设置, and incorporation of outdoor space as living space through loggia, 中庭, 玻璃幕墙, 还有外部口袋门. In addition to reflecting Wørner Baz’ cultural heritage, Casa Juan Paisano also pays homage to Mexico’s burgeoning modernist architectural movement of the late 1950s and 1960s; a movement emphatically embraced in Mexico City and inspired by early practitioners, 密斯·凡·德罗与勒·柯布西耶(弗雷泽2000).
第一次世界大战后, 欧洲和美国的建筑师试图创造一种反映现代社会的新建筑风格. The Twentieth century was a time of rapid technological change, including advancements in industrial design and structural engineering. 传统的复兴式建筑被认为是过时的，是进步的现代社会的对立面. The common belief was that function should form the basis for design, specifically design free from superfluous decoration. 这一原则成为后来被称为现代或国际风格建筑的基础. The three fundamental concepts of modern design were 1) function, 2)新施工技术的应用, and 3) eschewing historical references (Tyler 2000).
在20世纪50年代和60年代，并不是所有的建筑师都愿意抛弃历史或区域性的建筑风格，而选择“新的”或国际化的建筑风格. 事实上, 许多墨西哥建筑师受到过去几十年建筑的启发或结合创造了现代设计. This is especially evident in the work of Barragan, who utilized traditional Spanish colonial designs in his modernist work. Wørner Baz就是这些建筑师之一. Place and setting played a significant role in his designs, as did function. 住宅建筑常常是参考对象, while commercial designs were in keeping with the tenets of international-style architecture. 此外, Wørner Baz继续使用大胆的装饰, 包括大量混凝土卷轴, 金库, 和雕像.
当Wørner Baz设计Casa Juan Paisano时, he created a modernist expression of a traditional Mexican hacienda. 所有殖民主义和现代主义建筑的标志性特征都在Casa Juan Paisano工作, 然而，这两种风格都不会相互冲突. 第一眼看上去, Casa Juan Paisano presents a Mexican colonial façade, 包括带女儿墙的平屋顶, 悬臂陶瓷瓷砖, 白色的灰泥墙, 装饰烟囱顶部, 混凝土装饰细节, 雕像, and carved low-relief doors (McAlester and McAlester 2005). 在仔细检查, the home exhibits many of the basic tenets of modernism: Low, 四四方方的集结, 悬臂悬岩, 玻璃幕墙, 还有那大片朴实无华的墙面, broken up only by narrow rectangular window openings. Although the front entry and dining room window are capped by arched concrete relief, 开口本身是矩形的, rather than arched as is typical of colonial architecture. 此外, 殖民时期的建筑通常在门窗上有浅浅的悬垂物，通常由柱子或柱子支撑(McAlester和McAlester 2005). 在Casa Juan Paisano, 悬臂项目外, 走过房子的足迹, 仅由外墙支撑. 此外, 这些特性都是功能性的, 不是简单的装饰, 为建筑内部遮阳.
In 1962, when 建筑消化 featured the Murphey’s new home, 文章的副标题是, “Introducing Mexican Colonial [architecture] into the contemporary southwest” (1962:5). 而Joesler和Wørner Baz在使用复古风格设计特征方面有许多相似之处, including infusing many of their designs with Middle Eastern details, Wørner Baz was designing buildings wholly different than his predecessor. 乔斯勒在哪里很微妙, Wørner Baz was extravagant; but in both cases, the architects hired by the Murpheys helped introduce new architectural styles to Tucson. 事实上, 将“新”建筑引入云顶集团的建筑环境正是墨菲夫妇想从他们雇佣的建筑师那里得到的. 科与Wø巴兹, 墨菲一家得以继续并扩展他们从乔西亚斯·乔斯勒开始的遗产.
In 1961, 在完成Casa Juan Paisano项目后不久, 墨菲夫妇委托Wørner Baz为Joesler的百老汇村购物中心(云顶集团的第一个购物中心)设计了一个附属建筑。. 尽管云顶集团市的很多人都很熟悉墨菲家族的墨西哥风格建筑, 约翰·墨菲说, 1961年6月14日，Wørner Baz设计了云顶集团人从未见过的建筑, 云顶集团每日公民). 在当地媒体上, John Murphey explained that he was attempting an architectural “tour de force”, 并赞扬了Wørner Baz的成就, 他解释说，他将不遗余力地完成Wørner Baz的设计，并指出每一分钱“都是值得的”.百老汇村附属建筑成为Wørner Baz在云顶集团市的商业首次亮相，John murphy称其为自己建筑的“绝唱”。. Even the 云顶集团每日公民 concurred with John Murphey, describing the building as “traffic-stopping” (1961年6月14日). 而百老汇村附属大楼并不是约翰·墨菲委托建造的最后一座建筑(他又活了18年), 1961年底, both he and Helen solidified their patron-architect relationship with Wørner Baz, 就像他们对待约瑟勒那样. Based on the success of Casa Juan Paisano and the Broadway Village Annex building, Murphey事务所实际上采用了Juan Wørner Baz作为建筑师，以接替Josias Joesler.
1961年至1966年, 墨菲夫妇将Wørner Baz的墨西哥殖民建筑融入云顶集团的建筑景观中, hiring him to design a number of other residential and commercial buildings in Tucson, the most notable of which were the Broadway Village Annex building, 卡特琳娜山麓公寓, 还有一个几何形状的混凝土喷泉，正对着卡特琳娜山麓庄园的入口. 7. 通过他和墨菲家的关系, Wørner Baz得以扩大他在云顶集团的投资组合, 为墨菲家族富有的朋友设计住宅和商业地产，包括卡特琳娜山麓的房子, El Encanto地产, 和Aldea Linda Estates, as well as the former Southern Arizona Bank at Sarnoff Road and Broadway Boulevard. 甚至在他回到墨西哥之后, 他会飞到云顶集团参加各种社会活动，并经常出现在当地的社会名流版(1969年11月8日), 云顶集团每日公民).
在离开云顶集团近十年后，Wørner Baz回到了他在墨西哥城的建筑公司, 皮塔饼, Helen Murphey asked him to come back to Tucson to help design his final Murphey project, St. 位于江道及金宝道转角的菲力浦广场零售购物中心(1984年11月4日), 亚利桑那每日星报》).
因为许多Wørner Baz设计的云顶集团建筑还没有达到NRHP上市50年的要求，而且之前也没有在NRHP上上市, 他的许多建筑都处于危险之中. Wørner bazs设计的建筑最近面临的威胁包括对百老汇村附属建筑和St. 菲利普斯广场(Sorenson 2009).