Mar/Apr 2025

VOLUME 14 ISSUE 2

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AN ARCHITECT TRACES OLD MORENCI FROM ITS ORIGINS TO ITS OBSOLESCENCE TUCSON’S ANNE ROCKFELLOW: ARIZONA’S FIRST WOMAN REGISTERED ARCHITECT IN THE ROUND AND DISTINCTIVE FROM ABOVE: W. A. SARMIENTO’S CREATIONS FRANK FAZIO’S PIONEERING GARDEN-STYLE OFFICE BUILDINGS IN PHOENIX A DIFFERENTLY-ABLED ARCHITECT WHO CREATED MOBILITY: ROBERT LYNCH

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Contributors James Logan Abell Art Deco and Ray Artigue Streamlined Jennifer Levstik Moderne Chelsea Mandel Donna Reiner Luke Snell Baroque and Buddhist Doug Sydnor Josh Umar Organic, as Mark Vinson

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Serving Contracting Firms and the Arizona Community… Then & Now Arizona Contractor & Community (ACC) magazine is published bi-monthly (Jan/Feb, Mar/Apr, May/June, July/Aug, Sept/Oct, Nov/Dec). ACC is a professional publication designed for the contracting industry, engineers, architects, equipment rentals, suppliers, and others interested in Arizona and its history.

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10 14 19 47 48 52 58 64 68 72 74 80 84 88 90 94

CONTENTS Contributors - James Logan Abell, Ray J. Artigue Sr., Jennifer Levstik & Mark C. Vinson From The Editor: Bertrand “Bud” Goldberg: Creator of Remarkable Roadside Pitstops - Douglas Towne Construction Around Arizona: Projects • People • Practices Back When: Frank Fazio’s Design Still Blooms Billy Horner Old Morenci: An Architect’s Perspective Part 1: Territorial Origins - Mark C. Vinson, FAIA/AICP Old Morenci: An Architect’s Perspective Part 2: Evolution and Obsolescence Mark C. Vinson, FAIA/AICP Hidden in Plain Sight: Anne Graham Rockfellow, Arizona’s First Woman Registered Architect Jennifer Levstik, WestLand Resources, Inc. In the Round and Distinctive from Above: W. A. Sarmiento - Donna Reiner Frank Fazio’s Pioneering Garden-Style Office Buildings in Phoenix - Ray J. Artigue, Sr. Saluting Arizona’s Builders: Frederick “Fred” Penn Weaver, Jr. - James Logan Abell, FAIA Old School Equipment: The Twin Stack Story of Modified Caterpillar D8 Bulldozers - Billy Horner Building on the Past: 1960s - Architects Bond with Machinery - Billy Horner Architect’s Perspective: Sydnor Threads Book Doug Sydnor, FAIA Digging Through the Archives: My Connection to Phoenix’s Freeway Plaza - Billy Horner Bid Results Advertising Index

Front Cover Attending the groundbreaking for the new Bonanza Airlines facility at Sky Harbor Airport are John Girand of Johannessen & Girand, engineers; Fred Weaver of Weaver & Drover, architects; Carroll Bernhardt, chief of operations at Del Webb Home Office Contracting Division (kneeling, l-r); Edmund Converse, president of Bonanza Air Lines; and Robert Coop, Phoenix city manager (standing, l-r), 1965.

Article on page 72

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JAMES LOGAN ABELL, FAIA, LA ARTICLES ON PAGE 29 & 72

RAY J. ARTIGUE, SR. ARTICLE ON PAGE 68

J

R

ames Logan Abell is an architect, landscape architect, and urban designer. Known for campus masterplans and K-12 public schools, he has also designed hotels, office buildings, zoological gardens, and residential homes.

Abell was awarded the 2010 AIA Kemper Medal, one of the highest individual honors for an American architect. The award, given annually for 65 years, was conferred for many years of creating civic visioning plans for dozens of U.S. towns to promote livable communities and excellence in urban design.

In 2014, Abell was awarded the national AIA Thomas Jefferson Award for Public Architecture for having “…evidenced great depth, with a cumulative effect on the quality of public architecture, with excellence that has impacted a broad cross-section of the community, and recognized for the significance of their lasting contribution to our enhanced quality of life.” Abell’s architecture was noted for its budget-conforming public-school designs that are “…artfully elevated through the use of color, texture, form, and variety,” which have positively impacted thousands of students.

Mayor Paul Monette of Newport, VT, characterized Abell’s skillset as follows: “More than a talented architect and public advocate of responsive architecture, James is a ‘visionary citizen of democracy,’ bringing citizens of all walks of life together to dream, collaborate, plan, and take action to improve our nation’s communities.”

ay Artigue operates the public relations firm Artigue Advisors, founded as The Artigue Agency in 2006. Previously, he was president of Barclay Communications, executive director of the MBA Sports Business Program, and professor of practice at ASU’s W.P. Carey School of Business. From 1991 to 2006, Ray was senior vice president of marketing for the Phoenix Suns, directing sales, marketing, and branding and managing their internal communications.

Initially, Ray operated Evans/Artigue Public Relations, which the Public Relations Society of America recognized for its award-winning work for clients such as VISA International, Citibank, ASU Athletics, and Pointe Hilton Resorts.

Ray graduated from ASU in 1976, earning a Bachelor of Science from the Walter Cronkite School of Journalism and Mass Communication. He received the Hall of Fame Award both from the ASU College of Public Programs in 1994 and the Cronkite School in 1997.

The Phoenix Business Journal included him in its “Most Admired Leaders” program in 2006.

Ray’s community service includes serving as president of the Phoenix Thunderbirds, chairman of the 1999 Waste Management Phoenix Open, Phoenix Suns Charities Board, Cronkite School Endowment Board, and director of the boards of The Fiesta Bowl, Make-a-Wish of Arizona, Valley Leadership, ASU Sun Devil Club, The Salvation Army, and the Native American Sports Institute.

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JENNIFER LEVSTIK ARTICLE ON PAGE 58

MARK C. VINSON FAIA/AICP ARTICLES ON PAGE 48 & 52

J

M

ennifer Levstik is an architectural historian who heads up the historic preservation group for WestLand Resources, Inc., an environmental and engineering consulting company based in Tucson, Arizona.

She has over 26 years of experience in archaeology, planning, and historic preservation and has worked throughout the western United States. She has served as an adjunct instructor for the University of Arizona’s College of Architecture, Planning, and Landscape Architecture, was the former Vice-Chair of the Tucson-Pima County Historical Commission, and served on the board of the Southern Arizona Chapter of the American Institute of Architects.

Over the last several years, Jennifer has turned her research interests toward the history of Arizona’s women and minority communities. She has been actively working to get more representation in the National Register of Historic Places (NRHP).

She recently prepared historic district nominations for Randolph, Arizona’s oldest surviving historically Black community located in Pinal County, and Barrio San Antonio, Tucson’s earliest middle-class Mexican American suburb. Both were listed in the NRHP in April 2024.

Jennifer enjoys spending time with her two dogs and working on her 1950s-era house outside of her job. Jennifer is also an avid equestrian and is currently training to achieve her bronze medal in dressage.

ark Vinson is a Registered Architect and Certified Planner with expertise in architectural and urban design, historic preservation, and critical regionalism. A native of Arizona’s Clifton-Morenci mining district, he holds B.A. and M.A. degrees in architecture from ASU and professional development certificates in preservation (Section 106 compliance) from the University of Nevada-Reno and golf course design from Harvard University Graduate School of Design.

Mark has been elected to the American Institute of Architects’ College of Fellows and is a past recipient of the Arizona Architects Medal, Governor’s Honor Awards for Historic Preservation, the Arizona Preservation Foundation President’s Award, the Alumni Service Award from the ASU College of Architecture and Environmental Design and Tempe Beautification Awards.

He co-authored the award-winning books And TiKo-Tu? The Midcentury Architecture of Greater Phoenix’ East Valley (Rio Salado Architecture Foundation) and Landmark Buildings: Arizona’s Architectural Heritage (Arizona Highways), as well as articles in Arizona Planning and the Journal of Arizona History.

Mark was the City of Tempe’s founding Historic Preservation Officer and served as Tempe’s City Architect / Design, Preservation + Long Range Planning Manager. He has also been a Faculty Associate at ASU’s Herberger Institute for Design and the Arts. Mark is now engaged in private architectural, planning, and preservation practice as VinsonStudio PLLC in Scottsdale.

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EDITORS COLUMN:

BERTRAND “BUD” GOLDBERG: CREATOR OF REMARKABLE ROADSIDE PITSTOPS DOUGLAS TOWNE

​T

hree years ago, one of our favorite contributors, Tempe architect James Logan Abell, FAIA, wrote a trifecta of articles for our magazine involving famed architect Bertrand “Bud” Goldberg. The two met in 1979 when Abell was the youngest of seven architects who worked with the Chicagoan on a high-rise construction project at Good Samaritan Hospital, renamed Banner-University Medical Center in 2015.

The efficient layouts of its cloverleaf design were heralded upon the completion of the hospital’s 12-floor patient tower. Some Phoenix residents, however, were unsure about the aesthetics of the ultra-modern,

curving building with oval windows. Like many groundbreaking designs, most now view the hospital building as a beloved addition to the city’s skyline.

G ​ oldberg’s architecture was personally appealing, especially his early commissions for vernacular buildings providing gas, food, and lodging. While researching his life, I learned of a connection to his son, Geoffrey Goldberg, who heads an architectural firm in Chicago, G. Goldberg + Associates. ​Another hat I wear is that of editor for the Society for Commercial Archeology, the nation’s oldest organization (since 1977) dedicated to celebrating vintage roads and

roadside buildings—think Route 66 and stainless-steel diners. Geoffrey was a member of the SCA in its early days.

“A friend and I used a diner to analyze HVAC systems in architecture school,” Geoffrey told me in 2022. “Heat was generated at the cooktop, and cooling was achieved through flow-through ventilation. The professor was less than enthusiastic, but the class loved it.”

Geoffrey fondly recalled his SCA days, especially the All-Night Diner Tour in Massachusetts and Rhode Island in 1980. The group boarded a 1958 General Motors bus at dusk and made nocturnal pilgrimages to eight diners that were manufactured from 1925 to the 1960s. “We will enjoy blueberry pancakes, homemade mac and meatballs, grilled corn muffins, grape-nut pudding, and enough java to raise the Titanic,” declared the event program. “Prepare for an experience to remember.”

With the SCA connection, Geoffrey generously explained his father’s forays into small-scale commercial buildings, the first of which was a gas station in Chicago in 1938.

The Clark Maple Gas Station was constructed to meet restrictive site conditions requiring minimal excavation. The two masts on which the roof hung were a simple answer inspired by Buckminster Fuller’s buildings for the 1933 Century of Progress World’s Fair in Chicago. Transparent walls exposed two washing-greasing bays, adding to the building’s appeal.

Motorists flocked to this modern Chicago station. “It has shown that even Standard Oil could underestimate…what a new building like this could do for one of its gasoline dealers,” Goldberg told the Architectural Forum then.

Top: Clark Maple Gas Station in Chicago, 1938.

Right: North Pole Ice Cream store in River Forest, IL, 1938.

Below: North Pole Ice Cream store ready to be transported, 1938.

Image Courtesy of G. Goldberg + Associates

FOURTEEN

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MARCH APRIL 2025

Image Courtesy of Arizona Contractor & Community

Geoffrey offered little-known insights about the building. “One of the notable features of the gas station were the neon lights spelling, ‘Gas For Less’ woven into the cable supports from the masts,” he said. “My father told me that the neon signage at the gas station ‘looked lovely, and lasted about one night, as the winds broke the neon.’”

That same year, Goldberg designed Top left: Good Samaritan Hospital, Phoenix, North Pole Ice Cream, a portable store that 1982. could move north and south, like a migrating Top middle: Bertrand “Bud” Goldberg.

Above: Geoffrey Goldberg. bird, to sell ice cream in season. “Its glass Below: Marina City Towers, Chicago, walls and cantilevered roof were suspended mid-1960s. from a mast anchored to a truck chassis, a part of the building,” Goldberg said. The served by a “mother truck” that manufacarchitect envisioned a fleet of these stores tured ice cream.

Geoffrey says mobility, speed, flexibility, and their relation to architecture were important to his father. “These were all part of the modern world and were embraced as part of his thinking, along with how things were used and made.”

In 1958, Goldberg conceived the Route 66 Motel, an unbuilt project for a site on Chicago’s South Shore Drive. The architect reprised this design to create his seminal work, Marina City, in the mid-1960s. The two 62-story residential concrete towers anchored a theater, rail line, ice-skating rink, bowling alley, and office building in Chicago.

The spiral ramps on the first 20 floors of the towers show the parked vehicles rather than hiding them—an unusual approach.

More than a half-century later, Marina City remains a highly desirable address.

The Chicago architect later adopted aspects of the Marina City design for medical facilities like Phoenix’s Good Samaritan Hospital. Although Goldberg died in 1997, and his daring Phoenix hospital tower is tentatively scheduled for demolition in 2031, Abell is confident about the Chicago architect’s continued influence. “Goldberg’s extensive writings are still relevant today, and his legacy of excellence is known worldwide.”

I just wish the architect’s appealing gas, food, and lodging creations were still around to be enjoyed.

Images Courtesy of Arizona Contractor & Community

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Projects . PEOPLE . PRACTICES

MCCARTHY CELEBRATES CONSTRUCTION MILESTONES AT VANTAGE DATA CENTERS IN GOODYEAR

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cCarthy Building Companies recently celebrated two construction achievements in Goodyear, Arizona. These achievements involved physical facilities that store the computing infrastructure that IT systems require, such as servers, data storage drives, and network equipment.

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the trades, and the Goodyear community to successfully deliver these achievements with a focus on sustainability, safety, and ultimately meeting the requirements of our customers.”

The event occurred before the Thanksgiving holiday, so McCarthy and Vantage Data Centers provided turkeys to the approximately 300 construction crew members on the projects as a gesture of gratitude for everyone’s hard work and diligent safety efforts.

The general contractor, McCarthy, recently completed the fully commissioned AZ13 building for Vantage Data Centers, a leading global provider of hyperscale data center campuses. AZ13 is the third of five

planned data centers at Vantage’s AZ1 campus in Goodyear to be constructed and delivered by McCarthy’s Mission Critical team. The first two, AZ11 and AZ12, were delivered in July 2023 and March 2024, respectively. The team is simultaneously celebrating the topping out of AZ14 on the same campus, which is expected to be completed in summer 2026.

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CONSTRUCTION AROUND ARIZONA Projects David Mazzarelli, project director with McCarthy’s Mission Critical team, stated that the project’s biggest challenge so far is that changes occurred after permitting and construction on the foundations began that altered many critical building requirements.

“As a design-builder, McCarthy worked closely with Vantage and the project design EMPLOYEE SPOTLIGHT Aly Moore Project Manager Experience: 8 years with McCarthy Building Companies Favorite job task: Being in a room surrounded by partners and trade partners working towards a solution and walking out aligned with the path forward. I also enjoy seeing the final product and the feeling of accomplishment it brings.

Most challenging job task: Keeping up with the scheduled pace of the project; the field will always outbuild the office side if we do not keep up with the work behind the scenes.

Most memorable day at work: Receiving recognition from the tenant that their experience in AZ13 reflects the lessons learned and best practices that McCarthy had gained from previous phases.

Hearing this feedback exemplified the hardware the team put in to provide the best client experience.

Favorite off-job task: Coordinating Arizona Construction Career Days.

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partners to re-evaluate and modify the space planning within the building while preventing any structural modifications,” Mazzarelli says. “This allowed construction to commence while the design team worked on a new build-out package to amend the permit with the city. The team met new design milestones to have the revised plans permitted in time to continue interior construction without impacting the schedule.”

McCarthy still had time to apply some innovative techniques during the project.

“By employing an integrated commissioning process, the design-build team delivered 16 MW of tenant-ready capacity every four months, accelerating tenant mobilization into the facility, with AZ13 delivered in two stages,” Mazzarelli says. “The facility is also designed to utilize 100 percent air-cooled chillers to eliminate the reliance on water to cool the data center.”

Subcontractors on the project include Corgan Architects, Rosendin Electric, Southland Industries, Amfab Steel, Pete King, TP Acoustics, IES, Star Roofing, SGSI Glass, OTIS Elevators, and OMC International LLC. Many of the features on the Goodyear campus are based on Vantage’s standardized campus blueprint, emphasizing sustainable construction practices. The campus is on track to achieve Green Globe certification, which the AZ11 and AZ12 facilities have already received.

Mazzarelli stated that this project’s most notable achievements are related to sustainable construction and the team’s unwavering commitment to safety. “The AZ1 campus employs a closed-loop chilled

Image Courtesy of McCarthy Building Companies

water system, requiring only an initial fill and no additional water for cooling during operation,” he says. “This system relies on ambient temperatures to support efficient energy use while avoiding continuous water demand. AZ13 also uses a specialized shade system above rooftop chiller units to prevent hot air recirculation and overheating.”

An additional accomplishment is that AZ13 and the entirety of the campus have been constructed thus far with zero recordable incidents, reaching 2 million labor hours following AZ13’s completion. “Having more than 650 trade partners and 100 McCarthy craft professionals on-site at a time, AZ1 is no exception to the risks associated with installing critical electrical equipment and simultaneous building construction,” Mazzarelli says. “The safety and the commitment to providing a great work environment for every partner working on the campus has created a culture that everyone is proud to be a part of.”

Mazzarelli concluded by saying that McCarthy was proud to be handing over another fully commissioned data center to Vantage and for the progress their Mission Critical team is making on these facilities at the AZ1 campus.

“The collaborative design-build partnership we have with Vantage’s team and our community partners allows us to work hand-in-hand to deliver these projects safely, quickly, and ready for service so they can immediately begin serving Vantage’s customers,” Mazzarelli says. “It’s pretty exciting to be part of Goodyear’s economic growth.”

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new storage facility with one-of-a-kind amenities is coming to Goodyear, which will take people’s extra stuff to a whole new level. “At LuxeLocker, we are proud to offer our unique premium storage offerings to the Goodyear community,” says LuxeLocker CEO, Adam Pakes. “Our units resonate so strongly with customers that 78 percent of our premium units pre-sell before construction is complete, underscoring the demand for premium storage solutions.”

For the project, LuxeLocker partnered with a Gilbert, Arizona-based firm, Benson Construction, which has offered pre-construction, construction services, and

construction management since its founding in 2016. “Benson Construction will act as the general contractor on the project, managing the construction of the storage facility from start to finish, and Forge Metal Buildings will supply and erect all steel,” says CEO Eric Benson.

The new storage facility will be located near the Phoenix-Goodyear Airport at 14585 West El Sol. Construction began in December 2024 with a year build, setting an opening date for January 2026. Once construction begins, 61 luxury units will be available for pre-purchase.

This is LuxeLocker’s ninth property in the state, and third in the Valley. The facility spans an impressive 140,090 square feet, featuring 206 units averaging 750 square feet each. Among these, 145 units are available for rent, offering 14-foot-tall powered

overhead doors, LED lighting, and 110V outlets. In addition, 61 luxe units will be sold as individually owned condominium units.

Amenities at the gated property include a cutting-edge Avigilon security system, climate-controlled storage, a wash bay, on-site restrooms, an RV dump station, an air compressor, and fresh water.

“We at Benson Construction are committed to delivering a high-quality build that meets the exceptional standards of LuxeLocker,” says Eric Benson of his firm, which is driven by a commitment to construct and think holistically about every project they touch. “We’re thrilled to collaborate with LuxeLocker to deliver a state-of-the-art facility that offers the Goodyear community a premier storage solution tailored to their needs.”

Images Courtesy of Benson

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TWENTY FOUR

MARCH APRIL 2025

CONSTRUCTION AROUND ARIZONA Projects

MCCARTHY REACHES TOWARD HYPERSPACE WITH PLACEMENT OF DOME IN FOUNTAIN HILLS OBSERVATORY

M

cCarthy Building Companies recently put the cap on one of the Valley’s most unique construction projects. A massive steel-ribbed, plywood-wrapped dome was installed atop The International Dark Sky Discovery Center (IDSDC) in Fountain Hills.

Constructing the 38-ton Planetarium dome was no easy task, according to McCarthy Project Manager Brandon Gonzalez. “The EMPLOYEE SPOTLIGHT Kloe Decker Project Engineer Experience: 6 months with McCarthy Building Companies

project team had to work closely with the designers to determine the safest and most efficient way to construct the dome. As a result, the team engaged key trade partners to safely install scaffolding, shoring, and critical pieces for a successful install.”

The milestone achievement is part of the Craig and Ruth Gimbel Hyperspace Planetarium, featuring a 12-meter-diameter projection dome tilted 20 degrees forward, with 65 seats, six projectors, and a state-ofthe-art audio system. The domed theater will educate visitors through programs about astronomy, the night sky, and other STEM subjects. Planetarium programming may cover topics such as biodiversity, anatomy, and aviation.

“We support the IDSDC’s mission of furthering research, education, and dark sky

preservation in one of only two International Dark Sky Communities located near a major metropolitan area,” says Gonzalez.

“The installation of the dome represents a major milestone for this project, which will highlight the importance of a dark sky and the potentially harmful effects of light pollution.”

According to Gonzalez, the Dark Sky project is unique in many ways, including collaboration with specialty consultants for different parts of the building. “Each part of the building has a vision that represents a feature of space, and the owner’s vision requires additional coordination detail. To mitigate these hurdles, the team works closely with the architect, specialty consultants, and owner weekly to ensure their vision is turned into a reality.”

Image Courtesy of McCarthy Building Companies

Favorite job task: Collaborating with the project team and trade partners to overcome challenges.

Most challenging job task: It’s also my favorite part of the job. Although the uniqueness of this project and problemsolving have been difficult, they are extremely rewarding.

Most memorable day at work: Setting the planetarium dome. It was nice to see all the hard work our self-perform teams did and to join the community to celebrate the big accomplishment.

Favorite off-job task: Spending time with my friends and family.

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CONSTRUCTION AROUND ARIZONA Projects

The IDSDC will serve as the world’s hub for uniquely connecting the night sky to life on Earth. Through STEM education for students and innovative learning experiences for all ages, the IDSDC will fulfill its mission to spark imaginations, inspire the next generation, and foster a deeper understanding of our dark skies, planet, and universe.

The $28 million, 23,000-square-foot, state-of-the-art facility in Fountain Hills, located at 12845 North La Montana Drive, is linked to the town’s esteemed designation as the world’s 17th International Dark Sky Community in 2018. The facility will also include a 27.5-inch PlaneWave telescope housed in its 20.5-foot domed observatory, a multipurpose auditorium accommodating up to 150 guests, and a “Night Sky Experience” exhibit area.

Designed by SWABACK Architects + Planners, IDSDC features five major components: • Dark Sky Observatory with the largest telescope in the Greater Phoenix area • Hyperspace Planetarium with an advanced tilted dome design and immersive digital technology • Inspiration Theater with 150 tiered seats and the latest projection technology and sound systems • Night Sky Exhibit Hall with interactive exhibits about the problems and solutions related to excessive light • Einstein Exploration Station for hands-on teaching of the physics of light The IDSDC board of directors has been working to raise funds for the Discovery Center. The board is seeking fundraising

Image Courtesy of McCarthy Building Companies

through naming rights and other means. For International Dark Sky Communities near a more information about the IDSDC, please metropolitan area. Its two dome structures visit DarkSkyCenter.org. required precise coordination and execution The project broke ground in April 2024 of exact dimensions by the team, and each and is expected to be completed in the has a unique function to the project. summer of 2025. Major trade partners on “The observatory dome is the highlight the project include Diversified for the exte- portion of the building because it will serve rior system, Radius Track for as the focal point for a telethe dome’s structural composcope,” Gonzalez says. “The “THE IDSDC WILL nents, Global Roofing Group, SERVE AS THE WORLD’S telescope will be used for Hawkeye Electrical, McCarthy research and learning for the HUB FOR UNIQUELY public and partnering schools.

Self-Perform Concrete, Structural Steel and Plumbing/ CONNECTING THE NIGHT The dome has a unique funcMechanical, as well as Pete SKY TO LIFE ON EARTH” tion that will allow it to rotate King Construction for framon a track 360 degrees and ing, drywall and paint. has a hatch that will mechanically open to Gonzalez says it’s unusual to get the allow the telescope full access to space. This opportunity to construct a space obser- dome is one of a kind and will be a huge vatory, especially in one of only two asset to the Dark Sky program.”

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A DIFFERENTLY-ABLED ARCHITECT: ROBERT LYNCH, FAIA JAMES LOGAN ABELL, FAIA

T

he architecture profession will likely never again see a pioneering and persevering architect like Robert Lynch, FAIA. Despite being diagnosed with polio at the tender age of 9, a condition that left him paralyzed below the chest, Lynch’s resilience and determination were unwavering. In an era where medical treatments were limited, the Winchester, Massachusetts native

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defied the odds and continued to pursue his passion for architecture.

His father, Dr. Clement Lynch, and his mother, Eleanor, arranged for him to continue public school with the help of a full-time attendant, Walter Burke. More than just an attendant, Burke was a mentor and a guide, inspiring young Lynch with stories of building stone retaining walls and timber bridges for parks with the Civilian Conservation Corps in the 1930s. Burke’s influence was profound, imparting the benefit of his experience in engaging a nation of young people to build a better environment, a stronger country, and a more responsible society.

With Burke’s inspiration and the support of his parents, Lynch built much of his own wood furniture while sitting on the floor. During summer vacations from college, he built stone retaining walls and trimmed flagstones to neatly fit into patios and walks, all while sitting on the ground!

He was a determined young man in many regards, and this was a harbinger of his life’s tenacity and perseverance.

A month before his high school graduation in 1944, Lynch had developed his above-the-chest strength and balance to maneuver up and down stairs using hip-length steel braces and crutches.

He managed, though with considerable

Above: National Shrine of the Immaculate Conception at Catholic University in Washington, D.C. Below: Robert Lynch, FAIA.

difficulty, to learn to live on his own at a prep school for one year before beginning general studies at Notre Dame University.

Undeterred by having to use stairs for classes on the second and third floors of academic buildings, Robert took up weightlifting with a fervor. His physical achievements were remarkable, as he soon became a champion in his weight class, bench pressing nearly 300 pounds, twice his body weight!

As his “Arts and Letters” curriculum ended, Lynch took some career tests while never forgetting Burke and the CCC’s inspiration. The registrar at Notre Dame quipped, “Oh, by the way, starting next year, the architecture degree will be a five-year course,” Lynch recalled Lynch recalled consulting with his parents, who approved of him earning another college degree. “For someone so disabled, Robert should become super-educated,” his father said.

After almost 24 years of formal education from kindergarten forward, Lynch returned home to Winchester. He was hired by one of Boston’s finest architectural firms, Maginnis, Walsh, and Kennedy, ARIZONA CONTRACTOR & COMMUNITY

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Cathedral of Mary Our Queen in Baltimore.

a 49-year-old company with only one client, the Catholic Diocese. In his interview, Gene Kennedy, AIA, told Lynch that the firm didn’t need architectural draftsmen; they needed structural draftsmen.

Lynch had all the required coursework leading to a degree in Architectural Engineering and was soon doing significant work for the dome of the National Shrine of the Immaculate Conception at Catholic University in Washington, D.C. He later designed and dimensioned all stonework for the limestone walls of the new Cathedral of Mary Our Queen in Baltimore, detailing many of the granite entrances, and drew many of the inscriptions carved into stone lintels.

Completed in 1959, it is the third-largest cathedral in the nation.

Lynch laughed at his beginnings in architectural accessibility as a niche specialty. “I didn’t choose this specialty; I didn’t even think of it. And it all began with parking tickets in 1954.” As it turns out, Lynch had made friends with a meter maid near the firm where he worked so he didn’t have to feed a quarter into a parking meter every hour.

With a new meter maid on duty, however, Lynch received a ticket every day! He soon received a summons to court for 33 tickets but lost his case. A group of disability advocates took up his cause, and their collective determination and Lynch’s dedication soon caused the passage of the ARIZCC.COM

Massachusetts Architectural Barriers Bill.

Lynch was appointed to this new state “Access Board” and elected to serve as chairman.

Over time, Lynch and his board reviewed some 1,000 complaints, and he was able to rewrite all state regulations to reflect the findings of the court cases and hearings. This process led to the creation of state compliance boards across the country. In due course, Lynch addressed the AIA Board of Directors to adopt accessibility as a national issue for the profession.

The AIA responded by creating a committee of 55 architects to study this new issue and to produce new design standards for accessibility. Lynch was named the committee chair. Because of his leadership, vision, and determination, the Boston Society of Architects nominated Lynch for elevation to the national AIA College of Fellows, and he was honored in 1977 at the national AIA convention in San Diego. By 1980, the American National Standards Institute [ANSI] published the AIA study committee recommendations as the first set of national design standards, a massive milestone for the profession and the nation.

Arriving in Arizona in the mid-1980s, Lynch spent the next 30 years serving Arizona and the nation through his writing, publishing, lecturing, and teaching. He taught a popular course at Scottsdale Community College for many years. Lynch was

a consultant for the Desert Diamond Arena in Glendale, Valley Metro Light Rail, and the expansion of Phoenix Civic Plaza.

In December 2011, AIA national president Clark Manus, FAIA, finished his presidency by telling of Lynch’s early years as an inspiration to all architects. Noting an America that is increasingly sedentary with an older demographic that is often challenged by the physical world architects create, Manus wrote, “Lynch’s story is not unique. His narrative belongs to all of us.

We all began life by being carried and cared for. It’s also the future that many of us are headed for. Architecture can help us into that future, or it can be our hell.”

Lynch acknowledged that he could not have had such a fantastic career and life without his wife, Diana Hoover Lynch, whom he wed in 1960, and the family love of three children, Stephen, Kathryn, and Susan. His many published books on architectural accessibility became a “family affair” on many occasions, including in 2014 for his voluminous book, Encyclopedia of ADA. Never scolding or critical of architects new to changing design standards, Lynch was always uplifting in spirit and tone. His dedication and perseverance inspired everyone around him to think of building design in universal terms. We are all so much more aware and richer in the knowledge provided by this pioneering architect.

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ASA UNIVERSITY PROGRAM ENTERS ITS THIRD YEAR JOSH UMAR

W

hen I started as the new executive director at the American Subcontractors Association (ASA) of AZ in 2020, it was during the height of COVID-related shutdowns. It was incredibly interesting for me as it’s quite difficult to run an association when you can’t associate!

However, my board and I didn’t let the time go to waste. Sure, we couldn’t run a bowling tournament or hold an indoor mixer, but those restrictions provided an opportunity to pause and evaluate a lot of what we were doing. Were we really serving our members and the industry to the best of our ability?

It didn’t take long for us to realize that despite many excellent program offerings, we were falling short in the mission-critical area of education. Opportunities for education are one of the main reasons people join a trade association. Despite quality classes on individual subjects, we were not doing enough systematically to help our subcontractor members thrive. We needed a new approach.

Deliberations began among the board, members, and our Education Committee, which was (and is) chaired by Brian Crisp of Enterprise Bank & Trust. ASA University was born just over a year later and is now one of our proudest achievements. It is also one of our most accessible programs. Even three years after its launch, every ASA University course remains free for both members and nonmembers.

Our approach was simple, even if our goals were not. We began with what makes us special: ASA of Arizona isn’t a trade-specific organization. So, our educational programming needed to be valuable to subcontractors regardless of their trade.

Also, many of our trade-specific association

Images Courtesy of Author

counterparts already offered excellent courses in their specialty areas. It didn’t make sense for us to try to compete with them. Why, for example, should we even try to offer irrigation certifications when our friends at ALCA (Arizona Landscaping Contractors Association) already have that covered so well?

Instead, ASA University would focus on the things every subcontracting business needs to master to stay profitable. These became the “5 Pillars” of our curriculum: Safety, Workforce Development, Project Operations, Finances, and Leadership.

We began offering courses in these areas in a pilot program to see how people would respond. Luckily, long-time member Price Kong saw the promise in those early classes and sponsored our efforts. They remain the Title Sponsor of ASA University today, and we are grateful for their support.

After some trial and error in the pilot phase, we dialed things in even more. We began offering classes in the Spring and Fall semesters and introduced ASA University certifications for companies and individuals. Because the other primary goal of ASA

University was to make participants more attractive to General Contractors who might hire them, we worked closely with our GC partners to craft curriculum requirements and content for specific classes.

These same GCs—all of whom have been approved by our board—still serve in an advisory role for ASA University and often participate as panelists and instructors. The Education Committee reviews offerings in our other program areas and decides which will count for ASA University credit. This means that there is always plenty of opportunity to complete a certification.

We are about to launch the program’s third year in March, and it looks to be our strongest yet. Courses will be held on: • Economic Projections for the Industry, • Prevailing Wage Reporting Practices, • Contracts & Risk Assessment, • Growing Field Leaders, • Starting Your Own Training Program, and • Networking for the Trades.

Additional classes offered by our Attorneys Council, Safety Committee, and Build Her Up women’s peer group will also count for ASA University credit.

We invite you to take part! You are welcome to attend whatever trade you practice or whichever association you belong to. We believe ASA University can help your business thrive. Again, courses are free but do require pre-registration. Like all other ASA of AZ events, you can sign up at asa-az.org/ events/ or email us at asa@asa-az.org.

Josh Umar, Executive Director at ASA of AZ.

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ZAC COHEN REVEALS INSIGHTS BEHIND RÄKKHAUS, THE PHOENIX-FINNISH AVANTGARDE ARCHITECTURE STUDIO DOUGLAS TOWNE

A

rizona Contractor & Community magazine recently learned about Räkkhaus, a Finnish architectural firm that opened an office in Phoenix in 2023. Zac Cohen, its creative director, described his background and vision for the firm. The most recent local project for Räkkhaus is its mixed-use development, Manzana, an eight-story building in Phoenix’s Roosevelt Row Arts District.

Above: Rainbow Road rendering.

Top right: Zac Cohen.

Below: Manzana rendering.

Images Courtesy of Räkkhaus

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Previously, the firm created Rainbow Road, a five-story boutique apartment building under construction that will bring a touch of Nintendo to the arts district.

Q: What’s the vision for Räkkhaus?

A: Räkkhaus is a cutting-edge architecture studio founded on the ethos of love, form, and revolution. The name, derived from the Finnish word Rakkaus (love) and the German Haus (house), captures our passion for creating spaces that resonate deeply on emotional and subconscious levels. Pronounced “Rock House,” the name further embodies the studio’s rebellious spirit.

What truly sets the studio apart is our unique perspective rooted in development experience. As Creative Director, I bring a comprehensive understanding of costs and

value engineering, ensuring our architectural vision aligns with developer budgets.

Whether it’s a master plan, a high-rise, or an adaptive reuse project, we deliver architecture that moves the needle and pushes boundaries. By thoughtfully considering costs without compromising impact, we empower developers to bring bold ideas to life.

Recent projects in Phoenix, like Manzana, a mixed-use development, and Rainbow Road, an avant-garde residential complex, exemplify our commitment to reshaping urban environments into vibrant, community-centered spaces. These projects reflect not only our dedication to creating inspiring architecture but also our ability to deliver within any budget, redefining what’s possible in contemporary design.

Q: What was your pre-architecture background?

A: Before working in architecture, I spent over 20 years in commercial development, traveling extensively for projects across the globe. This experience, combined with living for over a decade in Europe, gave me a deep understanding of how spaces come to life—not just in terms of design but also in the practicalities of building and delivering projects. Each place I encountered, whether for work or personal exploration, revealed something unique about how architecture interacts with culture, community, and the environment, inspiring me to see how it can transcend functionality to tell stories, evoke emotions, and create meaningful connections.

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Top right: Manzana rendering.

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Image Courtesy of Author

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Building next door, grounding Manzana in the context of its surroundings. Then, the Mexican wood elements, drawn from the nearby Xico arts organization, celebrate the Hispanic influence that shapes the community. Finally, the geometric white facade on the upper floors riff on Frank Lloyd Wright’s influence in the Valley, merging modernity with timeless architectural tradition. We see this development as a reflection of the neighborhood’s growing dynamism and an architectural next step in the evolution of the city.

Q: What’s the biggest challenge to being an architect?

A: Architecture is often seen as a cost instead of a value. Too many developers and decision-makers treat design as a line item to minimize rather than the very thing that gives a project its soul, longevity, and identity. What gets lost in this mindset is that great design doesn’t just enhance aesthetics—it shapes how people interact with a space, ensures the project stands the test of time, and ultimately drives long-term value.

Q: What are your outside interests?

A: I’m passionate about maintaining balance in all aspects of life—physical, spiritual, mental, and creative. Travel plays a significant role in keeping me inspired, offering fresh perspectives and ideas that often find their way into my work. Whether I’m exploring a new culture or practicing

Image Courtesy of Räkkhaus

CONSTRUCTION AROUND ARIZONA People

Q: How did you get started in architecture?

A: It’s interesting because I didn’t seek a career in architecture; rather, architecture found me through years of working closely with architects on projects. As I collaborated with them, I saw how design could transform not just spaces but entire communities. It could tell stories and paint pictures that resonate with the human spirit. That realization sparked a deeper curiosity and ultimately led me to embrace architecture as a way to merge the creative with the practical. Founding Räkkhaus was the natural next step in my personal metamorphosis.

Q: Describe your most recent project.

A: Our most recent project is Manzana, a 12-story, 98-unit mixed-use project with significant ground-floor retail that we see as a kind of urban “orchard” in the heart of Phoenix’s Roosevelt Row at 821 North First Avenue. The name itself, inspired by the Spanish word for “apple,” symbolizes growth, vitality, and a sense of connection— both to the neighborhood’s history and its future. The design is all about weaving together layers of inspiration from the area.

The brick facade at the base creates a dialogue with the historic Knights of Pythias

mindfulness through exercise and meditation, these practices fuel my energy and creativity, both in and out of the office.

Q: What are your thoughts on the Valley’s architecture?

A: The Valley has a rich tradition of architecture, especially due to Frank Lloyd Wright’s profound influence on the region.

His ability to blend design with the desert landscape set a powerful precedent for how architecture can respond to its environment.

At the same time, Phoenix represents a largely blank canvas—a city with enormous potential to redefine itself through bold, innovative design.

Too often, though, architects and developers here have been content with the status quo. There’s a complacency that results in safe, predictable designs that fail to push boundaries or reflect the dynamic energy of the Valley. At Räkkhaus, we see this as an opportunity to challenge that mindset and shift the paradigm.

Q: What’s next for Räkkhaus?

A: Scaling our vision and continuing to push boundaries. We’re excited to announce plans to open an office in Dallas, Texas, in 2025, expanding our reach and influence into one of the country’s most dynamic architectural markets.

We’re also working on concurrent designs for the Atari Hotels in Phoenix and Denver, projects inspired by the iconic video game brand. This is a perfect example of how we merge culture and innovation to create spaces that capture the imagination and redefine expectations.

Whether it’s high-impact hospitality, urban mixed-use developments, or bold adaptive reuse projects, our goal remains the same: to create spaces that challenge the norm and inspire connection.

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LUKE M. SNELL. P.E.

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s a young engineer working for an engineering testing company, clients asked if I could determine if reinforcement had been installed in a concrete or masonry project.

They retained me to use a metal detector correctly to find reinforcements.

Like most testing equipment in the 1970s and 1980s, my metal locator was bulky, had a large rechargeable battery, and used old electronic technology. It also required training to interpret its output correctly. After getting the equipment out of storage, recharging the battery, and ensuring it was still in good working order, I would go to the job site and determine if the concrete or masonry had reinforcement and if it was in the right places.

Since then, metal locators have been miniaturized, making them less bulky and easier to understand. Several companies make metal locators, and this expensive equipment, costing between $100 and $1,000, still requires a person with training to operate. Engineering firms that specialize in providing testing services typically offer this service.

Equipment At the university, I received a grant to investigate inexpensive metal locators that contractors could easily use to locate reinforcements. I obtained several types of metal locators from internet sources and equipment suppliers, limiting my research to metal detectors that cost less than $200 and appeared to be easy to use.

I selected these criteria because most contractors would only occasionally use a metal locator. They would not want to spend a lot of money on equipment they would seldom use, nor would they want equipment that was difficult to use and required attending a training class.

From this research, I found only one metal locator that met my criteria and

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would accurately locate reinforcement. The Zircon MT6 could locate #3 to #11 reinforcements up to a depth of 6 inches and was accurate to 0.5 inches in determining the reinforcement locations both horizontally and vertically (depth or cover).

Our research also concluded that the instrument could not determine the size of the reinforcement and wasn’t valid if the concrete was on a metal deck or had steel fibers. However, these limitations are not a problem for most projects. In most cases, the Zircon MT 6 could determine if reinforcements had been placed and were in the correct position.

I subsequently learned of a simpler and cheaper metal locator, the Zircon M40, which I evaluated in a separate research project. It located #3 to #11 reinforcements up to 3-inch depth and the vertical placement of the reinforcement with 0.5 inches accuracy. It did not provide the depth or size of the reinforcements. From this research, I concluded that this metal locator could only be used when the reinforcement was relatively close to the surface and depth or cover was not needed.

Procedures These metal locators are spot-specific and indicate if a metal is directly underneath, such as a nail, tin can, or dropped tool. To verify that it is a reinforcement, the user should mark the location where they detected the metal, then move about 2 feet in a circle and find (if it exists) a second location of the metal. They should mark this location with chalk and connect the two points with a straight line.

Then they should move another 2 feet and scan at the extended straight line. If they find metal at that location and the metal location indicates it is steel, then they have located one of the reinforcements. If they cannot locate metal at the second or third reading, they have likely found a localized metal object that is not reinforcement.

If the metal locator indicates it is nonferrous (not steel), it is likely copper pipe in the concrete.

Images Courtesy of Author

CONSTRUCTION AROUND ARIZONA Practices

WAS REINFORCEMENT INSTALLED IN MY CONCRETE OR MASONRY?

Case Histories A precast company was having an internal labor dispute, and it was rumored that several of their precast units made during this period did not have reinforcements. I was asked to visit sites where these units were installed and evaluate the rumors. I used a metal detector to examine 30 randomly selected precast units made during the labor dispute. In all cases, the reinforcements were found where they were supposed to be, so the rumor was false.

A masonry wall was constructed with vertical reinforcements and grouted every 4 feet. A records review revealed that not enough reinforcements had been ordered.

The project inspector was also thought to have falsified their reports. I was requested to use a metal locator to determine if reinforcements had been placed as required by the specifications. In my testing program, 50 locations were randomly selected to determine if reinforcement had been installed.

Over 50 percent of the reinforcement could not be located within 4 feet of the designated locations, thus concluding they had not been installed.

Concluding Thoughts When the question of whether reinforcements have been placed or are in the right place, inexpensive metal locators can answer these questions. When more complex questions are raised, such as the need to determine the size of the reinforcement, details about reinforcements that are placed in multiple layers, reinforcements that are over 6 inches from the surface, or projects expected to go into litigation, it is best to turn to engineers that specialize in this type of investigation. These engineers will select the equipment and use the techniques necessary to answer these more complex issues.

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EM’s new report, “Benefits of Construction Technologies and their Impact on Society,” details how four key innovations are helping construction sites become safer and more productive.

One of those technologies, machine control, is changing how earthmoving and paving tasks are completed. Previously unimaginable levels of accuracy and efficiency have been achieved, resulting in job sites that are safer and more productive and projects that are completed faster and with less waste.

“Machine control is a technology system that calculates the position of machinery,” says Brad Viernow, OEM director for North America Heavy Construction at Leica Geosystems, a supplier of sensors, software, and services for geospatial data intelligence. “To determine the precise location, machine control uses measurement data from satellite (i.e., GNSS) or an onsite surveying instrument called a total station.

Then, machine control can compare that positioning data to a project design.”

Machine control, armed with that information, can guide and assist the person operating a piece of equipment. It’s pretty simple: Better information leads to better results.

“On average, 52 percent of all rework globally is caused by poor data and missed communication,” says Viernow. “Sharing up-to-date data via cloud connectivity allows the equipment operator to see all

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of the design information on the panel in the cab while they are working. Going one step further, machine automation can also come into play. Machine control can actually take some of the work out of the operator’s hands while achieving the desired accuracy even more easily.”

Earthmoving and paving applications lend themselves well to machine control.

Equipment operators must work within tight tolerances concerning things like material placement, grade, cross slope, and compaction density. That is why motor graders, dozers, excavators, and pavers are among the most common equipment utilizing machine control today. However, the potential for machine control spans much further.

“There is no piece of machinery within the construction industry that isn’t seeing this type of technology being used in some way,” says Adam Woods, general manager of Innovation and Product Portfolio Strategies at LBX Company, manufacturer of Link-Belt excavation equipment. “Even something like a compactor, which seems like a relatively simple product that just rolls back and forth, will benefit from machine control.

Machine control helps determine how much compaction has occurred and whether further compaction is needed to meet the desired specs. Automation is even allowing machines to do that all on their own.

It’s all in the aim of making job sites more efficient.”

That goes for smaller job sites and equipment, too. “The utility of something like a compact track loader, paired with the benefits of a technology like grade control, is a winning combination,” says Sean Mairet, group product manager for Grade Control at John Deere.

Images Courtesy of Author

CONSTRUCTION AROUND ARIZONA Practices

HOW MACHINE CONTROL HELPS CONSTRUCTION PROFESSIONALS REGAIN CONTROL OF PROJECT ACCURACY AND WASTE: PART 1

TAKING CONTROL OF SAFETY Machine control technologies like grade control can also help reduce safety-related incidents on a job site.

“Without technology like this, you need surveyors, civil engineers, and other people on a job site to constantly check grade,” Woods says. “They are constantly walking up to and around the machine. They are frequently working within a trench. With grade control technology, you reduce the need for these people to place themselves in these potentially unsafe environments.”

There are also safety-specific machine control features that are helping enhance job sites. A camera system is the first thing that comes to mind. Cameras give equipment operators enhanced visibility all around a machine, often calling attention to people and objects that are getting dangerously close to that machine.

As crucial as that type of operator guidance system is, machine control can do much more. Technology can actually stop a machine when a potential collision is detected. Additionally, Viernow adds that 3D avoidance zones can be created by leveraging another key construction technology, geofencing.

“Let’s say a person is operating an excavator in an area with a powerline right above them,” Viernow says. “Through location-based geofencing, the operator could set up an automatic stop so the excavator arm couldn’t extend beyond a certain point.” That makes things much safer and less stressful for the operator, which is one of the core objectives of machine control.

ARIZONA CONTRACTOR & COMMUNITY

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s Arizona’s construction industry expands, companies seek innovative ways to optimize their operational efficiency while navigating capital investment challenges. One powerful but often overlooked tool is the sale-leaseback (SLB) transaction, particularly for industrial outdoor storage (IOS) and warehousing facilities essential to many construction firms.

We’ll discuss what a sale-leaseback is, how it works, and why it offers unique advantages for companies in the construction industry that need outdoor storage or industrial real estate. Understanding these transactions can provide companies with strategic financial flexibility, allowing them to reinvest in growth while maintaining operational control of key assets.

What Is a Sale-Leaseback?

A sale-leaseback is a financial arrangement in which a company sells its property—such as an industrial yard or storage facility—and then leases it back from the new real estate owner. This means that the company can continue using the property for its operations but is no longer tied to owning it. The company also generates meaningful proceeds from the sale transaction.

For construction firms, which often require significant outdoor space for storing machinery, equipment, and materials, sale-leasebacks provide a way to free up

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cash tied up in real estate. This capital can be reinvested into growth initiatives, such as acquiring new projects, upgrading equipment, or scaling operations.

The Role of Industrial Outdoor Storage (IOS) in Arizona’s Construction Industry Industrial outdoor storage refers to the use of outdoor space for storing equipment, vehicles, and materials essential to construction and other industrial sectors.

In Arizona’s growing construction industry, firms rely on these spaces for: • Storing heavy equipment like excavators, bulldozers, and trucks.

• Stockpiling construction materials such as steel, concrete, and lumber.

• Housing modular components and prefabricated units used in large-scale projects.

Arizona’s unique climate—with its dry, predictable weather—makes IOS an ideal solution, as many assets don’t need the protection of indoor warehousing. However, the cost of owning land for this purpose can be significant, especially as real estate prices continue to rise in fast-growing areas like Phoenix and Tucson.

How Does a Sale-Leaseback Work in Practice?

A sale leaseback begins with the construction firm selling its real estate to an investor. In exchange, the firm signs a longterm lease to continue occupying the space.

Here’s a step-by-step breakdown: 1. Assessment and Sale: The company works with a real estate advisor to generate a sale-leaseback value of the property and run an investor marketing process to bring in offers for the asset.

Once a buyer is found, the property is

CONSTRUCTION AROUND ARIZONA Practices

EXPLORING THE BENEFITS OF SALELEASEBACKS FOR INDUSTRIAL OUTDOOR STORAGE IN ARIZONA’S CONSTRUCTION INDUSTRY

sold, and the company receives the proceeds from the sale.

2. Leaseback Agreement: The company negotiates a lease agreement with the buyer during the process, and the lease agreement commences upon closing the sale transaction. This ensures that the company continues to use the property without interruption, typically under a long-term lease that guarantees operational stability.

3. Operational Continuity: The business continues to use the space just as before without having to manage the responsibilities of property ownership and with a passive landlord who does not interfere with the business.

By structuring the deal this way, companies can maintain operational control while gaining the financial flexibility to reinvest in their operations.

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Why Consider a Sale-Leaseback?

1. Unlock Capital Without Disrupting Operations For construction firms, having significant cash tied up in real estate can limit the ability to invest in new projects, equipment, or talent. A sale leaseback releases that capital, providing liquidity that can be used to fund growth.

For example, a construction company needing to expand its equipment fleet or take on a major infrastructure project can leverage the proceeds from a sale-leaseback to make those investments without taking on additional debt.

2. Improved Financial Health and Flexibility When a company engages in a sale-leaseback, the proceeds strengthen its balance sheet by converting a fixed asset (real estate) into liquid assets. This improved liquidity can help companies better manage working capital, improve financial ratios, and secure better financing terms for future projects.

This stronger financial profile can be the difference between winning and losing business opportunities for firms bidding on government contracts or private-sector projects.

3. Protection Against Market Fluctuations Real estate markets can be volatile, with property values fluctuating based on broader economic trends. By selling real estate and leasing it back, construction companies can transfer the risk of property market fluctuations to the buyer, ensuring ARIZCC.COM

their focus remains on core operations may find it advantageous to sell their rather than managing property assets. outdoor storage properties now before 4. Scalability and Operational Focus zoning restrictions tighten.

For companies experiencing rapid growth, sale-leasebacks can provide flexi- Key Considerations for Construction Firms bility. As the business grows, construction Before entering into a sale-leaseback, firms can expand on-site operations by part- construction firms should evaluate several nering with their real estate investor, who factors: uses their capital to fund property expan• Lease Terms: Ensure that the sions and renovations. leaseback terms meet operational This is particularly relevant for firms in needs, with flexible renewal options Arizona, where the construction landscape and appropriate clauses for potential can shift quickly based on project demands expansion. and regional development trends.

• Property Valuation: Work with experienced real estate advisors to Arizona’s Unique Market Conditions and ensure that the property is valued IOS Trends accurately and sold at a fair price.

Arizona’s real estate market, particularly • Long-Term Planning: Consider how the industrial sector, has been experiencing the sale-leaseback fits the company’s rapid growth due to increased demand for long-term strategy. Will the company logistics, manufacturing, and construction need additional space as it grows? facilities. The state’s pro-business environIs there a risk that the property no ment and ongoing infrastructure projects longer suits your needs?

Conclusion are key drivers of this expansion.

For construction firms, this growth For Arizona’s construction industry, means two things: sale-leasebacks provide a strategic way to 1. Rising Property Values: Arizona’s unlock the value of industrial outdoor storprime industrial real estate is becom- age facilities without disrupting day-to-day ing more valuable, allowing companies operations. By converting real estate into to monetize their properties through liquid capital, construction firms can fuel sale-leasebacks at peak valuations. their growth, improve financial stability, and 2. Zoning Flexibility: Many areas in Ari- adapt to the industry’s changing demands. zona offer zoning flexibility, allowing As Arizona’s construction sector expands, construction firms to utilize outdoor sale-leasebacks should be a key considerstorage without requiring extensive ation for firms looking to optimize their permitting processes. However, as financial and operational strategies. development continues, some firms

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Back When

FRANK FAZIO’S DESIGN STILL BLOOMS BILLY HORNER

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eneral contractor H & J Construction completed an impressive portfolio of projects in Arizona (see the Nov/ Dec 2019 issue of ACC), including the Desert Rose Motor Hotel at 3424 East Van Buren Street in Phoenix. The Desert Rose was the work of architect Frank Fazio, who is also profiled in this issue. The motor hotel was unique, as H & J typically worked with Barrie Groen, another Arizona-registered architect.

The Desert Rose was located at the site of the decommissioned Maricopa Canal. It joined the sprawling collection of hotels, motels, and inns that flourished during Van Buren’s peak as a popular overnight tourist

destination. Fazio designed the motor hotel for E.B. Sode, a Chicago manufacturing executive. The two-story motor hotel featured 57 furnished units with modern amenities such as air conditioning, telephones, TVs, and radios.

The Desert Rose’s layout included a drive-in lobby for registration and a restaurant at the corner of Van Buren and 34th Street. The guest units were arranged in a U-shape to the north, with parking located along Melvin Street on the opposite side of the units. A towering sign, located just east of the entrance, enhanced the hotel’s visibility.

Construction on the $300,000 motor hotel began in December 1956. Sode held some earth from the excavator’s first scoop

at the groundbreaking ceremony. The Desert Rose opened in November 1957.

Today, the complex houses the Diane and Bruce Halle Women’s Center at UMOM, a nonprofit United Methodist Outreach Ministries shelter for single women experiencing homelessness. The original structures remain intact, including the lobby’s flagstone exterior. The most significant change is the heated swimming pool behind the restaurant and lobby building, which was filled in to provide additional parking.

This long-lasting building is a testament to Fazio’s well-crafted designs.

Bottom: Hotel exterior, 1962.

Below: Hotel matchbook.

Images Courtesy of Contractor & ComArizona munity

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ARIZONA CONTRACTOR & COMMUNITY

OLD MORENCI: AN ARCHITECT’S PERSPECTIVE PART 1: TERRITORIAL ORIGINS MARK C. VINSON, FAIA/AICP

I

n 1870, two parties from Silver City, New Mexico, were pursuing horses stolen by Apaches. The trail led them to the San Francisco River and Chase Creek confluence in what was then Arizona Territory.

Both groups, having observed gold dust in the streams and copper outcroppings in the mountains, resolved to return when conditions permitted.

These discoveries would eventually turn into Morenci, a remote Arizona town that supported what is now the largest copper mine in North America. Stunning buildings designed by famous architects would be constructed in what became known as the old townsite. Today, none of these once-renowned structures exist. This article describes how these buildings came

to be, their unique features, and how they vanished seemingly without a trace.

Multiple mining ventures, outgrowths of the initial discoveries, were underway in the region by 1875. Two primary concerns would emerge foremost among them: the Lesinsky operations, focused in nearby Metcalf and Clifton in Chase Creek canyon, which was acquired by the Scotland-based Arizona Copper Company (ACC) in 1882. The other was the William Church / Detroit Copper Company (DCC) operations in Morenci.

By 1884, Apache raids and an infusion of capital via a loan from New York-based Phelps, Dodge & Co. (PD) led Church to consolidate his operations at what was originally called Joy’s Camp, located high above the

canyon at an elevation of nearly 5,000 feet, which he renamed Morenci. Whether the name was derived from a town by the same name in southern Michigan with which Church had no known association or the stage name of an actress whom he admired remains a mystery.

Meanwhile, the ACC had constructed the Arizona & New Mexico Railroad to connect their narrow-gauge line from Metcalf to Clifton with the new Southern Pacific mainline at Lordsburg, New Mexico. Companies could efficiently transport processed copper to the outside world for the first time.

The DCC contracted with the ACC to send their copper to market, leading to rapid growth in mining operations and the associated communities. Both the ACC and DCC built hospitals and mercantile stores. Workers from Mexico, Scotland, England, Wales, Italy, Spain, and China made their way to the booming camps.

Morenci, situated in a natural amphitheater at the head of

MARCH APRIL 2025

Images Courtesy of Author

Far left: Sketch of Old Morenci.

Above: Sketch of the 1902 Hotel Morenci, ca.

1967.

Top right: Sketch of the 1901 Detroit Copper Company (DCC) Mercantile, ca. 1967.

Below: Morenci town and mine, 1909.

a canyon, began to see houses, primarily variations of National Folk style, clinging to the steep hillsides and a ramshackle commercial district spring-up below the mill and entrances to the underground mines.

This area, filled with saloons and brothels, gained the moniker “Hell Town.” The population increased from around 600 in 1891 to nearly 3,000 within six years. In addition, indications of a vast underground body of lower-grade ore had been discovered, which could ensure the long-term viability of mining operations in the area but would necessitate improved processing techniques. In 1897, Church, uninterested in making further improvements, accepted an offer from PD to purchase all shares in the DCC. Upon acquiring control of

DCC claims and operations, new general superintendent Charles Mills embarked upon an ambitious operational and community development program. Almost immediately, a fire of mysterious origin destroyed most of the Hell Town district.

Some businesses and houses later emerged in Newtown, a privately leased area to the east. Work soon began on the creation of building pads for new community buildings

just above and to the northeast of the former Hell Town. The Morenci Improvement Company was established to improve living conditions, and the Morenci Water and Electric Company to provide sanitary water and distribute electric power.

DCC/PD also began constructing its own railroad, the Morenci Southern, bypassing Clifton and connecting with the Arizona & New Mexico Railroad several miles south of Clifton at Guthrie. The new line was a feat of Image Courtesy of Library of Congress

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engineering, requiring several bridges and tunnels, plus at least three complete loops.

Completed on December 31, 1901, the railroad terminated at a switching yard and station in the center of the Morenci amphitheater, around which the new community buildings were being constructed.

For the new company store, DCC Mercantile Manager Harry VanGorder turned to Minneapolis designer/builder Peter Delancey and steel frame erector Gillette-Herzog Manufacturing Company, with VanGorder himself developing the internal layouts. Completed in March 1901, the fourstory structure consisted of a steel structural frame with locally quarried stone walls expressed in the Chicago School style with traces of Greek Revival and Richardsonian Romanesque. Each level had a ground-floor entrance due to the slope of the adjacent hillside. The impressive building included groceries, a department store, home furnishings, a vault, a reception/reading room, and casket displays. Shipping and receiving occurred at the lower level with a loading dock trackside. Birch was employed for interior finishes, and a Lamson Electric Endless Cable system for cash carriers was installed.

The store was regarded as the finest in the West, with steam heating throughout and its own ice plant.

Famed architect Henry Trost was commissioned to design the hotel, school, social club, and company offices. The hotel, completed in early 1902, was a twostory frame-and-stucco structure atop a

room, a gymnasium, an ice cream parlor, and a full-length, south-facing veranda. A 1910 addition accommodated the Royal Theater. The DCC General Office, a short distance across the railroad switching yard, was completed in 1914. Although constructed of the same basic materials, its Chicago School architectural style departed dramatically from other community buildings, such as the hotel and social club.

Since officials of both the DCC and ACC were devout Presbyterians, it is no surprise that the two companies contributed funds for a Presbyterian church called the Morenci Chapel to be constructed near the town center. Completed in 1901, the church consisted of wood shingles on a wood frame with a stone water table coursing, expressed in the Gothic Revival style. The Red Brick cobblestone podium level, designed in the (Longfellow) School, a blend of Victorian Moorish Revival style, complemented by & Richardsonian Romanesque styles with Sullivanesque details. It was the showpiece traces of Mission Revival and Arts & Crafts, of the Southwest with its cherry wood pan- was built as a single-story structure in 1902, eled wainscots, leaded glass with a second level added in transoms, a cobblestone “THE STORE WAS REGARDED 1907. Also funded jointly by fireplace, and custom-deDCC and ACC, the buildAS THE FINEST IN THE WEST, the signed serving ware. The ing housed all classes until lower level included space WITH STEAM HEATING AND a separate high school was for the bank, a store room, a built.

AN ICE PLANT.” post office, and a group dinThe Morenci State Bank, ing hall. The hotel lobby and dining room constructed in 1912 on nearby ACC-owned were on the second (main) level, with guest property, was mildly Chicago School in style. rooms above.

It was absorbed by the Gila Valley Bank & Completed in 1900, the Social Club Trust in 1923 after PD acquired all ACC holdpreviewed the styling and materials of ings, at which time it vacated its space on the nearby hotel. Consisting of two levels the podium level of the hotel. Morenci and plus a full basement, the club was home to Clifton were the first two branches of the the YMCA and several fraternal societies. Gila Valley Bank & Trust, headquartered in It included billiard and pool rooms, game Solomonville, which would evolve into the rooms, club rooms, a library with a reading Valley National Bank.

Images Courtesy of Author

Above: Sketch of the 1900 Morenci Social Club, ca. 1967.

Right: Sketch of the 1901 Morenci Chapel (Presbyterian Church), ca. 1967.

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MARCH APRIL 2025

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OLD MORENCI: AN ARCHITECT’S PERSPECTIVE PART 2: EVOLUTION AND OBSOLESCENCE MARK C. VINSON, FAIA/AICP

M

orenci was a major Arizona copper camp that contributed to the Allies’ victory during World War I. Despite the postwar lessening demand for metal, the town prospered during the Roaring ‘20s and barely survived the Great Depression. In an odd twist, the valuable ore that led to the town’s founding would, in a little over half a century, be the cause of its complete demise.

By 1910, over 15,000 people lived in the district, including 5,000 in Morenci, with nearly as many in both Clifton and Metcalf, along with several other small settlements.

However, a post-World War I slump in copper prices dampened the local economy, as had a prolonged labor strike in 1915. Combined with their acquisition of the Shannon Copper Company in 1918 and expenditures on new facilities in 1912-13, plus double taxation (U.S. and Great Britain), the overextended Arizona Copper Company (ACC) found itself in financial difficulty. On January 1, 1922, the sale of all ACC holdings to Phelps Dodge (by 1917, PD had restructured, and the Detroit Copper Company appellation was discontinued) was consummated.

From then on, PD was the district’s sole copper producer and primary landowner.

The Morenci Southern Railroad was abandoned when PD had control of the Arizona & New Mexico Railroad. As a result, the switching yard that had been the central focus of the townsite was abandoned, replaced by parking and a small landscaped plaza, originally a dance pavilion, adjacent to the Social Club. Over time, it became known as Morenci Plaza. To the west and north, schools, a hotel, a mercantile store, a bank, and later, a shopping center were linked by walkways and bridges, grade-separated from roads and parking.

The first wave of significant community development in Morenci concluded by 1921 following the completion of the wood-frame Fairplay Middle School and a frame and stucco high school on a steeply sloping site just to the southwest of the Social Club. C. Lewis Wilson of California was the architect of the Utilitarian-style high school building Morenci copper mill, 1940.

Image Courtesy of Library of Congress

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ARIZONA CONTRACTOR & COMMUNITY

with vague Spanish Colonial Revival detailing. By this time, the Morenci Improvement Company had overseen the construction of residences for the general superintendent and mercantile manager in the Western Colonial Revival Box style, along with 50 other new houses, some arriving in kits, and a 42-room lodging house with a barber shop and baths.

Morenci thrived during the Roaring ‘20s as other private residences, apartments, churches, retail businesses, and several car dealerships were established. Sports and recreation were important components of community life, with school and town teams competing in basketball, baseball, and, later, Above: Sketch of the 1948 Holy Cross Church Morenci, ca. 1967.

Below: Marion shovel loading copper ore in rail cars at Morenci, 1942.

Image Courtesy of Library of Congress

FIFTY FOUR

Image Courtesy of Author

MARCH APRIL 2025

Images Courtesy of Library of Congress

Above: Guard at Morenci, 1942.

Right: Explosives worker at Morenci, 1942.

Below: Sketch of old 1902 Morenci High School, ca. 1967.

Below right: Sketch of “Monster Road,” which evolved from a burro trail, ca. 1967.

Bottom right: Sketch of Open Pit Mine, ca.

1972.

football throughout the region. Golf was even played at least as early as 1915 by the Scottish executives of the ACC on what was one of the first courses in Arizona, laid out on the tailings landfill emanating from their #6 Concentrator. Tennis, roller skating, and cock fighting were other popular pastimes.

As copper prices slowly rose, exploration began on the Clay orebody, the bulk of which was located under what had Images Courtesy of Author

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been ACC holdings. A massive deposit of very low-grade ore was confirmed, ensuring long-term economic profitability for PD and sustainability for the communities but requiring new extraction and processing methods to realize its vast potential. Plans to convert underground mining to an open pit were formulated but shelved with the onset of the Great Depression. PD laid off most of the workforce. As a result, Morenci

and Clifton became near ghost towns, with Metcalf being abandoned altogether.

By 1937, copper prices had begun to rise, partially due to the threat of war in Europe, causing plans for the Morenci open pit mine to be revived. Before the massive orebody could be tapped, a substantial amount of overburden had to be removed.

As blasting, shoveling, and hauling commenced, planning also began for additional

ARIZONA CONTRACTOR & COMMUNITY

Images Courtesy of Library of Congress

Above: Morenci copper concentrator, 1942.

Top right: Bulldozer at Morenci, 1942.

Right: Morenci smelter, 1942.

housing, a new mill, and a smelter with greater capacity than the old (1913) ACC plant south of Clifton. As the likelihood of war loomed, low-interest loans from the U.S. Defense Corporation funded further expansion of the reduction works and the building of new schools and housing.

As operations ramped up, so did hiring.

Returning former residents were joined by Depression-era refugees from Oklahoma, Texas, and beyond. A new wave of community development ensued. By 1938, construction had begun on men’s and women’s dormitories on the western slopes of the old townsite. New residential neighborhoods consisting of frame and stucco homes designed by Lescher & Mahoney of Phoenix, the state’s oldest and most prolific architectural firm, were built in Stargo Canyon, just southwest of the Morenci townsite, and Plantsite, with views of the new reduction works, two miles to the south. PD had these homes built on terraces, not unlike the “benches” within the open pit mine. Each neighborhood included a satellite store of the PD Mercantile.

A new 50-bed hospital (the birthplace of this author) by Lescher & Mahoney above and to the west of the hotel was completed FIFTY SIX

MARCH APRIL 2025

in 1940, its four wings linked by a central foyer with a dispensary. In 1948, PD again called upon Lescher & Mahoney to design a new Spanish Colonial Revival-style shopping center wedged into a hillside overlooking the plaza. The local Roman Catholic congregation rebuilt their church that same year.

Cuthbert and Irene Hearn’s Newsstand and Confectionary, built onto the rear of the PD Mercantile, continued serving up information and tasty treats.

Construction began in 1949 on a new high school, and the Plantsite development tripled in size. Upon completion, the old high school was demolished, and Humboldt Elementary was constructed in its place. The nearby Coronado School soon followed. All these, in addition to the Plantsite School (later, Longfellow), were designed in the International Style, probably by Lescher & Mahoney. In 1955, a gymnasium addition to the high school and the East Plantsite School (later, Modoc), a Miesian-style design by E.L. Varney Associates of Phoenix, were constructed.

Although Morenci now stretched five miles to the south, encroaching into Clifton town limits, its heart and soul remained in the old townsite. Within 12 years, this would radically change. Further testing had indicated that the Clay orebody extended under the old townsite.

By 1967, a new hospital, motel, shopping center, mercantile store, general offices, bank, bowling alley, churches, and additional housing, all designed by Lescher & Mahoney in a Los Ranchos variation of the Spanish Colonial Revival style, had been constructed in the Plantsite area.

Buildings in the old townsite began to be abandoned to make way for mine expansion. Longfellow School was among the first to go (demolished in 1965 after a roof collapse). The last holdout was the high school, which remained in use until a new one in Plantsite was completed in 1986. With its terraced rows of standardized houses, also

by Lescher & Mahoney, “new” Morenci assumed the look of a company town.

Today, almost nothing of the old townsite remains, having fallen victim to what is now the largest copper mine in North America. Improvements to and expansion of the new townsite continue under Freeport McMoran ownership.

The Morenci of old is now only a legend to the current residents, yet lives on in the memories of those who once lived and worked there.

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HIDDEN IN PLAIN SIGHT: ANNE GRAHAM ROCKFELLOW, ARIZONA’S FIRST WOMAN REGISTERED ARCHITECT JENNIFER LEVSTIK, WESTLAND RESOURCES, INC.

O

ver the last decade, there has been renewed interest in identifying the contributions of women architects, particularly those who worked during the late 19th and early 20th centuries. While a few women architects, such as Mary Colter or Julia Morgan, rose to national prominence in this period, their contemporary in Arizona, Anne Graham Rockfellow, has recently been gaining recognition for her contributions to Tucson’s architectural vocabulary.

Anne (called Annie, Rocky, or N’annie by her nieces and nephews) Graham Rockfellow was born in 1866 in

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Mount Morris, New York, to an upper-middle-class family headed by Julia and Samuel Rockfellow. As early as age 12, she knew she wanted to be an architect and was encouraged by her parents. Anne’s great-niece, Mary Ann Duddleson, noted that Rockfellow’s parents were ahead of their time and encouraged their daughter to “do things that girls did not do in those days.”

In 1885, she enrolled in architecture at the Massachusetts Institute of Technology (M.I.T.) and graduated two years later.

Anne was only the second woman to graduate from M.I.T. and the first woman to earn a degree in architecture from that school.

After graduation in 1887, she worked as an architect in Rochester, New York, for eight years until an economic recession slowed building projects in the state.

In 1895, she came to Southern Arizona to visit her brother John, who owned the Stronghold Ranch in the Dragoon Mountains. She liked Arizona so much that she decided to stay and took a position with the University of Arizona teaching English and drawing. However, she grew bored and quit or

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after two years. After taking time to travel, she returned to Rochester and set up her own architectural practice.

Once in Rochester, Rockfellow pursued her passion for travel. Her trips were often reported in the local press—so much so that newspaper notices of her travels outnumbered those related to her architectural prowess. She bicycled around Europe, visited Mexico for design inspiration, and lived in New York, Detroit, and Great Britain, Top: Portrait of Anne G. Rockfellow, 1930.

Left: El Conquistador Hotel, 1947. The El Con Mall was started adjacent to the hotel in 1959, which closed in 1964 and was demolished in 1968.

Below: Phoenix contractor Canion-Francis excavating the El Conquistador Hotel basement, 1927.

Image Courtesy of Arizona Contractor & Community

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occasionally returning to Arizona to visit family members who had moved to Tucson.

On one visit in 1915, she met Norwegian architect Henry Jaastad.

Jaastad had a thriving contractor business in Tucson, with a portfolio boasting residential designs in Armory Park and West University, as well as hospitals, commercial buildings, and schools. By that time, Anne had also acquired a reputation as an architect, including having one of her residential designs, “The Nutshell,” featured in a 1905 edition of Good Housekeeping magazine.

At their first meeting, Jaastad asked her to collaborate on a competition entry for the Y.M.C.A. in Miami, Arizona. The design won the contest, and Jaastad offered Rockfellow a permanent job. Ever the relentless traveler, Anne first visited the Panama-California-Pacific Exposition in San Diego before starting her work with Jaastad. This experience would influence her later designs and at the time. A 1933 Arizona Daily Star artithe designs produced by Jaastad’s office. cle entitled “Woman Architect Has Local Upon her return in 1916, when Rockfellow Career of Unusual Interest” was a notable joined Jaastad’s staff, she was 50 years old. exception.

She not only worked in his office for the folIndeed, recognition of Rockfellow as lowing 22 years but became the an architect did not reappear first registered female architect “AND IT’S EASILY THE in the press until 1981, when in Arizona. Incidentally, Jaastad MOST BEAUTIFUL Tucson Citizen reporter and earned his license in 1922 after architectural critic (yes, the BUILDING IN TUCSON.” local press used to have an Anne.

Although Anne had a supervisory role architectural critic!) Lawrence Cheek wrote in many projects in Jaastad’s office, her chief an article on Jaastad. In that article, he menresponsibility was that of designer, a rare tioned that “…around 1915, something role for women at the time. Her influence began to click” for Jaastad. Cheek alludes was evident, although rarely remarked on to a “young collaborator” in Jaastad’s office, Image Courtesy of Poster Mirto McDonald Architects

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Image Courtesy of Arizona State Library and Archives

Above: A 1920s postcard of the Safford School in Tucson.

Below: Detail of the 1926 Erickson Residence at the former Desert Sanatorium (now Tucson Medical Center). The building was recently restored by Poster Mirto McDonald.

whom he thought must have influenced him. He went on to say that “whatever the stimulus, Jaastad began to wax eclectic and romantic.” Although Annie was hardly young at the time, she was, nonetheless, the nameless collaborator who was responsible for the shift in the work coming out of Jaastad’s firm. As one of the office’s lead designers, Rockfellow was responsible for some of Jaastad’s most ambitious projects, many of them featuring elaborate Spanish Colonial Revival, Mission Revival, and Pueblo Revival themes.

Rockfellow designed many residential properties, schools, stores, sanatoriums, and hospitals including the Elks Sanatorium and Comstock Hospital; several churches and school buildings in Safford, Miami, and Benson, including the Benson Grade School; dormitories and schools at various American Indian schools in Albuquerque, Tucson, and Whiteriver, as well as commercial buildings for prominent local businessmen in Tucson, such as John I. Reilly and J. Ivancovitch.

Her greatest contributions to the architecture of Tucson were the Safford School, El Conquistador Hotel (demolished), the Desert Sanatorium (she designed all but the Patio Building, which was Roy Place’s creation), La Fonda Buena Provecho Inn (demolished), University of Arizona Campus Agricultural Center, and the Y.M.C.A. building.

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Images Courtesy of Author

Left and above: The 1929 Y.M.C.A. building in Tucson, which now is the Rogue Theatre.

Below: The YMCA building in Miami, Arizona, 2024.

One of her greatest achievements was the Safford School completed in 1918, and its design did not go unnoticed. Some 60 years later, Lawrence Cheek once again provided glowing commentary, albeit assigning credit only to Jaastad. “[W]ith the design of Tucson’s Safford School,” he wrote, “Jaastad seemed to reach artistic maturity. The building is no perfect model of the Mission Revival Style…but it is a very adept marriage of old-world frugality and gentle, feminine graciousness. And it’s easily the most beautiful building in Tucson.”

Piecing together Anne Rockfellow’s portfolio is challenging for several reasons, including the time in which she lived, the professions available to women, and the practice within architectural firms to not assign designers’ names to their drawings (a practice that continues today). Despite the hundreds of newspaper references found for her in archival databases, less than a dozen of them note her occupation as an architect.

Instead, they chose to focus on her philanthropic activities and travels. It was not until her retirement that the number of references to her in the local press identifying her as an architect increased. Moreover, it was not until the 1990s that two studies resulted in attributing at least 35 architectural projects to Rockfellow.

In 1991, University of Arizona architecture professor J. Douglas MacNeil used SIXTY

handwriting analysis to identify her work.

In 1994, Kimberly Kunasek further detailed these attributions in her Master of Arts thesis in Art History. Since that time, more and more projects have been credited to Anne Rockfellow. Within Arizona and New Mexico alone, the number of architectural projects attributed to her is over 50.

In 1938, Rockfellow retired to Santa Barbara, California, and lived there for the remaining 15 years of her life. She passed away in 1954 at the age of 87. According to her obituary in the Santa Barbara NewsPress, “Rocky lived with the same independent spirit that marked her career.”

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Images Courtesy of Douglas C. Towne

Above: Ceiling design in the rotunda, 2024.

Below: W.A. Sarmiento.

IN THE ROUND AND DISTINCTIVE FROM ABOVE:

W. A. SARMIENTO DONNA REINER

W

hile the Arizona buildings designed by Wenceslao “Wence” Alfonso Sarmiento are not all round, their curves are graceful. They are far different from any of their neighbors’ lines and shapes. And all have details only seen from the air.

Born in Trujillo, Peru, in 1922, Sarmiento’s architectural journey was influenced by his studies at Escuela Nacional de Ingenieros. There, he discovered a picture of Frank Lloyd Wright’s Fallingwater in an Architectural Record magazine and admired Bauhaus, which would shape his future designs. Following his graduation in 1946, Sarmiento secured an entry-level draftsman position in the firm of Oscar Niemeyer in Brazil.

During his 18 months at Niemeyer’s firm, Sarmiento only met the famed architect once. However, he was determined to learn from Niemeyer’s work. He utilized doors left unlocked by the cleaning staff to enter Niemeyer’s office and study his designs.

Sarmiento returned to Peru, married, and worked for several firms before forming his own practice. He and his wife traveled to the U.S., including a visit with his brother-inlaw in Missouri. Sarmiento toured St. Louis SIXTY FOUR

and was disappointed by the lack of modern buildings. But during that visit, he had a minor car accident, which led him to a new career opportunity.

The other driver, an architect, was so impressed with Sarmiento’s work that he invited him to his office, The Bank Building and Equipment Corporation of America. This

encounter led to a job offer from the company president, Joseph Gander. Sarmiento relocated to St. Louis and eventually became the chief designer for the company, a position formerly held by the man whose car he had hit, Wilbur G. Knoebel.

Sarmiento’s involvement in Phoenix was through David H. Murdock, a real estate developer. Murdock wanted to construct a complex that would “provide the city with a piece of landmark architecture.” The 8-acre parcel for Murdock’s dream project was the former site of Osborn School #1, located on the northeast corner of Central Avenue and Osborn Road.

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Above: Airhole for the money tunnel, 2024.

Right: Construction of the 8-story addition to the Financial Center tower, 1969.

Below: Rotunda with the tower, 2021.

Bottom right: Staircase in the rotunda, 2024.

Image Courtesy of Arizona Contractor & Community

Murdock was fascinated with the eye-catching Glendale Federal Savings Building, a unique California structure, and sought out its architect, Sarmiento. Murdock wanted something different from what existed in Phoenix. He hired Sarmiento after the architect looked at the L-shaped site and made some sketches.

The complex, to be constructed in three phases, would consist of, at full build-out, two matching rotundas and two matching 18-story towers. Phase One, called Financial Square, consisted of the two rotundas home to the main branches of Pioneer Bank of Arizona and Home Savings and Loan

Association and a 10-story tower whose primary tenant would be the Univac Division of Sperry Rand. Construction began on the $7.3 million project on September 26, 1963, with the complex dedicated on September 28, 1964.

Western Savings & Loan, owned by the Driggs family, purchased the site in 1966.

Before moving their headquarters into the tower, they purchased additional property for an underground garage and began some remodeling of the facility done by Sarmiento.

Phase Two of the Financial Center construction began in July 1969. As initially

planned by Sarmiento, this phase called for an 8-story addition to the 10-story tower.

It was the first and only significant extension of a high-rise building in Arizona. A 12-foot-wide safety platform, much like a hat brim, was installed on the 10th floor during construction.

Unfortunately, Phase Three never came to fruition. That additional 18-story tower would have been erected on the north side of the grass circle. As it stands today, the Financial Center complex consists of three buildings with a distinct geometric theme of circles, arcs, and parabolas or inverted arches.

Images Courtesy of Douglas C. Towne

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The convex south face has a textured marblecrete finish starting with the second floor. The vertical grooves continue to the roof and are also on the south half of the east and west ends of the building.

In essence, these vertical grooves mimic the pattern of the vertical anodized bars and glass on the north side of the building, except in a more subtle fashion. The slot windows are inset 6 inches and randomly placed. All are 12 inches wide but range in height from 12 inches to 2 stories. The original 10-story tower had 292 windows in this pattern, which was continued in the addition.

Despite the building’s label as the “punchcard” building, Sarmiento said that the window design was deliberate, allowing plenty of light into the office spaces yet reducing the heat that occurs on a

Images Courtesy of Douglas C. Towne

Above: Mushrooms at the base of the tower, 2021.

Left: Phoenix Financial Center tower, 2021.

south-facing wall. Furthermore, Sarmiento felt ancient cultures used such windows effectively, and they would be more efficient. Interestingly, the break between the first 10 stories and the addition is not visible on the south side.

The concave north face’s heat-resistant bronze glass curtain wall is evenly divided by the vertical anodized bronze aluminum piers. This pattern continues onto the north half of the east and west ends. The “break” in the aluminum bars marks the top of the original build.

The top of the building’s roof line is also capped with anodized bronze aluminum.

The pattern of the lower “break” is echoed by the spacing between the top cap and the top floor of the building. The mechanical unit on the roof also continues the anodized aluminum bar pattern on the north face and textured concrete on the south face, which has an elliptical shape.

Sarmiento cleverly “spliced” two arcs together and then offset them, as seen at the east and west ends of the tower. From the air, the two “sections” of the tower also appear to be different sizes—quite a surprising detail.

The two rotundas have identical exteriors. Heat-resistant glass panels from floor to roofline are generally divided into a pattern of either two or three sections that nearly encircle the building. Drawings indicate gold anodized metal screens were to be set in the arches four feet from the glass to reduce the glare of the harsh sun, but it’s unknown SIXTY SIX

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why this never occurred. Only in the area for the buildings’ mechanicals are the windows replaced with concrete walls.

The plans called for a reflecting pond surrounding each circular building, accounting for the two bridges over the “moat” area to the two entrances of each circular rotunda. While this aspect was unbuilt, the pool became a raised desert landscaping area.

The precast reinforced concrete parabolic arches, which ring the building and serve as the roof columns, weigh 7 tons each. They stand 22 feet high and measure 15 feet apart at the top. The roof overhangs the columns by several feet.

Between the two circular buildings is a large raised planter in a square configuration with solid circles at each corner with Arizona county seals and the state seal, which Western Savings installed. The sides of the “square” are slightly convex.

The planter hides a portion of the cooling system exhaust ducts and is also supposedly the “home” of a time capsule that was going to be opened in 2012 but has yet to be found. In the center of the grounds is a circle of grass outlined by a walkway with a textured concrete sound wave pattern.

Two sets of drive-up tellers, one for each of the banks, still exist on the property, a rare example of non-symmetry. The set on the north side is cast concrete; the other is fiberglass.

A “money tunnel” runs from the mezzanine of the south rotunda to the tower’s second floor. Western Savings requested that it be added to Phase Two, but it was not included in the original plans. Sarmiento made sure that the exterior elements blended with the two buildings.

The rotunda interiors varied as they were initially designed for two financial institutions. Both have been remodeled over the years. Interestingly, each has a 12-pointed stained glass star, much like the popular 1970s spirograph figures, in the center of the rotunda roof. One is in yellow, and the other is in blue.

Carefully restored by Shepley Bullfinch, the south rotunda now has shaded windows in a style similar to the original plans. The floating stairs lead to the mezzanine and the entrance to the money tunnel. The vault is now a meeting room/art space. Historian Kirk Huffaker says Sarmiento “led to the construction of hundreds of cutting-edge mid-century modern buildings nationwide,” including Phoenix’s Financial Center.

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FRANK FAZIO’S PIONEERING GARDEN-STYLE OFFICE BUILDINGS IN PHOENIX RAY J. ARTIGUE, SR.

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he majestic skyline of New York City has inspired countless individuals to pursue professional and artistic heights. One such individual was Frank Ralph Fazio A.I.A., who drew motivation from Manhattan’s iconic buildings to become an architect.

The Syracuse native was born in 1906 to Italian immigrant parents who arrived in the U.S. through Ellis Island. He graduated with an architectural degree from Syracuse University before starting his career as a draftsman in Cleveland, Ohio. Fazio later relocated to San Francisco to work as an architect but realized that an emerging Sun Belt city offered greater career opportunities.

In 1948, Fazio moved to Phoenix, then a city of 90,000 residents and few architects.

When he registered with the Arizona Board SIXTY EIGHT

of Technical Registration, he was assigned License #01417. The numbering system included all professional licenses, and he was among just a handful of architects, which included Bennie Gonzales, Ralph Haver, and Edward Varney.

Fazio initially worked out of a two-story building he purchased along the south side of Camelback Road at 14th Street. In 1961, Fazio opened a new office, or as he liked to say, “hang out a shingle,” at 4601 North 16th Street, dubbed the Diamond Building.

He rented space to other businesses in the new building, which was later demolished

and is now the site of an apartment complex. The firm, Fazio Architecture, was just himself and his wife, Ruby, who did everything else except designing the buildings.

They had married when they were in San Franciso.

New to Phoenix, the 42-year-old Fazio took on almost any job, no matter how

Top: Fazio designed the 333 West Thomas Medical Building, built by H & J Construction in 1958.

Right: This 1958 advertisement is for the Faziodesigned Indian Arms apartments on Indian School Road, west of Seventh Avenue.

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Images Courtesy of Arizona Contractor & Community

Top: Fazio designed the two-story Diamond Building, which was the headquarters of American States Insurance at 4601 North 16th Street in 1961.

Above: Fazio’s 1955 design for the 14,000-square-foot Biltmore Medical Building at 1625 East Camelback Road, which has since been demolished. The owner and prime contractor of the building was Pete King & Son Painting Contractor, 1960.

Right: Fazio with one of his two prized Corvettes, early 1960s.

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Image Courtesy of Author

small. Some were renovation or expansion jobs, and he even acted as a draftsman for other architects—whatever paid the bills and allowed him to garner experience and build his reputation.

Fazio finally secured his first design project. Unlike Varney, who designed large public venues like the Hotel Valley Ho and Sun Devil Stadium, and Haver, who made his mark with contemporary-style homes,

Fazio focused on office buildings—lots of office buildings. Two of the most notable were on either side of the same street: 3625 North 16th Street and later 3840 North 16th Street, now Arizona Retina & Vitreous Consultants.

Like a painter with a distinctive style and technique, Fazio became known for his two-story, garden-style office buildings, each with a signature fountain in the ARIZONA CONTRACTOR & COMMUNITY

Images Courtesy of Arizona Contractor & Community

middle of an expansive lawn and flower gardens. Every office faced inward to the open space, and sliding, floor-to-ceiling glass doors allowed the occupants to admire the courtyard.

When questioned about this approach for a work environment, Fazio responded, “Why keep the outdoors, outdoors, when

you can look out at blue sky and sunshine?”

The public must have concurred because his office buildings were usually fully leased before completion.

Fazio hired a draftsman in 1960, Robert Gomez, a 24-year-old recent graduate of Arizona State University. Gomez worked with Fazio for a decade until he established

his firm, Robert Gomez & Associates. Gomez told The Arizona Republic in 1994 that Fazio was “the type of guy willing to give people a chance” and frequently hired young, minority architects when few others did.

“In 1956, Frank hired a black architect right out of school, and we’re talking almost 40 years ago.”

“Frank was a great mentor to Bob, and he also learned how to run a business from Ruby,” said Betty Gomez, Robert’s widow.

“Our families became very close, and our three boys loved the Fazios.”

Another Fazio trademark was naming many of his office buildings after himself and his partners. The FH Building at 3625 North 16th Street came from Fazio and his business partner, Dr. John Haeger. The custom Above: Fazio designed the building, now demolished, at 33 East Thomas Road, which the Underwood stationery store occupied in 1962.

Left: Former H & J Construction employee Danny Speros started his own firm, which built the Playton Building at 16th Street and Weldon Avenue in 1963. The building is now the Playton Place Apartments, 1980.

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Images Courtesy of Arizona Contractor & Community

Above: The First Institutional Baptist Church, designed by Fazio, is under construction by the Dallas firm Hanger General Contractor at Jefferson and 12th streets in 1962.

Left: An advertisement for the Fazio-designed Campbell Dance Studio at 33 East Thomas Road, 1952.

concrete tiles bearing the letters “FH” run along the crown of the 7,200-square-foot building. The building has been repurposed as the Playton Place Apartments, and the distinctive tiles are still visible. Another example was the Fazio-designed M.F. building at 4710 North 16th ARIZCC.COM

Street, owned by M.F. Investments, where John Martocci was president of the firm and Fazio a principal.

Ultimately, Fazio expanded his repertoire and designed four-plex homes, apartments, medical clinics, a Sedona church, and an Italian delicatessen. Noteworthy buildings include the Universal Memorial Center, a 9,000-square-foot mortuary at 1100 East Jefferson Street that opened in 1961. Lincoln Ragsdale, a Phoenix civil rights leader, owned the business. Fazio and his investor friend Martin Reine developed a 284-unit government-subsidized apartment complex at 3825 West McDowell Road, the first of its kind in Phoenix in 1971.

The complex, FranMar Manor, remains an affordable living community.

Architect Frank Chimero once said, “People will ignore design that ignores

people.” Fazio certainly embraced such a notion and created places that captivated people. Fazio retired in 1980, and he and his wife continued thriving in Phoenix until he died at age 87 on January 7, 1994.

Fazio’s arrival in Phoenix came when the city was like that of a gangly teenager still emerging, attempting to become something more significant. Architects contributed to this progression by creating distinctive places that stood the test of time.

Frank Fazio was one of those forward-thinking creators.

Sidebar: Writing this story was a joy because it rekindled memories from 60-plus years ago. I am the adopted son of Frank Fazio, so I had a front-row seat to much of what he did in his career. He was an entrepreneurial architect who eventually became a developer and was credited with creating the first “garden-style” office buildings in the Valley. I fondly recall putting golf balls on the artificial greens that swept around a cascading fountain in the center of an interior garden.

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SALUTING ARIZONA’S BUILDERS: FREDERICK “FRED” PENN WEAVER, JR. JAMES LOGAN ABELL, FAIA

F

red Weaver established an architectural firm in Phoenix in 1949 that grew to be one of the most prolific and respected firms in the metropolitan area. Weaver arrived in Phoenix in 1921 when his father moved the family from New Mexico, where he was employed as a construction foreman for the U.S. Reclamation Service. Weaver acquired a keen appreciation for what water resources represent in the development and growth of a young, expanding city as his father continued his career in water management with the Salt River Water Users Association as a zanjero, ditch rider, and water master.

Weaver had a gift for drawing and watercolor paintings in elementary school.

He began looking for a career that might mesh with his creative interests while attending Phoenix Union High School. He graduated from Phoenix College in 1932 with an Associate of Arts degree and enrolled in the University of Southern California architecture school, completing his Bachelor of Architecture in 1936. Weaver worked for two years as a draftsman in Long

Beach before returning to Phoenix in 1938 due to an arthritic condition of his lower spine. The humidity of Southern California and arthritis did not mix well.

Arriving back in Phoenix with a young family, Weaver worked with Wallingford and Bell Architects for two years, passing his licensing exams in 1940 and acquiring

Arizona license #946. About that time, he joined the Phoenix firm of Charles J. Gilmore Architect. Gilmore was also one of Arizona’s early licensed architects, dating from 1927 with license #381. Weaver was likely one of the few licensed staff members with that firm, yet at age 28, he was just beginning his career.

Late in 1942, the U.S. entered World War II, and all able-bodied American men were drafted into military service. Fred’s arthritis prevented him from serving overseas, so he worked as a draftsman at the Goodyear aircraft manufacturing plant, riding the bus to work daily. Later, Weaver worked with a firm now known as Gilmore Images Courtesy of Arizona Contractor & Community

Top left: Weaver & Drover rendering for Bonanza Air Lines office and maintenance facility at Sky Harbor, 1965.

Top right: Fred Weaver, 1958.

Right: Weaver, with pencil, looking over blueprints, 1956.

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and Varney until Charles Gilmore died in draughtsman and artist, and a marketing 1946 when the firm became E.L. Varney and genius with civic groups of all persuasions.

Associates Architects.

“Meticulous, knowledgeable, critical, and Weaver was named an associate in the thoughtful, he was a great specwriter and Varney practice, yet decided in August 1949 superintendent on any construction projto open his own firm at 1010 North 24th ect, fair-minded, and a great speaker,” Place. He lived in the front, wrote Jacobi. “To present with the office housed project to a client, “JACOBI REMEMBERS WEAVER awebigneeded in the rear in a detached Fred’s skills to apartment and garage that AS A MARKETING GENIUS WITH talk about it, although he Weaver remodeled into an might not have known all CIVIC GROUPS.” office. A young German the details. He would have immigrant named Hermann Jacobi became been able to talk about matchsticks for an his draftsman. Dick Drover, AIA, also an hour without knowing the fine details about architect from E.L. Varney, became his part- them.” ner in March 1950. These three men formed Weaver died too early at 55 on May 30, the backbone of Weaver and Drover Archi- 1968, leaving the city he loved with a treatects, and over the next 18 years, it became sure of unique architecture. His firm had one of the most successful architectural designed numerous Phoenix landmarks, firms in Arizona’s history. including St. Agnes Church, Phoenix Sky Jacobi remembers Weaver as a good Harbor Terminal 2, ASU Hayden Library and father, a loving husband, a perfectionist Mall system, and dozens of banks, schools, ARIZCC.COM

Above: Weaver and Lee Moore (l-r), Valley National Bank manager, during construction of a branch in Buckeye, 1955.

and civic buildings. An article in the August 1968 issue of Symposia magazine noted, “… he wrote as he spoke—softly—this gentle man whose hands were those of an artist, whose eyes betrayed his great sensitivity.

Yet, we who knew him were well aware of his lion heart and of his great strength. “ And the man who started it all, Fred Weaver, will perhaps be remembered most for his vision for the city he loved. “He was concerned about this young city and wanted to make sure that in its growth, it maintained a certain character and dignity,” says Charlene Weaver Joehnk, his daughter.

How fitting, too, that “growth with character and dignity” seemed to be something that Fred Weaver, FAIA, also did so well with his own career and life.

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OLD SCHOOL EQUIPMENT

THE TWIN STACK STORY OF MODIFIED CATERPILLAR D8 BULLDOZERS BILLY HORNER

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re two always better than one? It depends on the topic, and the answer can still be unclear. That’s true of the twin smokestacks on the vintage Caterpillar D8 bulldozer.

Twin exhaust stacks are found on larger, modern Caterpillar bulldozer versions. As early as the 1940s and 1950s, Caterpillar’s competitors offered crawler machines with twin stacks, including International Harvester. Yet Caterpillar’s largest model during this period, the D8, only provided a single factory smokestack.

In the 1940s and 1950s, contractors had several bulldozer brands to choose from, with the Caterpillar D8 as a top contender.

Since its introduction in the early 1930s, the D8 and its various models have been widely

discussed, and the machine has become a staple in construction projects worldwide.

The primary function of a crawler dozer is to push or pull heavy loads. Typically equipped with a front blade to push material, dig, or move other machinery, these machines earned the nickname “bulldozer” (or simply “dozer”). While most D8s came with a single smokestack, between 1950 and 1960, some machines sported a distinctive modification: twin stacks.

From the Caterpillar factory, all D8s were equipped with a single smokestack.

However, stack height and size variations existed, with some models offering a spark arrestor. The exhaust from the D13000 engine, which powered these machines, was funneled through this single stack. However,

in the 1950s, a few D8 models featured twin stacks, an intriguing modification because it didn’t improve engine performance.

To gain insight into this curious alteration, we contacted Phoenix-based Marion Jordan, whose expertise with vintage engines was covered in the Sep/Oct 2024 issue. Upon viewing an image of a D8 with twin stacks, Jordan identified it as an aesthetic modification seen on the D8 2U model, particularly by Isbell Construction.

But why would contractors invest the time and resources to alter their machines for purely visual reasons, especially when the modification meant additional downtime and maintenance?

Jordan explained that these machines were powered by long, 6-cylinder D13000 engines that weren’t known for high power output. The exhaust manifolds on these engines converged at a central collector, from which the single smokestack emitted exhaust. However, mechanics sometimes modified the hood to accommodate a second stack when a machine came in for

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maintenance. This addition either involved replacing the collector with two separate manifolds or changing the original collector to support twin stacks.

While the modification didn’t enhance engine performance, some contractors wanted a different look. Arizona images from the era show that this modification was relatively common, with some machines retaining the original collector and enlarging the opening to accept twin stacks.

Joe Argue of Dynamic Diesel also recalls the D8s with twin stacks. He remembers these machines featuring a split manifold system, where the exhaust was divided in half and directed out through the two stacks. Argue noted that early D8 models sometimes had overheating issues, leading to modifications to the radiator. The twin stacks may have helped alleviate this problem.

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Images Courtesy of Arizo na Cont

ractor & Community

In 1953, Arizona Machinery Company (now Empire Cat) advertised their new Caterpillar DW21 scrapers paired with a D8 bulldozer. An interesting detail was that one of the twin stacks on the D8 was airbrushed out before publication. This deletion raises

Above: The image used in an advertisement shows only one stack on the D8.

Below: A Royden Construction twin stack D8 pushing a DW21 scraper at Whetstone Overpass, 1953.

ARIZONA CONTRACTOR & COMMUNITY

Images Courtesy of Arizona Contractor & Community

Above: Bulldozer operators with Tucson’s L.M. White Construction Co. pose with a twin stack, twin air cleaner D8, 1956.

Left: Two spark arrestors sit atop an Isbell Construction twin stack D8 working on a highway near Globe, 1955.

questions about how the twin-stack contractor modification was perceived, especially from a marketing perspective.

The history surrounding this modification remains unclear. A search online revealed limited information, with only one collector known to possess a modified D8 with twin stacks and a contractor in Cloverdale, California, operating a similar machine in 1953. The twin stack trend in Arizona occurred with many companies: Isbell Construction, H.L. Royden, Fisher Contracting, L.M. White, Bill Deuel, Vinnell Corp., Johnny Mercer, Harry Hagen, Phoenix-Tempe Stone, Copper State Const., and Arizona Sand & Rock.

SEVENTY SIX

MARCH APRIL 2025

This article is the first installment of a series exploring bulldozers’ history, including different manufacturers, model variations, attachments, and unique modifications. Vintage bulldozers, their modifications, and the contractors who operated them offer valuable insights into one of the most intriguing machines in Arizona’s equipment history. We invite those with insight into the D8 twin stacks from the 1950s or with other bulldozer expertise to contact us.

Right: Two cable D8 twin stack bulldozers operated by Frederickson & Kasler of Fontana, California, work on the Trilby Wash Detention project near the White Tank Mountains, 1955.

Below: A Vinnell Corp. twin stack Cat D8 bulldozer pushing a towed scraper connected to an early Cat D9 bulldozer on an Arizona road project, 1960.

Images Courtesy of Arizona Contractor & Community

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ARIZONA CONTRACTOR & COMMUNITY

SEVENTY EIGHT

MARCH APRIL 2025

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ARIZONA CONTRACTOR & COMMUNITY

BUILDING ON THE PAST

1960S - ARCHITECTS BOND WITH MACHINERY BILLY HORNER

G

roundbreaking ceremonies attract attention to new construction projects and are a tradition that has existed for centuries. Typically held on-site, these ceremonies signify the shift from planning to construction and unite the community, stakeholders, owners,

contractors, and architects to celebrate the commencement of a new development.

Groundbreaking events allow attendees to dress up and partake in the festivities amidst flags, ceremonial shovels, and heavy machinery that emphasize the project's significance.

Below: The groundbreaking ceremony for a Valley National Bank in Mesa’s Velda Rose Shopping Center at 5700 East Main Street in 1962. The men next to an Allis Chalmers HD-6 crawler loader include Charles Hickman at the far right, representing the Mesa firm of Horlbeck & Hickman Architects.

Images Courtesy of Arizona Contractor & Community

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MARCH APRIL 2025

Right: The groundbreaking ceremony for the First Federal Savings building at 8901 North Seventh Street in 1965.

Peter Lendrum, architect; Sam Williams, contractor; and George Leonard, president and chairman for First Federal Savings (l-r), pose on a Challenge Universal trencher.

Right: A groundbreaking ceremony for a five-story Arizona Bank building at the corner of East Birch Avenue and North Wc Riles Street in Flagstaff, 1962. W.R Montgomery, bank chairman; Roy Kite, representative for contractor Henry C. Beck; Jim Young, Rita Quackenbush realty firm; Paul Weaver, Flagstaff Chamber of Commerce; and Lester Bryon, Jr., architect are standing (l-r), while George Rogers, bank vice president; Lloyd Bimson, bank president; and Rollin Wheeler, Flagstaff mayor are perched (l-r) on an Allis Chalmers HD-6 crawler loader.

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EIGHTY TWO

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rizona Contractor & Community Magazine (ACC) asked if I might feature my recently published book Sydnor Threads: The Architecture and Stories of Douglas Sydnor in this issue, which is focused on architects.

The book started eight years ago when I began writing stories. With the arrival of our two grandsons, it was suggested that I write a book for the family. They might find such memories interesting, educational, or entertaining. Its content grew over time to include not only personal experiences but also civic involvement and the architecture produced over the past 46 years of my practice in Arizona. Eventually, my memories evolved to 556 pages and included over 1,200 images. Here are a few brief highlights from the book.

Architect’s Perspective: Architect’s Perspective: Sydnor Threads Book Doug Sydnor, FAIA Doug_sydnor@outlook.com In 1955, the Sydnor family moved from Yakima, Washington, to Phoenix when I was young, so we have witnessed radical changes in the Valley over the past 70 years. My father, Reginald Sydnor, was an architect in Arizona for 42 years, my mother, Dorothy Sydnor, was a pianist, and I grew up as the oldest of five children. Sonia, my

wife of 50 years, and I had three children, and they became a construction superintendent, wealth management executive, and an architect. The third family generation of architects is well underway.

Looking back, I realized I was most fortunate to have lived, worked, learned, and worshipped in fine architecture by many talented architects. These include Ralph Haver, Harold E. Wagoner, Lescher & Mahoney, Pierson Miller Ware & Associates, Guirey Srnka Arnold & Sprinkle, Herbert H. Green, and Alfred Newman Beadle. Each of them taught many invaluable lessons about architecture and different approaches to design.

In my early years, the Phoenix architecture that left a strong impression included the Security Building in Downtown Phoenix

by Curlett and Beelman (1923), especially the Walter R. Bimson (former Valley National Bank of Arizona Chairman) penthouse addition (1958). Others included Green Gables Restaurant with the knight and white horse out front (1946); Lou Regester Furniture

by Ralph Haver (1954); 300 Bowl (1958); Christown Mall by Welton Beckett; Kon Tiki Motel by Ralph Haver (1961); Phoenix Star Theater (later Celebrity Theater) by Perry Helen C. Lincoln Learning Center.

Images Courtesy of Author

EIGHTY FOUR

MARCH APRIL 2025

Images Courtesy of Author

Above: Book cover.

Right: Appaloosa Branch Library.

M. Neuschatz; and the Beadle House II by Alfred Newman Beadle (1963); among many other works by Beadle.

Travel over the years opened the world to me and started with a five-week European tour in 1970 of Rome, Nice, Paris, Amsterdam, and London. This experience changed my outlook on life, as I cultivated an addiction to travel. Since then, my explorations have included the U.S., Canada, Mexico, Europe, Peru, and India. As time ticks, there continues to be a need to see so much more. Travel exposes one to other cultures, people, food, environments, and architecture, which profoundly enriches our understanding and appreciation of them and has many unexpected influences on my architecture.

During the past 45 years, my civic ARIZCC.COM

involvement has included numerous boards, commissions, committees, task forces, and design charrettes. I have enjoyed many causes and crusades and tried to make a positive and constructive impact. It all started with a service club that was a training ground on how to behave as a volunteer, motivate volunteers, and be a leader. This club led to a non-profit organization and leadership programs in the region and Scottsdale. About 15 percent of my work hours have been given to my community involvement, including promoting architectural design excellence, percentages for art in public work, libraries and early literacy, visual arts, historic preservation, and

international relations.

I have loved architecture since designing homes in the first grade and constructing imaginary villages with found materials in the backyard. I have thoroughly enjoyed drawing and sketching, and it has never left me. Drawing is a creative process that lets one fully express oneself and explore infinite new ideas. Drawing allows one to mentally retain the ideas behind the line work and separate the significant thoughts from the less important ones. Also, after a 40-year hiatus from creating art while being an architect, I finally sat down in 2015 to make some collage, mixed-media, and acrylic paintings. These compositions led me to ARIZONA CONTRACTOR & COMMUNITY

participate in a dozen solo and group exhibitions in the Valley.

My architecture includes built work, studies, and design competitions, which total 46, which reflects the 46 years of practicing exclusively in Arizona. Many ask what my favorite project is, which is like trying to choose among your children. However, to provide a sampling of the work, I am including the following projects: Helen C. Lincoln Learning Center at 9225 North Third Street in Phoenix opened in 1988 with 15,000 square feet for adult occupational therapies and children’s daycare. It provides wonderful intergenerational opportunities. The children dress up for Halloween to visit older adults and experience rewarding social exchanges.

The Center design delivered a game-changing alternative to the other daycare centers, including abundant daylight, exterior views, access to age-specific play areas, and natural materials.

In 2009, Appaloosa Branch Library opened in Scottsdale. The 21,000-squarefoot space includes a large reading room, teen center, early learning and story time, community meeting room, café, public patio, and technological innovations. The idea of creating a “mirage” was exploited Kiva Craft Center rehabilitation.

Images Courtesy of Author

throughout the project, which integrated public art and obtained the Leadership in Energy and Environmental Design Gold Level Certification (LEED). My firm was in association with DWL Architects.

In 2023, the Kiva Craft Center Rehabilitation was completed in “Old Town” Scottsdale. The center was a 23,000-squarefoot complex of retail structures and a courtyard built in 1955. The project included upgraded structures and new lighting and

signage. The mission was to recapture the original spirit of this special place, which was crucial for providing Scottsdale a national reputation as an arts and crafts center starting in the late 1950s. The team obtained the National Register of Historic Places designation and was approved for the Tax Rehabilitation Credits.

The book was a limited-edition printing, with most copies donated to Arizona archives, libraries, schools attended, and past clients, including: • American Institute of Architects – Arizona Library, Phoenix • Arizona Heritage Center, Tempe • Arizona State University Design and the Arts Special Collections, Tempe • Arizona State Library, Archives, and Public Records Research Library, Phoenix • Burton Barr Central Phoenix Library Arizona Room, Phoenix • Scottsdale Heritage Connection, Scottsdale • Western Spirit: Museum of the West Library, Scottsdale Our firm continues to be active with a series of larger mixed-use and multifamily residential developments in Scottsdale, with construction completion scheduled by 2026.

I would also like to encourage fellow architects to write down their stories.

Douglas B. Sydnor, FAIA, is the Principal at Douglas Sydnor Architect + Associates, Inc. and the author of four Arizona architecture books.

EIGHTY SIX

MARCH APRIL 2025

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DIGGING THROUGH THE ARCHIVES: MY CONNECTION TO PHOENIX’S FREEWAY PLAZA BILLY HORNER

I

n 1976, my parents purchased their first home at 6014 North 32nd Avenue.

Located east of West Plaza, a commercial strip along 33rd Avenue and Bethany Home Road, the area was a typical Phoenix neighborhood. West Plaza, now known as Bethany Towne Center, competed with Freeway Plaza, another commercial strip located east of our neighborhood at 27th Avenue and Bethany Home Road.

As a child, you don’t always pay attention to the details of your surroundings accompanying adults on their trips. Years later, I reflect upon these memories, especially since the individuals who once took me around have passed. A recollection involving the Crystal Ice Company, known for placing portable walk-in freezers in parking lots across Phoenix, stands out. The process involved dropping a coin into a slot, opening the door, and grabbing some ice.

One day, while hanging out with my cousin, Danny, my dad said we needed ice and told us to hop in the back of his truck.

I remember scrambling to find my shoes while Danny already had his on. My dad, eager to go, didn’t want to wait, so I rode barefoot in the truck to Freeway Plaza, which had a Crystal Ice freezer. Once there, of course, I burned my feet on the hot Phoenix asphalt.

EIGHTY EIGHT

A notable architectural feature of the plaza was the breezeway that led to the T.G.&Y variety store. Although my memory of this place is hazy, I recall the dark green glossy floors, a small animal ride for kids, and a cigarette machine.

Across the I-17 freeway was the Bethany West Theatre, which ACC writer John Bueker covered in the Spring 2014 issue.

As a kid, I attended movies there a few times, and I recall a crowd of adults in the lobby wearing blue jeans. Bethany West

Images Courtesy of Arizona Contractor & Community

was eventually demolished; today, a Whataburger is at its former location.

Freeway Plaza was developed by C&H Development Co., a local firm led by Joseph Cartlidge and O.A. Helsing. Cartlidge was the acting president of two Piggly Wiggly stores then, while Helsing owned a handful of Helsing coffee shops and other restaurants.

In January 1959, C&H Development sub-leased 20 acres of land from KWA Inc., a group consisting of three Phoenix locals: Hal Knop, George Wolf, and Lee Ackerman.

KWA held the master lease on the property, Above: Grand opening week at Freeway Plaza, 1959.

Left: Grand opening announcement, 1959.

Below: Diamond Walnuts display inside the Low Cost Market (formerly El Rancho), 1974.

blic

na Repu Image Courtesy of Arizo

MARCH APRIL 2025

Above: A breezeway connected stores, including T.G.&Y, 1959.

Top right: Freeway Plaza seen across I-17 from the Bethany West Theatre, 1962.

Below: H&R Transfer Co. crane lifting tilt panel walls during construction, 1959.

Below right: Aerial view of Freeway Plaza during construction, 1959.

which was owned by Hong Y. Ong, another well-known name in Arizona’s development community.

Construction started with Arizona Sand & Rock Co. clearing the site, building the pads, and leveling an area for casting concrete walls. The Arizona Republic mentioned that El Rancho Market and a Helsing restaurant were to be the main tenants. Cartlidge had sold his Piggly Wiggly stores to

the El Rancho company, which made a convenient fit. The Helsing restaurant never materialized, but food vendors in Freeway Plaza included Julie’s Snack Bar, Sun Valley Bakery, Orange Julius, and Carolyn’s Karmelkorn Shop.

Frank Fazio was the architect for the project, and H & J Construction was the general contractor. Fazio emphasized the ample parking, which may have been an issue at previous strip center locations. The design called for seven feet of parking space for every one foot of retail space, with over 1,000 spaces available on the eight-acre site.

The project budget was $500,000, and Fazio’s design featured tilt-panel construction for the supporting walls and a steel-frame skeleton for the interior. H&R

Transfer Co. installed the concrete panels, while Pioneer Steel Co. managed the steel erection.

In July 1959, just seven months after the initial lease, the plaza opened with a four-day grand opening. C&H Development advertised the new plaza in newspapers, boasting “Comfortable, casual buying with 16 of the finest merchants in Phoenix.”

In the mid-1960s, Freeway Plaza was renamed Bethany Plaza. By the early 1980s, T.G.&Y. was still a tenant, but a Low Cost Market had replaced El Rancho. Over the years, the plaza underwent a complete makeover, and today, with new tenants, it bears little resemblance to the original structure designed by Fazio.

Images Courtesy of Arizona Contractor & Community

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BID RESULTS JANUARY FEBRUARY 2025

BID AWARDS MARCH 1990

GSQ Block A1 Alexander Building Co. 1/2/25 $1,500,000.00

East Melrose Street Medical Office Bldg Edward Homes 1/16/25 $41,000,000.00

Pavement Preservation FY25 Sunland Asphalt 1/22/25 $2,181,553.00

Water Pump & Const., Chandler $426,870 Drilling, Testing Cutter Field Water Well, Globe

Kortsen West Regional Sewer Lift Station Hensel Phelps Construction Co. 1/8/25 $4,199,000.00

Fidelity Investments Scottsdale Hive Construction 1/16/25 $2,500,000.00

Lake Valley Road Improvement Asphalt Paving & Supply 1/27/25 $574,299.00

Quality Paving, Tucson $198,893 Paving Improvements First Ave., Wetmore

JOC Water Wastewater Treatment Facilities ASR Construction Group 1/10/25 $10,000,000.00

Merit Sky Harbor Industrial Park Layton Construction Co. 1/16/25 $49,000,000.00

Town Patagonia Water Improvements KE&G Construction 1/29/25 $632,302.00

Achen Gardner, Chandler $155,160 Street Widening, Landscaping South Rural Rd.

Heber Holbrook Phx Park Wash Sunland Asphalt 1/10/25 $7,294,000.00

Yuma Hawk Contracting 1/17/25 $647,647.00

Sewer Line McKellips Road La Rosa Drive Elite Civil Construction 1/29/25 $497,768.00

Skagestad Const., Tucson $153,930 Ductile Pipe Installation Kinney Tucson Estates

8th Street Rural Road McClintock Drive AJP Electric 1/14/25 $3,137,798.00

Spur SR 69 Robert Rd Cactus Asphalt 1/17/25 $5,498,106.00

Wickenburg Kingman Hwy FNF Construction 1/31/25 $22,414,689.00

KE&G Const., Sierra Vista $112,500 New Paving Cloud, Rainbow Highway Rd.

Drainage Improvements Prospector Park Primary Construction 1/15/25 $342,812.00

JOC Roadway Projects MR Tanner Construction 1/17/25 $5,000,000.00

Holbrook Lupton Allentown FNF Construction 1/31/25 $7,800,223.00

Sanner Contracting, Phoenix $590,960 3.8 Miles of Excavation Salt-Gila Low Flow Channel

Public Works Maintenance Yard Building Pimmex Contracting Corporation 1/15/25 $143,924.00

Tucson Benson Amole Granite Construction 1/17/25 $6,288,521.00

JOC Fire Hydrant Repair Replacement Revolution Industrial 2/3/25 $5,000,000.00

Borderland Const., Tucson $47,805 Grading, Paving Tucson Street Paving Program

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Taxiway Hangar Taxilanes Rehabilitation Granite Construction 1/21/25 $650,154.00

Bike Lanes Pedestrian Improvements Combs 2/5/25 $8,044,692.00

Sunland Commercial, Sierra Vista $111,000 New Storm Drain Ft. Huachuca

Winkelman Street Improvements PAP 1/16/25 $249,052.00

Gallery Park Water Sewer Improvements Fire Hydrant Additions FY 24 25 Yavapai Contracting Mechanical Engineering Nickle Contracting 2/6/25 1/21/25 $560,149.00 $151,995.00

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NINETY FOUR

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Phoenix, Tucson and Prescott

(833) 384-1176

ALUMINUM HYDRAULIC SHORING | ALUMINUM HYDRAULIC MULTI-SHORES | ALUMINUM BUILD-A-BOX | STEEL FRAMED ALUMINUM SHIELDS | ALUMINUM END SHORES | TRENCH SHIELDS | MANHOLE BOXES | TRENCH BOX ACCESSORIES | STEEL CROSSING PLATES | CONCRETE BARRIER WALL | BLOWERS AND SIFTER SCREENS | CONFINED SPACE AND PIPE TESTING EQUIPMENT | CRANE TRUCK OR FLATBED DELIVERY AVAILABLE

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