LIBRARY Montana State Univer»«y Bozeman AN ART CENTER FOR TUCSON, ARIZONA Part I Undergraduate Thesis in Architectural Design By Robert B. Ball Submitted to the School of Architecture as partial fulfillment of the requirements for the Degree of Bachelor of Architecture at Montana State University Bozeman, Montana November 5» 19&9 » . Aa* C O N T E N T S Page Proposal 1 History of the Art Center 2 Function of the Art Center 5 Conditions Creating a Need 7 Size 7 Lighting 7 Climate Control 3 Security 3 Location 3 Implications . . . * 9 Organization 11 Structure . • 11 Economics 12 Conditions of the Area . . . 14 Geography 14 History 14 Social 15 Economic 16 Climate 18 Site 30 Aesthetics 33 Program 42 General 42 Museum 42 C O N T E N T S (Cont.) School ^3 Common Areas ...... ^3 Museum Spaces ^5 School Spaces **7 Common Area Spaces 49 Lighting 51 Climate Control 52 Security . 52 Bibliography 53 TABLE OF GRAPHS AND FIGURES Figure Title Page 1 Map of Downtown Tucson 10 2 Structure of Tucson Art Center 13 3 Map of Arizona 19 4 Map of Tucson 20 5 Projected Pima County Export Employment Growth 26 6 Climatic Regions 27 7 Wind 28 8 Sun Profile Angles 29 9 Pueblo Center Redevelopment Project 32 10 Site Photographs 33 11 Site Photographs 34 12 Site Topography 35 13 24-Hour Traffic Volumes 36 14 Utilities 37 15 Climate Control Photographs 40 16 Climate Control Photographs 41 Graph 1 Pima County Population Growth 21 2 Social Breakdown 22 3 Comparative Population Growth Areas 23 4 Distribution of Pima County's "Export" Jobs 24 5 Pima County Population Projections 25 73 A*- L- TUCSOH ART CENTER Summary Tucson is a growing, changing city. Throughout the downtown district, a revitalization program is actively underway in answer to the changing needs of the community. Of extreme importance is the need for Tucson to acheive a cultural and social identity. More specifically, this referes to plans for a new community center which will include new facilities for the Tucson Art Center. This presentation is an attempt to place a proper solution within the existing framework of constraints. The site finally agreed upon by the officials of the Art Center and the City of Tucson is located west, across Uain Ave., from the main body of the community center. In the original plans, a pedestrian bridge linked the community center to the parking area, south of the site for the art center. So that the Tucson Art Center may become a more integral part of the entire development, this pedestrian bridge was moved to the corner of the site. In addition to the site being the entrance to the Tucson Art Center, it is also the primary entrance to the community center. The rationale behind the design of this space is its function as a place to rest or wait either prior to or after the use of the bridge. It therefore becomes a drop-off or pick-up point for people using any part of the community center. It is hoped that more people will be exposed to the art center and a greater tendency to use these facilities will be generated. The actual physical plant will house two primary functions, a museum and a school. The primary user of the museum will be the casual visitor and must be the more dominant architectural feature, in order to receive the attention necessary for its proper function# The school, which is a relatively private space does not require the architectural dominance necessary in the museum. These two spaces are connected both functionally and visually by the auditorium and administrative areas. Aesthetically, the design is a balance of the architectural form pndthe function it houses. In order to acheive this balance, the school, a very busy and viable place, is a relatively plain and simple form. On the other hand, the museum is a very quiet and casual atmosphere, balanced by very dynamic and imposing architectural forms. In order that the visual link may be obtained in the auditorium space, its form is influenced by both the school and museum. The museum consists of several independent structures surrounding a covered sculpture court. Each of these structures is a very flexible and anonymous exhibition space so that their character may be derived from the exhibitions housed within. These spaces are connected by ramps providing an area of neutral influence between exhibitions. The ramps also provide a path directing the visitor while using the museum, and provides vantage points for the sculpttire garden. This sculpture court extends to an exterior court to take advantage of the warm climate. As in any educational space, the constantly changing teaching methods and course content preclude flexible spaces. The use of a perimeter classroom arrangement allows this flexibility and affords a perfect opportunity to take advantage of the climate. At the same time the defined spaces are retained, such as ceramics, crafts, etc. The Member's lounge, which is a very exclusive area within the ce nter, is located above the administrative area overlooking the school court. The auditorium is a rigid space with fixed seating and sloping floors for the best arrangement for presenting films and lectures. The Backstage Theater must be used for dance and painting as well as experimental drama, and must be a completely flexible space. As designed, it will house nearly any possible stage arrangment. The proposed Tucson Art Center is probably the most important contribution to the Community Center Project. It becomes a place of identification for the whole community, promoting the cultural and social identity to which the City of Tucson Aspires, P R O L O G U E "It is one of the encouraging signs of mature society to seek to re-established a fair balance between the flesh and the spirit. The greater our wealth in material goods, the greater seems to be the need to find a high and satisfying set of values. The remarkable flowering of the Arts has been one of the phenomena of post-war America. The museums, even more than other institutions, have been setting standards of excellence in communities all over the land, exerting a deep and liberating influence on all kinds of other human activities. It has become clear that the museum has now become a symbol of the greatness to which a city may aspire, and without which there can be no greatness." Pietro Belluschi, Dean School of Architecture and Planning Massachusetts Institute of Technology The city of Tucson is presently involved in a revitalization of its downtown district through the application of the Model Cities and Urban Renewal Programs. Of major importance in this redevelopment is the Tucson Art Center, the subject of my thesis. I became acquainted with this project while attending summer school at the University of Arizona during the summer of 1969- Professor Greene of the College of Archi­ tecture at the University encouraged my interest in the project. My experiences during the summer have given me somewhat of an under­ standing of the conditions of the area. Because of the difference in environments between southern Arizona and those I have been accustomed to, I realized the challenge of the project. After talking with H. Gregg Swihart, President of the Art Center, the functions of the institution began to emerge. The Tucson Art Center as I envisioned it will provide two very different yet related activities, one of an educational nature and the other a museum. history art centir The Tucson Art Center, as it exists today is the result of over ^ 5 years of growth and crisis. Beginning as an organization to present exhibitions and collections from other parts of the country, it has grown to be one of the primary educational institutions of the Tucson area. The history of the Art Center dates back to the Art Section of the Tucson Women's Club. During this time, enough interest in the arts was generated to establish a separate organization. By 192^, the Tucson Fine Arts Association, predecessor to the Tucson Art Center, was established by Mrs. E. F. Harris, Mrs. George Kitt, and M^s. Alice Teasdale. The effec­ tiveness of the infant organization as a promoter of the arts was under­ standably limited and probably consisted of minor exhibitions and lectures. By 1929» exhibition space was acquired in the Temple of Music and Art. Although a limited organization, their efforts to improve presenta­ tions persisted. In 1936, a generous patron pledged $250 per year pro­ viding at least one collection from both the east and west coast were presented annually. With this newly found wealth, they changed their name to the Tucson Art Center and incorporated. During and just after the war years, pressure began mounting to offer more support to local artists. Because of this conflict, the artists separated from the center and formed the Tucson Independent Artists Asso­ ciation. The result of divided interests made both organizations unable to function effectively. When it became apparent that they must resolve their differences, the two organizations rejoined in 19^8. However, this differ­ ence of opinion concerning the role the Art Center was to play in the community sparked a much more comprehensive program. During the years that followed, the Art Center experimented with a wide variety of programs to stimulate interest and promote the Art Center. Among these was the organization of the Junior League, though not effec­ tive until 1957 > which is an agreement with the school systems in the area to establish tours for all school age children. The idea being "exposure will foster interest". Along with this, an excellent educa­ tional program was instituted to instruct children, as well as adults, in the techniques of various art forms. Results of this "comprehensive art center" idea, were the ability to show more and better collections from other museums, the addition of ex­ hibits from foreign countries, an annual art festival, and expansion into other forms of art such as sculpture, ceramics, crafts, and photography. By the early 1950*s the Tucson Art Center had become an effective part of the community. The need now was to have a permanent home. The Kingman Memorial Museum, built as a private residence, was a gift to the University of Arizona from Mr. and Mrs. Lawrence V. Robertson, and was purchased by the Art Center in 1955 to become their present home. Largely responsible for the money involved was the Women's League, whose primary function is that of fund raising and promotion. The Women's League is also responsible for the beginning of the first permanent collection of Spanish Colonial Art. This has since grown into a sizable and very fine collection. Just recently, acquisitions of the Pre- Columbian period have begun the second permanent collection. Within the last ten years, the educational programs of the Tucson Art Center have become a tremendous success. The enrollment of the school varies now from 175 to 225 students per term and is steadily growing. The Center plans to establish a maximum of 250 students per term, in order to 'maintain an optimum teaching-learning environment. In 1967, the city of Tucson began a revitalization program for its downtown district. With this program, a site was to be given for new facilities for the Tucson Art Center. Considerable disagreement resulted about the location, and late in June 1969> the city and Art Center finally agreed upon a new location within the same development. At this time, 140,000 square feet had been given to the Art Center by the city for their new structure. In September 19&9 the Center began their fund raising cam­ paign with the hope that a building can be under construction by mid-1971» As can be seen from this short history, the Tucson Art Center has become a very important institution to the city of Tucson and all of southern Arizona. Its exhibitions and its educational program are designed to compliment that of the College of Art at the University of Arizona, making it possible to serve all of the community in an effective way. fund in Throughout the history of the Tucson Art Center, its purpose, or responsibility to the community has been challenged, analyzed and reorga­ nized. The result on the part of the Art Center is an effort to become a totally working museum. More clearly, to serve the entire community through collecting, preserving, exhibiting, and teaching. Through these activities the Art Center must reach the interests of as many people as possible. (6:5-13) The Art Center hopes to develop its Spanish Colonial and Pre-Colum­ bian collections into their best attractions. There is in the vaults of the Philadelphia Museum, one of the world's best Pre-Columbian collections which will become available to the Tucson Art Center on a long-tem loan. In addition to collecting, it is the purpose of the Art Center to catalog and research these items for the purposes of teaching. The A**t Center will actually become a foremost authority on both periods. Along with their permanent collections, the center must acquaint the public to many other sources of art. One of these sources is their own school. For the purposes of exhibition, the art will be judged by jury for presentation. Other sources of exhibitions are those acquired on loan from collectors, dealers, loan organizations, and other museums. These are generally selected by the Director and the President of the Board of Trustees. Such exhibits in the past have consisted of "The World of Alexander Girard", the "Mead Collection", and works by Robert Russin, Robert Henri, A^shile Gorky, to name just a few. To date the A>"t Center has an excellent reputation for the interest and variety of its exhibitions. Of equal Importance to the functions of collecting and exhibiting is that of preservation. When the Tucson Art Center receives an exhibit, they become totally responsible to protect that exhibit from damage, deterioration, and wear. (14:1969) The real heart of what the Art Center has become in the past few years is its educational program. It is designed to serve all ages and backgrounds with local professionals instructing. In order that the Center may serve the entire community, a scholarship program is estab­ lished providing aid to underprivileged who have shown promise in the arts. Although this school is operated outside of the jurisdiction of the University, there is an effort to offer a complimentary program to the University. It is possible to receive University credit for many of the courses taught. Classes are kept small and directed toward three primary age groups: grade school, high school, and adult. The courses offered include dance, fabric design, film, raku pottery, drawing, painting, and jewelry design. With the planning of the new facilities, drama and music will certainly be added. (16:1969) In addition to the functions already discussed, the Tucson Art Center should be a place where all people, rich and poor alike, can iden­ tify. It must be a place for the casual visitor as well as the student of the arts. Groups and individuals, child and adult should be planned for. The Junior League alone has several thousand children yearly visiting the Art Center. The Tucson Art Center must provide at least part of the culture necessary for the individual. The effective presentation of the arts will at the same time enhance the arts themselves. The Center has every possibility of being the most valuable modern attraction of southern Arizona. coiditiois creating a need SIZE Considering the progressive history of the Tucson Art Center, the size of the present Art Center is probably the most restrictive to its future growth. The problem lies not so much in the available space as it does in the arrangement of that space. From an exhibition designer*s point of view, none but the smallest exhibitions can be effectively presented. While some exhibitions want the intimacy available, others require a vast openness, indicating an unwanted rigidity. Due to the lack of artificial control and arrangement, the instructional space is simply too inhibited to be effective. (1:170-80) This problem is caused by the fact that the building has been designed as a private residence, resulting in many small rooms and prohibiting any flexibility. This problem extends also to the rapidly growing permanent exhibitions. Aside from exhibition areas, the administration space, storage and work space, and sculpture garden are too small. What educational space is available is of very poor quality. (14:1969) LIGHTING When considering the quality of the space available, lighting be­ comes a problem in the exterior rooms. Windows emit a varying quality of exterior light during different times of day and different weather condi­ tions. For some types of exhibitions, mainly the crafts, any natural light is undesirable because it deteriorates fabrics and causes some pig­ ments to fade. For purposes of control and preservation, most exhibitions should be totally without natural light. CLIMATE CONTROL Another even more serious problem is that of climate control. Safety- limits for the environment of diverse collections are temperatures between 60.8°F and 64.4°F, and humidity between 58$ and 62jo. Contrast these figures for those of the Tucson area of 25-105°F and 2-100$ humidity. To maintain the desired ranges within a building with no insulation and very permeable walls is almost an economic impossibility. SECURITY Although the building is not in the condition to be condemned, it is an old structure of poor material condition. The result is an exor­ bitant cost for fire insurance to cover the materials housed. The extreme economic burden is in addition to the unwillingness of owners to accept the possible loss of their collections. Many owners will not even allow their works to be brought into the building. These risks are not just a result of the conditions of the building, but of the lack of security against theft and damage as well. The lay­ out of the present building makes this security very difficult. (14:1969) LOCATION The last physical condition creating a need is the present location of the Art Center in respect to surrounding activities and circulation paths. (See Figure 1, p. 10) The Art Center is actually disassociated from all of these outside nodes of activity. This prohibits many of the casual visitors from a "chance" finding of the center. Because of local topography, it is difficult to find the Center, even knowing its location. If by some miracle of navigation you can find the Tucson Art Center, chances are great that there will be no available parking. (1^:1969) IMPLICATIONS A new building will have profound implications for the Center. As in any new structure, there definitely be a renewed community interest, allowing the Center greater membership and more financial stability. A better location will increase the number of casual visitors and afford the opportunity of serving more people more efficiently. I believe that the most important thing is that the Center will be unhampered in its growth, allowing more chance for the Tucson Art Center to fulfill its active role in the community. 1H3Q*3> InT^woI U3M8 organization STRUCTURE The Tucson Art Center operates as a non-profit organization. A structural diagram is shown in Figure 2, p. 13. It functions through a Board of Trustees by the coordinated activities of the President of the Board and the Director of the Art Center. These two men are respon­ sible for the administration of the school and the museum, the two primary activities of the Center. Directing the school is the Curator of Education, who is given a relatively free hand in its operation. The present Curator of Education believes that instruction should be offered by professional artists in a manner in which each would operate his own studio. As a result, the school is almost free of any restriction concerning course content and teaching methods. Those classes requi^ng a close student-teacher rela­ tionship are limited to a twelve student maximum. The entire school will be limited to 250 students. Approximately 2/3 of the students are tuition paying students, while the remaining l/3 are on scholarship from the school. Although the money received through tuition will pay most of the expenses of the classes and instructors, the school does require some subsidy from the Art Center. (16:1969) The President of the Board and the Director of the Art Center are generally responsible for the content of the exhibitions, with the Direc- tor being responsible for the preservation and design tasks. With the advent of a new building and the expansion anticipated, there will un­ doubtedly be a Curator of the museum. When this comes about, the curator will be responsible for the preservation, design, and other handling of exhibitions. The League (Women's League) is in actuality an auxiliary to the Tucson Art Center, but not an actual section within the structure of the Art Center. It does, however, serve the indispensable role of raising funds, recruiting members, and recruiting volunteer help. The League is either directly or indirectly responsible for all money available for use by the Art Center. ECONOMICS Traditionally, the Art Center is financed on a year-to-year basis. These monies available are obtained through membership fees and other donations. When special funds are needed, such as for the purchase of the present Art Center, a fund raising drive for that purpose is initi­ ated. Such as the one for obtaining money for the new Center. September 1969 was the announcement of the drive for the new building. The goal was set at $1,500,000. Judging from past drives, this goal will be exceeded by at least 25$. However, to ensure the amount will be avail­ able for construction, we will use the $1,500,000 plus present assets. These assets consist of the land and building presently occupied by the Art Center. Since no exact assessment has been made, we will use the estimate of $350,000. Considering that the site for the new Center is donated by the city free of charge, the entire amount will be available for design and construction. A preliminary estimate of space required is about 70,000 square feet, indicating an approximate cost of $28 per square foot. Public subscription Assets Total available $1,500,000 350.000 $1,850,000 (14:1969) Figure 2. STRUCTURE OF TUCSON ART CENTER Board Women's League Secretary — President -Director 1 Secretary Curator of Education Curator of Exhibition Instructors GEOGRAPHY Tucson, Arizona, 32° 15*N; 111°W, is the heart of one of the fastest growing areas in the United States. It is located approximately 120 miles south of Phoenix and 65 miles north of Nogalas, Sonora, Mexico. See Figure 3» P% 19. The city itself is located in a relatively small valley in the middle of four mountain ranges: Catalinas to the north, Tucsons to the west, Rincons to the east, and the Coronados to the southeast. The heart of the city is west of the Santa Cruz River and south of Rillito Creek at an elevation of 2400 feet above sea level. The area is character­ ized by semi-arid desert growth of only the heartiest types, low rela­ tive humidity, and abundant sunshine. The river beds are generally dry except during the rainy seasons. It is the largest community in the United States that still relies on underground water as the sole source of water for the community. See Figure 4, p. 20. HISTORY Tucson has been settled by outside cultures for over 300 years, each making its own mark on the community concerning land use and visual arrangement within the natural environment. The only people native to the area are the Papagos Indians. Settlement began about 1690 by the Spaniards and missionaries of the Catholic Church, and later by the Mexicans. The most important institutions of Pimeria Alta, southern Arizona, were the presidio and the Catholic mission. In 1700, Father Mino laid the foundation for the first San Xavier del Bac Mission, only to have it burned to the ground in 1751 by the Pima Indians. In 1776, the Presidio, or Spanish Fort, was built to protect the settlers and Mission from further attacks. This Presidio was located on what is now the Government Center, about two blocks from the future site of the Tucson Art Center. In 1797» the second San Xavier del Bac Mission was completed. The main reason for the Spaniards being in southern Arizona was to maintain a trade link between Sonora and southern California. By the time of the Gadsden Purchase in 1853, the town was fairly well established with a population of about 500 people. A visitor to Tucson in the mid- 1800* s characterized the town as a Msmall city of inferior adobe houses.M In 1882, the Southern Pacific Railroad was completed and Tucson became an excellent - site for future industry. In 1891, the University of Arizona was established as a fully accredited, state supported institution. In the early 1900's, Tucson built the first municipal airport in the United States, which was to become the site of Davis-Monthan Air Force Base in 19^0. This base was designated for the production of B-24 Bombers, beginning the first major industrialization of the area. In 1951, Hughes Aircraft Missile plant moved into these facilities to become one of the major industries of Tucson. As can be seen in Graph 1, p# 21, this period of industrialization brought with it a phenominal growth pattern. The population increased from 70,000 in 19^-0 to 323,000 in I967. SOCIAL Most of Tucson's population is non-native, having been attracted to the area because of the pleasant living conditions, climate, or health. Tucson was first settled by the Spanish and then the Mexicans. This group, now called Spanish-American, comprises about l6.kp of the total population of Tucson. Although many are direct descendants of those first settlers, a great many more have since immigrated from northern Mexico, and with them brought a great deal of history and tradition. While having to assimilate much of the Anglo culture, they have managed to con­ serve the tradition of their own past. There is now a distinct Mexican- American (Chicano) culture which permeates the society. This structure is so well established, that the city can easily be considered bi-lingual, speaking Spanish and Ehglish. The Negro population of Tucson is relatively small. It totals only about 3.5$ of the population. There have been Negro residents in the Tucson area since practically its earliest days of settlement, and this population has grown steadily through primarily natural increase. There have been no significant periods of Negro immigration to Tucson, as has been the case in many other industrialized cities. Chinese settlers came to Tucson before the days of the railroad. Although they are very few, they have established an extremely prosperous society. The Indian population is primarily of two tribes, the Papagos being indigenous to the area, and the Yuquise who migrated from northern Mexico to escape persecution from the Mexican authorities. The combined total of t these two tribes is just over 1$. The circle graph (Graph 2, p, 22) indi­ cates the sizes of the ethnic groups to the total. With the University of Arizona as a center of higher learning, the educational levels within the community are relatively high. However, about 15.6# of the adults have less than eight years of schooling. These people are generally located in or near the downtown area or in South Tucson. (4:17-19) ECONOMIC For more than twenty years, Tucson has been one of the nation's true growth areas, see Graph 3> P* 23. However, in the 1963 to -16- period, Tucson experienced a rather serious economic turndown. Popula­ tion continued to grow, but at a much reduced rate. Since 1965, things have looked much better, primarily because of the mining and manufacturing sectors of the economy. The rather -ecent upturn in the economy does not necessarily imply continued high growth at prior levels. It is believed that healthy growth can only be attained if significant community action is taken. Considering no community action, Pima County's population in 1985 is pro­ jected at 432,000, an increase of 104,000. During the past 20 years, the population increased 192,000—almost twice as much as the minimum projection. If major community actions are taken, the projection for a 1985 pop­ ulation is 738,000, more than double present levels of growth. A split­ ting of the difference indicates a moderate population rise to 5^5*000. In this regard, it is useful to consider potential growth as a means to offset adversity. For example, if Hughes and Davis-Monthan were completely shut down, moderate or maximum growth levels would permit recovery in at least ten years. Minimum growth levels would not permit such recovery. It should be noted however, that Tucson has established the Development Authority for Tucson's Expansion and the Chamber of Commerce, both of which are very active and receive wide support from the community. With the apparently successful job being done, it is fair to assume that at least the moderate growth level will be attained. Graph 4, p.24, is Pima County's distribution of export jobs. Fed­ eral Government agencies and the University of Arizona presently comprise over half of all these basic industry jobs. G^aph 5> p* 25, shows popu­ lation projections, and Figure 5» p« 26, indicates the percentage increases -17- under the three projections. (5s24-29) CLIMATE Tucson is on the border of a tropical and sub-tropical steppe climate, see Figure 6, p. 27. The temperature ranges are from 25°F to 105°F while the humidity ranges from 2# to 100$. The average annual temperature is 69°F. Most of the year is mild and dry, except the two rainy seasons. July through September is hot and humid with most of the 7.20 inches of precipitation falling then. The other rainy season, December through February is much less severe with milder temperatures. The winds in Tucson are relatively mild, averaging just less than 4 miles per hour. These winds are almost always northwest or southeast, with the exception of the normal valley breezes. The day breezes are toward the mountains and the night breezes are away from the mountains. See Figure 7> p. 28. Although wind is not a serious problem, the sun is. During the hot season, the sun can be unmercifully harsh. The maximum sun angle during the summer months is 85° from the horizontal, and the minimum during the winter is 31°F. See Figure 8, p. 29. Long Vail ) Squaw Pk. A ffOREST itsner Mtn. A 5878 ^Hackberry * %Mtn. 5839 - Figure 3 ripine// Clay WOODS CAN YOU 1 10 NATIONAL »• O,, Deer Springs^' ? = V R'V£ PINE MOUNT/UN WILD AREA EQREST,' Pinedale un Cleatof II 12/==* BRIDGE ^TON TO CHRISTOPHER ACREEK / CREtK , ONOEROSA) J* Colcord Mtn. 7690 Bumble B< I MAZATZAl/ ) Chuck Box \ \Q Diamond Butte H & 6458 Forestdale 16 t> Trading Post J^K£s'of WILDERNESS Brooklyn / Ay 5379 k;TONT< Atartft P* 7449 AREA MazatzaI Peak FORT \APACHE" XR^neveU ^ WILDLIFE V^?o05fc»£<.rLaJk< REFUGE 1 \\ APr>ncpVPl1 N ROOSE VEL rwcj-^Vr ~ * ' Ihrysotile' fa Seneca FORT /6 MC DOWELL I ' INDIAN/ 11 RES. I y ^ l4t( ^^vSurprise (sk^ e 4j^Q Mirage ~ ounptown -^Peoria AjtifSkn .Sawmill Fort IcDowell IGLVATFO DEL fJackson Butte FJONF WATER "A Dads Lookout ARockinstraw MU 5385 A 1*(a Klondike Mtn. ///* Chiricahua! S Butte \ 6 f /'"SAN CARLOS t Cassadcre ^ Sprint s SALT RIVER, INDIAN RES; BUCKEYE.J Litchfield I < ^milres.!;» Litchfield Silt PtrtyvilleGogd) 9 |auctiri^T7Mu/r CTL2 Palo , -2UfT 'vJVerde ' 1 •> ' Webster Mtn\i ClaypbolVj Hiisplratlon SUPERSTITION WILDERNESS AREA INDIAN inhouse 'oneer Pass Iicwt'n Coolidge i Dam ' Florence] GILLESPIE Chandler ws Hts.i Montezumal Peak | 4337 Mineral Mtr. 3350 jBapchule,^ EL 2 6300 Mt. Turn bull- O ^-A._ 7970 , Jerusalem Peat' \ A 5290 Olberg P\ ^lackwater.' \FLORENCEI \MILITARY'I - ) BES« J ] Stuton I Suite !5?o\ L^IAC*TON' Maricopa/ Vc'• EL.III 164 . oa SAkphinfL ii MARTcOPf INDIAN IRES-I 19 "HIDDEN I I"! |MUfr l—--| Grayback( 3558 RUIN a .NAT I CORONADO ^lstrell« Aravaipa ''fe» I 3 3|Randolph ^ llrnSl /y(picacho LliW, 3910 T * Croim Ph. «. L %.tm \ % Cottonwood 16 , Hill FOREST Cottonwood Mtnjffi' Klondyke BlackMtn. 5587 A EL. 1624 P^Cwl Head A Buttes •Friendly Corners Cljapuk CIMARRON MTNS. LEMMON Marana 5 W Rillito ^^^.EL. 2049 14 Komelik Lemmon 9150 A; "*V Ventana Lemnioti j -Soldiers Redington SCamp .EL. 2890 Si « v: < *. // ? NATL SHERIDAN I'2 MTNS I G ' Anegam Ac ^=^4/ 4 Rei/ey PM>< 7700 CO I. Hookers Hot Springs f CAT ALfNA A SABINO CANYQN CORONADO A, BABINO DAMI 'SITOR CENTER^F fortB/W U//. LOWELL/ I' S Q.ZTFO*UIN8/S & Window Mtn. „ Contzen \ rQ>>i Pass 4i SAGUARO NAT'L MON. TUCSON MTN. SECTION PAPAGO • i n Hotason Vo l \ . - Schuchuli\ a -- I \""is r / \'3 FOREST Wahak Hotonok b SAGUARO4 J 8 NATIONAL 4 MONUMENT ^Robles 1 Pass 2654 "MISSTON" Johnson '•ACTUS JA Oo66S SuffeS 6^, _^^»^7/Robles Rmcon Pk. , 6^1c(*ps5A(. DELBACY. I SAN XAVIER iM4 | INDIAN/RES. TUCSON^ MILITARY - RES X S/tf'M A tfe/^/o \ 4545 ^Pisinimo .PomerenMf IHUMENTl hSahuarita STRONQL CORONADO NATIONAL FOREST Helvetia I M \pAli Ak Chin j Mender-s L: I" ... *44,7*^1,%; I CORONADO NATIONAL FOREST Boquillas QC 4 A ^6-35 FairbaoKirk^ ^ _^2JV SCHIEFFELIN1 THE GREAT PLAIN TECOLOTE *^Baboquivari / Peak 7864 j Charleston X.U&AQ-Aguirre Peak 4992 I Morena Mtn. . ^ A 4346 s Sierra .Vista ARIZONA HUACHUCAS, \13-. sf, ,V ' tguirre 'atagonla Vi -^EL. 4044 'p Tiimacacorf ;COpONADO Oultovac ;V0ro9 Blanco NATIONAL Huachucay xg." ... 1 ] 3 i •J • ^ * <' > '> V'. "'•> • * , : •.) % ' • 1 t I 1 1 ! Pima County Maricopa County Arizona Los Angeles Area California United States Pima County Maricopa County Arizona Los Angeles Area California United States i. _L -L 2 3 4 5 % Per Year • 6 Ce: Development Research Associates Graph 4. DISTRIBUTION OF PIMA COUNTY'S "EXPORT" JOBS -1967- Visitor Industry - 10. 9%- Mining -12. 2%- Retire- ment -9. 7%- Federal Govt. Agencies -34. 7%- Manufacturinj -15. 4%- Univ. of Arizona -17.0%- ^evelopment Research Associates -2^- Graph 5. PIMA COUNTY POPULATION ^ llOjEC-TIC)NS (And Past ^ Projections) POPULATION ACTUAL 1940-67V MlBPOiNT PHOJSCTi&N | POPULATION INCOME 1970 1980 1960 1950 -25- -velopmeut Research Associates Figure 5< 'sT) «0 c 0 V) L 3 J c y: U >> u 2 /. c j £ 3 73 £ in P oo «h O) CJ CT> C -« c ca 0) ~ O o ^ H D ^ P-< o u-l CO o a) L. a> >- r—< c rt CO 0 0) u >-(U o X) p—1 £ a 3 £ z W t>° fc-CO 00 T 1 O co m CO CM 1 o c- o m CO CM i o rr r—i t-' rr C CO •^r m o to 1 oo CO m t- CO rf 1 co CO LO CO in o i IS Tf rH c— m CM o CO CO CO a> o o T—4 00 C- f-H m * % * % % * <4 % * * CM <—4 CM CM o in m m co co C5 00 CO CM CO (M »—4 CO CM fe­CO fH CO O) C4 CM ci in a> t- *-•4 CM CO o co CT> in CO in in O (M CM CM 00* r- o t** CM CM co" C-" CO o Tf CO O) CM m w • 4 to c~* o c- c~* O 00 co o f-H t- co CO CM CO c~ CM * * * •* <« % % » •V * •* 00 m m to 00* CM* co OS 05 o CO CM co CO t- o CM 05 *—* CM f-H o fH f—i f—H m wO »J3 CO CD l> O f- O in n o o) f" *r o r—4 iH »H CO O CX! o o o m m 00 CO iH o CO CM c-CO m o m CM c- CO 4 % A f% m Tf CO CO CM H 36 CJ) c • •—< t- -t-> o rt U> 3 .5 c c rt .S 2 2 rt c +; o c N t 6 < S u-i CU 0 > . O t() -M O CJ c 0) CO '-J u rt aj •rH CU too 2 -O < CD rt -M o H o X3 rt tn rt a> £ a > K P fc. tuO c • rH Sh 3 cj r -5 rt .S S 2 rt gc N 2 t 6 < £ «4-t <1) O > . o co £0 .2 co <-j ° in rt 0) Tl > K p tn C u a> < o jD rt co rt o H W) .5 In 3 +j CJ rt hfl ^ ^ r O 3 .5 -M § . 5 » rt c o N • H U. < IH O -•-> • H 03 U OJ > »H K P fa +-> c O CO O V • *H l-H o rt c u 0) (U tUO XJ a> < fa o H XI rt H u c 0) £ a o r—4 a> > FY* -5<=> \J } N D COMVECTION CLAUSE UOCM AM MOVEMENT QAOIA^IOM (O*V) ^OOJMV.LS ^0UM"|RIR»5 6LOPE BREEZE VRLLEV BREEZE *• PRTVTUURU!, B.FCEE'RE'S R\RE T© SK OOWSIDTR&C> ^VJNTWLN T«K TOTHL DE6^N G TO THT" ^DVH^T^C -OF VH16 DFCC^LQE* T r() cr 10 CO CO 1 a a £ 5 Z: 5J o t-s 0-Vt! >0 aT o> UJ =1 cjf — U) In ^ t\) i>J iJ] o ^ r O q ^ « O r ~ o o t a Q r- r~ o c> cj Q «• ro L__ 1—£- C cj ^ Lu S g f i >-—z ft P 5- cr >— 8 * £ 5 r l UJ *r- 0 h-TZ 1— d/ 2 z g ^ «-f— £-2? 2 u 3 fc £ £T » D p» 32. A parcel of land on the north end of this project was originally designated for use by the Tucson Art Center, how­ ever, many persons within the structure of the Art Center were dissatis­ fied with the site donated. A great deal of dispute arose and many alternate sites were considered. Among them was a site out of town at the base of the mountains, which was finally discarded so that the Art Center could remain closer to the activities of the downtown area. Finally the present site, also in the Redevelopment project, was agreed upon by the city and Art Center officials, see Figure 9> p» 32. (14:1969) The site is located across Granada (Main) from the proposed convention center, theater and music hall, and southwest of the government center. (Figure 10, p. 33) They have been granted 70,000 square feet within the present Redevelopment project with another 70,000 to be reclaimed, totaling 140,000 square feet. The site is located just south of the Carl Hayden Memorial Hospital with an old set of railroad tracks between. The central business district is almost directly east. South Tucson to the south with "A" Mountain and the Tucson Range to the west are shown in the photographs in Figure 11, p. 34. The site is very close to being rectilinear and nearly flat. The grade raises about 5 feet from the southwest corner to the northeast corner, as shown in Figure 12, p. 35* It should be noted in the photo­ graphs that the scale of the distant buildings to the north and east are large highrises of 7 to 12 stories. The buildings closer to the site are of a smaller scale vertically but massive in the horizontal dimension. "A" Mountain reads as a mass from the site, but the mountains behind are more of a limiting boundary or wall. To the south are small scale homes. Interstate 10, which is a very physical boundary does not read as such from the site. If the Butterfield Route is built, it will be below grade, offering no visual obstructions. The only major traffic artery to be concerned with is Main Avenue, which carries a good portion of the traffic into and out of the central business district from the south. The busy times for this street are the morning and evening hours. Figure 131 p. 36, shows the 24-hour traffic volume for Main as compared to other streets. (4:22-26) All utilities are also available from Main Avenue. See Figure 14, p. 37. All zoning restrictions are listed in the 1964 Uniform Building Code. Waivers on this code are fairly easy to obtain, should the need arise, through corraboration with the city planning office. The major effect of the zoning will be upon the design character of the building. This is due to the site being within the Redevelopment project and will be discussed in the next section of this paper. (15*1969) PUEBLO CENTER REDEVELOPMENT PROJECT C I T Y O F T U C S O N , D E P A R T M E N T 0 F C O M M U N I T Y D E V E L O P M E N T , U R B A N R E N E W A L D I V I S I O N F i g u r e 9 . l e g e n d 1 . A R T C E N T E R & P L A N E T A R I U M 2 . F E D E R A L B U I L D I N G 3 C I T Y H A L L 4 E L P R E S I D I O U N D E R G R O U N D G A R A G E 5 C O U R T H O U S E 6 P I M A C O U N T Y G O V E R N M E N T A L ' O M P I E X 1 1 . T H E A T R E 100 200 7 . H O T E I 8 L A P L A C I T A S P E C I I T Y S H O P S 9 . M U S I C H A L L 1 0 . F R E M O N T & O T E R H O M E S 1 2 . A R E N A & E X H I B I T I O N H A L L . - 1 3 . C A T H E D R A L E X P A N S I O N M . C E N T R A L F I R E S T A T I O N 1 5 . P O L I C E S T A T I O N ' J 1 « S 1 0 PX L ^ Mr j i ! P E N N I N G T O N 1 C R E S S m a 4 £ 9 W c C O R M I C K S T % r r -r j ^ & m a F O U R T E E N T H S T o • • « ! ! • • » » » • • D i l i * • « • • • • • 11111X111LUL. _ _ S T A G t . X _ Figure 10. Site LooHng East (Proposed Convention Center) Site Looking North x Northeast (Goverrment Center) , Site Looking North (Carl Hayden Memorial Hospital) Site Looking Northeast x East (Central Business District) Site Looking South (South Tucson)V Site Looking West ("AM Mountain) Figure 12. 6 / J :£ VIO 6CCVUC -35- __ Figure 13. •W ' " -- i'f"' , Hj};m!!n|i!!j!sninni?!inni]iiHiiiiilfj:ni|ll"!iliifnf'-n'inj Si .11 ir > it ii> I • t '' T i i i i 1 8ZZ' St 1 1 lO g 9f>S t- -r a - o 'S£S>8Mi N X < * T V " V . V . * ' v y . > X s v - ™ v V > > ; - : * *r F OJ IS »07' hi co a F m F -n fM a u \i p 0 XJ fM F 3 LA z> r\ T 1 — a nS PI M 09Z ' t-£pi *7" F 98o'frL_ a 00 T1 F C f c i ' f - L fTJ '.J 0 XI c mmmmm g 8EZfrl o nj n z b t t mm* mmmmzi o £ H £ > k nJ o o o o o o o o o o o o <4 I in rp i i m i (VJ 1 T , 8 a 1 3 1 l( 3 A U j 3 | B 3 s ' / ESSESE9 in innpiwi yiMf < 1fW19fVV»Vr"} — i tKhttnl* 1/5 W • c£ O o o <32 P A S E O ; PENNIHGTOM ^8"JRSI ALU UJILIJIE, -* TF^NCJA M C C O R M I C K S T F O U R T E E N T H S T M M «.- .. • NN _ _ ^ • BJUL1LE R JI EJLDL BLOUTE That portion of "well building" by Sir Henry Wotton, which he called delight (3*15)» is an elusive and difficult term with which to work. Aesthetics, oftentimes considered a synonym of delight is also a term which cannot be dealt with directly. However, the meaning of this term is the heart of any artistic evaluation, and for my purposes must be abridged. I do not feel that it is possible to establish an absolute criteria for which the composition of a building may be judged. I must therefore relate aesthetics to the solution of problems concerning context. My solution must relate to the existing forms, both natural and manmade, and possibly more important to the relation to the harsh climate from which these existing forms received their context. I believe the building itself will be a compromise between the natural context and the functions housed. The museum, by its very nature, is a device for communication. (1:6) Its purpose is to communicate the arts in the most efficient manner. The museum must enhance that process, and in no way detract the visitor f^m that purpose. In the words of Michael Brawne, "Only the most anonymous and variable spaces can provide a satisfactory museum." (1:156) However, this does not imply that the museum must be without character. Respect for the climate (at times extremely harsh) is undoubtedly the most important factor in the area of Tucson. Examples of the archi­ tecture, some very old, are shown in the photographs in Figures 15 and 16, pp. 40 and 41. Seen in these photographs are three primary methods of climate control, all of them dealing with the sun. The first two show the use of protective vegetation, although very effective, increasing the -33- humidity of the area. However, this is not a serious problem considering the air conditioning equipment available. The next two show the use of mechanical devices—sun screens, small windows, overhangs, etc. The last method is devised to reduce reflected radiation. This is accomplished by the use of colored materials, grass, brick, etc., around the sun sides of the building. io conform to th© restrictions of the Public Redevelopment project, there will have to be an awareness to the scale of buildings in the project. While concerning ourselves with form, the mountains to the west as well as the lack of forms to the south will be important. One very strong restriction placed by the Redevelopment project is that the building must be of a like material to those in the rest of the project. (15sl969) Fortunately, these buildings are a very neutral colored concrete. One advantage of this material is its anonymity. The proposed design must read as an individual element within the Pueblo Redevelopment Center. Figure 15. Prohibitive Vegetation Prohibitive Vegetation Mechanical Devices Mechanical Devices Colored Materials GENERAL The progran for the Tucson Art. Center evolved primarily from personal interviews with Mr. H. Gregg Swihart and Mr. Tom Wiper of the Art Center. Through their experiences as officals of the Art Center, they were able to supply nearly all of the present and projected needs affecting the program. The completed building will house two primary activities, a museum and a school. A third function, common to both the museum and the school, is administration. Two aspects of these primary activities will have a strong influence on the design of the building. The first is the desirable flexi­ bility for both spaces so that the environment may be changed as exhibitions and teaching methods change. The second is the conflict of the casual atmosphere of the museum and the bustling atmosphere of the school. MUSEUM The museum space will be oriented primarily for the casual visitor. It will consist of two exhibition rooms for presenting the Art Center's two permanent collections, Spanish Colonial and P^e-Columbian. These two spaces should have a definite character relating to the content of each. The remaining exhibition spaces must present as many as twenty other collections, primarily traveling exhibits. Due to the varying size and character of these exhibitions, the spaces housing them should be as flex­ ible and anonymous as possible. The sculpture court, for exhibition of 3-dimensional art, is a very open, free space. Since the space allows for random circulation, it may also serve as the primary circulation space for the galleries. Due to the delicate nature of the material presented in the galleries, the design must allow for strict lighting and climatic control within these areas. In order that an optimum educational environment can be maintained within the school, the museum visitors should not be encouraged to wander aimlessly into the educational facilities. It is better that they should be received at an information center for direction to other parts of the Center. SCHOOL The school is operated on a trimester system, corresponding very closely to the schedule of the University of Arizona. The students are organized into three age groups—elementary school, high school, and adult. Curriculum variations are generally between the elementary group and the other two. The differences in activities within the school, preclude some pre­ liminary design considerations. Within the painting and drawing spaces, the equipment is easily moved and indicates very flexible areas. The flexibility is not possible in other areas such as ceramics, sculpture, and crafts. A small auditorium will be desirable as an extension of the school, qualifying closely to the requirements of an intimate theater. Although the school will be the primary user of this space, lectures and films will also be presented for those on the membership roles. The entire school should be separated yet available to the museum visitors through the administration area. COMMON AREAS The main common area will be that of the administrative area, which should serve as the circulation link between the two separate activities. -43- In addition, the mechanical and maintenance areas will also be common to both the school and museum. MUSEUM SPACES Description Entrance Function - Relate to - Area-So.Ft. 1000 Provide a transition into the envir­ onment for groups as well as for individuals Sales and information, circulation area, coat room Sales and Information Function - Capacity - Relate to - Coat Room Function - Space for sale of gifts and memoirs and to obtain informa­ tion concerning the Art Center. May also serve as a security post. One staff member and four shoppers Administration and coat room For public and operated by sales personnel Capacity -• 200 coats Sculpture Garden Function - To see, to walk around, to touch sculpture, and to serve as circu­ lation to galleries Character - Relate to - Permanent Gallery Function - Free and open with vegetation All galleries Presentation of the permanent collections with reasonable flex­ ibility Character - Must relate to the periods exhibited Small Gallery Function - Presentation of small intimate collections with extreme flexi­ bility. No. 1 1000 150 3000 1500 Character - Flexible and anonymous Large Gallery Function - Presentation of large collections with extreme flexibility- Character - Flexible and anonymous Medium Gallery Function - Presentation of varying collections Character - Flexible and anonymous Shipping Function - Character - Relate to - Receiving Function - Loading dock for small truck (if tons) with space for crating Can be outside Receiving and school workshop For organization of exhibits Relate to - Vault, art storage, conservation room, gallery work areas, and administration Conservation Room Function - For repair of damaged art Related to - Receiving Vault * Function - Relate to - Art Storage Function - Relate to - For storage of extremely valuable art and some administrative papers Receiving Storage of art not being exhibited Receiving 3000 2000 1000 500 300 150 1500 Gallery work Areas 300 Function - Final exhibit preparation Relate to - All galleries and sculpture garden SCHOOL SPACES Instructors office 250 Function - Work and counsel Capacity - Two instructors and two visitors Relate to - School and administration Printmaking Studio 600 Function - Instruction and study of printing techniques Capacity - One instructor and twelve students Painting and Drawing Si/udio 1000 Function - Instruction in various painting and drawing techniques Capacity - One instructor and twelve students Drafting and Design Studio 1000 Function - Instmction in the art of design Capacity - One instructor and twelve students Ceramic Studio 600 Function - Design and construction of Raku pottery Capacity - One inst:~uctor and twelve students Relate to - Kiln room and glazing ^x>om Kiln Room Function - Drying and firing of Raku pottery Capacity - One instructor and four students Relate to - Ceramic studio Glazing Room 200 Function - Mixing and application of glazes to ceramics Capacity - One instructor and four students Relate to - Ceramics studio Crafts Workshop Function - Instruction in design and construction of metal and fabric materials Capacity - One instructor and twelve students Sculpture Studio Function - Capacity - Relate to - Film Editing Function - Capacity - Relate to - Photo lab Function - Capacity - Relate to - Auditorium Function - Capacity - Backstage Function - Design and construction of sculpture in various media One instructor and twelve students Shipping Composition of films One instructor and three students Photo lab Preparation of films One instructor and three students Editing room For lectures, films, slides, and simple drama 150 persons Preparation for performances and lectures, dressing, make up 600 800 200 200 3500 7500 Relate to - Stage in auditorium, school Theater Lounge 1000 Function - Conversation and relaxation Capacity - 150 persons Related to - Auditorium Jury and Lecture Room 750 Function - Small class lecturing and judging of school work Capacity - 20 people Student exhibition lobby Min. 1500 Function - Display of student work and major circulation area Coat Room 200 Function - For students and theater visitors Capacity - 250 coats General Storage 500 Function - Miscellaneous and art storage for school Men's Toilets 200 Capacity - Two water closets, two urinals, and three lavs Women's Toilets 300 Capacity - Four water closets, three lavs, powder room COMMON AxBAS Main Office 300 Function - Receiving visitors and coordinating administrative activities of the Art Center Capacity - Two secretaries and four others Staff Offices Function - Private conferences, general office work, and counseling Capacity - Staff Lounge Function - Capacity - Library Function - Capacity - Conference Room Function - One officer and two visitors Relaxation, meeting, and reading Ten staff members Study, reading, and browsing Twenty people Capacity - Kitchen Function - Capacity - Relate to - Board meetings, staff meetings, general conferences Fifteen people Minor food preparation and coffee Two people Conference, staff lounge, members lounge Members ^ounge Function - Meetings and conversation Capacity - Ten people Relate to - Volunteer work space Volunteer Work Space Function - Mailing and organization tasks Capacity - Four people Relate to - Members lounge 400 500 boo 150 400 Maintenance ^_OQ ^ Function - Cleaning, storage Mechanical ^00 1 Function - House climate control equipment General Storage 200 1 Function - Storage of administrative supplies Men's Toilet Capacity - Staff only - 1 water closet, 1 lavatory Women's Toilet 75 1 Capacity - Staff only - 1 water closet, 1 lavatory Coat Room 50 1 Capacity - Staff only - 20 coats LIGHTING Due to the deteriorating effects of light on all materials except metal, stone, and glass, it is desirable to have as little illumination as possible in the museum areas. The lighting within these areas should also be as flexible as possible. Those objects insensitive to light should be lit with daylight fluorescent of 6500°K, and not exceeding 30 lumins/sq. ft. except for special emphasis. Most othe>' objects should be lit with daylight, tungsten, or fluor­ escent light at 4200°K, not to exceed 15 lumins/ sq. ft. The most sensitive objects should be lit with tungsten filament, not to exceed 5 lumins/sq. ft. General lighting requirements are as follows: General museum 15 i^SF Art gallery- Individual lighting 10 LSF Vertical surfaces 20 LSF Library 30 ijSF Offices 30 LSF Drafting 45 LSF Leather 100 LSF Painting 70 LSF Pottery 40 LSF Weaving 70 LSF CLIMATE CONTROL Normal working areas should have a temperature range of 72°F to 84°F with a humidity range of 30$ to 7<$. Museum areas shall be 60.3°F to 6^.4°F with a humidity range of 58# to 62$. All air entering the museum must be filtered of dust. SECURITY An extensive fire alarm and extinguisher system should be incor­ porated into the design. A security alarm system is also necessary. B I B L I O G R A P H Y BOOKS 1. Brawne, Michael. The New Museum. New York, New York: Frederick A. Praeger, Inc., 1965. 2. Pratt, Richard and Dorothy. A Guide to Early American Homes - South. New York, New York: McGraw-Hill Book Company, Inc., 1956. 3» Scott, Geoffrey. The Architecture of Humanism. Gloucester, Massa­ chusetts: Peter Smith, I965. PAMPHLETS 4. Department of Community Development, City of Tucson. Central City Story. Tucson, Arizona: City of Tucson, Planning Department, 19*68. 5. Development Research Associates. Economic Base Analysis of the Tuc­ son Metropolitan Area. Tucson, Arizona: City of Tucson, Planning Department, 1968. 6. Hawley, H. P. and Dick Bandy. What is an Art Museum. Syracuse, New York: Midstate Offset Printing Corporation, 1967. 7. Iverson Art Museum, Inc. The Keystone. Syracuse, New York: Mid state Offset Printing Corporation, 1962. 3. Mickey, Paul F. The Tucson Visual Environment. Tucson, Arizona: City of Tucson, Planning Department, 1969* 9. Tucson Area Transportation xQlanning Agency. Land Paveloraient. Tucson, Arizona: City of Tucson, Planning Department, 1968. 10. Urban Renewal Division. Application for Model Cities Planning Grant. Tucson, Arizona: City of Tucson, Planning Department, 1966. 11. Urban Renewal Division. Pueblo Center Redevelopment Pro.ject. Tucson, Arizona: City of Tucson, Planning Department, 1967. NEWSPAPERS 12. "Art Center Support Sought." Tucson Daily Star, August 10, 1969, p. Section C, Columns 3-7« INTERVIEWS 13. Nelson, Edward H., Past President of the Board of Trustees, Tucson, Arizona, August 1969* Ik. Swihart, H. Gregg, President of the Board of Trustees, Tucson, Arizona, August 1969. 15. Via, J. Thomas, Director of Community Development, Tucson, Arizona. August 1969. 16. Wiper, Thomas, Curator of Education, Tucson, Arizona, August I969. stl