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::FEATURE ARTICLES:: Desert rhapsody New Mexico’s strong architectural
tradition can be overwhelming, but Westwork Architects find it merely
a point of departure
The husband and wife team of Glade Sperry, Jr. and Cindy Terry has produced a stunning body of work over the past 20 years, embracing traditional Puebloan and Hispanic forms, materials, and scale, yet producing structures of surprising sculptural invention and minimalist integrity. Their work exemplifies the next logical expression of Southwestern Regional modernism. At first glance, the great residences and institutional projects of Westwork Architects are not easily grasped or understood. A sophisticated interplay of plan, mass, and space is at the heart of each Westwork design. Along with the client’s utilitarian needs, the articulation and sculpting of negative space generates the ultimate forms of a Westwork building. Theirs is a deeply spiritual approach to architectural design. Glade Sperry helped found Westwork Architects with other partners after graduating from the University of New Mexico School of Architecture in Albuquerque 30 years ago. Cindy joined the firm as an intern in 1985 after receiving her professional architecture degree from UNM, eventually becoming a partner and Glade’s spouse. Recently married, the couple jokes about their honeymoon, a pilgrimage to the late architect Louis I. Kahn’s Salk Institute in La Jolla, California. “Only architects would do something like that,” Glade chuckles. Southern California is home to another Westwork design hero, Rudolf Schindler, a pioneer of American modernism. In his King’s Road house in West Hollywood, Zen-like spaces of concrete, wood, and movable screens create a mood of tranquility and reverence, qualities which inspire Glade and Cindy’s aesthetic. Looking back on the firm’s design evolution, it is apparent that Cindy’s approach has profoundly influenced Glade’s creativity. Westwork is now more inventive with the essential formal elements of New Mexico’s regional tradition, such as space and form rather than plan and ornamentation. Glade marvels that Cindy “just looks at design problems in ways I don’t even think of.”
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The Friedman house works with the dynamic interplay of shapes and space. The entry pergola engages the viewer with the home even from a distance.
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