Taking cues from the Craig Ellwood project I featured a few weeks ago, this generic office building places a large glass box off the ground, ringed at grade with reflecting pools. The drama is in the circular courtyard hidden inside, which is conical in section, flaring open to the sky above. Corner staircases echo the circular motif.
Taking cues from the myriad of agricultural and vernacular forms I spotted on my trip up Yosemite-way the other week, this small square structure features a prominent gable on two ends, with a raised, ventilated mini-gable at the center bay, and a lantern above that on the center bay. The eaved sides are treated as small colonnades, with single doors running each length.
This is a piece of a larger puzzle, the basic parti of which is sketched above. The stair is located centrally in the square plan, and is itself a nine-square plan. Tectonically, the stair is supported on a peristyle of Tuscan pilasters, while the stair proper is takes its details from Mies’ Crown Hall at IIT, and tall fireplaces occupy three sides (their form, a take on Schindler’s Kings Road House.
No program here, just form, where circles and squares meet, compete, and transform into one another. Four cubic pavilions are set at the corners of a large conic square hall (the roof form echoes a very early post, a form which I’ve been interested in for some time). The whole sits under a dutch gable roof, with a central skylight, and circular turrets on top of the square pavilions.
A cube, with a barrel vault and grand cyma profiles (direct quotations of Krier) giving axial directionality, while two walls present themselves as simple four-square panels. A grand cornice tops the volume at the exterior, with a triangular skylight running the length of the vault, and reveal courses in brick reference the four-square breakdown of the interior.
Playing a nod to a classic Robert A. M. Stern house at Seaside, Florida, this house is three squares in plan, with one aedicule-ed, where a spiral stair occupies the center, and an upper patio is flanked with Doric columns on center, supporting a bold pediment.
First, an apology for erratic postings lately: my wife and I spent a gorgeous weekend in Yosemite, where I photographed the granite quoins of the elegant bridges as I did the granite faces of El Capitan and the Falls; and I’m neck deep studying for licensure. But neither of those should give cause to think that I have ceased to draw. Indeed, my study copies of the AIA contracts are filled with margins of vernacular, agricultural, and ‘rustic’ architectures. Many of which I hope to make onto frame in the coming weeks.
But for now, more Lutyens. Two details: a Tuscan pilaster as reduction rather than addition, taken from his war memorial at Thiepval, France (adapted with stars per Paul Philippe Cret’s own memorial at Chateau-Thierry); and my own interpretation of a common Lutyens formal operation – changes in plane alternate from side to side, rather than retaining diagonal symmetry (again, look at the Thiepval memorial, especially the lower arches, where the walls step in from the side before stepping in from the front, and then repeating as it goes up…).