Following the last post, this long hall also features two heaths, though here they’re in the form of the modernist cone fireplaces popular in the 60’s, and are placed along the length of the structure rather than at its ends. The most defining characteristic of this project though are the long roof rafters that are extended past the walls but without carrying any projecting eave of the roof itself. This was taken from a derelict barn building I drove past over the winter break, where the eaves had been completely bereft of their roofing, leaving only bare joists.
My apologies for a lack of posting in recent months, between the holidays and another licensing exam, my drawing and posting output has been admittedly underwhelming.
But enough of that. This is a long, gabled hall with a large hearth dominating the principal axis and full-height windows along the middle, topped with a square pyramidal skylight set at a diagonal. Entry is by low porches at either end, flanking the hearths. Formally, this takes influence from the main dining room at Charles Whittlesey’s El Tovar hotel along the south rim of the Grand Canyon, where my wife and I enjoyed a Boxing Day brunch. My own predilection for Mies-ian staircases, the diagonally-placed skylight, and the half-round dormer windows make it worthy of a post on frame. Elevations follow.
As a part of my Christmas traditions, my family and I spend a weekend in the mountains here in Southern California, where we can play ‘winter’ and ‘snow’ and safely return to our warm weather when our fingers are sufficiently numb. The so-called ‘cabins’ we stay in are often over-sized log mansions, and kitschy as can be expected.
This project is an answer to them: a simple nine-square plan with a central courtyard, and a circular infinity-edge spa at the middle; the kitchen-dining-living trio lines the north edge, with sliding glass walls fronting a supposed lake view; and private sleeping quarters located on the lower level.
Continuing the formal explorations of the German hallenkirche typology of a few weeks ago, today I’ll share some more detailed takes: from a traditional half plan and section to oblique wormseye axonometrics and a section of the Brunelleschi-esque cupola with half a traditional oblique axon on one side and a womseye axon on the other. These interrogations of representation are not just fun to draw, but actually aid in figuring out exactly how the timber roof is made up, and how that roof relates to the overall modular system.
While studying for my latest licensure exam, I came across a simple section of a ranch-style home, which I couldn’t resist but take stab at. The hearth above is the result of that drawing, and the plans below are the further explorations thereof. The floorplan references Mies’ linear homes of the mid 1950’s (McCormick, 1952 & Greenwald, 1955), with a linear series of kitchen, dining, and living spaces separated by casework storage and toilet units, while long porches flank full-height doors. Because my first plan neglected to include the bathroom in particular, the bottom sketch notes how the bath, murphy bed, and storage unit works out.