a gazebo


I like circles.  I like squares.  I like circles and squares together.  This is a gazebo.  It has a square brick base with four Tuscan columns.  These support a circular lintel with conical purlins.  The drawing below does not have a circle.  It is kind of boring.

That is all.


t’karregat revisited, or wood pyramids


I think through drawing; I interpret as I reproduce.  The drawing above perfectly capture this, where I set out to draw an accurate representation of an existing floor plan and ended up drawing what I wanted to see.  The project in question is Frank V. Klingeren’s T-Karregat Center in Eindhoven, of 1973.  The original is a system of steel truss ‘trees’ that serve as both structure and building systems, in some Reyner-Banham-dream-come-true, culminating in large pyramidal skylights that provide the majority of the light to an otherwise free plan interior.

My interpretation keeps the modular system, but lays it out in a rigor more reminiscent of early SOM (Mitchell Hall at the US Air Force Academy), and imagines it rendered in popular-once-again heavy-timber framing.  The drawings below investigate the basic modularity, the nine square, and centering.


a belvedere


Today’s post takes its impetus from a number of geometric games I’ve been playing with myself recently – the staircase moves from a circle to a square in plan, the tower moves from a square to a circle in elevation, the staircase moves from a rectangle to a circle as it moves from floor to floor.  Programmatically, it is a take on Krier’s belvederes, which crop up again and again in his oeuvre (and again, and again, and again, and again, and again. . . ).



I find the late Victorian octagon houses fascinating on many levels (this one, this one, this one).  A few weeks back, while scouring a site devoted solely to documenting these gems, I stumbled upon one that had been wrapped in a square two-story porch.  This project is a derivative of that, with a tower-like octagonal form completely subsumed behind the square porch, only peeking out in a cupola at the roofline, taking a cue here or there from good ol’ Aldo Rossi. A study below takes the tower metaphor further, extending the octagon below the porches, which take on a more expressive tectonic with braced timber supports below.