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.
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.
This small house takes its initial generation from a small, L-shaped home I drove past while on vacation in Oregon this past spring, where a porch filled out the square floor plan, its tall hip roof hitting the crotch of the two-story L behind. My version envisions a three-story volume to heighten the drama of the hip roof over the porch, with a circular stair at the corner of the L, while large Richardsonian Syrian arches front each gabled end, here rendered with a Gill-inspired symplicity. I also toyed with adding a wing outside the L, after seeing a photo of a similarly planned house which featured a few wing additions – in this parti, the L is subsumed into an overall symmetry.
Something interesting today – A shallow gabled house sandwiched between two oversized hemispherical porches, with large conical roofs above. The house itself is clad in clapboard, while the porches are colonnaded and shingled. A tall lantern caps the central volume to bring light into an otherwise dim space. The house itself is divided into a cubic central dining room, with a kitchen/bathing alcove to one side and a sleeping alcove to the other, while the expansive porches are intended to be the primary ‘living rooms’. Elevations and axonometrics below.
A few weeks ago, I posted a quick sketch of a Classicized version of Le Corbusier’s Five Points. That post in turn had been influenced by the work of Leon Krier. Today, Leon has agreed to share with you some yet unpublished drawings, his own revisiting of Le Corbusier’s seminal Villa Savoye.
This is the mecca of Corbusian modernism, and Krier takes no small shots, recontextualizing the villa by relocating it on the site, extending a large walled garden at one end, and bringing the roof garden to a climactic belvedere.
Krier keeps Corb’s basic Five Points right in place, but deftly moves them about: placing the piloti on a massive, battered base; adding more forms to the sculptural roof garden; and making a feature out of the ‘free plan’ curve at ground level. Corbusier is still here, but so is Krier.
All work is graciously lent by Leon Krier, who maintains his copyright © 2017.
Leon Krier always has an interesting point or two to make with regards to Le Corbusier, most likely due to Corb’s immense power over Krier’s earliest work and schooling. In many ways, Krier’s career can be seen as one long extended dialogue with (and often against) the Modernist figurehead. As part of that, Krier has recently talked about a resurgence of those five points against which Corb wrote his – and argued that these five points ought to form the core of a vernacular traditionalism, much in the same way Corb’s have loomed over the moderns.
So I figured I’d take a synthetic middle ground. What happens if we take Corb’s five points and dress them up in traditional garb. What then? Piloti are given bases and capitals (and become columns); picture windows are gathered into long fenetre en longueur; the plan is libre (free of rooms en filade); the roof is flattened to host a garden; and the only point I’m probably missing is the free facade. O well, better luck next time. . .
Or is it just glorified trailer? Oh, let’s not quibble over semantics, shall we? You’re here for pretty pictures. Well, what I have here is a small ‘home’, a tiny home, rather.
There is a whole market out there that is centered around this new class of detached homes for those without the budget for a conventional suburban home, or those who would seek to lessen their actual footprint on the earth in addition to their carbon footprint. What I find interesting is the challenge of fitting all the normal homey things into a smaller package, wrapping that package around conventional building modules, and yet still fitting it into Department of Transportation standards for a ‘mobile’ trailer.
My thoughts ramble between two or three eight-foot cubes, all topped with pyramidal roofs and skylights, and jam-packed with foldable shelving, hidden beds, and all the other hoopla that comes with a ‘tiny home’.
Sitting in a local coffee shop, I began to wonder the great ‘what if’, and sketched out how I would have solved the problem. Starting with a square (shocker), I drew out a central nave, complete with side aisles and a high altar – a wall of single origin small batch coffees complete with a cash wrap. Sculptural skylights cut into the ‘nave’, while exposed lamps hang along the bottom of the ‘aisle’ soffits, not unlike old theatre marquees. Grab a cup. Stay awhile. Amen.
Two rooms with a passage down the middle – the typological dogtrot house. Here, I’ve begun to play with the articulation of the central ‘trot’, articulating it with an English hammerbeam truss above. Below, a slightly more refined study, with two different plan interpretations of the elevation at the top, as well as two different studies for the cupola at the central passage.