Today I’m featuring two disconnected and distinct projects linked only by one formal trait – circular forms inset within squares.
The top project riffs on Adolf Loos’ Steiner House, isolating the iconic barrel vaulted roof, expressing it as a bow truss on the interior, and topping it with a central circular skylight.
The bottom is a take on a vestibule in Lutyens’ Middleton Park, where a hemispherical dome is cut rather unceremoniously by a rectangular rather than the typical square room beneath, giving the dome an inherent axis. I’ve topped this with a tall sculptural skylight, at once a nod to both the Choragic Monument and Michael Graves.
Continuing my exploration of rural agricultural form, this square cabin-like-structure plays on ideas of symmetry, complete and incomplete form, nine-square and four-square planning, all within the guise of simple vernacular architecture. The side elevation was the generator, with an overall symmetrical gable, infilled below with a colonnade on one end, a blank wall on the other, and a large picture window on center. The plan operates between the three bays of this side elevation and four running perpendicular, with a long vaulted living-sleeping room flanked by the porch-colonnade on one end and a long kitchen-toilet-service gallery opposite. A study of potentially running a barrel vaulted ceiling the length of the main living hall is at the bottom.
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.
Or rather, his Singakademie sings. . . or something like that.
A standard basilica form sits completely within a Greek-gabled stone volume, but with a wonderful circular stepped dias for the vocalists (er, singers). This circular form is duplicated in the barrel vaulting at the ceiling. A Doric peristyle surrounds. I’ve overlaid plans, sections, and elevations on one another to show the full effect. A similar theme pervades the church design shown below.