A week or so ago I promised elevations for a courtyard plan. Well, here they be. The front and back feature vernacular porches, complete with columns and hip roofs. The sides, however belie the modernist floor plan inside, with floor-to-ceiling Mies-ian windows at the dining room and bedroom (what’s privacy?), and counter-height butt-glazed windows at the kitchen. The roof forms cannot be seen from the exterior, as they all slope inward to the impluvium-like courtyard. I really aught to do some sections. . .
Today’s post is super simple: square house with notched out corners and a circular impluvium in the center. Hints of Louis I. Kahn’s Goldenberg Residence prevail, set against Mies-ian open planning.
A square with brick exterior walls, with a square pool in the center. One half of the enclosure is fleshed out on the interior with modern details, while the other has a classical impluvium roof, but with the same sliding glass doors as the modern half. An unfolded wormseye (upview) axonometric is below.
Yesterday’s circular courtyard influenced this take, along with a small fountain I passed by in Beverly Hills the other day. Six columns make up a circular courtyard, filled with a pool and floating obelisk, while one side of the circular entablature rises to a pediment on one side, hidden from the entry tunnel. The focus is obviously interior, but that doesn’t mean that the exterior is devoid of a little fun and asymmetry. A wormseye axonometric above, sections and floor plan below, elevations and roof plan beneath.
O. M. Ungers and Richard Meier play the primary instigators in terms of language of this basilica – minus the Doric impluvium entry courtyard, of course. The front elevation/plan drawing shows shadows that hint at both wormseye and oblique axonometric projections. Structure and tectonics play a central role where pipe and wide flange columns slide back and forth next to one another, while small circular side chapels cut into the deep poche of the stone walls.
This house is a line of three squares: a central tree-filled courtyard flanked by a garage/studio impluvium volume on one end, and a large, hip-roofed residence on the other. The rafters of this roof extend to encapsulate a long porch, the majority of which is screened. A spiral staircase descends to the bedrooms, which are located below. The complex is imagined to be sited on a hillside, with the garage square nearly underground, and the residence looking out over the valley below.
I’ve been fascinated with the impluvium for some time now – a large roughly cubic room with an inverted roof that is open to the sky at the center, an essential feature of the Roman domus house typology. This project places a large impluvium at its center, with modern courtyards and bedrooms flaking it, and more traditionally-scaled living spaces at the entry. Formal echoes of Irving Gill, H. H. Richardson, Richard Neutra, and Michael Graves abound.