This is a piece of a larger puzzle, the basic parti of which is sketched above. The stair is located centrally in the square plan, and is itself a nine-square plan. Tectonically, the stair is supported on a peristyle of Tuscan pilasters, while the stair proper is takes its details from Mies’ Crown Hall at IIT, and tall fireplaces occupy three sides (their form, a take on Schindler’s Kings Road House.
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.
A building type that was very common in the western United States in the decades before World War II, the bowtruss-roofed industrial building was a single story brick or concrete masonry shell, topped with a long-span wood truss roof that resembled a bow in section – hence the name. Many of these stand throughout the Los Angeles basin, which are the originators of this project. The brick volume is open to the short sides, pedimented on the approach, and takes hints of Hejduk’s Wall House, where bathrooms stand as separate, formally distinct, elements. A more elaborate exploration is at the bottom, where the restrooms become chimney-inglenook pieces, and the bowtruss volume is surrounded with a peristyle among other things. . .
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.
It’s been a long week of Mies, Mies, and yet more Mies. So here’s a bit of a respite from the daunting Modernism his work exemplifies: Karl Friedrich Schinkel. And yet, there’s something afoot – a link between Mies and Schinkel, which I am definitely not the first to make (see Kenneth Frampton and Thomas Beeby). But whatever the reason, take a little solace in the capitals, pilasters, and peristyles – if only for the now.
A glass gallery surrounded by a Doric peristyle, within an Ungers-esque wrapper – in plan, elevation, wormseye, and corner details.