Two more takes on the Victorian-anomaly-Octagon-house. The first is octagonal at the core, with square rooms off of four corners, connected by intermediary porches to form more of a chamfered square at the ground floor, while the octagon proper pierces out at the second story, topped with a tall, Rossi-an turret. The second is more subtle, placing a gabled roof on top of an octagonal plan, with porches on either side at the ground floor.
Today’s post is a small pavilion, four-square with on-center columns at each facade, radius-ed corners, each topped with a miniature turret and blended into a larger hip roof. Bits of Richardson clash with modernist modularity, postmodern idiom, and multiple readings in the plan (a diamond? a cruciform? nine-square even?). While I’ve drawn the exterior in brick, it could work wonderfully shingled or in clapboard, perhaps even stucco.
No program here, just form, where circles and squares meet, compete, and transform into one another. Four cubic pavilions are set at the corners of a large conic square hall (the roof form echoes a very early post, a form which I’ve been interested in for some time). The whole sits under a dutch gable roof, with a central skylight, and circular turrets on top of the square pavilions.
I can be terribly repetitive. My sketchbooks will tell you that, where dozens of imperceptibly different iterations of a single project follow one another, page after page. Similarly, when I start down a trail of inquiry I’m soon immersed. And when I start drawing, I go on and on. So is my fascination with Henry Hobson Richardson – and I’ll share three different pieces from my studies: Top, von Herkomer Residence, 1886; Below, Ames Memorial Library, 1877; Bottom, Trinity Church Rectory, 1880.