Combining the first and second interpretations of this theme, here’s a take with both the flanking skylights (a la Soane) and the semi-circular colonnade, with two large columns on center to flesh things out.
In typical fashion, a synthetic plan was due: taking the vault from yesterday’s post (my take on Lutyen’s take on Soane’s take on antiquity), I slapped a half-round colonnades on either end covered each in a large conical shingled roof. The fun part is the cornice of the cubic vaulted form, which does some funky things to accommodate modules, structure, and walls, shown in the bottom drawing (wormseye axonometric detail). The lantern is a direct quote of the lighthouse lantern at Old Point Loma in San Diego.
I got a new book on Sir Edwin Lutyens, so obviously I’ve been obsessing over his details, here presenting a take on his epic kitchen at Castle Drogo (itself a quote of Sir John Soane’s soaring occuli at the Bank of England). Lutyens is truly fascinating, especially in his seemingly infinite possibility to breathe a sense of whimsy into the often staid classical Orders. My representation is axial, with two rounded skylit bays on either end of the main axis, an asymmetry that reads in the roof eaves as well as the elevations. The main door is marked with a Mannerist curved pediment, hinting at the curved vaults hidden within. The section below cuts through both axes.
I’ll be featuring the rest of the house from which this small detail stems tomorrow, but here’s a small tidbit – a foyer or entry hall that is not quite a true octagon, due to the geometries at play in the larger plan. Different ceiling options follow, where the first attempts to regulate the whole in a ribbed ‘melon’ dome, the second highlights the four cardinal direction in a circular vault, and the third treats those as flat panels.