Or rather, I drew more of the same courtyard I’ve drawn before. Particularly, I wanted to see how this plan-section combination would work with my double-axon-section projection (see above). I especially like how the section proper gets lost in the projecting planometric linework, both from the wormseye and the traditional ‘aerial’ axonometric.
Linguistics, or the study of language, is today’s topic, expressed in four buildings: On the left, traditional languages are used to express a four square plan (top), and a nine square plan (bottom), with floor plans on the left and ceiling plans on the right. On the right, modernist languages express the same four square (top) and nine (bottom), with symmetrical plans on the left and directionally symmetrical plans on the right – mainly because modernist ceiling plans are far less interesting to draw. . . A section and elevation lie beneath.
A square volume set upon two long, cyma-ed walls, enclosing one garden per side, with deep eaves at the hip roof, and hung metal balconies at the second floor. The ground floor walls bi-fold upward, to offer complete movement between the interior and the enclosed gardens. Tall cypresses and vine-covered lattices complete the garden walls at either end. I really should flesh this one out a bit more, methinks.
Another vernacular form taken from my Oregon drive. This one, the study of roof masses, with a four-gabled volume over a hipped porch. I’ve taken this to it’s logical extent, with square-in-square, and a continuous, cubic central ‘house’. The reality is that this is no house whatsoever, at least not at this scale. Perhaps more of an elaborate cabin. Miesian stairs offer access from all four sides.
The final drawing represents a different formal operation on the same floor plan, with a single pyramidal roof replacing the hips and gables, echoing Asplund’s Woodland Chapel.
More than just a Bach reference, that title could really be the title of this entire blog, since the vast majority of what I post here are really just different takes on courtyards. Blame it on my being a SoCal native, blame it on my love of squares, palazzi, and any other architectural trope you can. I love me some courtyards. So here we go again. At the top, a more detailed elevation of a previous project, and below, a different take on that same floor plan, this time more loudly echoing Giorgio Grassi and Louis Kahn.
Another trip to Oregon with my wife has yielded yet another flurry of agriculturo-vernacular projects. This one is a barn, made a square, with exposed gothic-arched framing inside, and two shed-roofed wings to the side. Two planters reflect these wings to create a larger cruciform plan. Exposed diagonal beadboard makes up the wall treatment inside, while white painted board-and-batten the exterior walls and roof.
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. . .
I normally like to post a number of drawings of the same project together, but I’ve been backlogged with scanning in some of my sketchbooks. Excuses aside, here’s a plan. A courtyard plan. Another courtyard plan: square court in a square volume, off-center to allow for a variety in the sizes of the surrounding rooms, but on axis from the entry to the rear porch. Large modern floor-to-ceiling windows paired against vernacular hipped roofs. Elevations, sections, and details forthcoming. Ti promeso.
Most of the time, the drawings I post on frame are more complete, polished, and thought out. Often, they are the reworking of previous ideas, or different ways of representing an already designed form. But that is not to say that I never do quicker, rougher, sketches. Indeed, often these early sketches lie buried underneath more ‘finished’ drawings. But today, I thought I’d share a few nascient ideas before they got worked through:
The top drawing began two discussions of halls-and-hearths (here and here); the below sketches reflect some agricultural forms I encountered on a long road-trip; a small cubic ‘house’ with a telescoping tower; another small cubic structure, with a large spire and a funky base condition; and a constructed mesa, a futile and humble attempt to capture the grandeur of those immense landforms (and not wholly unalike Hans Hollein’s landscrapers).
Take last week’s modern courtyard, put it on a diagonal axis, and wrap the corner ‘L’ volume in a reduced vernacular language and this is what you get.