COMPOSITIONAL COUNTERPOINT
       
     
COMPOSITIONAL COUNTERPOINT
       
     
FILTERING THRESHOLDS
       
     
FILTERING THRESHOLDS
       
     
LEVITATED VOLUMES
       
     
URBAN INFILL: LEVITATED VOLUMES
       
     
EMBEDDED MASSES
       
     
SPACE AS SOLID
       
     
PROGRAM VOLUMES
       
     
EMBEDDED MASS
       
     
PIER/PLATFORM PROGRAMMATIC HIERARCHY
       
     
PIER/PLATFORM PROGRAMMATIC HIERARCHY
       
     
PIER/PLATFORM PROGRAMMATIC HIERARCHY
       
     
PIER/PLATFORM PROGRAMMATIC HIERARCHY
       
     
DIAGRAMMATIC MODEL SUITE
       
     
COMPOSITIONAL COUNTERPOINT
       
     
COMPOSITIONAL COUNTERPOINT

According to annotations on Le Corbusier's drawings, the architect considered the three systems called out here to be "three melodies" woven together in a counterpoint. The structural column grid, the brise-soleil, and the steel window mullions all interact with each other and with the major program spaces in a shifting relationship that changes according to the visitor's route along the building's promenade. Layering these systems offers visual privacy from the street but also locate the occupant in space and imparts a larger, deeper sense of space to this compact infill site.

COMPOSITIONAL COUNTERPOINT
       
     
COMPOSITIONAL COUNTERPOINT
FILTERING THRESHOLDS
       
     
FILTERING THRESHOLDS

Several moments of change (in plane, in direction, in relation to the envelope) demarcate thresholds along the promenade. The exaggerated circulation uses these periodic changes to separate professional traffic from private family coming and going, creating a subtle, clear gradient from the public street to the private bedrooms at the top of the house.

FILTERING THRESHOLDS
       
     
FILTERING THRESHOLDS
LEVITATED VOLUMES
       
     
LEVITATED VOLUMES

This diagram explores the quality of levitation imparted by the use of relatively slim pilotis and a largely open ground floor plan, two of Le Corbusier's famous "five points" of architecture. Here the use of clear and painted acrylic exaggerates the understanding of the surgeon's study and the family quarters as volumes levitated above the ground floor.

URBAN INFILL: LEVITATED VOLUMES
       
     
URBAN INFILL: LEVITATED VOLUMES
EMBEDDED MASSES
       
     
EMBEDDED MASSES

As a complement and contradiction to the levitated volume strategy, this diagram explores the program of the house as masses embedded in the spatial volume of the site.

 

(This diagram was an intermediate step between levitated volumes and pier/platform programmatic hierarchy.)

SPACE AS SOLID
       
     
SPACE AS SOLID
PROGRAM VOLUMES
       
     
PROGRAM VOLUMES
EMBEDDED MASS
       
     
EMBEDDED MASS
PIER/PLATFORM PROGRAMMATIC HIERARCHY
       
     
PIER/PLATFORM PROGRAMMATIC HIERARCHY

This model starts from the lot footprint to show how service program (stairways, garage, bathrooms, kitchen, and maid's living quarters) are embedded in the site as vertical piers that support "floating" horizontal platforms of more privileged program, like the surgery and the family bedrooms and living room. The joints between the acrylic and the basswood are both mechanical and conceptual, satisfying the material/physical constraints of a three-dimensional model while relaying dimensionless conceptual information.

PIER/PLATFORM PROGRAMMATIC HIERARCHY
       
     
PIER/PLATFORM PROGRAMMATIC HIERARCHY
PIER/PLATFORM PROGRAMMATIC HIERARCHY
       
     
PIER/PLATFORM PROGRAMMATIC HIERARCHY

Joints in this model are both conceptual and mechanical; the service piers include the kitchen and upstairs bathrooms and the maid's room, which form the prongs that hold the acrylic masses onto the basswood uprights.

PIER/PLATFORM PROGRAMMATIC HIERARCHY
       
     
PIER/PLATFORM PROGRAMMATIC HIERARCHY
DIAGRAMMATIC MODEL SUITE
       
     
DIAGRAMMATIC MODEL SUITE