Dianna Hodza - ARCH 3553 Portfolio

DIANNA HODZA

Architecture Portfolio

Selected Works 2020 Dianna.hodza@mavs.uta.edu

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Introduction

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Dianna Hodza

Third Year BCs. Architecture & Minor in Urban Planning and Affairs University of Texas at Arlington College of Architecture, Planning, & Public Affairs

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Projects

Fall 2020

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Auldbrass Guest Cottage

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Auldbrass Visitor Center

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Wall Excercise

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Sketches

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Abstracts

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Precedent Studies

Projects

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Guest Cottage for Auldbrass ARCH-3553 Design Studio I Professor: Michael Malone Fall 2020

The idea of the Auldbrass Guest Cottage was to design small compact spaces, allowing or maxiumum usage.

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The Auldbrass Guest Cottage was derived based on a hexagonal grid that was created. Flowing the guidelines of the grid and making design decisions based on the integrity of the grid, like in many of Frank Llyod Wrights designs.

Guest Cottage

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Site & Roof Plan Site Plan

Roof Plan

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Plans Second Floor

First Floor

The Auldbrass site (Yemmassee, South Carolina) is mostly flat land, however, since it is close to the coast the humidty and rain levels are higher. Causing floods in the surrounding areas.

Guest Cottage

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Detailed Plans The guest cottage has a steel framing structure and oak wood cladding. The floor to ceiling glazing allow for natural sunlight into the spaces.

Second Floor

First Floor

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Lighting & Electrical Plans Fans with dimming systems were included into the design for the warmer days in South Carolina where the temperature reaches above 95 degrees in the summer months.

Lighting Plan

Electrical Plan

Guest Cottage

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Wall Section & Details

Detail 2 - Two Story Assembly

The section demonstrates the height of the lower and upper level of the guest house. With the private space of the bathroom and the sleeping area while still managing the openness of the floor to ceiling windows and functionality of where the kitchenette is placed. The large open living space allows for universal organization for the living and dining areas upon the guests needs.

Detail 1 - Roof & Floor to Ceiling Glazing

Wall Section 1 12

Wall Section 2

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Section The cottage sits nearby trees and is close to the Cypress lake for direct access.

The cottage is diagonally northeast of the main house of Auldbrass. It can be seen through the east windows shown in the section.

Section A-A

The beautiful large oak trees with Spanish moss that cover the land of Auldbrass that can supply the construction of the facade of the guest house. In the similar colors of Auldbrass.

Guest Cottage

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Section The guest cottage includes a built in shelving storage unit at the entrance, as well as a space with shade upon entrance to the house for the rain that occurs often on the site.

Section B-B

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The highest rooftop terrace can be accessed from a ladder located on the balcony. To access the rooftop space above the dining/living spaces can be accessed through the study.

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Wall Section & Details Detail 3 - Clerestory

Detail 4 - Door Condition

Wall Section 3

Guest Cottage

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Elevations

North Elevation

North Elevation

North Elevation

North Elevation

Technical drawings demonstrating the heights, facade, and entries of the guest cottage.

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Interior Elevations

Kitchen & Stair Elevation 1

Bathroom Elevation 2

Living Space Elevation 3

Elevations indicating the materials inside the guest cottage, floor to ceiling glazing, tiling, and height of spaces.

Guest Cottage

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Axonometric

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Physical Model

This physical model was the first iteration of the design for the guest cottage, it was then developed further and studied holding the integrity of the design while understanding how a building should be built.

Guest Cottage

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Visitors Center for Auldbrass ARCH-3553 Design Studio I Professor: Michael Malone Fall 2020

The idea of the Auldbrass Guest Cottage was to design small compact spaces. Allowing maximum occupancy.

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Visitors Center

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GUEST COTTAGES

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CANAL PADDOCK STAFF CABINS

BOAT DOCK

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RIVER ROAD

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GARDENS

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VISITOR CENTER

AULDBRASS ENTERANCE PASTURES

TENNIS COURT

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AULDBRASS

Auldbrass Site Analysis

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PIAZZA

1. Grinding Shed & Barn 2. Hore Stables 3. Work Shop 4. Track Room 5. Offices 6. Laundry 7. Guest Rooms 8. Playroom 9. Sportsman’s Closet 10. Joel’s Office 11. Mule Stables 12. Cook Shed 13. Kennels 14. Kitchen 15. Dining Room 16. Bedrooms 17. Main Entrance 18. Living Room 19. Swimming Pool 20. Guest House 21. Car/Shed 22. Aviary

Frank Llyod Wrights’ Auldbrass Plantation located in Yemmassee, South Carolina.

SITE ANALYSIS

Live oak and Spanish moss trees are native to the site. The trees occupy much of the site around the lake where the majority of the trees are and also across the road. However, the main part of the complex has fewer trees and LEGEND: more flatter land where auldbrass is perfectly 1. GRINDING SHED & BARN placed.

YPRESS LAKE

2. HORSE STABLES 3. WORK SHOP 4. TACKThe ROOM Auldbrass Site has much historical 5. OFFICES significance on the Yamessee Indians and the 6. LAUNDRY Old Sheldon Church. An important aspect of 7. GUEST ROOMS auld brass is the inclusion of the woodwork 8. PLAYROOM 9. SPORTSMAN’S CLOSET featuring designs inspired by an arrowhead 10. JOELS OFFICE and feathered shaft. That can be found at the 11. MULE STABLES entrance of auldbrass and in the clerestories.

12. COOK SHED 13. KENNELS 14. KITCHEN TheROOM lines of all the buildings are reflected in 15. DINING Wright’s logo for Auldbrass, a stylized arrow 16. BEDROOMS 17. MAIN ENTERANCE that Wright carefully designs this based on the 18. LIVING ROOM Yemassee Indians who inhabited the area.

19. SWIMING POOL 20. GUEST HOUSE 21. CAR/SHED 22. AVIARY

Climate Averages: CLIMATE AVERAGES: Rainfall 49in.

RAINFALL 49IN. Snowfall 0.2in.

SNOWFALL 0.2IN. PRECIPITATION Precipitation 109.3 DAYS 109.3 Days SUNNY 215 DAYS Sunny 215 Days COMFORT INDEX 7.3 Comfort Index 7.3 UV INDEX 5.5 ELEVATION UV43FT. Index 5.5 Elevation 43ft.

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DIANNA HODZA ARCH 3553 MALONE

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Plan of Visitor’s Center 1. Reception 2. Staff Office 3. Auditorium 4. Restrooms 5. Gift Shop 6. Cafe 7. Elevator 8. Archive 9. Archivst Office 10. Exhibit 11. Atrium 12. Circulation 13. Mechanical Room 14. Storage 15. Kitchen 16. Sound Room 17. Parking 18. Entrances To first develop the initial conceptual idea fo the floor plan, bubble diagrams, and site analysis constructed the base for development.

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NORTH ELEVATION Based on those a single (COURTYARD) floor plan concept to indicate possible arrangements of the spaces and how they might aesthetically work as a plan composition.

Over time the plans were modified based on further research and knowledge of the Auldbrass complex.

The main circulation tool around the perimeter of the outer part of the atrium allows the visitor to choose paths to certain parts of the center.

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The main views come from the cafe with floor to ceiling glazing and the green roof system above the cafe and gift shop with access from the elevator. Thus allowing a more areal view of Auldbrass. Direct views to the main house and farm buildings.

SOUTH ELEVATION The atrium in the center is where the visitor can (COURTYARD) take a break and relax that can be used for other purposes if needed.

The cafe has a 2nd floor loft style eating space that can be accessed through the elevator.

Auldbrass Site Plan with location of Visitor’s Center

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Visitors Center

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Elevations The purpose of placing the visitor’s center towards the from of Auldbrass is for optimal views of the whole Auldbrass site. As well as immediate access to the center fromm a different road. It is placed adjacent to the Road to Auldbrass, allowing views of the main house from the cafe, and of the whole plantation on the vegetative roof.

North Elevation

East Elevation

South Elevation

West Elevation

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Visitors Center

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Section Perspectives The sections are studies on how the visitors center could be constructed with concrete foundational system in the flater land, beams, and collumns for support. Also, materials for the facade and structure, which is a steel frame structure system alowing to hold the capactiy of the height of the building.

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Section B-B

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Wall Section 1

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Section Persective - Gift Shop

Section Persective - Cafe

Section Perspective - Cafe & Atrium

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Visitors Center C

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Isometric

Isometric shows the function of the entrance space and the parking spaces. The paths that lead the visitor to the entrance as well as the view and the entirety of the visitors center. The vegetative roof allowing people to see views and intricateness of the design.

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Treating the purposes of each spaces of the program to specifically represent and function for their labels. A fully glazed reception/welcome center, the auditorium space that is fully enclosed with no windows, and the exhibit space with specific lighting and bottom clerestory windows to glorify the important pieces of the Auldbrass Plantation.

Visitors Center

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Exhibit Plans & Elevations

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Top View/Circulation

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Plan

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PLANS

The design flow of the plan of the exhibit is the “The Garden�, where a visitor moves through the space PLANS indiscriminately and discover exhibits as they find them and engage with them as they want to. There is no set plan of movement through the space.

That can be seen in the circulation diagram.

The slanted roof with an oculus in the center enhances the viewers experience by illuminating the center of the exhibit.

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Elevation 1

The interior of the space is overall more darker, but would have lights that illuminate the modules.

The modules follow the grid sequence for placement and sizes.

The sections demonstrate the spaces around each modules allowing for comfortable circulation between people and the modules.

Elevation 2

The panels on the walls can be images of Auldbrass or important aspects of Frank Lloyd Wright and Leigh Stevens (owner of Auldbrass in the beginning steps.

Elevation 3

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ELEVATIONS

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Exhibit Sections

Section A-A

Section B-B

Section C-C Visitors Center

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Exhibit Modules & Axonometric Choosen materials for interior exhibit space: Red Brick, dark finished oak wood, and glass.

Modules

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Axonometeric

Interior Perspectives

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Visitors Center Physical Model Auditorium & Reception

Main Entrance

Model was built from museum board and basswood built at a 1/8th scale.

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Exhibbit, Archive, & Cafe

Visitors Center: Exhibit Physical Model

Perspective of Modules

View with Roof & Entrance

Model was built from museum board, basswood, tulle, and wires built at a 1/4th scale.

Visitors Center

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ELEVATIONS

Wall Exercise

ARCH-3553 Design Studio I Professor: Micheal Malone Fall 2020 Utilizing the grid for use as a design tool to generate a threedimensional element. Creating, documenting, and build a model of a wall that is a vertical manifestation of the grid.

AXONOMETRIC

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Sketchbook Assignments ARCH-3553 Design Studio I Professor: Micheal Malone Fall 2020

Sketch Assignments exploring different mediums, perspectives, and concepts to exercise ideas.

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FLW Bernard Schwarts House

Guest Cottage Materality Sketch

Guest Cottage Materality Sketch

Perspective Sketch Assignment

Perspective Sketch Assignment Sketchbook Drawings

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Auldbrass Abstracts ARCH-3553 Design Studio I Professor: Micheal Malone Fall 2020

Reading from the book Frank Lloyd Wright’s Southern Plantation over the semester to help us to understand the legacy, buildings and site and to have a full knowledge of the complex as we begin to develop our projects there. To help with the reading and as a way to guide our studies, we will be given periodic reading assignments in the book and will create one-page abstracts of the materials to create a handbook of the information.

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Introduction

The first images leading to the introduction of the history of Auldbrass is seen as a mystical, luxurious land, and warm hideaway. A large

complex for multipurpose use and places for retreat and gathering. The story behind Auldbrass and the meanings it has for people that have been able to visit it.

During Frank Lloyd Wright’s career, he designed over 1,000 buildings but was not able to experience or complete Aludbrass. Which left

an unfinished product after Wright and the initial client C. Leigh Stevens passing away 3 years after him in 1959. Then Joel Silver taking on the challenge of rescuing Auldbrass from decay as the initial owner Stevens who passed had given to his daughter was not able to take care of the large complex. Auldbrass had reached a state of decay and Joel wished to overturn Auldbrass and bring it back to how Wright and Stevens first imagined for it to be. However, many people know Wright mainly for his project Falling Water which was one of his most famous designs, but what makes Auldbrass the most important one. This is also taking into consideration that during the period when Auldbrass was in the process of building, The Great Depression and WWII had certainly made an important mark on the building. As well as FLW and Stevens beginning a project and both neither going to see it completed.

Also, for Auldbrass to be built in the southern part of America, whereas before Wright had made many middle-class family homes for

people who lived in the northern part like Chicago. Considering the weather and geographical conditions of the south having a certain containment for proper living in such substantial weather with the idea of Wright and Stevens creating a new archetype with a different meaning than what the and was before.

As mentioned, Auldbrass is considered one of Wright’s most important works, and although the undertakings it went though, what

was the idea that Stevens and FLW thinking during the design process and the purpose of the project. How would the history behind Stevens and Wright affect the perceptive and understanding of Auldbrass? This is why Silver tried his best to gather significant people like Wrights’ grandson and Steven’s daughter to understand the importance of Steven, the client, and Frank Lloyd Wright the Architect. To restore what seemed like ruins of the unfinished state of Auldbrass to become a place of importance from the 1 of thousand designs that Wright had created. Over the next 80 years since the beginning starting on a piece of paper Auldbrass would become an important project. As for any building or house designed by Frank Lloyd Wright would become a piece of history as he was one of the most important architects that are learned and taught about.

“A Wright Angle”

The current overseer of Auldbrass, Joel Silver made his first drive through Auldbrass in 1986. Silver, being an ambitious movie producer

just coming from California and experiencing a textile block designed by Frank Lloyd Wright, he was more than anxious to experience Auldbrass which was quite opposite of the homes he had designed in the western part of America.

As the legendary movie “Gone with the Wind” was brought to the screen many people across the nation saw the image of a southern

plantation. However, the image of the screen and the divergence of Wright’s simple red gravel drive through a streamlined geometric grove of live oaks to a cluster of warm cypress buildings was a different picture from the time it was shown on television and when the first ideas of Auldbrass were being formulated. Before Stevens passed, he wished to have a retreat from his very busy life, however, the initial plan was not fully completed.

Wright, in many of his works, used cypress as the main material because of its resistance to water, it is durable, and it is suitable for building heavier construction especially for weather in the south.

Through Joel Silver’s experience with Auldbrass, he understood how much he believed that he chose Auldbrass that it chooses him.

With that, through his experiences there he found his way through life. To create a life of his own, a family, and produce movies. Auldbrass had become a place that could almost be said as magical to some people in the case of recognizing how Frank LLoyd Wright had designed it and Stevens as the client appointing him to create it. Silver compares producing a movie to designing and building a house that you begin with many ideas and a piece of paper that then goes through a process of complex generating to come out with the final product. Including that Frank Lloyd Wright was the director, actors, and scriptwriter for the whole production of the Auldbrass complex. Wright had designed a special hideaway for Stevens that had 20 interconnecting buildings all designed by Wright.

Silver mentions that Tara (southern plantation) is frozen in time the same as it did in 1939, and all of its reputations look the same as how it was when it was built. But, Auldbrass is not, and continues to create new aspects and challenges. Joel Silver implies that with all of Frank Lloyd Wright’s genius vision for Auldbrass that he must continue the longevity of the manifestation of Auldbrass. While time passes Auldbrass evolves with different meanings but still has a timeless imprint. Silver also mentions Auldbrass is constantly changing and that it has its sequel like a book with new stages and characters and will continue to evolve as new occupants encounter Auldbrass bring a new experience and story to somebody different that leaves a mark on their lives. And like any piece of art and architecture, living imprints and stories to the world and on people is the biggest accomplishment. The feeling and encompassment by warm tones or big volumes almost take one to a different universe from the reality that they are in. Which everyone should experience. Like Auldbrass, while never fully completed and ever-changing, it will continue to have the same everlasting effect that can be cherished through life, as Architecture does.

Abstracts

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Chapter 1 C. Leigh Stevens had grown up in a lifestyle wither servants and helpers around his home and family. His father, running his own company introduced Leigh into working as soon as he was able to at a very young age. During the period of Stevens life, it is clear that he was a genius and that through his accomplishments of the school, work, and his father’s company. In school, he worked on woodworking’s, mechanics, and many other things that could contribute to his father’s business which was a boiler company that worked with a lot of steel and engineering. When Stevens went to Cornell University, he took one of the first engineering classes and although he did not graduate because of a Latin course however the pushing back of not obtaining his degree just prolonged his career. He was able to achieve certain goals and work for his father’s company afterward. Stevens, later on, created the Bedoux’s principle, which was the measurement of human energy, hard work, and how much a human can produce through hard work. In today’s time, a job from 9-5 through the week is 40 in this case Steven believed that America was losing the understanding of human abilities, and in comparison, to the present time, this is still valid.

When the great depression hit Stevens’ plans of real estate development were put to a hold, however, it provided other opportunities

to acquire land. In this case his purchase for Auldbrass through his ambition to buy the land he negotiated for the over 4,000-acre land in South Carolina just about 20 miles from the coast. Once the land was acquired it was flat lands with low elevations with the highest point of the land-only being 20ft above the Combahee River. There were no visible slopes and an overwhelming vast leveled terrain that had soils that were proper for growing and development. The land had abundant of pinewood trees and had pre-Mesozoic crystalline rocks. Along with titled sedimentary rocks buried in the basins. Which provided an abundant amount of materials to create structures.

The history behind the land near Auldbrass had an existing building by John Deas, that he had built before 1758, but there is no record

of the design. As time passes merchants in South Carolina depended greatly on trading and the profitability that increased with slaves. After the civil war, many of the plantations in South Carolina had been abandoned and the cash crops that were grown there were no longer profitable without slave labor. However, the land that stood alone, trees, and other cash crops were growing which stimulated a new exploration of the land creating a new purpose to what the land used to be. Meaning the land in the south changed as wealthier northern people would retreat to the south to escape for warmer weather and for hunting season which was growing interest at the time. Hunting in the southern part of America would then become an important aspect of people’s lives. The plantation houses were rebuilt or refurbished and were given traditional appearances and some like the Mepkin Plantation was a modern interpretation. An interesting way about how the name of Auldbrass was created (although there were different mentioning of how the name came from) was from the significance of the word “brass” was an African American slave that was part Native American and “old” when they had reached an age of no longer being able to work. They would soon after built a shack on the plantations small landing and live out the rest of their lives no longer having to work.

Chapter 2 - “Frank Lloyd Wright and the Design of Auldbrass”

The time when Leigh Stevens asked Frank Lloyd Wright to design Auldbrass Was a period of which both would reach the peaks of

their careers and Wright coming out of a downfall to his career. Like his extended family being murdered and his second marriage resulting in him being briefly jailed Wright continued to persevere off of the few commissions, he was able to obtain. Wright then explored to create new designs of technology, human intervention, and unparalleled unification in which Auldbrass would have every element he was seeking. Soon Wright would be taking on many projects lifting him out and into the golden part of his career. Stevens and Wright met in 1938 to discuss Auldbrass, Stevens sought out to build a plantation that was “the best of them all” and seeing Wright in magazines with designs he created influenced Stevens to commission Wright to create the complex.

Steven wrote to Wright and gave him free rein and capabilities to design Auldbrass, but Steven’s did not want the traditional image of the idealized southern plantation comparing to the “Gone with the Wind” plantation that was the main image of the south. Many elements would soon be added to the program of Auldbrass as Steven states that it would be a place for his work and living.

Wright’s first drawing for Auld brass was named the “Preliminary Rural Development” that had the main house, guest house, gardens, and other buildings like kennels, stables, a caretaker’s house, and staff cabins placed further back of the complex. Over time more was added to the Auldbrass program and constant adjustments were made to the drawings. Stevens continued to add certain elements to the complex meeting all the needs for his work and being able to have a retreat. In October of 1939 Stevens wish to see the architectural drawings to allow construction however Wright was not ready to show them until mid-January of 1940 where they settled the whole program of the complex of the main house, the Kennels, the swimming pool, caretaker’s house, a large barn, and much more that would eventually cause Stevens over $250,000.

Wright had carefully designed hexagonal and rectangular elements to differ the plan from the main house to the guest houses. He uses this module to modify and provide the flexibility of arrangement as well as having distinctiveness to the spatial character of the site. Wright had carefully designed to cluster everything together in the most distant segment from the farm buildings to the caretaker’s houses that were almost detached from the dwelling but with high continuous roofs that incorporated a unified grouping. The final drawing was dated January 20th of 1940 and it shows the staff cabin which was a simple hexagon and plan. This as well as the house and the guest house had elaborate copper downspouts at the corner. However, when Stevens studied the drawings, doubts came to mind about the canvas flaps but in the end, accepted the rest of Wrights’ design and the many hours he had spent to plan it. With that, Stevens still had some alterations that needed to be adjusted before building however, he wished to start building as soon as possible and started with the farm buildings and the worker’s houses. The divorce of his first wife delayed the beginning of construction, but he waited long enough to secure the Auldbrass Trust and to fully claim the Auldbrass property. By the spring of 1940, the design was essentially set and through all the delays and out brings of the many events Auldbrass would then continue on.

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Chapter 3 “Geometric Intervention in the Shaping of Auldbrass”

When arriving at Auldbrass with a car the front entrance is not as obvious like many of Wright’s house designs and opposite of how

many entrances to houses are constructed. Many of the plantations had an emphasis on the fields and the working farm that laid beyond its view.

To not emphasize large fields right used open areas that surrounded the house with shrubs and flowers giving it more order and making it more humane. Wright’s reasoning for a large ordered building was so that the unity in architecture was the nature behind humankind. Wright also implied the use of universal space that led to more of an order to Auldbrass. Wright realized that his design could amplify the qualities that Auldbrass would have. How his shapes would reflect on the nature of a specific place that would be more different to be interpreted. Auldbrass also embodies Wrights’ theory of organic architecture with Wrights honoring of unity and space.

Implying these beliefs that all forms in nature can be reduced to simple geometries that provide many means to create order, unity, and

unlimited means of expression through architecture. In Wright’s practice, he worked with many shapes and observed every system. Wright believes that the equilateral triangle is the most agreeable to the eye and mind and relates to a pointed arch that has conditions that are stable and regular starting from Violet-Le-Duc. With this Wright used his own way based on elements to apply to his designs. In the 1920s, Wright explored angled geometries in other projects that lead toward his design of Auldbrass. While throughout history the use of rectangular modules and squares had been refined, however Wright expanded his pallet to include triangular and circular geometries.

With many of Wright’s projects relating to angled geometries, the improvements of his thinking of the hexagonal model could offer

more. He identified the honeycomb as a natural source Wright developed the module that had gentle angles and a more flowing sense of spaces.

Like the planning system of Wright’s Hanna House. The honeycomb plan led to many of the construction choices that would occur. For examples like the hinges and roof rafters, and the placements of partitions, windows, and the proximity of the enclosed areas.

The hexagonal planning was used at the main house for Auldbrass. The hexagons allow for more flexible planning with the hexagon

being a generating shape. There are 6 different wall alignments that intersect at 5 different angles. Wright used these geometric patterns to amplify hierarchy in the spaces he designed, like the fireplace in the main house at Auldbrass, while the other fireplaces at different structures in Auldbrass are differently placed.

An important aspect to Auldbrass that was made sure to be emphasized in importance to the drawings of the building was the sloped

walls. Wright mirrored the oak trees on the Auldbrass property and used the angle of how the sloped trees were able to hold a maximum amount of weight that was translated onto Auldbrass. The image of Auldbrass and Wright’s vision of a “Southern splendor” celebrated its specific location and site.

Chapter 4 “Building Auldbrass: The First Campaign”

When WWI began to arise the slow decline of people’s lives affected Stevens and Wright when the construction of Auldbrass began in

1940. The complex design of Auldbrass must have been supervised, as not a local carpenter would be able to execute the slanted degrees of walls and detail in the plans for Auldbrass and Wright’s ideals for the site. Wright then had an apprentice watch the site as Wright and Stevens had to place their time in different areas for the ongoing war that was affecting America. Soon questions about shortages for materials for the complex needed to be answered and were almost necessary to make substitutions. Although Stevens was great at solving problems and making connections, this was an issue that he could not solve. With Wright’s certain request of materials for the roofing and that no matter what no aluminum roofs were to be used. As the shortage of materials kept arising, not only finding the materials but being able to afford the cost of the martial was another thing that Wright wished for his designs and Stevens tried to find the materials.

As the construction continued and more issues appeared, the need for more detailed drawings was needed but was later sent on

Wright’s behalf. In the spring of 1941, even more, issues occurred and Stevens was getting more frustrated with the construction and the communication between him and Wright and to secure better supervision of the project. With no telephones and Wright missing meeting appointments, Stevens eventually addressed the concerns regarding construction in a message and continued the construction. The staff cabins and farm buildings were close to completion and Stevens was hesitant to begin the construction of the house but still trusted Wright to continue if the drawings were to be promptly returned to him. As time continued Wright continued to cancel plans and hardly communicated with Stevens. There were many things that Stevens requested and waited for Wright’s approval that was not answered quickly enough. Stevens eventually sent a message to Wright explaining that he could have saved money if the communication between him and Wright was more efficient, and with that Stevens took some matters into his own hands. By the fall of 1941, the urgency of the gathering materials for the plumbing of the main house was to be discussed on a planned phone call for Wright and Stevens on December 7th, 1941 (bombing of Pearl Harbor). The call was forgotten and construction continued but America would now be entered into the war.

As Auldbrass was slowly becoming more complete it caught much attention locally. Wright had given permission to press and reporters

to take pictures of the complex without Steven’s approval. He soon then requested a design for a gate but Wright had not clearly remembered what Stevens wanted and no gate or brooder house was built.

By December 31st of 1942, Stevens declared that most of the construction was completed and that details were now to be focused.

The interior furniture was to be designed and created by Wright and while some of the designs for the furniture were not ideal in usage it was to not be altered in Wright’s request. Stevens also sent Wright images or furniture ideas but Wright had completely dismissed them. Soon, Stevens would be hard to become in contact with, as the initial price of Auldbrass was increased to about 84,000. In which Stevens only paid half of that price. His money became tight and a hearing for selling the property was the only way for the rest of the price to be paid.

Abstracts

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Precedent Studies ARCH-3553 Design Studio I Professor: Micheal Malone Fall 2020

Studies and presentations on precedents guiding ideas to the deisgn and concept of the Guest Cottage and Visitors Center.

The influence of Frank Lloyd Wright and others.

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Malcolm Willy House - Frank Lloyd Wright

Information

The house is located in Minneapolis, Minnesota and was Built in 1934 In the early years at the Willey House the river bluffs rolled in a series of terraces and swales down to the Mississippi river, the neighborhood below not yet built, and the landscape absent of trees.

Malcom and Nancy Willey - Malcolm Willey was born on 1897 went to Columbia University became a professor in 1929.

- Nancy Boyd was born in Sag Harbor, New York and raised in Brooklyn.

Bachelor’s Degree in Sociology from Barnard college, then soon met and married Malcolm Willey in 1924.

In the late 1940s, she and friend Josephine Bassett had led a successful endeavor to save am old Custom House from demolition protect its unique and important architectural history.

Drawings of Willey House A major design feature is the 30-60-90 triangle which shapes the terrace and matched the levels of the typology in this meadow like geography. A garden wall extended an arm from the bedroom wing creating a private garden.

We can see that the house is narrow and petiet using rectangles as a system of spaces throughout the house then a 90 degree angle terrance.

- Despite the northern climate, this was a house thoroughly intended for indoor-outdoor living, each and every room opening to a brick paved terrace by floor-to-ceiling French doors This is a section of the fire place in the center of the house This msin section shows the basement, full living room and corridor areas.

- In the elevation there is a continuous roofline that spanns the gap between house and garage modules with deep soffits creating sheltered spaces. The house was Primarily built of red brick and cypress Except for the red linoleum in the kitchen and the rooms on the main floor are floored with mortared brick pavers.

History - On June 27, 1932, Nancy Willey wrote a letter to Frank Lloyd Wright The Willeys were the first of young, educated, middle class couples to respond to Wright’s retelling of his life She noted that they wanted to build a house and have him design it “for about eight thousand dollars” because this was shortly after the depression and not many people had a lot of money Wright designed a two story plan but was too expensive for their budget.

Then Nancy wrote to Wright, and expressed her frustration with “I do not want a seventeen thousand dollar house. I want an eight to ten thousand dollar house Can I have it?” Wright responds with “Dear Nancy We’ll try again. It seems the simplest way.” By December of that year she was invited to review sketches of the new scheme.

- The Willey House is entirely hand-crafted. No mass-produced doors, windows, trim or casework were used. Every element was designed by Wright and was custom made The terrace and garden, circa late 1930s. In the absence of large shade trees, the trellis draped in wisteria vines provided a lush shelter.

- The vista as seen from the fireplace hob during the summer of 1937, the Lake Street bridge clearly visible, spanning the Mississippi River between Minneapolis and St. Paul.

Although the imposing, north wall is much less obvious today, the Willey House turns its back on the neighborhood, in order to create a private enclave for its inhabitants.

In the early years at the Willey House the river bluffs rolled gently in a series of terraces and swales down to the Mississippi, the neighborhood below not yet built, and the landscape absent of trees.

Program By 1933, Wright knew the Wiley’s much he then understood their, lifestyle and financial constraints Wright knew that the couple would be doing a great deal of entertaining.

Without the benefit of domestic help Therefore, an open kitchen plan was essential.

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EX of IN House By Steven Holl

Location/Information Built in 2016 in Rhinebeck, (918 sq ft) a town in Dutchess County, New York, with a population of 7,548 at the 2010 census. On 28 acres of forested, the site has been established as an experimental topological landscape. the site was joined into one natural preserved landscape.

Steven Holl was born in 1947 in Bremerton, Washington. He graduated from the University of Washington and pursued architecture studies in Rome in 1970.

Considered one of America’s most important architects, Steven Holl is recognized for his ability to blend space and light with great contextual sensitivity and to utilize the unique qualities of each project to create a concept-driven design.

Steven Holl Plays with Spherical Voids to Explore New Typology For A Guest House.

The house’s geometry is formed from spherical spaces intersecting with tesseract trapezoids intended as a catalyst of volumetric inner space. The geometry of the spherical intersections begins to be felt at the entry porch; an orb of wood carved out of the house volume welcomes the entrant.

The shift in the section of the house alters internal space with vertical dynamic spatial overlap. Situated around one main volume, open to the second level, with the kitchen placed in the center, alternative use patterns are created. There are zero bedrooms, yet the house can sleep five. There is no use of sheetrock. The spherical intersection space was also crafted in curved, thin wood layers. All natural oiled wood and plywood interior finishes are part of the arte povera materiality and economy of this place of wabi-sabi.

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Interesting Facts Instead of fossil fuel, the house is heated geothermally.

Instead of grid power, the house has electricity from the sun. the whole house is energy independent, so it generates its own energy All light fixtures are 3D printed in PLA corn starch-based bioplastic. Glass and wood are raw locally sourced.

Materials The house was made almost entirely from raw materials by the builders, crafting solid mahogany window and door frames, a mahogany stair and birch plywood walls.

Manifesto The Seven point manifesto for explorations of “IN” to study architecture freed from the purely objective. from origins of architecture we explore “IN”.

“IN”: all space is sacred space. the architecture of “in” dominates space via space. intrinsic “IN” is an elemental force of sensual beauty.

“IN” is useless, but in the future will be used. purpose finds “IN”. the thing containing is not the thing contained.

Magnolia Mound Visitors Center

Location

Located in Baton Rouge, Louisianna, built in 2018, anout 4,000 sq.ft., and previously was a working plantation.

Mission Statement The mission was to illustrate and interprete the french creole lifstyle through educational programs, workshops, lectures, festives, and other special events.

Trahan Architects Architect Trey Trahan, firm founded in 1992 Trahan Architects is a smaller firm but broad in its scope. The firm is rooted in New Orleans and have a base in New York.

- The firm objective is that they believe that the mindful design of everyday spaces can elevate human experience and promote peaceful co-existence.

Design The design intent for the project was to emphasize the importance of the site and typography as it relates to Magnolia Mound. It includes a gift shop, restrooms, large meeting room/event room, auditorium, and a green roof system that features natural vegitation.

The Site

The minimal intervention sought to elevate the existing historic site before the building by establishing a clear threshold for visitors as they circulate around the base of the mound. As one transitions through the visitor center they ascend 2 the top of the mound, the building merges with the landscape to become obtrusive. The top of the structure aligns with the elevation of the high ground of the mound.

Materials The translucent channel glass was selected to subtly obscure occupants within and around the new building like an impressionist painting. Blurring the distinction between the new and old buildings and landscapes.

Museum Displays The museum display cases were designed as a complementary element.

They are aluminum pieces that try to bridge between a sculptural piece, furniture, and architecture. It also provides storage space and display opportunities for the visitor center.

Comments Personally, I believe the meaning behind the visitors center is very important.

It demonstrates how the past was history but now this is the future and it is important to realize it and move forward to a bigger and better future and life for the community.

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DIANNA HODZA