ARCH 3553 Portfolio

Nery Isaac UmaĂąa

University of Texas at Arlington / College of Architecture, Planning and Public Affairs Design Studio: Architecture I / Micheal Malone / ARCH 3553 / Fall 2020

Table of Contents 1 - Title Page 2 - Table of Contents 3 - Table of Contents 4 - Grid as a Planning Device 5 - Wall on Grid 6 - Wall as Armature 7 - Wall as Armature - Model 8 - Architectural Composition 9 - Draw Your Workspace 10 - Usonian Clerestory Frame - Smith House 11 - Auldbrass Guest Cottage - Planning 12 - Auldbrass Guest Cottage - Plans / Sections 13 - Auldbrass Guest Cottage - Axonometrics / Elevations 14 - Auldbrass Guest Cottage - Model 15 - Auldbrass Guest Cottage - Material Elevations 16 - Auldbrass: Frank Lloyd Wright’s Southern Plantation Abstracts 17 - Auldbrass: Frank Lloyd Wright’s Southern Plantation Abstracts

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Table of Contents 18 - Darwin D. Martin House Visitor Center Presentation 19 - Darwin D. Martin House Visitor Center Presentation 20 - Small House in an Olive Grove Presentation 21 - Small House in an Olive Grove Presentation 22 - Auldbrass Site Analysis Presentation 23 - Auldbrass Site Analysis Presentation 24 - Auldbrass Visitor Center - Site Analysis 25 - Auldbrass Visitor Center - Planning 26 - Auldbrass Visitor Center - Plan 27 - Auldbrass Visitor Center - Elevations 28 - Auldbrass Visitor Center - Sections 29 - Auldbrass Visitor Center - Interior Perspectives 30 - Auldbrass Visitor Center - Model 31 - Auldbrass Visitor Center - Model 32 - Auldbrass Visitor Center - Exhibit Area Plan / Modules 33 - Auldbrass Visitor Center - Exhibit Area Views 34 - Auldbrass Visitor Center - Exhibit Area Axonometrics 35 - Auldbrass Visitor Center - Exhibit Area Model

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Grid as a Planning Device When starting a project, grids provide a necessary visual structure for organizing spaces in a rational, disciplined manner. Frank Lloyd Wright’s 2’ x 4’ grid was used to design many Usonian homes, shown on the right. Two original grids for use throughout the semester are shown below.

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Wall on Grid

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ASSIGNMENT 3

WALL ELEVATION

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ASSIGNMENT 3

WALL PLAN

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The previously shown hexagonal grid was used for the first design exercise, an undulating wall with apertures to serve as a starting point for the next project.

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To add programmatic elements to the wall, an elevated platform is embedded into the wall, creating an observational space with shaded seating below.

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Wall as Armature

Architectural Composition

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Draw Your Workspace

Three perspectival sketches of my dormitory show my backup working environment to the studio.

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Usonian Clerestory Frame / The Smith House - Frank Lloyd Wright

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Planning

Auldbrass Guest Cottage

As a starting point for a sub-800 sq. ft. guest cottage on the Aulbrass property, two schemes were drawn up.

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Auldbrass Guest Cottage

Plans / Sections

SECTION FACING SOUTH

SECTION FACING NORTH

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AULDBRASS GUEST COTTAGE - SECOND FLOOR PLAN

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SECTION FACING EAST

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AULDBRASS GUEST COTTAGE - SECOND FLOOR PLAN

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AULDBRASS GUEST COTTAGE - LONGITUDINAL SECTION

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Axonometrics / Elevations

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Auldbrass Abstracts

Material Elevations

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AULDBRASS GUEST COTTAGE - WEST ELEVATION MATERIAL STUDIES

Auldbrass Guest Cottage

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Auldbrass: Frank Lloyd Wright’s Southern Plantation Abstracts Auldbrass Abstract Report 1

ARCH 3553

Nery Isaac Umana

INTRODUCTION David G. De Long’s biographical account of one of Frank Lloyd Wright’s most influential projects, Auldbrass, begins with a brief look into the property’s owners throughout time and the series of events that led the author to compile a story on the South Carolina home. De Long recognizes the structure as an archetype for a Southern country home, a unique form amongst Wright’s other projects which number over one thousand.

Charles Leigh Stevens, “one of Wright’s more demanding clients,” commissioned Frank Lloyd Wright in 1938 to design a homestead that was “strongly evocative of its southern location,” yet built with modern design principles and materials. What followed was a decades long journey to build out Wright’s vision amongst construction delays, cost overruns, changes in ownership, design changes, and a world war. Wright’s unusual design and the onset of World War II resulted in an extensive construction phases of the project that seemingly never ended as material shortages from the war only exacerbated the problems.

Stevens undertook the project for decades until both their deaths, in 1962 (Stevens) and 1959 (Wright). Jessica Stevens Loring, the daughter of the original client, and her husband would maintain the increasingly burdensome estate until they sold the property. Auldbrass would become a dilapidated series of structures surrounded by unkempt live oaks under its next owners. That is, until filmmaker Joel Silver bought the property.

De Long’s interest in Auldbrass arose from his association Edgar Kaufmann Jr.,” the celebrated Wright scholar”, who considered Auldbrass one of “Wright’s most important designs.” In 1987, author De Long and noted architectural historian Edgar Kaufmann Jr. were the guests of Victoria Newhouse (the head of the Architectural History Foundation) who organized a trip to Joel Silver’s recently purchased property. There they were greeted with fanfare as Eric Lloyd Wright (Wright’s grandson) and Silver outlined the restoration and expansion plans. Thereafter, De Long maintained a close relationship with all of the people mentioned above and began documenting the long history and unfinished history of Auldbrass.

He goes on by thanking Edgar Kaufmann Jr, who he viewed as the Louis Sullivan to his Frank Lloyd Wright, for encouraging him to learn about the site. Victoria Newhouse receives praise for offering access to project and offering suggestions during the writing process of the book. Joel Silver gets a shoutout for giving De Long unrestricted access to the site, discussing the manuscript of the book, and for providing up to date and historic photographs of architectural details. De Long also thanks the Loring family for their early contributions to the book which included an “extensive family archive of documents and photographs relating to its design and construction.”

Next, he thanks Eric Lloyd Wright who hosted the author at his Malibu studio to communicate his understanding of Wright’s drawings and for continuing to work on the site. Then he gives a shoutout to the Frank Lloyd Wright archives at Taliesin West for providing Wright’s original drawings and letters for publication. De Long later highlights the important of research grants from the Getty Center for the History of Art and Humanities, University of Pennsylvania, and the John Simon Guggenheim Memorial Foundation in addition to thanking a variety of colleagues from publishing companies and libraries. De Long’s appreciation for all the people above demonstrates the massive undertaking that writing an accurate history of Auldbrass proved to be. As De Long wrote his piece, Auldbrass would transform before his eyes due to the renewed interest and capital provided by new ownership.

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A WRIGHT ANGLE The most recent owner of the Auldbrass property, filmmaker Joel Silver, follows De Long’s introduction with an explanation as to why he’s worked to maintain the rural South Carolina retreat.

Silver starts by calling Auldbrass the antithesis of the “quintessential antebellum Southern plantation” as visualized in the influential film Gone with the Wind, a film that happened to be released the same year that Wright began designing the place with input from Charles Leigh Stevens. Unlike the white columned neoclassical displays of status that scattered the slave states, Auldbrass would be a sprawling complex of twenty interconnected building with low roofs and geometric forms. The “warm toned cypress buildings” of Auldbrass couldn’t be further from the imposing concrete and brick estates of the past that evoked the idea of white superiority that was so prevalent in the south.

Frank Lloyd Wright’s open and geometric plan for the site is seen as far more inviting than its precedents. Its floor to ceiling windows and low profile do little to interrupt the views of the flat, evergreen landscape of the deep south. A departure from the archetype of the southern plantation being a status symbol for the rich and powerful and a symbol of systematic oppression. Instead, Auldbrass paints the picture of a tranquil site that respects the nature around it while shedding most of the hideous baggage of South Carolina’s history of unethical servitude. Interestingly, Silver (and De Long) himself still calls the site Auldbrass Plantation, despite the obvious historical connotations of that word.

Silver first drove to the site in the fall of 1986, after restoring “one of Wright’s textile-block houses in California,” to find a largely run-down complex after Stevens and his descendants were unable to fully realize the vision of the late Frank Lloyd Wright. As such, the home and its surroundings were painstakingly restored and added to in order to stay true to the original plans from 1939. Soon, the director took upon the challenge to follow through with Frank Lloyd Wright’s plans as if it were one of his movie scripts saying “[b]oth start in the exact same fashion, a bunch of ideas on a piece of paper.” He credits Frank Lloyd Wright with having provided the script ,“the director, the actors, and the music” to a wonderful piece of architecture the Silver boldly believed he could make a reality. He goes on to admit that while he was originally in over his head, spending time in South Carolina in the winter with his growing family remains a delight to this day.

Silver thinks of the site like a screenplay that adapts to suit new characters and inhabitants, yet it remains “a much-needed constant” in the hectic lives of the director, his wife Karyn, and son Max. Silver states that Auldbrass remains an unfinished story with spaces yet to be planned, built, and refurbished. He calls it a “magical place” that fills him with a sense of awe making him “believe that anything is possible.” After all, when Silver had just purchased the site he had not yet started a family, nor had he made movies like Predator, Die Hard, or the Matrix trilogy yet. Somehow, he had sense that restoring the greatness of Southern Carolina home would be “a hit” just like the movies he would later produce.

Silver concludes by pointing out that the people and architecture in Gone with the Wind are frozen in time, while Auldbrass continues to expand and evolve as he seeks to fulfill Wright’s drawings one addition at a time. He seeks to make Wright’s “gentleman’s farm in rural South Carolina” timeless, not a product of its time like the plantation homes of the antebellum period in America. The “creative challenges” involved in realizing a building or set of buildings aren’t too different from the tasks of running a film set in Silver’s opinion and it’s become one of his life’s goals to uphold the beauty of “Frank Lloyd Wright’s genius.”

CHAPTER ONE: LEIGH STEVENS AND THE BEGINNING OF AULDBRASS After Silver’s contribution, De Long begins telling the story of Auldbrass chronologically starting with the set of circumstances that led to Charles Leigh Stevens acquiring thousands of acres in South Carolina. Stevens was born in Muskegon, Michigan, on May 24, 1895 to Clifton Delmar Stevens, who owned and operated the Muskegon Boiler Works. Said company, now named MBW, Inc. remains a source of pride for the industrious family. The stable source of income that arose from fabricating steel allowed the Stevens family to live comfortably in large home in Muskegon. After graduating from a local high school in 1912 and learning “mechanical drawing, woodworking, and metal casting at the Hackley Manual Training School”, Charles Leigh Stevens sought a degree at the Sibley College of Mechanical Engineering at Cornell University in New York.

However, difficulty in meeting the requirements in his Latin and Physics courses led to Stevens abandoning Cornell, to work at the Muskegon Boiler Works and start a family. Still, inspired by the lessons learned from Cornell professors like Dexter Kimball, Stevens quickly worked his way up the chain of command to show that his success was not only determined by his father. Stevens’ practice of giving incentives to the workers who met his “high standards of production” would garner the attention of one his father’s associates. Prosperous Frenchman Charles Eugene Bedaux, “an efficiency expert of considerable skill” offered Stevens’ a job at his firm in 1920 after having consulted the elder Clifton for several years. Working alongside Bedaux, Stevens quickly amassed enough wealth to buy “the New England branch of Bedaux’s business for $100,000” in 1924 at the age of 29. This career move would propel Stevens to the forefront of increasing industrial production by helping companies find ways to save time and improve labor efficiency. Stevens would develop a mathematical formula in order to quantify the effectiveness of a workforce, naming it after his former employer Charles Bedaux.

“Bedoux’s principle” consisted of four main points: (1) the ability of man to produce energy is an unchanging constant, (2) industry is the application of said energy to change material, (3) the time and energy required to complete an industrial process can be measured, (4) and all of the above can be quantified into point values to determine the efficiency of a business. His success in applying time and motion studies to a variety of different companies of different sizes and complexity led to him making millions by the mid-1900s.

Furthermore, Stevens was active on the boards of several other companies throughout the years often acquiring land in return for his work. In 1925, he purchased 130 acres of farmland near Boston and hired the Boston firm of Perry, Shaw, & Hepburn to design an “expansive estate” on the property. However, construction moved slowly and only a “gardener’s cottage” and the basement of a larger house had been built by the 1929 Stock Market Crash. After the Great Depression, Stevens moved out of the Westwood, Massachusetts home and continued expanding his real estate portfolio. In the process of saving the Savannah River Lumber Company, Stevens took 40 percent of the company stock and negotiated for the ownership a “4,000 acre tract of land” regardless of whether the newly restructured lumber corporation survived or not.

The “unusually flat” and sprawling site located only twenty miles from the Atlantic and halfway between the major cities of Charleston and Savannah lies largely in the flood plain of the Combahee River. Originally known as “the Old Brass or Jackson Tract” the site contains the memories of numerous slaveholding estates that worked the land for cash crops such as tobacco, rice, and cotton for owners who were only present during the cooler months. As De Long puts it, the “fabled images of southern plantations reflect this definition of privileged identity” and this architecture was largely neoclassical.

Edward Durell Stone’s Mekpin Plantation is a notable exemption built around the same time as Auldbrass though. After the Civil War, the cash crops of old became unprofitable without slave labor and the land became largely used for lumber production as well as hunting. By the middle of the twentieth century, the area was a common winter retreat for wealthy northerners. It’s in this context that Stevens called upon Frank Lloyd Wright to design Auldbrass on largely undeveloped land.

Research / Precedents CHAPTER TWO: FRANK LLOYD WRIGHT AND THE DESIGN OF AULDBRASS De Long’s second chapter begins with a brief contextualization of Frank Lloyd Wright’s career arc. The architect had already designed influential projects in his early thirties by the year 1900, with work like the Prairie Houses starting to receive acclaim in Europe. His early works were seen as “forming the basis of modern design.” However, this period of success was short-lived due to great upheaval in the Wright’s personal life. His “elopement with the wife of a client” triggered a drastic reduction in the number of commissions he received while a “determination to change the direction of his work” made further lowered the number of clients seeking his services. From 1910 to the early 1930s, Wright worked diligently on the few commissions that came his way in order to make ends meet. During this period, his home and studio at Taliesin burned down twice, the first of which was an attack on his family that led to several deaths by a disgruntled employee. He fell into bankruptcy and became homeless after Taliesin was rebuilt in the aftermath of yet another fire, while his second marriage turned into a bitter court battle. Things began to turn after he opened the Taliesin Design Fellowship whose apprentices provided him with professional and financial support and he was finally able to marry his third wife, Olgivanna Milanoff. The commissions of Fallingwater (1934) and the S.C. Johnson & Son administration building would propel him to the national spotlight once again.

Around this time, Charles Leigh Stevens must have seen Wright’s work in publications like The New Yorker, Life, and the Architectural Forum. De Long contends that Stevens likely already knew about Wright’s work considering the he had visited the Meyer May House growing up in Michigan.

Nevertheless, Stevens’ first meeting with the man he called “the greatest living architect” occurred in late 1938. He tasked the architect with designing “an efficient and profitable southern plantation dependent not on servitude, but instead made workable by well-paid and comfortably accommodated labor.” Stevens also stipulated that he wanted Auldbrass to look unlike the archetypical ‘plantation home.’

After Wright received photographs and surveys from the site, the planning of Auldbrass began in earnest. Stevens provided the architect with books full of images of large estates framed by the picturesque surroundings to exemplify the type of structure that he didn’t want. Dated June 23, 1939, Wright’s first drawings (titled “Oldbrass”) showed a sprawling complex of low buildings arranged on a loosely hexagonal grid. The preliminary plan contained a main house and guest house along the edge of the water followed by stables, kennels, cabins arranged on a parallel line, with a hexagonal pavilion connecting the two groups of buildings. Stevens reacted favorably to the plan, suggesting a series of additions including a swimming pool, extra rooms, a larger kennel for dogs, more stalls, a small cottage for Stevens, and a cabin for the largely African American staff (indelicately called a “Negro cabin”).

What followed was a six-month stretch of communications and concessions between client and architect. Stevens suggested minor alterations after he doubted the “feasibility of using canvas flaps with wood stretchers in place of more conventional glass and wood-framed doors,” and slight programmatical and size changes to some rooms. The newly divorced Stevens was eagerly impatient to begin work on the site, but he had to wait for Wright regardless of the legal issues his divorce brought up. A finalized set of drawings, dated January 10, 1940, showed a sprawling group of low-rise buildings with angled walls connected by a series of hexagonal pavilions and gravel walkways. The residential wing of Auldbrass is dominated by a two-story guest house that is axially connected by a covered pathway with an adjacent pool that leads to Stevens’ hexagonally planned cottage. These structures are located right on shoreline with a barge next to the guest home interacting directly with the water as a banquet space. An enlarged group of farm and auxiliary buildings like parallel to the residences like in the preliminary drawings. Interestingly, the final set of drawings that Wright produced closely resembled the rough plan from six months earlier and Stevens was pleased with the results throughout.

CHAPTER THREE: GEOMETRIC INVENTION IN THE SHAPING OF AULDBRASS Frank Lloyd Wright’s work for Leigh Stevens represented a shift from the imposing symmetrical plantation homes of the south to an architecture that embraced its surroundings through the use of materials, ornament, and organization. The grand entrance flanked by trees was replaced with an angled driveway that led to a group of farm buildings that framed views of the residential portion.

Rather than using a symmetrical beaux arts plan, Wright employs a hexagonal grid with multiple axes.

The same geometries are used to create ornament that gives Auldbrass a sense of place. Thanks in part to his Unitarian upbringing, Wright practiced an organic architecture in which buildings are a reflection of the order of the natural world. Precise Euclidian geometry gave Wright’s plans discipline while also giving him a range of options. The hexagonal grid at Auldbrass gave him six different angles to orient the walls to; creating unity. From a young age, the architect showed a fascination with combining and altering Euclidian shapes to make compositions. For instance, “Wright consistently attributed his early fascination with geometry to the Froebel toys that his mother had given him as a child.” Playing around with the set of blocks to create unifying patterns allowed him to gauge the spatial qualities of the implied shapes within the toy blocks. Later in life, the writings of nineteenth century French rationalist Eugene-Emmanuel Viollet-Le-Duc taught him the importance of using materials to honestly express the structural systems being used. Furthermore, Viollet-Le-Duc’s insistence that unity was one of the more essential elements of design encouraged Wright’s use of square, triangular, and hexagonal grids as a planning device.

Several unbuilt structures designed by Wright inspired the design of Auldbrass. His first use of hexagonal geometry was in an unbuilt design for a floating cabin on Lake Tahoe in 1923. It had a plan composed of three overlapping hexagons to create space and its angular profile was intended to make moving the craft easier. Next, a vast desert compound near Death Valley for A.M. Johnson was designed with an octagonal chapel being the centerpiece of a sprawling complex with low walls and service buildings angling outward from the center. Thereafter, Wright designed an even larger plan for a resort named San Marcos on the Desert, near Chandler, Arizona. At San Marcos on the Desert, Wright committed to organizing the plan using equilateral triangles that “created richly faceted spaces” and intended to use masonry blocks to relate the structures to the surrounding mountains. Unfortunately, none of the desert compounds were built. Ultimately, the Hanna House was the spiritual predecessor to the planning ideas used at Auldbrass. The Palo Alto home was laid out on a sprawling hexagonal grid the Wright would come to call the honeycomb. Interestingly, Wright likely derived the honeycomb planning idea from one of his apprentices, Cornelia Brierly, who used a hexagonal unit in a design for an aunt.

Wright considered the obtuse angles of the hexagon key to emphasizing a “more relaxed, more flowing sense of space” that invited people to discover the site by making movement easier. Eventually, Wright began employing the square, circular, triangular, and hexagonal grids depending of the site conditions to try to create three-dimensional complementary structures to the pre-existing site.

Wright also sought to extend the themes explored in plan to the sections as well. A typical section at Auldbrass shows a dramatically inclined exterior wall with protruding rafters, hinged boards for increased ventilation, clerestory windows, and decorative rain gutters and downspouts. The angle at which the rafters and stanchions meet is analogous to the hidden diagonal sheathing used in conventional construction, so the unit is structurally sound yet unique.

At Auldbrass, Wright conventionalized many of the elements of the surroundings inspire the form and ornament of the buildings. The atypical angled exterior walls mimic the leaning oak trees of the site which Wright admired in how much weight they supported, and the ornamental downspouts remind visitors of the intertwined Spanish Moss hanging from the trees. In addition, the wooden cutout clerestory windows are adorned with conventionalized versions of arrowheads and feathers that reflect “the Indian ancestry of the land.” The addition of these elements serve to make Auldbrass a unified work of art that truly celebrates country life while respecting the landscape simultaneously.

CHAPTER FOUR: BUILDING AULDBRASS: THE FIRST CAMPAIGN The collaboration of Stevens and Wright in the construction of Auldbrass began in earnest with an eager and wealthy client. However, a variety of factors including difficulties gathering materials, design problems, and design changes led to a prolonged building phase that nearly bankrupted Charles Leigh Stevens.

Construction began in September 1940 amidst the material shortages caused by the United States increasing involvement in World War II. Despite Stevens’ business connections, shortages threatened to make substitutions necessary. Acquiring the sheet copper that Wright specified for the roof became a subject of concern. The architect agreed to substitute copper foil to preserve the bluegreen color that was desired and denounced any alternatives, stating “important note: no aluminum roofs whatsoever!” On the subject of the wood siding, the chosen clear cypress was expensive and in short supply, particularly in large enough sizes to accommodate the 12-inch boards to be used on the outer face of the interior and exterior walls, as well as the ceilings. Wright suggested altering the type of wood to preserve the wide boards as envisioned, but Stevens insisted on narrower boards of the cypress instead. Later, wider cypress boards were eventually found and the effect that Wright desired was achieved. Another component of the design, the canvas panels, were thrown out by Stevens in favor of more conventional glass doors. The canvas flaps would only be used in the staff cabins.

The complexity of Wright’s drawings also created hurdles in the construction process. The lack of right angles and the inward slope of the walls in the drawings made it hard for local builders to understand them without Wright’s direct supervision. Furthermore, the working drawings (dated August 7 and August 10, 1940) were done by two of Wright’s senior apprentices before any of them had visited the site. Ultimately, a far less experienced apprentice named Peter Berndtson was assigned to supervise construction, without a finalized site plan. Stevens would select the well-established Charlotte contractor McDevitt & Street Company to build Auldbrass on a “cost plus fixed fee basis.” C.P. Street estimated the cost for the main house to be $17,163, $28,153 for the guest house, connecting passage, and car shelter, and $43,002 for the remaining farm buildings. Due to the complexity and ambiguity of the plans, the company stipulated that it “will request extra payment for such additional work,” in anticipation of extended labor and construction costs. After finally receiving more detailed information of the site in the summer of 1941, Wright decided to reverse the scheme of the plan, mirroring the drawings and flipping the positions of the Main and Guest Homes. The new set of drawings gave many location-less structures (housekeeper’s cottage, farm buildings, staff cabins) a rough place on the site, and the exterior profiles of the redone plans better related to the actual line of the bank which wasn’t as steep as Wright anticipated. That upcoming winter, local press became obsessed with ongoing construction in Yemassee. The “Crazy Plantation” with its lack of right angles was derided in the Charlotte Sunday Observer as a rich man’s folly. Stevens was not pleased with the unwanted attention and requested the plans for an entrance gate from Wright, who ironically may have approved the publication of the story in the first place. Communication issues further slowed progress at the site.

Wright didn’t have a telephone at Taliesin West, so messages had to be relayed to the Arizona Biltmore in Scottsdale where Wright was more available. Nevertheless, Wright often missed agreed upon appointments to discuss the project, and Stevens grew more and more discontent.

By 1943, Stevens began encountering financial difficulties as expenses at Auldbrass added up and years of working for free to help companies during the war effort drained his pockets. Stevens became so entrenched in improving the efficacy of war production that his visits to Auldbrass began to dwindle and his payments to contractors slowed as his financial reserves began to disappear. McDevitt & Street began pursuing Stevens in court on March 13, 1943 over $38,432.20 in unpaid fees, but construction had already stopped by December 1942, with unfinished interiors, plumbing fixtures, and without many of the planned buildings. Stevens would ultimately settle the dispute with the contracting firm and barely kept the property.

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Darwin D. Martin House Visitor Center

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Research / Precedents

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Small House in an Olive Grove

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Auldbrass Site Analysis

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Research / Precedents

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Auldbrass Visitor Center

Site Analysis

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AULDBRASS SITE ANALYSIS / YEMASSEE, SOUTH CAROLINA

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Planning VISITORS CENTER AT AULDBRASS / SPATIAL PLANNING DIAGRAMS NERY ISAAC UMANA ARCH 3553 / FALL 2020

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GIFT SHOP

CAFE

ROOF TERRACE

2400sqft 2000sqft

MECHANICAL / STORAGE

TERRACE

ELEVATOR / STAIRS MENS RESTROOM 150sqft

WOMENS RESTROOM 150sqft

STAFF OFFICE 200sqft

EXHIBIT SPACE

OFFICE FOR ARCHIVIST

AUDITORIUM

ENTRY / RECEPTION

PARKING

150sqft

RESEARCH AREA / ARCHIVE

TECH ROOM 2400sqft

4000sqft

2000sqft

2000sqft

OUTDOOR DINING AULDBRASS COMPLEX

ROOF TERRACE CAFE AUDITORIUM

TERRACE

ELEVATOR / STAIRS

TECH ROOM

2000sqft

2400sqft

GIFT SHOP EXHIBIT SPACE

OFFICE FOR ARCHIVIST 150sqft

2400sqft

RESEARCH AREA / ARCHIVE

WOMENS RESTROOM

2000sqft

4000sqft

MECHANICAL / STORAGE

150sqft

MENS RESTROOM

STAFF OFFICE

ENTRY / RECEPTION

200sqft

150sqft

MECHANICAL / STORAGE

2000sqft

1sqft

VISITORS CENTER AT AULDBRASS / SPATIAL PLANNING DIAGRAMS NERY ISAAC UMANA ARCH 3553 / FALL 2020

16sqft

1/4” = 1’

After picking a desirable site for a proposed visitor center came the task of allocating ~17,000 sq. ft. among the spaces. The diagrams above show the process in detail.

PARKING

25

Auldbrass Visitor Center

Plan

RESEARCH LIBRARY / ARCHIVE

EXHIBIT HALL

ROOF TERRACE

AUDITORIUM

OUTDOOR DINING GIFT SHOP

CAFE RECEPTION

STAFF

AULDBRASS VISITOR CENTER PLAN NERY ISAAC UMANA

26

FALL 2020

N 0' 2' 4' 1 8"=1'

8'

16'

32'

64'

128'

Auldbrass Visitor Center

Elevations

NORTHWEST ELEVATION

NORTHWEST ELEVATION

SOUTHEAST ELEVATION

NORTHEAST ELEVATION

NORTHWEST ELEVATION

AULDBRASS VISITOR CENTER MATERIALITY STUDIES NERY ISAAC UMANA

FALL 2020

0' 2' 4'

8'

16'

32'

64'

128'

0' 2' 4'

8'

16'

32'

64'

128'

1 8"=1'

SOUTHWEST ELEVATION

AULDBRASS VISITOR CENTER ELEVATIONS NERY ISAAC UMANA

FALL 2020

0' 2' 4' 1 8"=1'

8'

16'

32'

64'

128'

NORTH ELEVATION

NORTHWEST ELEVATION

SOUTH ELEVATION

EAST ELEVATION

NORTHWEST ELEVATION

AULDBRASS VISITOR CENTER MATERIALITY STUDIES NERY ISAAC UMANA

WEST ELEVATION

AULDBRASS VISITOR CENTER ELEVATIONS NERY ISAAC UMANA

FALL 2020

0' 2' 4' 1 8"=1'

8'

16'

32'

64'

128'

FALL 2020

1 8"=1'

27

Auldbrass Visitor Center

Sections

SECTION A

SECTION B

SECTION C

SECTION D

AULDBRASS VISITOR CENTER CROSS SECTIONS NERY ISAAC UMANA

FALL 2020

0' 2' 4' 1 8"=1'

8'

16'

32'

64'

WALL SECTION B

WALL SECTION A

128'

AULDBRASS VISITOR CENTER WALL SECTIONS NERY ISAAC UMANA

FALL 2020

0' 1"=1'

1'

2'

4'

8'

16'

0' 2' 4'

8'

16'

32'

64'

128'

Conceptual sections and structural diagrams explore how such a large building could be built on unstable South Carolina soil.

AULDBRASS VISITOR CENTER STRUCTURAL CROSS SECTIONS

28

NERY ISAAC UMANA

FALL 2020

1 8"=1'

Interior Perspectives

Auldbrass Visitor Center

These views illustrate the variety of spaces that can be achieved by using an unconventional grid extruded from the ground.

29

Auldbrass Visitor Center

AULDBRASS VISITOR CENTER EXHIBIT HALL PLAN NERY ISAAC UMANA

FALL 2020

Exhibit Area Plan / Modules

0' 2' 1/4"=1'

4'

8'

16'

32'

64'

An exhibition area for a Frank Lloyd Wright project should show a similar attention to detail, from its formation in plan to the furniture used.

Display modules were designed in accordance with the established grid system.

32

AULDBRASS VISITOR CENTER EXHIBIT HALL MODULES NERY ISAAC UMANA

FALL 2020

1/2"=1'

Exhibit Area Views

Auldbrass Visitor Center

33

Auldbrass Visitor Center

AULDBRASS VISITOR CENTER EXHIBIT HALL AXONOMETRIC NERY ISAAC UMANA

34

FALL 2020

0' 2' 1/4"=1'

4'

8'

16'

Exhibit Area Axonometrics

32'

64'

AULDBRASS VISITOR CENTER EXHIBIT HALL AXONOMETRIC NERY ISAAC UMANA

FALL 2020

0' 2' 1/4"=1'

4'

8'

16'

32'

64'