ARCH 3553 PORTFOLIO

PORTFOLIO

RAMIRO RODRIGUEZ

FALL 2020 ARCH 3553 PROFESSOR MALONE

TABLE OF CONTENTS

■ (1 & 2) MOSSBERG RESIDENCE STUDY

■ (3) GRID DEVELOPEMENT

■ (4-6) WALL + GRID

■ (7) AFFLECK HOUSE CLERESTORY STUDY

■ (8) ABSTRACT 1

■ (9) ABSTRACT 2

■ (10) DWELLING VS. LIVING &

MY WORKSPACE ■ (11) ABSTRACT 3

■ (12) GUEST COTTAGE PLAN CONCEPTS

■ (13 & 14) GUEST COTTAGE

■ (15) ABSTRACT 4

■ (16 & 17) FORT YORK VISITOR CENTER

STUDY ■ (18) AULDBRASS SITE ANALYSIS

■ (19 & 20) AULDBRASS SITE

■ (21 & 22) VISITOR CENTER DIAGRAMS

■ (23-26) AULDBRASS VISITOR CENTER

■ (27-30) AULDBRASS EXHIBIT DESIGN

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MOSSBERG RESIDENCE STUDY

THIS WAS A BRIEF PROJECT FOCUSED STUDYING FRANK LLOYD WRIGHTS USONION STYLE HOMES AND BECOMING FAMILIAR WITH USING GRIDS, DIFFERENT GEOMETRIES, AND VOLUMES TO DESIGN HOMES THAT SUITED EACH CLIENT.

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THE FIRST PROJECT OF CREATING GRIDS AND-

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GRID DEVELOPEMENT

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CHOOSING ONE TO USE IN THE FUTURE.

WALL + GRID

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NORTHEAST ELEVATION

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NORTHWEST ELEVATION SOUTHEAST ELEVATION

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SOUTHWEST ELEVATION

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THE WALL WAS THE FIRST PROJECT THAT REQUIRED THE USE OF THE GRID IN EVERY FORM SUCH AS PLAN AND ELEVATION. IT REQUIRED THE IMPLEMENTATION OF SEVEN DESIGN PROGRAMS SUCH AS A PLACE TO HAVE A SNACK, SIT IN THE SHADE, READ A BOOK, WRITE A POEM, DRAW, AND A PLACE TO OVERLOOK THE WALL. THE GRID ALLOWED FOR THE CREATION MANY DIFFERENT RECTILINEAR FORMS THAT THESE PROGRAMS AND ALLOW FOR A JOURNEY FROM ONE TO ANOTHER. ON THE MIDDLE OF PAGE FOUR IS A COMPOSITION TO DEPICT THE DIFFERENT VIEWS FROM MULTIPLE PROGRAMS. PRODUCED BY AN AUTODESK STUDENT VERSION

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AFFLECK HOUSE CLERESTORY STUDY

THIS WAS A BRIEF STUDY OF HOW FRANK LLOYD WRIGHT IMPLEMENTED CLERESTORY WINDOWS IN HIS USONION HOUSES. NOT ONLY DID HE ORGANIZE IT IN THE DESIGN TO ALLOW MORE NATURAL LIGHT IN BUT ON HIS ORGANIZATIONAL SCHEMES, SUCH AS GRIDS TO ALLOW FOR A CLEAN AND FLUID DESIGN.

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ARCH 3553 Professor Malone 9/12/20 Introductions Abstract Architecture has long been a respected art by many known and unknown historical individuals.

Some of these masterpieces have made it in the books and, sadly, many have not quite made history or been preserved. A piece that almost did not make the cut is by the famous Frank Lloyd Wright, which he named Auldbrass. Frank Lloyd Wright designed many historically renowned architectural, and nonarchitectural, pieces in his lifetime. When Wright designed, he did not only want to create a design that would suffice for the time being or not even only for the specific client at hand. He would often strive to create and archetype, which is the prototype for specific building functions. For example, Wright designed the Robbie House which was the archetype for prairie houses, this being designed with great horizontality, long cantilevers, and much more.

ABSTRACT 1

Frank Lloyd Wright was presented and commissioned with a project from C. Leigh Stevens to design a highly specific residence for him. Knowing these difficulties with the project itself and the owner as well Wright still proceeded to take on this project. Yet once again Wright not only took on this project as a quick design project for the client and get it over with, he wanted to accomplish something that has not been done before. Which he challenged himself to create the archetype of this project which this in turn also elongated the time of construction for this project to be completed. Wright had taken on these challenges and was also faced with major setbacks due to other circumstances and still pulled through to continue this project. This only goes to show his determination and drive to accomplish his goals and create what would eventually become a masterpiece. He also, which he rarely seemed to do, comply with clients’ requests and work around his ideas to meet their needs. This showed his respect for the client and willingness to please them since they are the individuals that are familiar with these specific sites.

Unfortunately, this site was left unfinished. Mid construction wright past away leaving Auldbrass to the client, Stevens, who sadly also passed before the finishing of the project. In the long run this, what intended to be masterpiece, was neglected and not seen for the potential it had going for during its origin. Luckily, as many great masterpieces do, Auldbrass became rediscovered, and was finished by a new client, Joel Silver, who went all in and dedicated all he could towards redeeming this project. Also a key part to this resurrection was the fact that he recognized and respected Wrights hard work in his design and did his very best to preserve these ideas through the completion of this project. Which inspired the author of this book to write a highly detailed book over this project which is expressed it could not have been done without the help of many others. This goes to show that one piece of architecture touches many people and inspires them to learn more about these reasonings for the design, or encourage them to preserve their design.

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Professor Malone Arch 3553 9/15/2020 Chapter 2 Abstract

ABSTRACT 2

Charles Leigh Stevens was a very sophisticated character, he has an incredible story as an individual. From early adulthood he did not have too much to start with and learned multiple skills through his different areas of training and working. Soon after leaving college he became recognized in the business world as a one of the best consultants that assisted any form of business in increasing their production yet always decreasing their labor cost. Stevens soon worked his way into a business and as the depression progressed he worked it out to where he was the owner of the entire company within years. So it would be easy for one to say that this man is a genius in his profession and the business world, as one would also say about Frank Lloyd Wright as he was coming back in the later years of his profession.

During the time of Leigh Stevens being interested in building on the land he acquired from the new business called Oldbrass located in the southern regions of South Carolina of course Stevens would only want the best designer to compose the design for his ideal estate. Frank Lloyd Wright had many other projects going on at the time of Stevens proposing his project to him. Yet, I feel as if Wright had almost equal respect for Stevens as stevens had for him, as well as a great interest in a new type of design to add to his portfolio, so Wright could not turn this commission away as it was a new intriguing challenge for him. Stevens familiarized himself with the general since of Wrights work as well as the different types of styles of homes and estates that related to the specific type he was looking for. From the beginning it seemed as if Stevens did not want the typical estates in the general area or this type in general. So, unlike most other designs even his pretentious clients, Wright allowed and respected Stevens inputs and allowed them to influence his design including his thoughts of where to start the design and even some major ones that caused him to edit the final plans.

As for the house itself, Wright incorporated many different design elements to portray this type of house and to bring all of the programs together. Wright used tilted walls and dark color and ornament to decorate the facades unlike all other surrounding estates, as well as creating the feeling as if the roof was floating over the house. This time frame was after the time that Wright had gone in great studies and creating the new style of usonian homes here in the U.S. which I noticed a couple of design similarities between some usonian designs and Auldbrass. Including the carport connected by coverage to the house and other design elements. He had also just finished The Hanna House a year or so before the design of this house which was also based off of a hexagonal grid that allowed elongated intricate plans, as well as those beautiful pointed cantilevers. Unlike most estates of this style if feel like Stevens wanted and Wright designed all of the programs to have similarities and flow together which the hexagonal grid allowed him to do.

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Professor Malone Arch 3553 9/19/2020

• • • • • • • • • • • • • • • • • • • •

The utmost priority, mostly determined by my mother, was that the spaces within the house are all comfortable.

Typically the colors of the walls are more warm colors like a mid-toned yellow or cream colors.

The furniture is more made of fabric furniture rather than leather or other materials also is bought based off of its comfortability.

Some of the most important times are related to food such as in the kitchen or at the kitchen table.

Very open floor plans.

The furniture, cabinets and countertops tend to lean towards the darker tones to create a darker atmosphere.

The decor are more cool colors such as lamps glass fixtures and pictures.

There is nothing really exotic or out of the ordinary that would stand out or create any distraction Small gathering areas have always been the most comfortable and used spots throughout the house We would gather in my parents room to either watch tv or just talk for hours.

My dad has always had his own personal office that he would share with us if we had to do an important project Each room is more personalized per whoever lives in it or for whichever purpose it is intended to be used for Most table tops are made out of deeper wood tones with variants of wood and metal bases.

Each table, no matter the location in the house, is placed on a rug or carpet.

Lighting is kept to a minimal to create more of a darker yet comfortable atmosphere.

For the most there are no curtains just white shutters, that for the most part stay shut but when opened reflect a lot of natural light into the house.

There is hardly anytime spent outdoors but the large windows and glazed doors provide many great views of the surrounding environment.

The patios and exterior still holds sentimental reasoning though because that is used more as an escape from everything else.

The location is generally in a more secluded area or on a non-busy street to where the surrounding city sound is not so significant.

Always like having large trees and exterior calm spaces

DWELLING VS. LIVING & MY WORKSPACE

My Perception of Dwelling

HERE WE DID A REFLECTION AND ANALYSIS OF WHAT WE FIND COMFORT IN THROUGH A HOME, AS WELL AS ANALYZE OUR CURRENT WORKING SITUATION. THESE STUDIES HELPED BECOME SELF AWARE OF HOW EACH DESIGN ELEMENTS AND REASONING ARE IMPORTANT AND IMPACT INDIVIDUALS IN THEIR OWN UNIQUE WAYS.

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Ramiro Rodriguez Professor Malone Arch 3553 September 22, 2020 Chapter 3 Abstract

ABSTRACT 3

In this chapter the David G. De Long focused in on the geometrical qualities in architecture.

There was plenty of focus on Frank Lloyd Wrights history in Euclidean geometry and writings of EugeneEmmanual Violet-Le-Duc whom sought unity through elements of design. Ultimately there were many influential geometrical teachings throughout the years where that eventually played into his thought process as he would take on a new project, and ultimately in the Auldbrass site.

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From Wrights early childhood years to his last few years he was constantly learning new techniques and attempting at using multiple different geometries withing his planning of designs. He did this by studying various works of previous makes and the shapes themselves. He would take a single shape and attempt to decipher how these two-dimensional shapes can be manipulated in threedimensionally space. He also studied on how shapes react together with multiple shapes bisecting or superimposing them in his design elements. These practices shaped many of his future designs, which as stated before from the his early childhood. Wright would practice studying these geometries through many of his designs from early in his career and progressed and became more intricate throughout his latter years. This was very much due to the fact that he constantly pushed his education and never ceased to learn new strategies or techniques to perfect his prototypes. Through these studies Wright was also learning how to manipulate these different grids and spatial conditions to create not just more aesthetically pleasing spaces but spaces that were more comfortable to inhabit as well.

Ultimately Frank Lloyd Wright was able to incorporate many of these highly refined design elements in his design of Auldbrass. Wright practiced with many different gridding styles including rectilinear, circular, the equilateral triangular was one of his preferred shape to design with due to the equal sides and angles. In the end after many years of practice and manipulation Wright came to the conclusion that the hexagonal grid was one of the prime gridding systems to design with due to the six sides and obtuse angles. This meant various ways to design the walls of a structure as well as avoiding many harsh angles throughout the structures themselves. As I mentioned in the abstract prior to this, Wright had just designed the Hanna House that was also based off of the hexagonal grid and allowed Wright to perfect some of the design elements within Aldbrass. Wright allowed the grid to create a site that shared many design elements, as well as separated many different programs. For example, in the main house he designed many of the elements including walls and other structures to follow the hexagonal grid. He very delicately and what would almost be unnoticeable designed the entire site to pretty closely follow the grid all of the way through and by doing so he set up a hierarchical system. This system would not be noticed unless highly dissected by noticing the way that he designed each building and as he moved down the system he began to design more with ninety degree angles rather than the angles of the hexagon. Wright thought through each of these elements whether it be placement of walls/windows and the angles of each as he did in many designs but combined many others through this single design itself to create an entire comfortable site while creating magnificent views and spaces.

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GUEST COTTAGE PLAN CONCEPTS AFTER MORE STUDIES THE ABOVE PLANES WERE CONSTRUCTED TO CREATE A MORE OPEN AND COMFORTABLE SPACE. PRODUCED BY AN AUTODESK STUDENT VERSION

ON THE LEFT WERE INITIAL CONCEPT SKETCHES FOR THE GUEST COTTAGE DESIGNED TO SUITE THE AULDBRASS SITE.

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GUEST COTTAGE

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MATERIAL STUDIES

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STUCCO CONCRETE BRICK HORIZONTAL WOOD PANELLING STEEL GLASS

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CONCRETE BRICK VERTICAL WOOD PANELS STEEL GLASS

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FIRST FLOOR PLAN

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ARCH 3553 Professor Malone 10/10/20 Chapter Four Abstract

ABSTRACT 4

Through the process of the creating the entire Auldbrass site there were vast amount of complications varying in reasoning and category that they fell under. Many of these issues were resolved yet some ended up just being erased or scrapped. These caused more than enough stress for the contractor, designer, and client for longer than anticipated. Yet they all incorporated into each issue that came up throughout this process along with current events of the time that affected them personally as well. From the very beginning to end this process was tedious, complicated, and stressful for this site to ultimately be left neglected.

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During the beginning of the building process multiple of Wrights trusted apprentices and prodigies were appointed to oversee the project throughout the building process. Finally they settled on one being Peter Berndtson who saw the process through to the end. After this Stevens took it upon himself to choose the contractor, from what I think is his sense of urgency to begin building as he had been waiting for this day to come. This brought one of the first issues of the contractors guiding him to choose a specific type of contract that he was told would ultimately save him money. The company assigned Floyd Haddock to oversee all the construction throughout this project. Which he did very well at as well as acting as the middleman for Wright and Stevens in many cases as he would address certain issues throughout this process and continue building at the best rate as possible.

One of the first building issues addressed was that Wright had requested for topography drawings of the site because he was still working with the previous references that Stevens had provided. These proved to be difficult to understand because even Wright was unable to piece together the whole site through viewing these images. These topography drawings were never sent so Wright continued to struggled to accurately design, though Stevens had persistently pursued Wright and attempted to have him visit the site Wright ignored these requests as long as possible. One major complication that arose due to these two issues was that they realized that the main house was not going to correctly fit on the site and that it would be too close to the bank of the body of water causing it to be unstable. So this was brought up to Wright who after Stevens constantly pushing for the revised plans Wright sent them only to have reversed the house and the guesthouse. This was a great solution due to the builders not having to make many changes in plan and them being able to quickly get this done because they had previous experience of building with these odd angles and materials as well as Wrights more detailed drawings of how to build the elements throughout the house. There were many other what were minor compared to the last yet still very important issues that were brought up. Such as the unfitting doors which led them to hire a specialist that would have to craft them. As well as the canvas doors that was ultimately decided to be glass with wood panels by Stevens. He decided this on his own, though Wright had pushed the canvas doors. There was also the guesthouse that felt would fit the site due to its design so they ended up leaving it out.

FORT YORK VISITOR CENTER STUDY

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THIS WAS THE INITIAL STUDY OF VISITOR CENTERS TO FURTHER UNDERSTAND HOW MANY OF THEM AND DESIGNED AND THEIR PURPOSE.

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D. DUVANE CONSERVATION EASEMENT

TOMOTELY PLANTATION CONSERVATION EASEMENT

OAK GROVE/ W. C. CAMPBELL CONSERVATION EASEMENT

AULDBRASS CONSERVATION EASEMENT

R. TAYLOR CONSERVATION EASEMENT HUSPAH/ H.C. JONES CONSERVATION EASEMENT

BULLPOINT LP CONSERVATION EASEMENT

ROSE HILL PLANTATION

NATIONAL WILDLIFE REFUGE

LISTING OF CONSERVATION EASEMENTS & PRESERVED LAND

W

2

2

2

N

3

8

11

3

9

12

10

13

9

4

14 16 17

15 20 18

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1 5

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S

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AULDBRASS SITE ANALYSIS

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VISITOR CENTER LOCATION

RIVER ROAD

CAR ACCESS

WINTER SOLSTICE

SUMMER SOLSTICE

SUMMER WINDS

WINTER WINDS

1. MAIN HOUSE 2. GUEST COTTAGES 3. STAFF CABINS 4. CYPRESS LAKE 5. SWIMMING POOL 6. AVIARY 7. TENNIS COURT 8. BARN 9. HORSE STABLES 10. WORKSHOP 11. TACK ROOM 12. OFFICES 13. GUEST ROOMS 14. SPORTSMAN’S CLOSET 15. JOEL’S OFFICE 16. MULE STABLES 17. COOK SHED 18. KENNELS 19. MAIN ENTRANCE 20. GATE TO MAIN HOUSE 21. ENTRANCE TO HOUSE 22. GARDEN

CAROLINA

- LOCATION: YEMASSEE, SOUTH

- ON 326 ACRES OF LAND

1200 SQUARE FEET

- MAIN HOUSE IS ROUGHLY

SILVERS

- PRIVATE OWNED BY JOEL

FINISHED IN 1951

- BEGAN BUILDING 1939

WRIGHT

- DESIGNED BY FRANK LLOYD

SPECIFICATIONS:

AULDBRASS

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AULDBRASS SITE

THIS PRESENTATION WAS MEANT TO FURTHER EXPLAIN WHAT WE LEARNED IN OUR ANALYSIS OF THE AULDBRASS SITE FROM THE HISTORY TO THE LAND ITSELF. THEN WE DECIDED ON A SPOT TO DESIGN A VISITOR CENTER ON.

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3 2

1- ENTRY 2- CAFE 3- STAFF OFFICE 4- AUDITORIUM 5- LIBRARY 6- ARCHIVIST OFFICE 7- RESTROOMS 8- EXIBIT SPACE 9- GIFT SHOP

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WE WERE ASSIGNED TO CREATE BUBBLE DIAGRAMS THAT DEPICTED THE DIFFERENT PROGRAMS THAT WE NEEDED IN OUR VISITOR CENTERS. EACH STUDY WAS MEANT TO CREATE DIFFERENT SEQUENCE AND GIVE A WHOLE DIFFERENT EXPERIENCE FOR THE SPACE.

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1- ENTRY 2- CAFE 3- STAFF OFFICE 4- AUDITORIUM 5- LIBRARY 6- ARCHIVIST OFFICE 7- RESTROOMS 8- EXIBIT SPACE 9- GIFT SHOP

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VISITOR CENTER DIAGRAMS TAKE ONE

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1- ENTRY 2- RESTROOMS 3- CAFE 4- STAFF OFFICE 5- LIBRARY 6- ARCHIVIST OFFICE 7- EXIBIT SPACE 8- AUDITORIUM 9- GIFT SHOP

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1- ENTRY 2- RESTROOMS 3- CAFE 4- STAFF OFFICE 5- LIBRARY 6- ARCHIVIST OFFICE 7- EXIBIT SPACE 8- AUDITORIUM 9- GIFT SHOP

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5 3 1 4

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7

5

2

2

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THE FINAL DIAGRAMS ARE LAID OUT TO ALLOW FOR MORE CIRCULATION THROUGH THE ENTRY AREA.

VISITOR CENTER DIAGRAMS TAKE TWO 22

AULDBRASS VISITOR CENTER

THE VISITOR CENTER PHYSICAL MODEL WAS BUILT AT A 1/8 INCH SCALE.

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WEST ELEVATION

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HERE IS THE PLAN, MATERIAL STUDIES, AND ELEVATIONS.

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THE FINAL RESULT OF THE VISITOR CENTER IS LOCATED RIGHT IN THE MIDST OF MANY TREES WHICH IS WHY THERE A VAST AMOUNT OF WINDOWS TO ALLOW A VAST AMOUNT OF INDIRECT LIGHT IN WHILE CASTING GREAT SHADOWS FROM THE LARGE OAK TREES ON SITE. THIS IS ALSO THE REASONING FOR THE NON-INCLUSION OF WINDOWS IN THE AUDITORIUM AND EXHIBIT, BUT INCORPORATING THE CLERESTORY ROOF.

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AULDBRASS EXHIBIT DESIGN

NORTHWEST AXONOMETRIC

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ELEVATION A

SECTION A ELEVATION B

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ELEVATION C C

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LEFT- SECTIONS ABOVE- ELEVATIONS RIGHT-SECTION PERSPECTIVES

SOUTHWEST AXONOMETRIC

TO THE RIGHT ARE VIEWS OF THE MODULES AND DESIGN ELEMENTS THAT ARE USED THROUGHOUT.

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THIS PAGE STARTING FROM THE IMAGE DIRECTLY TO THE RIGHT, THEN FROM THE TOP DOWN, SHOWS THE PATH TRAVELED FROM THE BEGINNING OF THE EXHIBIT TO THE ENDING EXIT STRETCH. THE BOXES ARE COLOR CODED TO SHOW THE VIEWS AND WHERE THEY ARE ON THE MODEL.

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THE EXHIBIT WAS DESIGNED TO HAVE ONE DIRECT PATH DOWN WHICH IS WHERE THE VISITORS WILL PRESENTED WITH A GREAT DEAL OF HISTORY BEHIND AULDBRASS, THE OWNERS, AND EVEN THE LAND THEY WOULD CURRENTLY BE STANDING ON. AT THE END OF THE JOURNED THERE IS A SQUARE THAT AT THE CENTER WOULD HOLD VERY DETAILED INFORMATION COVERING THE HOUSE ITSELF.

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