wcombs_architectural-studio-portfolio

ANOTHER PART OF TIME W. E. L. COMBS

STUDIES ON

VERNACULAR ARCHITECTURE WITH SPECIFIC EMPHASIS ON THE

VERTICAL SURFACE

ARCH403 PROFESSOR STEVEN HURTT JAN - MAY 2018

CONTENTS Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Project 1 Primitive Hut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Project 2 Refined Villa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Project 3 Iribe Redesign . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Project 4 School of Public Policy . . . . . . . . . . . . . . . . . . . . . . . . . . 24

INTRODUCTION

In this, my final semester of studio, I had to choose one of three disparate paths. Each of the three senior studios would focus on a different flavor of project throughout the semester.

Professor Garth Rockcastle led a research-driven studio to develop a schematic for the Solar Decathalon. Professor James Tilghman created with his students the Aerotropolis, a hypothetical urban playground to explore the future of College Park. Professor Steven Hurtt studied classical architecture with his students and applied the lessons of the past to the challenges of the present.

I chose to join Professor Hurtt’s studio in the hopes of filling the gaps in my architectural design knowledge. Up until this point, I had only ever designed in abstraction. I actively avoided using any classical elements and forms for fear of; a. breaking the rules of classical architecture and angering classicists; b. breaking the rules of modern architecture and angering modernists; or c. some combination of the above.

This semester has taught me that the most apalling action in architecture is placing a veneer of classicism over an otherwise unassuming building. The lessons of masterpieces past must be incorporated as part of the narrative of a building; they must be studied, internalized, understood, and woven into the storied lineage of the building in question and the buildings around it.

Classical vernacular is a powerful and moving tool, and the my most cherished takeaway from my final semester is thus; even today, it is still alright to design buildings to be beautiful.

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PRIMITIVE HUT

The first project of the semester was to design a simple 20’ x 16.5’ stone hut.

To fully study the implications and phenomenology inherent in architecture, we first had to understand the true origins of architectural forms.

Starting with such simple design parameters belied just how much thought could be given to this project. Though the dimensions of all elements were set in stone, the proportions and organization of interior spaces could be explored almost to no end.

My first plan was to have the hut be half-buried in a hill, oriented to maximize heat from solar gain and from the fireplace.

After unburying my hut, I explored more pure proportions as the hut’s chimney and porch became more elaborate and pronounced.

Throughout the course of the project, my little hut grew into a two-story home and finally to a proud three-story mansion. Though I had to rethink my proportions at each step of the way, the final tripartite composition shows a clear additive progression of detail as the home, like its inhabitants, moves up in the world.

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REFINED VILLA

The second project of the semester required us to explore the refining of elements beyond our previous hut-house-mansion series. I studied how the modulation of building massing affected the prominence of facade elements until I settled on the parti for my villa.

My 80’ x 80’ square villa falls into a nine-square arrangement. I was curious to see how a gabled roof can be pronounced or reserved depending on its orientation and especially how it can either accentuate other more important facade elements.

Thus, I planned two identical long gabled masses holding a ceremonial dome at the center of the square. From two sides of the building, the dome is obscured by the prominent gabled forms, and conversely the dome takes precedence where the gabled forms reveal it.

Studying rectangular gabled forms and dome construction allowed me to give a distinct hierarchy and bi-lateral symmetry to what started as completely symmetrical footprint.

The final piece of the puzzle was developing a triplet rhythm for facade elements and interrupting that rhythm to emphasize the dome, attic, and entrances.

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IRIBE CENTER

Project three of the semester involved rectifying a terrible injustice done to the University of Maryland. The Iribe Center is “the spaceship that landed” at Founder’s Gateway, the ceremonial entrance to campus.

The current building is very effective at conveying its message, but that message is unfortunately offensive to the campus and its history. The proud glass and sanguine orange of the facade eschew completely the neoclassical vernacular of campus, and it was our job to fix it.

Due to the sensitivity of the site, I wanted to examine the surroundings carefully for viewsheds, vegetation, building masses, and paths of transportation.

The unusual building plan accomodates the unique geometry of the site while also presenting a formal face to the engineering field, preserving public courtards in the front and rear of the building, and acting as an architectural exhibition of the most identifiable forms on campus.

To provide hierarchy for this 220,000 sf building, I chose to mark the entrances with pediments and a dome that respond to each distinct orientation, ensuring that this building respects UMD’s campus.

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SCHOOL OF PUBLIC POLICY

I told myself at the beginning of the semester that I was not, under any circumstances, going to design a round building.

“Nasty, disturbing, uncomfortable things!”, said I. “Make you late for dinner!”.

And late for dinner I was when my fascination with round buildings reached its inevitable conclusion. I started this semester with a dome on a simple square building, then graduated to a tripartite building with a circular hub, and now I have a building that is quite literally all curve.

I will say, I fought against making a curved building at the start of this project. However, as impractical as it seems, this curved building accomplishes many of my site strategies and goals. The curve allows for ample mass and square footage while remaining subservient to the dominant vista of the chapel. The curve preserves the amorphous edge of the romantic landscape that connects with the historic heart of campus.

The curve preserves a monumental interior courtyard and stage to celebrate the School of Public Policy’s dedication to debate and discussion. The curve brings together people from Chapel Field, McKeldin Mall, and the Armory to enjoy the sights of all three.

Once again I have made a circular building, but I think I finally got it right this time ‘round.

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