Centering a Town: 23rd. Effort/Homage to Mies van der Rohe’s Brick Country House

I first saw the drawings of Mies van der Rohe’s Brick Country House over forty years ago while in college, in H. H. Arnason’s History of Modern Art, a standard text on the subject at the time, the pictures illumined with only a few sentences of explication. First the three-dimensional drawing of a home spare yet engaged, complex yet composed, low lying yet forward looking—a lean, solid wedge opening out into the world and negotiating the earth and sky:

Below it the sketch of the ground floor plan, a grid of right angles that do not intersect, difficult to read as a living space, that extends, in seeming contradiction to the first drawing, out into space without clear containment, yet still a scheme coherent and compelling:

And a chord was struck within, or a tone cluster, that gathered and realigned.

From my essay “Completing the Mies van der Rohe Brick Country House, An Odyssey.” This effort pays one more homage to the house. The one thing I am certain of is that it is not the way Mies would have designed the building, had he taken on the project.

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Centering a Town: 22nd. Effort/Under Construction

Structured, orderly, regular, and, but for the corners, symmetrical. The building explains itself in a few terms quickly grasped. The theme is Under Construction because the building retains the scaffolding that presumably was used in stages of its construction.

Although really their use is contained and their placement carefully planned. They are integrated into a completed structure and obviously intended to be permanent. Another possibility is a design that more resembles a building frozen in the process of its construction, incomplete and fragmented, that challenges itself, asks for completion or demolition—a temptation, though I don’t know if that could be done without invoking postmodern slapstick and irony.

The scaffolding pieces add decorum, and, in their openness, involvement, and tensions, provide a modern substitute for columns. The building has the look, in fact, of a Greek temple. The columns give energy to an otherwise static design, as well as add a note of modernness and technology. And since they support the ledges above the second floor and the roof and strengthen the largely glass walls, they are functional, not decorative. This is a building that speaks function, though that function is exaggerated, and with modern materials and techniques they aren’t needed.

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Centering a Town: 21st. Effort/Acceleration

Art, and above all, music has a fundamental function, which is to catalyze the sublimation that it can bring about through all means of expression.

Xenakis

I often listen to Xenakis’s music for percussion when I design and build. Its staccato insistence and limited tonal range are appropriate for construction, which develops by extended repetition without the contrasts of tonal color or the arc of drama. Yet it has its own surprises. The music is a distraction, a diversion from silence, where I can’t think what to do next, but also a call for patterns and yet at the same time a break away from standard patterning. It encourages me to open up, think of other things, to think beyond set ways of thinking, beyond what I think I know.

xmusic

The percussive variations approach randomness without falling into chaos or noise, which themselves have their own possibilities. If nothing else, it pushes me to keep going without worrying about what I’m doing or where I’m headed. Listening provides a way to persist when there seems no direct course, nothing at all to do. I would like activities in the building to follow a similar course.

And a building can suggest sound, even music, even thought.

Xenakis designed the windows for Le Corbusier’s Tourette monastery, based on theories of mathematics and avant-garde music.

In order to avoid a monotonous repetition of standard elements in the immense façade of the building, Le Corbusier asked Xenakis to develop a principle for windows that he had caught sight of during the Chandigarh construction. . . . The resulting window configurations are very vivid. Xenakis developed the dimensions of the glass panels according to the blue and red series of the Modulor. Thanks to the resulting effect of dilatation and contraction, the façade seems to become a dynamic membrane. The principle finds its most virtuoso application in the Tourette monastery, a project that Xenakis worked on as of 1954, with the western façade conceived as a great architectural counterpoint.

From the Xenakis site, along with the drawing.

Photograph by Fernando Schapo, from dezeen.

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Centering a Town: 17th. Effort/Time II, IIa

Two more versions on the theme of time. A clock can do so much to call attention to a building and have it command public space, as well as lend it significance and suggest meanings.

I like the ideas in the previous version but its design is rough and needs work—I haven’t decided how yet. These present orderly buildings, closer to our common connotations of time. The risk is regimentation, which I try to offset with accents, the standing mass of the clocked brick columns, some asymmetry, and the deep, expressive indentation of the windows.

This indentation presents a challenge at the corners. That space can be filled in with columns or the intersection could be an open “L.” Or the horizontal beams can be extended at each level, creating a figure of intersection, as I have done in the first version.

Or the brick columns can be moved to the corners and cover that space.

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Centering a Town: 15th. Effort/Spiral

Spiral because of the spiral staircase at the corner. This is an improved version of my first two efforts. Program is similar, though it has no black box theater. And it is a reserved yet informal design that fits in with the character of other buildings in downtown St. Johns. It picks up the brick in the courthouse and library, and the green details repeat the color of the St. Johns Bridge as well as suggest its structure of suspension.

As always, some imagination is needed to see my models. Details—refined brickwork, window frames—are everything in a simple building like this, which I can’t reproduce. I’d also like a more involved and delicate grid for the corner windows enclosing the staircase. The stairs themselves, of course, are not the correct scale. Also I cannot do interiors. The white elements inside provide an armature to support the roof.

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Centering a Town: 14th. Effort/Time

We all were sea-swallow’d, though some cast again,
And by that destiny to perform an act
Whereof what’s past is prologue, what to come
In yours and my discharge.

Shakespeare/Tempest

The theme for this design is time because, obviously, the building has a clock, or several clocks.

The site, in fact, has a clock standing at the corner of the plaza. Last I checked, it didn’t work. The Central Hotel has since been demolished, over a year ago. A mixed-use project is planned, but it has been put on hold and the plot remains vacant, waiting.

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Centering a Town: 13th. Effort/Suspension II

See Centering a Town: 6th. Effort/Suspension for another variation of this theme. Again, the desire is to complement the St. Johns Bridge, the defining landmark for St. Johns, with analogous construction. Two piers are bent around the building to support a narrow band and the grid that contains the upper floors.

From the rear of the upper floors there will be an excellent view of the bridge, only a block away.

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Centering a Town: 11th. Effort/Memory

Time present and time past
Are both perhaps present in time future,
And time future contained in time past.
If all time is eternally present
All time is unredeemable.

T. S. Eliot/Burnt Norton/Four Quartets

All that is constant about the California of my childhood is the rate at which it disappears.

Didion/Notes from a Native Daughter/
Slouching Towards Bethlehem

Architecture built today necessarily, inevitably, is focused on the present, using current materials and technologies, and contemporary idioms and styles and trends. Much is simple and merely functional, bowing to the economic demands of costs of land, material, and labor, to the desire to maximize profits in a world that has lost touch with its base.

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Centering a Town: 10th. Effort/Complexity

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I like complexity and contradiction in architecture.

Robert Venturi

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This effort was influenced by Peter Eisenman’s House II:

of which I have made a model that can be found here, with discussion.

In both we start with a regular cubic grid, then submit it to a series of shifts and other adjustments. My design is much quieter, however, and where Eisenman rethinks structure and form of the total space, inside to out, my changes are largely surface, on the exterior.

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Centering a Town: 9th. Effort (folly)

In this design I wanted to add a tower—the folly—to distinguish the building, giving it a point of focus and identifying its location and function as a center. I’ve gone out into the plaza, though I’ve also added to its space. The extra area isolates and thus highlights the tower, though I’m skeptical the space would be used and can think of several reasons why it might not be a good idea.

I had two designs in mind, the Urbino Ideal City:

and Bernard Tschumi’s folies for the Parc de la Villette, Paris:

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