After the first round of model building (and subsequent re-examination of what I wanted for my building), I set out to make a detailed, master model and revised set of drawings.

I decided to make a couple moves that I had been considering, with the knowledge that they would undergo a post-critique revision.

Here is what I came up with:

NORTH SECTION


SOUTH SECTION


LOWER LEVEL PLAN


WEST SECTION (COMPOSITE WITH EARLIER WEST FACADE DRAWING)


MODEL AXONS

LEVEL 1



LEVEL 2



ROOF LEVEL



In retrospect (with another critique under my belt), I feel like I may have overthought my latest iteration. I complicated a couple elements I didn't necessarily need to.

In my next version, I hope that I can scale back some of the elements to achieve a greater economy of design, while maintaining the integrity of my initial ideas and the precedent project elements I've looked to incorporate.

I'll keep you posted.

MORE PRECEDENT

This first round of model-building (which took much longer than a quick set of pictures might indicate) pushed me to examine some other works than I hoped to emulate.

In my desire to create a usable, visually interesting space underneath my carpet/cave roof, I looked at a pair of works by Herzog & de Meuron.

1. M.H. de Young Memorial Museum (San Francisco, CA / Herzog & de Meuron, 2005)







The bulky, overhanging piece was particularly attractive, as were the large gaps in the roof plane (which I had toyed with in my last model iteration). I also appreciated the interior courtyards created by those gaps, and the glassed scenic overlooks.

2. Dominus Winery Estate (Napa Valley, CA / Herzog & de Meuron, 1996)









The emphasis on the natural environment highlighted in the winery project was something else I hoped to incorporate into my final design. It's punched-hole, landscape-framing portals and balcony views were inspiring.

I was also partial to this green roof by Tadao Ando, and the way it looked "punched out" of the roof plane.

3. Art Site Naoshima Annex (Kagawa, Japan / Tadao Ando, 1992)

FIRST MODEL BUILDING PHASE

After the initial drawings (and the ensuing critique), I started building models.

It became apparent that the elliptical, curved ramps weren't working, so I reduced my secondary exploration to the "carpet-peeling" concept.

These are some of those first iterations:











One of the more successful interpretations:

INITIAL IDEAS

At the outset, I decided to treat the garage-top plane as a piece of carpet.

By lifting up this plane, a void is created underneath. Viewed from off site, this condition would cause the viewer to try to explore what is housed in the space below; from on site, it would encourage the occupant of this void to peer out.

These two concepts, combined with the site's vantage point of the landscape, became my initial focus. I wanted people viewing the structure from the river side to look in, and people inside the structure to look out. I also hoped to incorporate that under-the-carpet quality, as well as a green roof (my grass carpet).

To do this, I looked at precedent for inspiration.

1. Nanyang Technical Institute (Singapore, China / Kenzo Tange, 1986)





I really appreciated the sloping green roofs. Coupled with the glass underneath, I thought it highlighted that "peel" effect I was hoping to create.

2. Sainsbury Centre for Visual Arts (East Anglia, Norwich / Norman Foster, 1978)









This building's rigid, framed exterior and glass curtain wall really appealed to me. The fact that it reflects the sun and surrounding environment during the day was important, because of our site's exposure to the sun. The view from the interior is intriguing, as well; it allows the occupants to peer out, as if they were inside of a cave. As you can see in the last image, this same glass wall gives the structure a fish tank effect at night.

These two buildings informed my first design drawings the most. I strove to create something that grew up from the top of our garage; a building that allowed observers to peer in from afar and its occupants to take in the framed views.