Arches, Arches, Arches

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Since arches add unique character to a home, as an architect, I am a big fan of using them. Of course, consistency in designing with arches must be maintained to achieve a successful design solution. However, as a rule I do not mix the two different arch types in a the same design solution. These two arch types are the half round and the segmental with the difference being that the segmental arch consists of only a portion of a half round arch.   Below I have listed my design criteria for using each of the arch types when designing.

HALF ROUND ARCHES

dsc_0156 If you are stacking arches, such as the door and ceiling in this photo, keep the center point of the radii consistent. In the entryway shown here, the door unit shape determined the configuration of how the space was to be designed. By introducing a barrel vault ceiling with a radius identical to that of the door, no delineation exists between wall and ceiling. The interior decorator (Richard Black) took this opportunity to paint the walls/ceiling a dark color that causes this space to become negative and draws guests into the Great Room.

SEGMENTAL ARCHES

FC101 These arches have a softer look and I tend to use them when working with an Old World design theme. When using these arches for cased openings inside, I try to keep the widths the same. If this does not happen, you won’t be able to maintain a consistent head height and side frame height when you want the radii to be the same. Changing the widths of the openings while keeping the tops of the arches at the same height will cause some of the arches to be flatter. This will create an entirely different  look and feel.

For the exterior of your home,  be sure you are consistent with your arches as well. Arches are a structural shape so give them room to appear as a supporting arch–not just a tacked on element. Also note that the cost of an arched window can be up to three times as much as a square topped window.

Home Character – Texture

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FC406

Detail at Garage Door.

When considering adding character to the outside of a home, as an architect, I must first determine the character that the owner desires. If a person considers creating a home with an old world look and feel, I recommend finish materials and construction techniques that create shadow lines. If brick is being used, this material can be enhanced by utilizing a raked mortar joint. This technique pushes the mortar back to an even, flat depth, allowing each brick to cast a shadow over the joint. Combining this joint with a tumbled or hand made brick creates a masonry wall that appears to be very old. Joining this detail with stone accents, large overhangs, and brackets, the old world style look is achieved.

Entry Porch Detail

Looking at the detail photo at the right, you will find the following items present.

  1. Natural, stained V-grooved wood soffits
  2. 3′ overhangs
  3. Rough cut cedar posts and beams
  4. Dark colored windows
  5. Iron railings
  6. Decorative cedar brackets
  7. Slate roof with snow guards
  8. Decorative Chimney Pot
  9. Raked joint for masonry
  10. Half round copper gutters
  11. A rough textured stucco finish
  12. Dark stained frieze boards

Combining all of the elements creates the overriding character of this home.

Construction Administration?

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The term “Construction Administration” typically references what an Architect does during the time the General Contractor builds a project. In a Commercial Project, this phase seems rather mundane doing activities such as shop drawings’ reviews, site inspections, and draw requests. … Continue reading →

Renovation – What to consider

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It seems like these days, most people are considering renovating rather than starting from scratch. If you are one of these individuals, here is a list of things you should consider before getting started on the process.

  1. Depending on the extent of the renovation, you may need to consider moving out for awhile during construction.  If you stay in your home while the renovations are taking place, you’ll find that it’s messy, loud, and downright inconvenient.
  2. Contractors find that it’s IMPOSSIBLE to prepare an accurate accounting of the costs necessary to complete the project due to the unknowns that are inherent with every renovation.
  3. If you can limit the amount of destruction done to the existing structure, your invested money will have a greater return.
  4. Hire a design professional who has experience with renovations, especially if the work will be extensive.  It’s always good to have an advocate who understands the process and can help you interpret the pricing.
  5. Hire a contractor with experience in renovations.  Don’t hire just anybody with the best price. The cost up front is often not the price at the end!!

As you move forward with your renovation, know up front that there will likely be cost overruns and a few hassles along the way.  Just keep envisioning yourself in the completed space and know that the dust will eventually settle.

Get in the Flow!

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When one designs a group of spaces, we consider it extremely important to understand the movements that will occur within the space–often referred to as “flow.”  Occupants are seldom, if ever, motionless.  Key questions to ask when designing or modifying an existing space follow:

- How many occupants at a time will occupy this space?  If this is a large number, have multiple ways individuals can come and go.
- Are there any dead end paths?
- Are there pockets for small group interactions?
- Do natural circulation paths cross through the center of interaction zones?  If they do, change the route!

Most of us non-military types walk in the paths of least resistance–not much different than my dogs–as they head out across the well traveled path to greet the neighbor’s dog, Jake.  These travel paths should not be cluttered or be places where groups of people would likely gather to interact.

Proper flow is a key element of how successful a space will eventually function.  Keep it in mind. . .

Where is your entry anyway?

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What comes to mind first, as the answer to this question, is just the word “door.”  The bigger the door, the grander the entry.  The feelings experienced when entering a structure are often dictated by how the entry becomes juxtaposed with other elements of the building.  My preference, when creating an entry, comprises making it a sequence, not an abrupt transition. For a church, the sequence starts when the members and guests enter the property. A clear path to their destination must be evident, especially for the first time visitor. Once parked, the members will follow a path leading to a courtyard, situated in front of the chapel, and surrounded by the ancillary portions of the structure.  The hierarchy of building massing should be evident and scaled according to the priority of usages.  The courtyard becomes the first “room” entered–a place where those attending are embraced by the structure, feel protected, and welcomed gradually into the sanctuary. The courtyard, then, becomes a place to be, not just a path to the front door.  By providing an area of roof over the primary entry doors, the members are protected from the elements and covered by the structure.  Large glass doors lead into the Narthex where the space’s scale is similar to that of the covered porch area and reflective of the Sanctuary yet to come.  You can see this project at the Chapel in the Pines Feature Page.

The entry sequence must be a gradual transition into the structure and mimic what the greeters do each worship morning, and must welcome, embrace, and provide a sense of security to all that attend.

Interpreting the Prime Directive

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     The crew of the Starship Enterprise used the “Prime Directive” document as their guideline for dealing with any encounter including alien species.  Although my job does not nearly match the excitement as space travel, I have utilized many different prime directives to guide me through the complicated process of design.
     Each time I start a custom project, I ask the client to summarize their project in one sentence.  In Star Trek terms, this equates with the prime directive I must abide by during the design process.  I require this so that I have a common anchor for which all design aspects can be attached.  Without this, the design could end up going in many directions at once, leaving nothing but attached spaces drifting in their own direction.
     Recently, the Chapel in the Pines committee came up with the following statement about their new facility.

“Chapel in the Pines reflects God’s majesty by being in harmony with its surroundings, welcoming to its community and aesthetically original.”

     The first key phrase within this sentence is “being in harmony with it’s surroundings.”  So the question surfaces, how does this get applied to architectural design?  There must be a transparency, a blending of interior and exterior spaces. The structure must sit quietly within the pines and respect the environmental impact of the developed area by minimizing site alterations such as grading and tree removal.  Design elements should mimic those found in nature.
     Next comes “welcoming to its community“.  In a way, this is similar to the first phrase except that it refers to how the structure will be in harmony with people.   There must be a gradual transition from out to in, and be of human scale in order to make it welcoming to the community.  Spaces must be created to encourage interaction, contemplation, and worship.  First time visitors must not be confused, but naturally drawn to their destination.
     “Aesthetically original” indicates a desire to be unique.  This feature will be guided by the phrases “harmony with surroundings” and “welcoming to its community.” So, in this case, unique is not odd, but a steady, appropriate structure worthy of being called “a chapel in the pines.”   

Incorporating meaning into a Chapel

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The more I think about adding “Meaning” to the Chapel in the Pines project, the more I have asked the question “what is meaning exactly?”  When something is meaningful to me, it is often something that reminds me of a pleasant experience in my past–like a key that opens the door to a fading memory. I have a pair of crazy pants (set me back $2) which I purchased in Agua Caliente, the town at the base of Machu Picchu in Peru. Although they are basically worthless to anyone else, every time I see or wear them, I am reminded of the awesome trip I had with my father, brother, and nephew.  There are also meaningful symbols, especially in the Christian faith, the cross being the most obvious.  I must find those symbols that are most important to the Chapel’s congregation and incorporate them in a sensitive manner appropriate to their importance.  The other type of meaning results in the meaning that is yet to be created. The space created, both inside and out, must be places that encourage meaning to be created.  Friendships, baptisms, weddings, and special celebrations consist of just a few of the events in members’ lives that will carry meaning along with them.

Meaningful architecture involves not just finding what is meaningful from the past or incorporating symbols into the present design but also creating spaces that will become meaningful in the future.

The Meaning of Meaning in Architecture

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One of the most rewarding thing for me as an architect to do is design a space with integrated meaning throughout.  I recently have begun working on a local church starting from the ground up.  The opportunity to integrate the beliefs of the congregation into the architecture is everywhere, from site design to individual space considerations. Although congregations lean heavily toward tradition for ceremony, there is a great opportunity to enhance ones individual experience of tradition by having the architecture respond in a sensitive, immersive way.  As this project continues to develop, new posts will address just how meaning is being incorporated into the “Chapel in the Pines” project.