1. PRECEDENT
ANALYSIS

2. SECTION 5
SPRING 2015
UNIVERSITY OF ILLINOIS AT
URBANA-CHAMPAIGN

3. TABLE OF CONTENTS 3
LE CORBUSIER
LA ROCHE-JEANNERET HOUSE (1925) - AMY STUBENFOLL
WEISSENHOFF ESTATE (1927) - SAI HU
VILLA SAVOYE (1931) - THOMAS MCCORMICK
LUIS BARRAGÁN
BARRAGÁN HOUSE AND STUDIO (1948) - DAVID FLORES
OFFICE OF MCFARLANE BIGGAR
GAMBIER ISLAND HOUSE (2013) - KAELA KIEFER
OSCAR NIEMEYER
CASA DE CANOAS HOUSE (1951) - MARISA URBINA
RESIDÊCIA CAVANLAS (1954) - SAINA XIANG
PATKAU ARCHITECTS
BARNES HOUSE (1991) - GARRETT RYAN
UNSTUDIO
DREAM HOUSE (1997) - AARON YANG
MOBIUS HOUSE (1998) - ADAM BENGTSON
VILLA N.M. (2007) - DY-HSIANG CHEN
REFERENCES
4
14
24
30
38
46
54
62
70
78
86
94

4. Le Corbusier was a rising architect who showed his abstract way of
thinking and passion for the modern style of architecture through his
designs. In a short period before the 1920s, Le Corbusier did not
construct anything, however, in 1923 he began to propose new and
inventive house designs, one being the Villa La Roche Jeanneret House.
This design is almost like a stepping stone that Le Corbusier took in his
career path to become the modernist architect that he is known to be
today. Throughout this period he implemented elements like long
windows with abstract mullions, white plain façades, balconies, and
terraces.
4
"Architecture is the learned game,
correct and magnificent, of forms
assembled in the light."
VILLA LA ROCHE
JEANNERET HOUSE
1923 - 1925
WEISSENHOF
ESTATE
1926
VILLA SAVOYE
1928-1931
CHARLES-EDOUARD JEANNERET (LE CORBUSIER), 1923 - 1925

5. ARCHITECTURE DESCRIPTION
5
The Villa la Roche-Jeanneret House was designed by Le Corbusier and Pierre Jeanneret. It was constructed from 1923 to 1925 on the Docteur Blanche
impasse within an emerging community on the outskirts of Paris, France. This building, considered inventive for its time, can be defined as a modern
styled structure. It was designed for Raoul La Roche, a Swiss financier who had a passion for avant-garde art. Due to the patron's interests, this
structure not only served as a private residence for himself but also functioned as a gallery in order to display his wide collection of art. With the
purpose of integrating the gallery and living spaces, Le Corbusier was strategic with his design decisions. A main concept used throughout his design
to bring these spaces together was the idea of an architectural promenade with an L-shaped layout. Le Corbusier's inventive design concepts were
strategic and allowed him to explore new ideas involving the layout and construction of the building that would eventually leave a lasting mark on
this style of architecture.
TWO POINT PERSPECTIVE

6. 6
FIRST FLOOR PLAN
SECOND FLOOR PLAN
SCALE: 1/16"= 1'
FLOOR PLANS
FLOOR PLANS

7. 7
FLOOR PLANS
SCALE: 1/16"= 1'
FLOOR PLANS

8. 8
NORTH-SOUTH SECTION CUT
WEST-EAST SECTION CUT
SECTIONS
SCALE: 1/16"= 1'

9. ELEVATIONS
EAST ELEVATION
SOUTH ELEVATION
SCALE: 1/16"= 1'
9

10. 10
INTERIOR VS. EXTERIOR RELATIONSHIPS
ILLUSTRATES HOW THE INTERIOR AND EXTERIOR SPACES FLOW
NORTH-SOUTH SECTION
WEST-EAST SECTION
SPACE TRANSITION DIAGRAM
SHOWS THE CONNECTION BETWEEN THE TWO FUNCTIONS OF THE
BUILDING
2D DIAGRAMS

11. PAGE NUMBER
LIGHT DIAGRAM
REPRESENTING THE WAY LIGHT TRAVELS THROUGH THE SPACES
VERTICAL CIRCULATION
HORIZONTAL CIRCULATION
2D DIAGRAMS
NORTH-SOUTH SECTION

12. 12
PRIVATE VS. PUBLIC SPACES
RED: PRIVATE PURPLE: PUBLIC
SHOWS THE RELATIONSHIP BETWEEN PUBLIC VS. PRIVATE SPACES
AND HOW THE DIFFERENT TYPES OF ROOMS FIT TOGETHER
WINDOW DIAGRAM
MINI-MODEL REPRESENTING HOW LIGHT SHINES THROUGH DIFFER-
ENT SPACES
VERTICAL AND HORIZONTAL CIRCULATION
WITH STRUCTURAL COLUMNS AND FLOOR PLATES
PURPLE FOAM: VERTICAL CIRCULATION MASSES
RED MATT BOARD: HORIZONTAL CIRCULATION
WHITE MATT BOARD: MAIN FLOOR PLATES
WOOD: STRUCTURAL COLUMNS
FOCUSES ON DISPLAYING THE RELATIONSHIP BETWEEN VERTICAL AND
HORIZONTAL CIRCULATION
3D ANALYTICAL MODELS

13. 13
BACK VIEW FEATURING SKYLIGHTS AND ROOF TERRACE SECTION VIEW FEATURING A FEW STAIR SYSTEMS
FRONT VIEW SHOWING SHADOWS AND STYLIZED WINDOWS
SECTIONAL MODEL

14. During the time when Le Corbusier was developing this
project, his five points of architecture had not yet
been presented. However, one can already see that
some elements were being used such as the colonnad-
ed first floor, free plan, and roof garden.
14
"The home should be the
treasure chest of living."
VILLA LA ROCHE
JEANNERET HOUSE
1923 - 1925
WEISSENHOF
ESTATE
1926
VILLA SAVOYE
1928-1931
CHARLES-EDOUARD JEANNERET (LE CORBUSIER), 1926

15. Weissenhof Estate is a site in Germany done by a group of architects, such as Mies Van der Rohe, and Le Corbusier,
during the 1920s. Weissenhof Estate is made up of twenty-one buildings, Le Corbusier and the other architect designed
two of them. One is a large-scale compound; the other one is a single family home, which is the house being analyzed.
15TWO POINT PERSPECTIVE

16. 16
FIRST FLOOR PLAN SECOND FLOOR PLAN
THIRD FLOOR PLAN FOURTH FLOOR PLAN
SCALE: 3/32"=1'-0"
FLOOR PLANS

17. SECTION AND ELEVATIONS
17
SOUTH ELEVATION EAST ELEVATION
SECTION A-A
SCALE: 3/32"=1'-0"

18. 18
WALLS OF PUBLIC SPACE
WALLS OF PRIVATE SPACE
WALL
DIFFERENTIATION OF
PUBLIC AND PRIVATE
SPACE
STRUCTURE
PROPORTION
2D DIAGRAMS

19. 2D DIAGRAMS
19
PRIVATE SPACE
SEMI-PRIVATE SPACE
PUBLIC SPACE
PRIVATE SPACE
SEMI-PRIVATE SPACE
PUBLIC SPACE
CIRCULATION PRIVACY HIERARCHY
(2ND TO 4TH FLOOR)
PRIVACY
HIERARCHY
(1ST FLOOR)
FIRST FLOOR CIRCULATION
SECOND FLOOR CIRCULATION
THIRD FLOOR CIRCULATION
FOURTH FLOOR CIRCULATION

20. 20
STRUCTURE AND CIRCULATION
WINDOWS DISTRIBUTION STRUCTURE AND CIRCULATION
PRIVACY HIERARCHY (ORANGE: PUBLIC, GREEN:
SEMI-PUBLIC, BLUE: PRIVATE)
3D ANALYTICAL MODELS

21. 21
SECTIONAL MODEL

22. During his pre-World War Two Purist Movement, Le
Corbusier wanted to manifest something of a precur-
sor to the industrialization and standardization of
residential architecture. He achieved this through a
house that highlighted the simple elements of form of
the modern movement in architecture while employ-
ing a detachment from its environment, much like a
machine, to contextualize itself within the industrial
complex.
22
"A house is a machine
for living in."
VILLA LA ROCHE
JEANNERET HOUSE
1923 - 1925
WEISSENHOF
ESTATE
1926
VILLA SAVOYE
1928-1931
CHARLES-EDOUARD JEANNERET (LE CORBUSIER), 1928-1931

23. From 1928-1931, construction would take place on the Villa Savoy. The Savoye family would soon after come to the con-
clusion that the house was uncomfortable and prone to leaking as the ramp, one of the vertical circulatory elements that
established Le Corbusier's architectural walk, pierced directly through the second floor plate and the roof. During the
Second World War, the house would be used by German and Allied forces alike before being expropriated by the Poissy
town council for the building of a secondary school in 1958. The house would receive a series of restorations spanning 35
years however, due to the actions of the French Minister of Culture, Andre Malraux, in 1959.
23TWO POINT PERSPECTIVE

24. 24
FIRST FLOOR PLAN 0 1 2 4 8 16 1/16"=1'-00"
SECOND FLOOR PLAN 0 1 2 4 8 16 1/16"=1'-00" THIRD FLOOR PLAN 0 1 2 4 8 16 1/16"=1'-00"
FLOOR PLANS

25. 25
NORTH ELEVATION
EAST ELEVATION
1/8"= 1'-00"
1/8"= 1'-00"
ELEVATIONS

26. 26
1/8"= 1'-00"SECTION CUT
SECTION

27. 27
STRUCTURAL VERTICAL
CIRCULATION
PRIVATE SPACE
VS. PUBLIC SPACE
FREE FACADE
VS. FREE PLAN
EXTERIOR SPACE
VS. INTERIOR SPACE
SERVICE SPACE VS.
FAMILY SPACE
STRUCTURAL ELEMENTS STAIR AND RAMP PRIVATE PUBLIC
FACADE PLAN EXTERIOR INTERIOR SERVICE FAMILY
2D DIAGRAMS

28. 28
CIRCULATION MODEL
THIS MODEL HIGHLIGHTS THE VERTICAL CIRCULATION OF THE VILLA
SAVOYE WHICH CONSISTS OF BOTH A STAIR AND A RAMP
STRUCTURAL MODEL
THIS MODEL HIGHLIGHTS THE STRUCTURAL SYSTEM OF THE VILLA
SAVOYE WHICH PRIMARILY CONSISTS OF PILOTIS
FACADE MODEL
THIS MODEL HIGHLIGHTS THE FREE FACADE THIS ARCHITECTURAL ELEMENT WAS
POSSIBLE BECAUSE OF CORBUSIER'S COLUMN SYSTEM
3D ANALYTICAL MODELS

29. 29SECTIONAL MODEL

30. Barragan is most reknown for bringing architectural
variances that sparked in the mid 1900's. His
primary aesthetic styles are described as a
cultural beacon for Mexican Architecture that embody
the natural surroundings. He became a major
influence in future landscape architecture and urban
planning, and was rewarded a Pritzker Price in 1980.
30
"I don't divide architecture,
landscape and gardening; to
me they are one."
BARRAGAN
STUDIO
1948
EXTERIOR FACADE
INTERIOR VIEW
LUIS BARRAGAN, 1948

31. PERSPECTIVE: BARRAGAN HOUSE AND STUDIO
Barragan reveals the substantial importance of color in relations to form, space and use of material.His powerful color
scheme is a reflection of the natural color tones present in areas of Mexico. His combination with textual contrasts and
bold color placements within the Barragan House depicts his unique approach to modern minimalism, and the critical ele-
gance of representing Mexican culture through architectural design. The house is a model of Barragan's vernacular ap-
preciation of his Mexican culture and exceptional approach to modernistic design practice.
The Luis Barragan House has a orthogonal grid based layout, and is primarily constructed with concrete and plaster ren-
ditions of only flat plane structural elements.
31

32. FLOOR PLANS 32
FIRST FLOOR PLAN SECOND FLOOR PLAN

33. SECTION AND ELEVATIONS 33
POST-TERIOR ELEVATION EAST SECTION
NORTH (FRONT ELEVATION) NORTH SECTION

34. 2D DIAGRAMS 34
PROGRAM STACKING DIAGRAM: DEFINES VOLUMETRIC SPACES, AND
DIVISION AMONGST PURPOSE AND USE. EVERY COLOR REPRESENT
DIFFERENT USE OF SPACE, THE CLOSER THE COLORS ARE THE
CLOSER THE RELATION OF PURPOSE. BLACK INDICATES ENTRY
POINTS.
SUNLIGHT AND VENTILATION DIAGRAM REVEALS THE DIRECTION
AND FLOW OF AIR (BLUE) AND SUNLIGHT(YELLOW). THE BROWN
INDICATES THE REFLECTIVE PANELS USED TO LIGHT MULTIPLE AR-
EAS WITH ONE SOURCE OF SUNLIGHT
SPACE AND VOLUMETRIC PLAN, REVEALS
FEATURES OF THE BUILDING TO LAND-
SCAPE RELATION SHIP

35. PAGE NUMBER
HIERARCHY DIAGRAM REVEALS LEVELS, AND VERTICAL
STRUCTURAL COMPONENTS. BASE LEVEL IS FULL BUILDING. SECOND IS
NONSTRUCTURAL AND PARTITION WALLS. THIRD IS BOTH PARTITION AND
STRUCTURAL. HIGHEST LEVEL ARE ONLY STRUCTURAL COMPONENTS
GEOMETRY AND PROPORTION
DIAGRAM
DIVISION OF SPACE USE DIAGRAM.
DARKER COLORS INDICATE AREAS OF
MOST PUBLIC USE. THE LIGHTER THE
COLORS THE MORE PRIVATE OF THE
AREA

36. 3D ANALYTICAL MODELS 36
CIRCULATION DIAGRAM EXPLAINS
PRIMARY VERTICAL AND
HORIZONTAL CIRCULATION ON BOTH
FLOORS, AND HOW THEY RELATE TO
ONE ANOTHER.
COLORED STRUCTURAL DIAGRAM
REVEALS THE VERTICAL
STRUCTURAL ELEMENTS ALONG
WITH THE GENERAL COLORS
BARRAGAN USES.(ALSO REVEALS
GENERAL DIVISION OF SPACES
MASSING DIAGRAM SHOWS THE
BUILDING TO LANDSCAPE
RELATIONSHIP, A CONCEPT
IMPORTANT TO BARRAGAN'S
DESIGN TECHNIQUES.

37. SECTIONAL MODEL 37

38. The Office of Mcfarlane Biggar values the importance in each step they do while
working on each project. Through each design it is their belief to create something mean-
ingful within the public or private space. Each of the office members' desired outcomes
for their designs revolve the concept of diversity and using the different disciplines
within their office to establish a unique design. For the Office of Mcfalrane Biggar for a
good design to be produced the process of the design is originated from everyone who is
involved in the planning, construction, operation and maintenance within the site. A key
component the firm tries to follow in their designs responds to the site and keeping the
design simple. Through a simple design the firm works hard to do less. While working to
create this ideal in what they produce the Office of McFarlane Biggar works towards what
they consider to be a responsible design. Thus, a clear understanding and commitment to
sustainable design principles. Overall the firm desires to produce a design incorporating
balance within the social aspect, with economic and environmental concerns in mind.
38
"Thoughtful and creative solutions
that respond to unique demands comes
from servicing clients"
GAMBIER HOUSE
2013
EXTERIOR FACADE
EXTERIOR FACADE
OFFICE OF MCFARLANE BIGGAR, 2013

39. TWO POINT PERSPECTIVE
Nestled on the east side of Gambier Island, Canada, in the steep and wooded terrain, looking out upon Howe's Sound
Bay sits the Gambier Island House. Gambier Island's terrain was a contributing factor to the houses' design. With the
house's location being set in a steep and wooded area OMB designed the house with the use of modest materials to allow
for the least possible environmental impact. . With this concept in mind, a hybrid structure was designed with wood being
the primary material, the use of glass to allow for observations of the site, some steel, and a minimal amount of concrete.
As a result, from an overhead view the design comes across as being two stacked boxes set on top of one another, the
base floor running west to east and the second floor stretching north to south. However, when viewing it from a closer
perspective, thus allowing for the interaction the construction maintains with the site and the different elevations and
slight variations in the structural walls.
39

40. FLOOR PLANS 40

41. SECTION AND ELEVATIONS 41

42. 2D DIAGRAMS 42
PROPORTION
SHOWS THE PROPORTION OF THE FIRST
FLOOR PLAN
PARTI
THE FORMS DISTINGUISH BETWEEN THE
FIRST AND SECOND FLOOR
STRUCTURAL
EXPRESSES THE SUPPORT OF THE BUILDING
THE DIAGRAM SHOWS THE STRUCTURAL
WALLS OF THE BUILDING

43. 2D DIAGRAMS 43
INTERACTION BETWEEN CONSTRUCTED
PATIO AND BUILDING
BLACK SPACE = PATIO
WHITE SPACE = BUILDING
CIRCULATION
SHOWS THE HORIZONTAL AND VERTICAL
CIRCULATION THROUGHOUT THE BUILDING
WALKWAYS
ILLUSTRATES THE HORIZONTAL MOVEMENT
THROUGHOUT INTERIOR AND EXTERIOR OF
THE BUILDING AND PATIO

44. 3D ANALYTICAL MODELS 44
PUBLIC VS. PRIVATE
THIS MODEL REPRESENTS THE BUILDING'S
RELATIONSHIP BETWEEN PUBLIC AND PRI-
VATE AREAS. SPACES COLORED IN RED ARE
PUBLIC SPACES, WHILE THE REST REMAIN
PRIVATE.
OUTDOOR + INDOOR
THIS MODEL SHOWS THE INTERACTIONS
BETWEEN THE OUTDOORS AND INDOORS
THROUGH FOCAL POINTS BEYOND THE
BUILDING'S GLASS WINDOWS.
BUILDING+SITE
THIS MODEL REVEALS HOW THE BUILDING
SITS ON THE SITE. THE MESH REPRESENTS
THE SLANTED LANDSCAPE, WHILE THE
WOOD REPRESENTS THE BUILDING.

45. SECTIONAL MODEL 45
VIEW OF THE EXTERIOR FACADE FROM ABOVE

46. Oscar Niemeyer, full name Oscar Ribeiro de Almeida Niemeyer Soares
Filho, was a Brazilian modernist architect. He collaborated with Le
Corbusier, but did not let this keep his own modern style from going in
a different direction. He favored curves over sharp edges and loved
nature. He worked the lush green environment of Brazil into his works
whenever possible. His more than 500 works are spread throughout the
Africa, Europe and the Americas. Their focus however, was surely in his
home country of Brazil. Casa de Canoas, for his family, and Casa de
Cavanelas are two examples of homes that Niemeyer designed in the
Brazil area.
First Building
Vignette
46
"I am not attracted to straight angles or to the
straight line, hard and inflexible, created by man. I am
attracted to free-flowing, sensual curves. The curves
that I find in the mountains of my country, in the
sinuousness of its rivers, in the waves of the ocean, and
on the body of the beloved woman. Curves make up the
entire Universe, the curved Universe of Einstein."
CASA DE CANOAS
1951 - 1953
RESIDENCIA
CAVANELAS
1954
OSCAR NIEMEYER, 1951 - 1953

47. TWO POINT PERSPECTIVE
Brazilian Architect Oscar Niemeyer designed Casa De Canoas in 1951. The house was built for himself and his family and
was completed in 1953. Located in Rio de Janeiro, Brazil, the house sits in the middle of the tropic greenery of the area.
More specifically, the house is on two slabs of stone placed into a lush hill. The main level is over 50% curtain wall, mak-
ing the separation between interior and exterior space extremely minimal. Niemeyer's use of curves and this lack of strict
boundary between interior and exterior space emphasize his love for nature and the beauty of nature. Other features
of the immediate area surrounding the home include a rock that reaches into the home, a pool, and statues of the female
figure.
47

48. FLOOR PLANS
BASEMENT FLOOR PLAN
POOL
ROCK
LIVING ROOM
STUDIO
BED BED BED
BATH
BATH
BATH
KITCHEN
SCALE: 1/32"=1' A
OVERALL FLOOR PLAN: NTS
FIRST FLOOR PLAN
48

49. SECTION AND ELEVATIONS
NORTHWEST ELEVATION
SECTION A
SOUTHWEST ELEVATION
SCALE: 1/16"=1'
49

50. 2D DIAGRAMS
50
PUBLIC SPACE
PRIVATE SPACE
BASEMENT FLOOR
FIRST FLOOR
ROCK
DOORWAY
CIRCULATION PATH
TREES AND LANDSCAPE
ROOF SLAB
STRUCTURAL COLUMNS
CASA OUTLINE
ROCK
SCALE: 1/32"=1'
PRIVATE VS PUBLIC SPACE
BUILDING ELEMENTS WITHIN ENVIRONMENT
COLLAGE
CIRCULATION PATH

51. 2D DIAGRAMS
51
INTERRUPTED OR TRANSPARENT WALL
SOLID, FLOOR-TO CEILING WALL
BASEMENT OUTLINE
FIRST FLOOR OUTLINE
ROOF OUTLINE
SCALE: 1/32"=1'
HORIZONTAL PLANE COMPARISON
WITH VARYING LINEWEIGHTS
SOLID MASS VS TRANSPARENT MASS
BLACK AND WHITE RENDERING
GRADIENT USED FOR SOLID, HATCH USED FOR TRANSPARENT
SOLID VS INTERRUPTED WALL
REPRESENTING RELATIONSHIP OF ARCHITECTURAL

52. ANALYTICAL MODELS 52
SITE PLAN
CLAY USED FOR NATURAL LANDSCAPE
BASSWOOD USED FOR SLAB REPRESENTATION
HORIZONTAL PLANE COMPARISON
GRAY SHADE REPRESENTS EACH SLAB, INCLUDING ROOF.
BLACK SHADE REPRESENTS ROCK, BLUE REPRESENTS POOL
CARDBOARD USED FOR BASE, BASSWOOD USED FOR STRUCTURAL POSTS
INVERTED EXTERIOR WALL ANALYSIS
DONE BY REPLACING CURTAIN WALLS WITH SOLID AND SOLID WITH
CURTAIN WALLS. CREATES A 360 DEGREE VIEW FROM LIVING ROOM.
STYROFOAM USED FOR WALLS, MUSEUM BOARD FOR BASE

53. SECTIONAL MODEL 53
VIEW OF FRONT ENTRY FROM WALKWAY
MODEL MADE OF BASSWOOD, CLAY, AND MUSEUM BOARD
VIEW OF SECTION CUT
FEATURING BASEMENT FLOOR SWIVELED
ZOOMED IN VIEW OF SECTION CUT
FEATURING STAIRS AND MATERIAL THICKNESS COMPARISONS

54. Oscar Niemeyer was born in Rio de Janeiro, Brazil, on
December 15th, 1907. As an architect, Niemeyer received his
first assignment in 1941. From there on, he became famous
for his free-flowing plans, the use of concrete and
implementing curves. By the end of his career, Niemeyer had
designed in places revolving around America, Africa, and
Europe. He completed over five hundred projects with
modern and futuristic concepts.
Second Build-
ing Vignette
(Increase Trans-
parency)
54
"My work is not about 'form follows
function,' but 'form follows beauty'
or, even better, 'form follows
feminine."
CASA DE CANOAS
1951 - 1953
RESIDENCIA
CAVANELAS
1954
OSCAR NIEMEYER, 1954

55. In 1954, Niemeyer built the famous Cavanelas house, located in Pedro do Rio, with its tent-like metallic roof and a
garden, with the help of Burle Marx's, is perfectly adapted to its mountainous site. The house is located in a valley on one
side, natural forest covers the slope, grass and trees on the other (Urquhart). With the simplicity of the house and the
dedication of the garden, Residencia Cavanelas is famous as a stereotype of the Modern architecture.
Personally, I love this house, with a simple floor plan and an extraordinary curved roof. Simple floor plan separates
private and public spaces perfectly. Two facades of the living room wall is constructed entirely from a group of wide
glass sliding doors, which when opened, connects the living room space directly with the outside nature landscape. It just
works as a zip of a tent, people are able to feel the nature, once the tent is unzipped. And also, I love the grid of vivid
grass. Different colors collaborating together, gives me a relax and optimistic feeling. So does swimming pool. The house
is perfect for having vocations.
55ONE POINT PERSPECTIVE

56. 56
FIRST FLOOR PLAN
FLOOR PLAN

57. EAST ELEVATION
57
NORTH ELEVATION
SECTION A-A
SECTION AND ELEVATIONS

58. 58
HIERARCHY PRIVATE VS PUBLIC
PUBLIC SPACE
PRIVATE SPACE
MOISTURE SPACE
CIRCULATION SPACE
LOW
MEDIUM
HIGH
EXTERIOR
INTERMEDIATE
INTERIOR
RELATIONSHIPS BETWEEN
INTERIOR, EXTERIOR AND
INTERMEDIATE SPACES
CIRCULATION
2D DIAGRAMS

59. 59
UNIT TO WHOLE NATURAL LIGHT
TWO POINT PERSPECTIVE
2D DIAGRAMS

60. 60
CIRCULATION STRUCTURE
SITE
ANALYTICAL MODELS

61. SECTIONAL MODEL 61

62. The Patkau Architects is a design research studio
founded by John and Patricia Patkau. In an effort to
portray rich and engaging buildings, the Patkau
Architects utilize the environment that surrounds a
building to provide a primary driving force for their
designs
First Building
Vignette
62
"Houses are very special to us. They are
the poetry of architecture. They represent
those wonderful moments of passion that can
be expressed directly."
BARNES HOUSE
1993
EXTERIOR FACADE
INTERIOR VIEW
PATKAU ARCHITECTS, 1993

63. TWO POINT PERSPECTIVE
The Barnes House, finished in 1993, sits in the forested and rocky terrain of Nanamio, British Columbia. Designed to
be a private home, the structure takes on several key concepts that the Patkau Architects learned and developed over
time. Nature and the surrounding elements help influence the design of the Barnes House and allow for a complex twist on
modern architecture. Due to the rough landscape, the building seems to cut into the land rather than lay on top of it with
forms extruding from the ground. Because of the variety of its surrounding environment, the Barnes House is made up of
many different materials and complex geometries. Window size and placement allow visitors to experience the building's
surroundings, while subconsciously connecting the building to its site. The design concept behind the Barnes House really
tries to emphasize the connection between building and nature.
63

64. FLOOR PLANS 64

65. SECTIONS AND ELEVATIONS 65

66. 2D DIAGRAMS 66
MASS + VOID ANALYSIS
SHOWN TO DISPLAY THE POSITIVE AND NEGATIVE
SPACES AND PROVIDE A VISUAL OF THE OVERALL
MASS OF THE STRUCTURE
CIRCULATION
EXPLAINS THE VERTICAL AND HORIZONTAL CIRCULATION
THROUGHOUT THE STRUCTURE
HORIZONTAL LEVELS
VARYING LINEWEIGHTS TO SHOW THE HORIZONTAL
PLANES OF THE BUILDING
LEGEND
THIN = FIRST FLOOR
THICK = SECOND FLOOR
LEGEND
DOTTED = VERTICAL
SOLID = HORIZONTAL
LEGEND
DOTTED = VERTICAL
SOLID = HORIZONTAL

67. 2D DIAGRAMS 67
BUILDING WITHIN THE LANDSCAPE
COLLAGE
PROVIDES AN UNDERSTANDING OF THE TOPOGRAPHY
AND PLACEMENT OF NATURAL ELEMENTS
RELATION BETWEEN ROOF STRUCTURE AND
WALLS
PROVIDES INFORMATION ON HOW THE WALLS AND
COLUMNS RELATE TO THE OVERALL ROOF ELEMENTS
NATURAL VIEWS
DISPLAYS THE ARCHITECTS DESIGN TO PROVIDE
SPACES THAT OVERLOOK A SIGNIFICANT FEATURE
OF THE NATURAL LANDSCAPE

68. 3D ANALYTICAL DIAGRAMS 68
ENTRANCE + EXIT
ATTEMPTS TO PORTRAY THE MAIN ENTRANCES
AND EXITS OF THE BUILDING, WHILE SHOWING
KEY WALK PATHS FROM THE FIRST AND SECOND
FLOORS.
MATERIALITY
SHOWCASES THE KEY MATERIALS USED FOR
SUPPORT AND SHAPE OF THE BUILDING. THE
MOST COMMON MATERIALS USED ARE CONCRETE
(WALLS,FLOOR SLAB, COLUMNS), LUMBER (ROOF
SUPPORT BEAMS), AND METAL (HANDRAILS,
FRAMES, SUPPORT BEAMS).
LANDSCAPE CONNECTION
CONVEYS HOW THE BUILDING "CUTS" INTO THE
TERRAIN AND HOW THE BUILDING UTILIZES THE
VARIED LANDSCAPE TO DRIVE ITS SHAPE AND
COMPLEX FORM.

69. SECTIONAL MODEL 69

70. Ben Van Berkel is a Dutch architect who was born in
1957 and later studied architecture at Rietveld
Academy in Amsterdam, as well as at the
Architectural Association in London. he is most well
known for his work under the firm based in
Amsterdam known as UNStudio, which he started
under another name with his wife, Caroline Bos.
70
"You could never hide yourself in these places -
in Mies's Farnsworth house, for example. That was
a mistake of Modernism. People need places to hide
from each other, too. You need everything."
MOBIUS HOUSE
1993 - 1998
DREAM HOUSE
1996 - 1997
VILLA N.M.
2000 - 2007
UNSTUDIO, 1993 - 1998

71. TWO POINT PERSPECTIVE
The Mobius House is a single-family building that was designed by the European architecture firm known as UNStudio (Ben
van Berkel), and was built in 1998 just outside of Amsterdam. The young couple that approached the firm wanted a build-
ing that could direct them throughout their daily lives in terms of both work and family life. The architects spent a great
amount of time studying the concept of a German mathematician known as the Mobius loop. This concept is essentially a
single-faced band that is cut, rotated, and then reattached to form a single continuous edge. This is the concept that
defined the form and function of the Mobius House. The loop brings the inhabitants throughout their daily business and
at the crossing points of the circulation are where public spaces develop. Additionally, the building is suited with a set of
large windows that constantly keep the inhabitants in touch with the natural environment that surrounds them.
71TWO POINT PERSPECTIVE

72. 72
FIRST FLOOR PLAN
SECOND FLOOR PLAN
GROUND FLOOR PLAN
SCALE: 1/16" = 1'-0"
FLOOR PLANS

73. 73
SOUTH ELEVATION
EAST ELEVATION
SECTION A-A
SCALE: 3/32" = 1'-0"
SECTION AND ELEVATIONS

74. 74
CIRCULATION
DIAGRAM
LIGHT EXPOSURE
DIAGRAM
STRUCTURAL
DIAGRAM

75. 75
PARTI DIAGRAM (ABOVE)
PLAN TO ELEVATION DIAGRAM (BELOW)
SOLID-VOID
DIAGRAM
(RIGHT)
2D DIAGRAMS

76. 76
3D ANALYTICAL
MODELS
VISIBILITY / MOBIUS LOOP CIRCULATION
THIS DIAGRAM SHOWS THE PATHWAY BY WHICH
INHABITANTS ARE GUIDED THROUGHOUT THEIR
DAY, AND HOW THIS PATH GREETS THE
NATURAL SURROUNDING ENVIRONMENT THROUGH
WINDOW PLACEMENT.
RECONFIGURATION
THIS DIAGRAM SHOWS THE ORIGINAL BUILD-
ING OUTLINE AND CIRCULATION, BUT OFFERS A
ALTERNATIVE TAKE ON THE WORKING / LIVING
SPATIAL ORGANIZATION
SPATIAL FUNCTIONS / RELATIONSHIPS
THIS DIAGRAM SHOWS THE BUILDING'S
ORGANIZATION IN SUCH A WAY THAT
SEAMLESSLY INTEGRATES THE OWNER'S WORK
AND FAMILY LIFESTYLES BY THE CONTEXT OF
THOSE SPACES.

77. 77
SECTIONAL MODEL

78. During the years developing his architectural
philosophy, Van Berkel created four categories which
he would base his future works off of - Mobile
Forces, Crossing Points, Storing the Detail and
Corporate Compactness
78
"My mother took me to Venice one time and
showed me all the houses where famous composers
used to live. It gave me a fascination for music and
the city, but also for architecture. It was a
valuable lesson."
MOBIUS HOUSE
1993 - 1998
DREAM HOUSE
1996 - 1997
VILLA N.M.
2000 - 2007
UNSTUDIO, 1996 - 1997

79. TWO POINT PERSPECTIVE
The Dream House, designed by Ben Van Berkel in Berlin, Germany in 1997, is a unique representation of a living space, to
say the least. The reason as to why I address it as a representation rather than a house is because it was not actually
constructed but rather only conceptualized to the extent of two floor plans and a basic model. Even with the lack infor-
mation, it becomes quite apparent as to what Van Berkel aims to achieve and manages to successfully accomplish in this
experimentation after close analysis and applied knowledge.
79

80. FLOOR PLANS 80

81. SECTION AND ELEVATIONS 81

82. 2D DIAGRAMS 82
PLAN ELEVATIONS
DISPLAYS THE FIRST AND SECOND FLOOR PLANS
RESPECTIVELY AND THE ELEVATION OF EACH LEVEL
RELATIVE TO THE SURROUNDING FLOORS THROUGH
DIFFERING LINEWEIGHTS
SECTION COLLAGE
DISPLAYS THE INTERCONNECTING PIECES
OF THE MODEL BASED ON A NORTH TO
SOUTH CUT
CIRCULATION IN PLAN
SHOWS THE MAJOR ROUTES OF
CIRCULATION BETWEEN LEVELS AS
DISTINGUISHED BY THE COLORS NOTED
IN THE LEGEND

83. 2D DIAGRAMS
83
SITE TO PLAN
DISPLAYS THE GEOMETRIC RATIO BETWEEN THE
MAIN FACADE VERSUS THE SITE THROUGH THE
USE OF TWO DIFFERING LINEWEIGHTS
ROOF UNDULATION STUDY
REVEALS THE CHANGE IN HEIGHTS OF THE
ROOF AND THE CHANGE IN LEVELS
CORRESPONDING TO THE GRAY AND WHITE
COMPONENTS
LIGHTING ANALYSIS
SIMULATES THE AREAS WHERE LIGHT TRAVELS ON
THE FIRST FLOOR THROUGH THE USE OF VARIED
SEPARATION IN HATCHING

84. 3D ANALYTICAL MODELS 84
RECONFIGURATION
MASSING STUDY ELEVATION STUDY

85. SECTIONAL MODEL 85
ENTRANCE VIEWROOF PLAN VIEW
PERSPECTIVE VIEW

86. As customary to his design principles and
philosophies, Van Berkel addressed the needs of his
clients, a young Russian couple seeking to be able to
fully grasp the environment. Using mostly the site
as means of projecting his ideas, Van Berkel touched
heavily on his established philosophy of site
incorporation.
86
"Architecture falls between art
and airports. It's pragmatic-it helps
you get from point A to point B. But it
also works as art. It makes you think
twice. It inspires you. It brings you
back to yourself."
MOBIUS HOUSE
1993 - 1998
DREAM HOUSE
1996 - 1997
VILLA N.M.
2000 - 2007
UNSTUDIO, 2000 - 2007

87. TWO POINT PERSPECTIVE
UNStudio was founded by Ben Van Berkel and Caroline Bos designed Villa N.M. in 2000. The building was designed to be a
residential housing and was completed in 2007. Located in New York, around 2 hour drive from the city, Villa N.M. lies on
the slope of Catskill Mountain. The design is essentially a volume of a box that separates into two which one lies on bot-
tom of the hill and the other rises from the top of the first. This design was structurally challenging due to use of sinu-
ous forms to accommodate for the circulation that connects all three volumes.
87

88. FLOOR PLANS 88

89. SECTIONS AND ELEVATIONS 89

90. 2D DIAGRAMS 90

91. 2D DIAGRAMS 91

92. 3D ANALYTICAL DIAGRAMS 92
CIRCULATION IN RELATIONSHIP WITH
LANDSCAPE
THE CIRCULATION MODEL SHOWS THAT ONE CAN ENTER
THE HOUSE THROUGH THE SOUTH SIDE CLIMBING UP THE
HILL, OR FROM THE WEST SIDE ENTERING DIRECTLY FROM
THE BOTTOM OF THE HILL.
VOLUME AND INTERIOR CIRCULATION
THE MODEL SHOWS THE RELATIONSHIP BETWEEN
THE THREE VOLUMES OF THE HOUSE AND HOW THEY
LIE ON THE LANDSCAPE. ALSO THE MODEL SHOWS
THE CIRCULATION DESIGNED IN THE CENTER OF THE
BUILDING.
SHAPE
THIS MODEL DEMONSTRATES THE EXTERIOR
FACADE OF THE ARCHITECTURE THAT THE VOLUMES
ARE CONNECTED WITH SINUOUS WALLS THAT BEND
AND JOIN WITH EACH OTHER TO CREATE A SENSE OF
UNITY.

93. SECTIONAL MODEL 93
VIEW OF INTERIOR SPACE
MADE OF MATT BOARD AND 1/8"
THICK CARDBOARD
VIEW OF SECTION CUTVIEW OF EXTERIOR FACADE

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