Laura Lyndsey Surma
Design Parti: The Painter’s House
► Analysis
For this project, I wanted to create a design that was predominantly made up of curves since I tend to gravitate toward rectilinear forms. This decision would force me to push my limits and challenge myself to produce a truly unique solution to the programmatic needs. I found my muse I was reading the AD 100 list in Architectural Digest. Architect Wallace E. Cunningham asserted, “Houses should be portraits of their owners.”[1] I decided to take that statement literally. The key elements of the program that I considered included the fact that the house would be for a female artist and that it would be located in a rural area intended to evoke a sense of relaxation. Thus, I thought it would be interesting to make the design of the house resemble the figure of a woman relaxing. The female figure is an interesting subject because it offers various natural curves that can be exploited in interesting ways.I started on the notion that I would take this image from a magazine, but eventually came to the conclusion that the portrait would be even more appropriate if derived from a painting since the client is a painter herself. So, I found a number of images that I liked (most of them were modern/cubist since they offered the most interesting spaces) and did a number of traces until I narrowed the options down to a single image.
► Description
Inspired by Picasso’s “Woman Reclining,” I pulled up walls where I found the most interesting lines. I started with the exterior walls, which were formed by the lines defining the painted woman’s side and back. Then, I decided that other elements of the woman that were portrayed could become objects that would help divide the space. The most dominant object was composed from the form of the arm, and it would be accessed from both sides (the gallery and living space) for storage and other purposes. The breasts of the figure would offer two round enclosed spaces that would help provide for the required enclosed bathroom and other spaces. These objects allowed the plan to remain very open while still having the ability to meet the programmatic requirements.
► Evolution
After achieving the basic form, I made alterations and additions in order to accommodate the needs of the client. Since the arm form that was designed as a storage area was already a dominant form, I decided to make the plan even more decisive by expanding it. Thus, it was heightened to help articulate the elevation, and its material was changed to frosted glass. Since it demanded so much attention, I transformed it into the gallery (also with a portion of the kitchen), allowing for the desired “dramatic entrance.” What was most interesting about this change was how it would augment the sight of the building at night; the glass form would be illuminated and would provide a focal point. Since this object grew so dramatically in size, I decided that I needed to balance it with a subtractive element. As a result, the circular form that was once designated as a meditation area open to the sky became a sunken landscape element. In addition, I made the rooms more specific to their uses. Finally, I considered different solutions for the roofing scheme.
► Personal Reflection
I think that the design was quite successful because it takes its basis in the parti, but then freely adapts to the given conditions. I think that it is not only artistic and a true reflection of the client, but also practical. If I were to approach this project again, I would like to figure out how to make a more interesting roof form—while avoiding a wild or childish look—thatwould allow increased variation of the wall heights.
[1]“Architectural Digest’s International Directory of Interior Designers and Architects.” Architectural Digest. New York: Condé Nast Publications, Jan. 2004. Vol 61, Num 1. pp 58.