Rural Studio 2009
For Rose Lee, BJ, &, Jason and the Rural Studio This book documents the design/build process of Rose Lee Turner’s house by the students of the second semester. Auburn University Rural Studio Newbern, Alabama Spring 2009 By: Allyson Klinner and fellow students
Rural Studio 2nd Year Spring 2009
LEARN BY OBSERVING
Footwash Community Client: Rose Lee Turner The Expandable Courtyard House Precedent Studies
LEARN BY DESIGNING Design Decisions Courtyard Typology Roof Exploration Expansion Exploration Courtyard Exploration Final Design
LEARN BY DOING Machine Expansion Courtyard
APPENDIX Neckdowns New Orleans
2ND YEAR: SPRING SEMESTER
GETTING TO KNOW THE SITE
our first task:
getting to know our site by
exploring the
FOOTWASH COMMUNITY
Perry County
Hale County
Alabama
Hale County, AL
Footwash
Newbern-Footwash: 8 miles
Estimated Median House Value
Footwash: Faunsdale, Alabama | Marengo County
$60,729 *Though it is much lower for Footwash
Footwash is a small community of very close neighbors. Every year they host a large event known as the Footwash Festival. This festival is From Rural Headquarters an opportunity for people from all over the United States to come beDistance a part of African American cultureStudio in the South. Over 100,000 people 8 miles pack an open field to take part in this unique event.
Elizabeth Whitlock
Population 87 Number of Houses 36 units Land Area 0.22 square miles Average Household Size 2.6 people Percentage of Family Households 73.5% Estimated Median Household Income $35,465 *much lower for Footwash Estimated Median House Value $60,729 *much lower for Footwash Distance from Rural Studio Headquarters 8 miles
GETTING TO KNOW THE CLIENT
meet our client,
ROSE LEE TURNER,
mother of five sons and matriarch of the footwash community
an interview
Age: 65 Position: mother, grandmother, neighbor Family: 15 siblings, 5 sons, 6 grandchildren Interests: quilting, family, sitting on the porch
Rose Lee Turner has been a resident of Footwash since 1969. She has five sons; two of them, BJ and Jason, live with her. Rose leads a very simple life that does not rely on modern conveniences. She has no car or running water. Her life is very routine; almost all of her time is spent at home. Rose’s house and yard are always full of visiting neighbors and friends.
Rose, what is your favorite thing about your house? I love to sit in my bedroom and look outside. I love to be able to see what is going on outside. Exterior views are very important Rose, what do you want in your new house? I love big windows because I like the outdoors. But I like my privacy, so I still want my own room and my own space. Exterior views and privacy are valued. Rose, what is your family like? BIG. When we have family reunions I don’t even know who half the people are. Family is important, and a place to gather is crucial.
the boys
[On left] Name: Jason Age: 22 Position: Rose Lee’s son
[On right] Name: BJ Age: 27 Position: Rose Lee’s son
BJ, what kinds of things do you do at home? I usually play X Box with friends; 10 friends often come over at one time. Sometimes we just play cards or dominoes. I also like to grill out. He enjoys friends. Space for company is necessary. Jason, what do you typically do during the day? I get up really early everyday. Sometimes I do odd jobs, and sometimes I go fishing. I like to stay outside most of the time. Outdoor living spaces are extremely important. Boys, what do you want in your new house? We like big windows since we like being outdoors. But we also like our privacy, so we still want our own rooms and space. Exterior views and privacy are valued. Boys, what are you looking for in a courtyard? We want a place to hang out, play dominoes, listen to music, and grill out. Create a multi-functional courtyard.
rose lee’s daily routine
Rose Lee wakes up
Rose Lee watches tv
Rose Lee gets out of bed
Rose Lee spends time outside
Rose Lee has coffee outside with her neighbor
Rose Lee cooks breakfast
Rose Lee watches more tv
Rose Lee goes to bed
another interview Does Rose Lee want a courtyard?
WHO KNOWS
Does Rose Lee like to garden?
FALSE
Does Rose Lee want protection for her property?
TRUE
Do the boys only have a few friends who visit?
FALSE
Is the backyard used for family gatherings?
TRUE
Is Missy a temporary pet for the family?
FALSE
Would Rose Lee like for the boys’ bedrooms to be disconnected from the machine?
FALSE
Will Rose Lee use her front porch?
TRUE
Does Rose Lee need to have a bedroom that faces the courtyard?
FALSE
Does Rose Lee want a closed off kitchen?
FALSE
Does Rose Lee need space for a washer and dryer?
TRUE
Do the boys mostly use the backyard?
TRUE
Are the boys looking for a nice courtyard to use all of the time?
TRUE
Rose Lee has no clue if she would use a courtyard. She has never had one so she doesn’t know what should be in it or even what she wants in it. Rose Lee said that she does not garden and that if she had a garden she would not keep up with it. She does not grow vegetables. In fact, a while back, her cousin spotted a bobcat in her backyard. Therefore, a fence might be a good idea. And, yes, she is open to the idea of a fence. The boys have between 10 and 30 people over at one time. The entire family comes over at least twice a year. There is a big gathering on Mother’s day and also on Rose Lee’s mother’s birthday. There will always be a dog in the backyard. Even after Missy dies, the boys will get a new dog. The boys are gone enough as it is, so when they are home Rose Lee wants to see what they are up to...even if they are with a girl. Rose Lee can’t wait to put a chair out on the porch. She wants it painted burgundy. She also does not want the porch to be used for storage. According to Rose Lee, the whole house is hers..so if she wants to use the boys’ bedrooms for watching tv or taking a nap she will. Really, Rose Lee thinks that a kitchen that has a countertop overlooking the living room could be quite “beautiful.” In her old house Rose Lee had a washer and dryer but no space for them nor running water. Once her water is back on, she will have a washer and dryer. Rose Lee hardly ever goes into the backyard. The boys said one thing they are really hoping for with the courtyard is a place to be outside even if it is raining.
existing house
south elevation
north elevation
[above]: east elevation [below]: west elevation
85 sq ft.
83 sq ft. 37 sq ft.
132 sq ft. 130 sq ft.
86 sq ft.
plan 554 sq. ft.
interior spaces
living room
living room
view of living room from kitchen
kitchen
bj’s bedroom
rose lee’s bedroom
DESIGN THEME
exploring the
EXPANDABLE COURTYARD HOUSE
expandable house Grows by necessity over time It is based on the traditional local farm house strategy Responds to the transient nature and demographic of the contemporary family
courtyard house Provides privacy and intimacy The courtyard becomes a second living room in the summer Natural light, weather, and plants become the center of the dwelling Suggests a model for low rise development and an alternative to the sprawl
courtyard house variations contraspatial
linear
binuclear
atrium
LESSONS FROM HISTORY
designing for the present by studying the
past
PRECEDENT STUDIES Alvar Aalto Lina Bo Bardi Alberto Ponis Mies Van der Rohe Josep Lluis Sert Jorn Utzon
Alvar Aalto: Summer House Alvar Aalto’s summer house is located in Muuratsalo, Finland, and was designed and built to be a place to vacation in the summer or escape the cold winters of Finland. Aalto not only designed this home for himself to live and work in, but also intended it to be an experimental house where he could test and work with different materials. Aalto experimented with many different kinds of bricks and brick laying methods so as to test their effect not just aesthetically, but practically as well. Aalto designed the courtyard and the house to take full advantage of the sun’s natural light and energy to heat the house during the frigid Finnish seasons. From this house, we learned that through smart, intelligent design, it is possible to work with nature and not against it. The importance of having a second outdoor living space is as important in Alabama as it is in Finland.
Lino Bo Bardi: The Glass House Another project that we looked at for precedent studies was the Glass House by Lina Bo Bardi. Unlike some of the other houses we studied, this one had two courtyards instead of just one. However, both courtyards had very different conditions. One courtyard was small, square in shape, and completely surrounded by large glass windows. The second courtyard was quite the opposite because it was three times the size of the first and was surrounded by heavy walls with very small windows. Something rather interesting about both courtyards is that they were inaccessible, thus causing us to realize the importance of views and vegetation. Bo Bardi embraced the vegetation by allowing one of her courtyards to be formed around an existing tree, but she also closed off the vegetation by only allowing it to be viewed from the interior of the house. In response to this study, we will seek to pay special attention to the views and vegetation that we allow in our courtyard design.
Alberto Ponis: The Patio House Alberto Ponis’ courtyard house was built in Sardinia for a residential compound. The buildings were constructed in a linear fashion with all the glazing facing the north. Two thick walls border the house allowing for privacy. The house splits the private and public functions with a courtyard, allowing the courtyard to become a journey from the bedroom to the public rooms. The courtyard also gives the house an inward focus. One focus our group had was on the use of native plants in the courtyard to connect the interior courtyard with the natural site, as well as the use of overhangs to shade the interior during the harsh summers and allow light to penetrate the rooms during the cold winters.
Ludwig Mies Van Der Rohe: House with Three Interior Courtyards Mies Van Der Rohe designed the House with Three Interior Courtyards in the mid 1930s in Chicago, Illinois. However, it was never built because of the economic status at the time. The project was for urban living, consisting of several lots separated by a brick perimeter with only one entrance to every lot. The House with Three Interior Courtyards, in particular, had an interesting courtyard proportion and relation to the house. We found that the first courtyard in front of the house was the same size as the home with the other two courtyards. The second courtyard was a little less public and reduced to about one-fourth the size of the first courtyard. The last of the courtyards was the most private, only interacting with the bedroom, and half the size of the second. We learned how every interior space can relate to the courtyards. The division of the spaces was glass walls, and the support for the massive concrete roof was with columns.
Josep Lluis Sert: Cambridge House The Josep Lluis Sert case study was conducted on the Cambridge House that was built by Sert after he moved to the United States from Spain to be the Dean of Harvard’s architecture graduate school. The 1957 house was designed with the intent of being able to be reproduced in communities. Each house contained three courtyards, one on each end of the house and one in the center. Each of the outdoor courtyard spaces were associated with different internal space uses. The courtyard in the center of the house is accessible both visually and physically from most of the sides and rooms. The southern courtyard is a private courtyard accessible only through the private spaces such as the bedrooms. The northern courtyard is a public space in terms of house use; it is located adjacent to the living and dining room and provides visual aspects that couple with those of the internal courtyard as well as an outdoor space to combine with the indoor spaces. The roof, height, and size of the central courtyard allowed light to penetrate the windows in the winter months, but not the summer months. Materials are also used to link the interior and exterior spaces as walls of the same material continue from the inside to the outside as the courtyard walls. The observations we took from this case study were the use of courtyards as different spaces, the use of material relating the courtyards to the rest of the house, and use of a courtyard to allow light to enter spaces in ways it normally does not.
Jorn Utzon: The Fredensborg Houses As an introduction into the concept of what a courtyard residence is, we analyzed a project of Jorn Utzon’s by the name of the Fredensborg Houses. This project developed from 1959 to 1962 in Denmark as a response to a need for a community development for retired couples returning from travelling abroad. Four types of this residence were developed by Utzon to compose the community. The type we analyzed in our precedent study was Type D. The main concept we gathered from this project was that the courtyard can be defined by distinct characteristics. One such characteristic is that it can be a direct expansion of the living room. This is encouraged by the access of the courtyard from the living areas in Utzon’s design. Another defining aspect of the courtyard is the establishment of a private versus public area. Types of vegetation used inside the courtyard (which correlates to the common vegetation outside the organization), enclosure of the courtyard space, and a formation of the flooring of the courtyard all show us what a courtyard is by definition to Jorn Utzon, and lead to further design decisions in the house we are building.
WHAT IS THE STRATEGY?
As with any project, many issues had to be considered in the very beginning of the design process of Rose Lee’s house. The first, and one of the most pertinent, issues that had to be resolved was where Rose Lee and her sons would live while her new house was being built. We could not displace our client for the entire duration of construction. Therefore, a strategy involving two phases of construction was developed; hence, the typology of the expandable house was pursued. These two phases became known as the ‘machine’ and the ‘expansion’. Also critical to the strategy then was the placement of the new house on the site. In order to allow our client a place to continue living during the construction, the main ‘machine’ part of the house would be built in front of Rose Lee’s existing house. Once completed, Rose would move into the machine, and demolition of her old house would pursue in order for construction of the expansion to begin. This strategy set up the design and construction work for the two different semester’s groups of students. The first semester designed the ‘machine,’ making decisions regarding basic elements such as the number of bathrooms, kitchen placement, and roof typology. All design decisions revolved around the concept for expansion that would follow with the work of the second semester. As students of the second semester, we focused our intial design intentions on the typology of the courtyard, which would guide the development of the expansion. We then re-explored the design of the machine’s roof so as to facilitate a better transition to the expansion. Before moving on to our ultimate task, the expansion, we focused energy on designing the machine’s interior with wood that had been salvaged from an old barn. With all of this complete, we explored ideas for and in due course designed the expansion and the courtyard that would complete Rose Lee’s expandable courtyard house.
DESIGN DECISIONS
expandability process first semester
second semester
phase 1: machine
phase 2: courtyard + bedrooms
site placement august 2008
current house
december 2008
march 2009
current house machine
may 2009
courtyard + expansion machine
machine
machine interior 2nd semester expansion
NORTH
2nd semester expansion
passive strategy Placing windows and doors adjacent to each other allows for easier ventilation, which in turn makes the space more comfortable. Higher ceilings allow hot air to escape and cool air to dominate the living space. Natural ventilation adds to the efficiency.
designing the bathroom: one or two?
One bathroom is a necessity and two is for convenience. We came to the conclusion that one bathroom would be sufficient for this family of three. In the future, the possibility of adding a bathroom could be easily accomplished. Efficiency and cost were the deciding factors.
two bathrooms split
one bathroom for rose
one bathroom center
designing the kitchen: open or closed?
The Loft: Kitchen space and dining space were interchangeable. Dinner and a ‘Show’: Kitchen and living spaces separated but allows partial access through a void in a partition wall. A closed kitchen was important to the client.
closed off kitchen
kitchen/dining split
open to living room
hug + pop roof
environmental strategy
LET THE CHARRETTES BEGIN!
Over the course of three days near the beginning of the semester, the second year studio divided into groups and explored four options for the shape and location of the expansion and courtyard. Typologies included (1) expanding from both the east and west sides of the machine--commonly referred to as the “U-shape” option; (2) disconnecting the expansion from the machine--described as the “separated dogtrot” option; (3) expanding from the west side of the machine; and (4) expanding from the east side of the machine--known as the “L shape” option. After three days that were consumed with charrettes and drawings, a decision for designing according to the east expansion was made. From this point, the actual courtyard design began to develop.
COURTYARD TYPOLOGY
Option 1: East & West Expansions Option one of the courtyard typology exploration based its design on an expansion of both the East and West sides of the machine, thus lending a “U-shape” to the house and courtyard. The first day of the “U” design solved some of the basic problems with expanding onto the existing machine. Accessibility for Rose Lee was resolved by only adding doors to either end of the North facade. By doing this, no halls were added, keeping travel to a minimum. The proportions laid out for BJ and Jason’s rooms were merely reflections of the existing spaces before them. By directly proportioning the two bedrooms, the east and west facades simply extended along a flat plane making construction easier and minimizing materials. Lastly, these two bedrooms created a small, protected niche for the courtyard. The courtyard was then designed with a central, raised garden for Rose to tend while sitting or standing. The garden was surrounded by wide platforms that step down and around the garden, creating several points of meditation and socializing. The initial design for the “U” courtyard set a strong foundation for the development to the second plan. On the second day of charrettes, the “U” design resembled the first phase in that it had the same proportions and circulation to each space; however, the courtyard design changed slightly. The raised garden was replaced with two points of meditation at a split level and separated by a half wall. The stepping platforms were also changed into just two levels linked with a small stair. The final day of the “U” design exploration brought much more detail and function to the courtyard space. After discussing the design with Rose Lee and the boys, the courtyard changed in priorities. The courtyard grew from its protected niche to a larger space, expanding beyond the constraints of the machine addition, composed of a grilling station, dining area, and garden space.
1
2
Option 2: Separated Dogtrot Option two for our charrette days was the idea of a separated “dogtrot” addition in the back of the machine. The courtyard would be formed from the space between the two structures, allowing for a communal space to share between Rose Lee’s part of the machine and BJ and Jason’s separate, more private space. We explored this option in a small group for three days, like the other options, and weighed its pros and cons. A separate space for the boys was a definite pro, whereas the uncovered distance to the house for use of the kitchen, bathroom, etc. turned out to be more of a disadvantage than we had initially expected. Also, upon talking with Rose Lee about the option, she preferred the boys’ space being connected to the machine, as she felt the whole house was hers. Day one was spent exploring a dogtrot style addition with two bedrooms and a shed roof similar to that of the machine. Each bedroom was of minimum size--efficient yet spare enough to save money and precious square footage. The dogtrot was connected to the back of the machine via an attached “boardwalk” structure--an elevated surface so that Rose Lee would have no trouble accessing the boys’ space. On day two, we explored a new concept for the roof of the dogtrot structure. We created an entirely new roofline for the dogtrot-more of a “butterfly” type roof with a pitch to both the east and west sides. A breezeway through the center of the two rooms was a plus but was outweighed by too many cons. The negatives of this case were many, especially considering the dogtrot was beginning to feel disconnected from the machine, thus reading almost as a separate house. The third and final day was our last chance to try to make this option work; however, the numerous design issues proved too many for this option to be practical. Our other charrette groups were looking more promising and ultimately more practical, so we voted as a group at the end of day three to eliminate this possibility.
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2
3
Option 3: West Expansion In exploring all of our options for expansion, a western charrette option was considered with the expansion extending from the western side of the machine. Many problems with this design were recognized soon after the studies and drawings began. While a western expansion would have blocked out harsh southwest winds, the space provided by the geometries of the existing building, the machine, was insufficient. The spatial constraints as well as the lack of natural light in the courtyard caused the exploration of this option to end after only a day of reviewing it.
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2
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4
1
Option 4: East Expansion During the fourth design charrette, the team investigated an expansion on the east end of the machine, much like the western expansion that was briefly explored. An eastern expansion established an L-shaped floor plan and enclosed a sizable square courtyard. Schemes considered during the charrette differed in their attachment to the house and their means of access. On the first day of exploration a design resembling somewhat of an attached dogtrot was developed. The two boys’ bedrooms would be connected to the machine by a covered, but unenclosed, walkway, which would provide a separate, exterior entrance from the east side to the expansion as well as directly into the courtyard. The second day was spent primarily developing the idea from the first day of the charrette. However, a notable difference in the design investigation was the length of the expansion. The team developed a plan of shorter length, in order to eliminate any unnecessary space, and with direct access to the courtyard from each of the bedrooms. This led to further questioning about the courtyard and decisions to be made regarding the shape it should take--rectangular or square. Upon closure of the three days of charrettes, a simple gabled roof and a direct connection to the machine’s kitchen hallway was eventually agreed upon. The expansion design had cedar siding and a tin roof. It was viewed as an continuation of the machine. Eventually, the eastern expansion was chosen by the team for the final design, and the floor plan was explored in further detail.
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4
NORTH POP? SOUTH POP?
After deciding upon the east expansion courtyard typology, we then explored two options for the shape of the roof: a north pop and a south pop, both with a gabled hug. Following studies of ventilation patterns and sun diagrams for both schemes as well as options for the expansion of the machine and courtyard design, the south pop was decided upon for both aesthetic and environmental reasons.
ROOF EXPLORATION
South Pop vs. North Pop After deciding on the general hug and pop shape of the house, we moved on to the design of the “pop�. The use of the pop as a clerestory was advantageous in increasing direct solar gain to light the living room space in the center of the house. We deliberated between building the pop elevated south toward the front of the house or north toward the courtyard. One of the greatest considerations in deciding the direction was how the expansion would connect to the roof of the machine and also how the courtyard would take form and still maintain the hierarchy of spaces we aimed for with the design. The north pop would still be constructed in the same manner of the south pop. However, overall, we agreed that a south facing pop would be most suitable for the design. Aesthetically, it worked nicely with the front facade. During the day, the pop allowed in southern lighting which would be extremely beneficial during the cold winter months, and at night the light emitted from the clerestory created a warm glow from within the house that could be seen by passerbys on the road. One concern we had about the pop facing south was that the southern light and heat might be too harsh during the hot summer months. To reduce this effect, we designed louvers that ran horizontally along the pop.
SOUTH POP
NORTH POP
The Final Decision: South Pop One of the most prominent features of the house is what we called the south facing pop roof. This feature is located above the living space of the house and allows diffused light to filter in through louvers on its southern face. In one of the original design schemes, there was a north facing pop planned; this was changed, however, when the courtyard design was considered along with the expansion. Because the courtyard was going to be a main aspect of the house, we felt the high wall would be imposing on the outside room. Also, since we knew the expansion was going to be added shortly after the completion of the machine, the high wall created a difficult connection between the two sections, so in switching the direction of the pop roof this connection was made more natural. As previously detailed, when this change was made, there were many issues that had to be resolved when faced with southern exposure, namely the harsh summer sun adding heat gain to the house. To control the sun, we added small horizontal louvers to the exterior of the southern face, spaced at a specifically calculated distance to block the harsh summer sun, yet allow the lower winter sun to help heat the house during the colder months. During the evening, when the house is lit from the interior, this large glazing acts as a lightbox, letting the warm light out into the night. The south facing pop roof expresses and emphasizes the importance of the living room in family homes.
HOW DOES IT GROW?
After deciding the typology of the courtyard, and hence, the form of the expansion, we began exploring the plan. Programmatically, the plan had to encompass two bedrooms and possibly a space for a washer and dryer. The main problems to be resolved were the transition from the machine to the expansion and the connection of the bedrooms to the courtyard. Also, passive systems for ventilation, just as in the design of the machine, had to be considered. Many design solutions were proposed and explored, and ultimately a plan based on the greatest degree of efficiency was chosen. Finally, along with the expansion came the problem of how to connect its roof to that of the machine. More design solutions would be explored that would come to affect the exterior aesthetic of the expansion & overall courtyard experience.
EXPANSION EXPLORATION
East Hallway vs. West Hallway While designing the expansion to the machine we deliberated two layouts: placing both BJ and Jason’s rooms against the courtyard and running a hallway along the East wall of the house, or running the hallway along the courtyard and placing the rooms against the East wall of the house. If we placed the rooms against the courtyard, the boys would have direct access to the courtyard through windows or sliding doors. This would provide ample sunlight, natural ventilation and a close relationship to the central courtyard. But running a hallway along the eastern wall of the house would create an undesirable connection to the existing living area, and the boys’ access to the courtyard might detract from the privacy often preferred in bedrooms. We decided to place the hallway against the courtyard and the bedrooms along the east wall of the house. We were able to provide one room with a courtyard window and natural cross-ventilation by placing the room at the end of the hall. However, the hallway separated the second room from the courtyard and limited the room’s access to cross-ventilation. To solve this problem, we designed a transparent section of wall (made of polygal) between the room and hallway. Then, by aligning courtyard windows in the hallway with the door and transparent wall of the room, we would be able to provide the room with diffused natural light and crossventilation.
CORNER? TERRACE?
Throughout the entire semester we explored options for the courtyard design. There were two primary schemes that were developed over the course of this time: a “terrace” option and a “corner” option. Both approaches explored different forms the courtyard could take, various uses of space, options for a wall that would enclose the space, and finally shading devices. Taken into great consideration within the design process were particular views various spaces offered as well as functionality. After many weeks of designing two schemes, we finally consolidated ideas and decided upon a courtyard composed of three essentially different spaces.
COURTYARD EXPLORATION
june 21
8:00am 12:00 pm PM, 4:00 pm 4:00 JUNE 21 8:00 JUNE AM, 21 10:00 8:00 JUNE AM, AM, 21 10:00 12:00 8:00 AM, AM, 2:00 10:00 12:00 AM, AM,4:00 2:00 12:00 PM PM, AM, 2:00PM PM, 4
Diagrammatic Studies With some intial ideas about an enclosure system for the courtyard, we began exploring specific views out towards the backyard and side yard from various locations within the courtyard. This would begin to influence further development of the walls, specifically the spacing between vertical members at different points around the perimeter as well as possible punctures in the wall. Through these studies we were also trying to determine the degree of privacy that the walls should provide, particularly in relation to the neighbors’ property on the west side. Along with these observations, we studied the effects of shading as implemented with a tree. The size of the tree and its location either within the courtyard or outside of its walls was explored. Design decisions were ultimately made depending on the desirable level of light/shade throughout the day as well as the year.
Benjamin Pendergraft
Corner Option: Plan The courtyard was one of the first designs we worked on as a team. The physical form of the house was our very design, and the form of the courtyard was directly affected by our decisions regarding the house. Once we decided on the L-shape of the house, we began to explore options for the courtyard. We came up with and developed several schemes, but eventually narrowed them down to two: the “Corner” plan and the “Terrace” plan. Both plans included a porch, level with the living room, which Rose Lee could walk out onto without having to descend any stairs. Due to her mobility issues, designing one or two easily accessible outdoor living spaces was a priority of ours. The porch plans differed when it came to the dimensions of these porches. The “Corner” plan included a smaller, square shaped porch in the inner corner of the L-shaped house and then two essentially different ground-level spaces on the exposed north and west sides of the porch. The “Terrace” plan, which is described in further detail on the following pages, included a longer, slightly thinner porch that ran the inner side of the southern leg of the house. The benefits of the “Corner” plan were that it would take less material and that it would leave more room for ground level space. The disadvantages were that it left less square footage for Rose Lee to fully enjoy and relax in and that it would also be located in a high traffic area, due to the connection of the expansion at this point. After weighing the pros and cons, as well as asking for Rose Lee’s personal opinion, we decided that the “Terrace” plan was the better choice.
CORNER OPTION
Corner Option: Enclosure Continuing with the “corner option� exploration, designs for a system of enclosure were then explored. This scheme addressed concerns about privacy and security while also allowing an important visual connection to the rest of the back yard and Rose’s neighboring family. Using cedar, this proposal implemented the concept of wrapping the house. The exterior shell of the house and courtyard would be covered in horizontal boards to give a continuous and monolithic feel. The interior of the courtyard would be clad in vertically oriented boards to define the space and create a different and unique experience. Specific voids in the wall system would allow for the important views to permeate into the courtyard. To emphasize and celebrate the corner, when the two walls meet less cedar would be used creating an open corner. After presenting the schemes to Rose the terrace option was chosen. We felt that this Corner Option did not give enough sense of enclosure and the overlapping cedar was wasteful and fussy.
Terrace Option: Plan The terrace plan’s main goal was to divide the large courtyard into more intimate, useable spaces. By creating smaller spaces, the courtyard had more purpose and would not become neglected. The plan started with three main spaces: a back deck, a boardwalk, and terrace. The back deck serves as an extension of the house; it connects both wings and is easily accessible. The boardwalk is on axis with the front door and visually connects the entire house and courtyard with the remainder of the backyard. The terrace became a space specifically for the boys, a place for them to have friends over, grill out, play music, and more. In an effort to simplify these three spaces and unify the courtyard as one space some alterations were made. Originally, the boardwalk was an extension of the deck; it instead became a part of the terrace floor. Planter boxes flanking the boardwalk were removed in order to open the space and keep future maintenance to a minimum. The courtyard wall system originally had seats integrated into the spacing of the boards. These were removed to allow more freedom and flexibility in the terrace space. Seating benches were added along the expansion side of the house and along part of the walkway that leads to the backyard. As the weather became hotter, we realized that an element missing in the courtyard was shade. We explored two different options. The first was a pergola constructed much like the courtyard floor with various staggered boards to allow vines to grow and shade. The second was a tree to be planted in the center of the courtyard. We decided to plant a tree because it offered more shade, a living plant element, and would require less cost and construction. We chose a Redbud tree which has beautiful dark purple leaves that complement the color of the cedar wood and last all year.
TERRACE OPTION
Terrace Option: Enclosure We wanted a wall system that would provide privacy and security but also connect with the rest of the property in the backyard and with Rose’s family who lives next door. When designing the courtyard enclosure it was crucial that the wall have a certain level of transparency. Continuing with the cedar theme, we began to design and mock up various schemes exploring the differences between horizontal and vertically placed boards. Vertical boards provided a nice contrast to the horizontal siding on the house; they clearly define the courtyard, yet still connect and complete the house as a whole. To illustrate the power of the courtyard wall system the vertical boards actually begin on the west and north elevations of the house and extend beyond the house to form the perimeter of the courtyard. Always conscious of construction and time, the wall was broken into modules that could be pre-built and then installed. To accomplish transparency in the wall, boards of two widths and various spacing were utilized. Near the house, more privacy was desired so wider boards with a small spacing were used. Where the walls intersect at the corner, smaller boards with a large spacing were used in order to provide more views out. By using two different modules, the wall comes alive taking on a pattern and rhythm and interacting with people who encounter it.
THE FINAL PRODUCT
south elevation
west elevation
east elevation
north elevation
north-south section perpendicular to the machine
east-west section parallel to the machine
WHERE DO WE START?
The “machine,” consisting of the living room, kitchen, Rose’s bedroom, and a bathroom was designed primarily by the students from the first semester. By the end of the semester, they had begun its construction. Upon our arrival in January to the Rural Studio, we acquired the machine in a state of partial completion. The main framing and installation of the trusses had been finished. One of our first tasks was to deconstruct the roof rafters in order to rebuild a new gabled roof. We then spent nearly three months completing the interior and exterior before starting the expansion.
THE MACHINE
Existing Conditions After the first week of Neckdown work (as described later in the book) we were introduced to our project and client. The site, as it was presented to us, consisted of the framing of the machine, four barnwood trusses constructed onto the framing, and a make-shift bridge for entry into the house. When we arrived, most of the plywood sheathing had been applied to the outside of the machine, and the footings had been poured for the front porch. Rose Lee’s house was still standing behind the machine, and at this point in the process, she and her two sons, BJ and Jason, were still residing there. The construction site was pretty barren, but we arrived with a detailed design left from first semester, and the realization that we had a busy semester ahead of us. Our tasks were clear: we were to finish the roof, install windows and doors, run plumbing and electricity, insulate the house, build the porch, and finish the interior of the house as designed by first semester students. We then could move the clients into the machine, tear down their existing house, and design and build the second phase of the new house.
01.09.09
Roof The roof of the machine bases its design off of the “hug” and “pop” arrangement, where two parts of a roof, that would normally meet at a gable, extend past one another--the north pitch in the center and the south pitch on the east and west ends of the roof. The design process began with looking at how the expansion of the house would meet the machine. The problem with the initial design was that the fifteen-foot ceiling height created an unattractive connection between the machine and the expansion. In response to this, we changed the hug portion of the roof so that it gables at the center, thus re-enforcing the hierarchy established by the pop for the living room and creating a beautiful connection between the two portions of the house. This change also put a greater amount of emphasis on the south popping roof and provided a better scale for the northern-facing expansion and courtyard.
Roof Following the construction of the newly gabled roof and after all of the rafters and cross beams had been erected, a plywood and OSB grid was nailed on top of the rafters. Then, we nailed a layer of tar paper across the top of the plywood and OSB, followed by purlins, which were nailed down for the purpose of attaching the tin roofing. We then drilled ventilation holes into the rafters and purlins of the pop roof to allow heat to escape. After all of this was completed, insulation was installed and hidden with drywall around the trusses. We added flashing to all edges of the roof underneath the tin, and sealed any openings that might let in water with silicon gel. The flashing was especially important on the east and west edges of the hug roof because there is no overhang.
Louvers The louvers for the machine’s pop were designed to allow the most available winter sunlight and eliminate the summer sunlight. The construction consists of all cedar in order to blend with the rest of the house. Horizontality was also kept in mind for the front facade; therefore, the louvers are horizontal 1x2’s spanning the length of the pop and supported in six places by vertical 1x3’s. To control the direct sunlight of the summer and winter, we designed the louvers to be set at an angle of 90 degrees and spaced approximately 2 1/2 inches. Because of the sharp angle of the sun in summer months the sun reflects off of the louvers; however, the lower angle of the winter sun is let through in order to warm and light the space inside.
summer sun
winter sun
Porch The design and construction of the porch was an important part of the house since the porch is an integral part of southern living. The first step in the process was pouring the piers that hold up the porch. After these were set, we applied termite shields and Simpson connectors and then placed 2x12 girders on top of them. Then joist hangers were set along the house at 16 inches on center. The joists were hung from the hangers and then toe nailed to the girders. Next, the cedar boards that we had planed and ripped down to 1x 7/8-inch strips were placed on the joists. Each board was pre-drilled and screwed to the joist using square head screws. The boards run horizontally along the front of the house and wrap up the walls and the ceiling creating a cozy, shady porch for Rose Lee and her boys. From the outset, she expressed great excitement about placing burgandy chairs on her large porch.
Doors and Windows Every window and exterior door in the house was precisely placed and installed to meet the needs of Rose. After measuring the rough window hole size left by OSB, and the actual window size, we cut extra studs and supports and installed them to provide a tight, secure, and stable frame for the window. After finalizing the expansion plans, we had to retro fit a couple of windows into the existing stud wall. To accomplish this, additional studs, headers, and sills were installed around the new window location. The studs and OSB in the way were cut, hammered, and torn out, and then we installed the new windows. There are two different ways that we installed the windows in the home. Courtyard-facing windows were mounted to the inside edge of the studs and closer to the floor. This provides an exterior window ledge: a place for toys, drink, sitting, ect. The low placement of the windows provides a better connection from the interior of the house to the courtyard space, visually unifying them. Non-courtyard windows were mounted to the exterior side of the studs and at a standard height. In order to aid in natural ventilation and lighting, we chose a large set of French doors as the front door. Courtyard accessibility is through sliding doors. These were chosen because of their easy opening capabilities. After all the doors and windows were installed, we applied weatherproofing to prevent drafts and help seal the house. Inside, finish trim and molding were created from the salvaged barn’s tongue and groove flooring. We owe a special thank you to Pella who donated all windows and exterior doors.
Drywall The drywall seemed to be an easy task at the start, but it turned out to be more difficult than we thought. However, it did provide us an opportunity to experience a geometric exploration of interior space. First, the drywall was purchased in large 4’x8’ sheets and transported to site. Since the drywall was going to be installed mostly in the kitchen, bedroom and bathroom, it was placed in the middle of the living room floor to prevent bending and cracking. When applying it to the walls, each piece was individually measured, cut, and screwed into place with drywall screws. For the ceiling, we used a drywall lift to safely intall the large pieces. Then the drywall was taped and mudded along the seams to create a smooth wall. The mudding was a long process when dealing with drywall because many coats were required, and it took a while to dry. Sanding the walls came next and once that was finished, primer and paint were applied. An offwhite and green color were chosen for Rose Lee’s house to bring light and color into her bedroom, kitchen, and bathroom.
Fireplace The bricks of the fireplace were salvaged from the Lions Park Project. We began the process by cleaning the bricks with a dry brush and chiseling off all the excess mortar and built up soot. After all 300+ bricks were cleaned, we started mocking up the size and style to span across the floor and wall. The decision made was to stack the bricks in a running bond pattern extending three feet from the wall and five feet across from floor to ceiling. Plywood was placed underneath the bricks and on the wall in order to elevate the bricks from the floor and prevent them from touching the stud wall. Next, a custom L-shaped brick tie was screwed into the plywood, resting on the brick. This occurred every five courses when a series of four or five ties were placed between two bricks. Due to the brick tie, no mortar was needed to hold the brick wall together. The force of the ties downward along with the force of the trim, wall boards, and floor boards should be strong enough to keep the bricks in place.
Kitchen Initially, the kitchen was separated from the living room by a full stud wall. However, we made a different design decision during the building process. Instead, we placed an opening in the center of the wall facing the living room in order to provide views into the living room and out the front door while Rose is cooking. When it came time to finish the kitchen, we were very fortunate to receive a large donation from a contractor who was gutting and restoring a house in Auburn. Unfortunately, the cabinets all came in separate pieces and had to be tactfully placed in Rose’s new kitchen. Four cabinet pieces were used in this space, but hopefully even the most observant eye will never be able to tell. Measuring each piece came first, followed by arranging them in the kitchen to allow for a sitting space for Rose, an oven, and a refrigerator. There are a few places where there are spaces between the cabinets such as beside the sink. At these places, we cut old drawers that matched the set to create our own “cabinet� and make the set uniform. After the cabinets were installed, we purchased formica counter tops to go over the plywood counter. These counters were glued and sealed to the plywood and along the wall. Rose now enjoys sitting in her kitchen, preparing dinner, and looking out her windows.
Bathroom For the process of tiling, we started by putting a mixer into a drill and blending the powdered thinset with water until it had the consistency of mayonnaise. We then let it rest for about 10 minutes. We also learned that one should only mix as much thinset as one could use in two hours, because it dries very quickly. With the flat edge of a trowel, we spread a thin layer of thinset over a 2-by-3foot area next to the straightedge. Before the coat dried, we applied more thinset using the notched edge of the trowel. We then gently laid a tile on the thinset next to the straightedge. We began by making one row along the straightedge and then rows under that, using tile spacers in order to ensure even joints. Every few rows, we held a level alongside the edge of the tiles to check that they were level to each other and the floor. We made straight cuts as needed with a snap cutter. We did this by scoring the tile with one firm stroke, then breaking it by pushing down handle. After that we let the tile set overnight, with a big “DON’T WALK ON FLOOR” sign to ensure that no one would squish them into the ground. In the morning we grouted the tile, let that set, and then with a wet sponge removed any excess thin set or dirt. And just like that Rose Lee’s bathroom was tiled. In regards to the plumbing, we owe much gratitude to Johnny Parker who aided us in the entire process of installation. Finally, the bathroom was outfitted with a vanity, covered in the same formica countertop as was used in the kitchen, and wall cabinetry that was salvaged from Rose Lee’s previous house and given a fresh coat of paint.
Planing Rural Studio was very fortunate to have an old barn constructed of pine donated by Mary Ward for use in Rose Lee’s house. We chose to utilize the wood for the interior floors and walls of the machine and for the hallway of the expansion. However, before any of it could be used, it had to undergo an extensive process of de-nailing and planing. The process of planing wood started with transferring all of the wood from the backyard of the Morisette house to the Great hall. Once there, it was sorted by the type of wood such as yellow pine tongue and groove, yellow pine normal boards, oak timbers, and heart pine tongue and groove. After the wood was sorted, it was organized by size and was cataloged. From this point, it was loaded up and taken to the shop to be planed and have rough edges smoothed. Next, all boards were sent through the planer to remove all paint, dirt, mold, and anyting else a one hundred year old barn accumulated on its floors. This gave all the boards a new, clean look and showed off the beauty of the natural wood. After all of this was done, it was important to start planning how the boards would be placed on the interior walls.
Living Room and Kitchen Floors The living room, dining room, and kitchen floors were constructed out of salvaged wood from roof rafters of Mary Ward’s barn. After the roof rafters were taken down, they were cut into one inch thick boards using a saw-mizer. The boards then went to the wood shop where we planed down to approximately 7/8 inch. We took the planed boards to site and laid them down in a specific pattern which concealed lines as much as possible. Since this was early on in the construction phase, the boards had to be taken out to allow room for drywall to be put up. Once the subfloor was cleaned and clear of all materials, we laid the boards down again in the previous determined pattern and used square head screws to fasten them to the floor. Since the boards were old, many of them were warped and bowed. This meant that each board laid down was measured from the wall to ensure that the floor was straight. Once the entire floor was fastened down, we used a belt sander to sand the floor down to a relatively smooth surface. Teams then filled in any remaining cracks with a mixture of wood glue and saw dust, which is fondly referred to as “gloop.” After the gloop was applied, the floor was washed and oiled as a finish.
Living Room Walls The living room walls were also made of old pine that we recycled from Mary Ward’s barn. We had to cut the pine down into one inch-thick boards. After doing so, we planed the boards to make them a more consistent thickness. In order to conserve wood we decided to leave the boards their original widths and to create bands across the walls of each different type of wood. We attached the boards to the wall with square headed screws. We were unable to use nails because of the nature of the wood to bend and bow. After all of the boards were installed we rubbed oil on the wood to bring out its natural color and beauty.
Move-In Day Moving Rose from her house into the machine was a long anticipated project. The move marked the beginning of her new life in her new home. We had spent the past number of weeks preparing the house for Rose. We exhausted ourselves sanding and finishing the floors and trusses, patching drywall, and cleaning the settlements of dirt and dust from every surface. On this day, we arrived at site at 8:00am prepared for Rose’s big transition. An assembly line of students formed in the three foot gap between Rose’s house and the machine. Item by item, we passed Rose’s belongings from one house to the other. Larger furniture was carried through the larger front door of the machine. Within an hour the house was emptied and the machine was filled. Rose’s old house was then destroyed.
04.03.09
Demolition On the morning of April 5, Rose Lee, BJ, and Jason moved into their machine. The empty rooms developed new character as they were furnished. While some students outfitted the machine, others removed the tin from Rose Lee’s roof. Once Rose’s house was emptied of valuables, we disconnected all utilities and gathered sledgehammers. We salvaged the hot water heater by ripping it through the north exterior wall. We then circumnavigated the house, tearing away the siding and dissecting the stud walls of reusable lumber and windows. We unloaded the Bobcat and rammed a back corner of the house; however, the Bobcat quickly became stuck in the slippery soil. We continued demolishing the exterior walls and back foundations with sledgehammer blows until only a few interior studs were left supporting the entire roof. We tied a rope to key studs and yanked them out. Momentarily, the roof stood. Slight creaking was soon followed by cracking and splitting, and the roof and walls collapsed in an avalanche of shingles, dust, and two-byfours. We began wheelbarrowing debris into a burn pile in the backyard and smashing out the exposed floor and foundation. We then sawed the roof into panels of manageable size. With rakes we collected the smaller scraps. Within two days the entire house had vanished. All that remained was a rectangle of dirt tilled with Bobcat tracks that would one day become a courtyard.
04.05.09
THE GROWTH PROCESS
Following the completion of the machine and demolition of Rose Lee’s old house, we began constructing the expansion, which would consist of BJ and Jason’s bedrooms and a small laundry closet to hold a washing machine and dryer. Concrete footings were poured just like those of the machine, and then a platform was built. The stud walls were then assembled on the platform and raised into place. The remaining construction followed that of the machine including many of the interior finishes, though no drywall was used in an effort to reduce time.
THE EXPANSION
Foundation The foundation for the expansion was poured shortly after Rose Lee’s previous house had been cleared. After careful surveying, we stretched strings across the site to mark where the new piers for the pier foundation would be dug. The strings not only marked the location, but the height of the pier as well. We then used a large auger to dig the holes, and followed by placing a round cardboard sleeve in each hole as the form of the pier. A concrete truck had been hired to pour the concrete, which had to be channeled into wheelbarrows and then dumped into each hole. The concrete was then troweled on the top of the pier to create a smooth and level surface at the appropriate height. Before allowing the concrete to cure, we placed steel ties into the wet piers that would support and stabilize the rest of the expansion.
Platform In designing the expansion platform, we decided to place the girders parallel to the machine, perpendicular to the machine girders. By doing this we could accommodate the entire raised back porch section with one continuous girder spanning under the start of the expansion. In total there were four girders: One that included the expansion and the porch and three more to support the rest of the expansion. Over the girders we placed 2x8 floor joists to support the plywood subfloor surface. The 他 inch subfloor was glued and nailed in place to reduce floor squeak and increase overall rigidity.
Framing When designing the framing of the expansion, we used lessons learned from the making of the Machine to help improve the speed and efficiency of construction. In the Machine, we had built the walls to ceiling height, then came back in to add a short knee wall on top to reach the necessary height for the roof slope. To save time and lumber, in the expansion we accommodated both the ceiling height and additional attic ventilation space with a single full height 2x6. Another way lumber and time was saved was planning out glazing locations and door locations and framing them out from the beginning, instead of framing a full wall and cutting out the necessary openings. Each framing wall was built on the large surface provided by the expansion platform and tilted up and temporarily supported in place until all of the exterior and interior walls were built and raised into place.
Roof When considering the design of the expansion roof, a few things had to be considered. Namely, the East facade of the house, the connection to the machine, and the courtyard facade of the expansion. Our main concern was how the roof affected the courtyard. Because the machine roof had been changed to a hip roof with a south-facing pop, the level of the roof facing the courtyard was lowered. We decided that in order to help make the courtyard feel like an outside room, the level of the roof of the expansion should match that of the existing machine. That left us with two options: a pitched roof or a gabled roof. When taking into account the connection to the machine, the easiest solution would have been to use the single pitched roof, matching the height to the peak of the gable on the machine. However, the third consideration, the East facade, lead to further study. When using the single pitched roof, the height of the East facade matched that of the gable peak height of the machine. Upon drawing this facade we discovered that this wall was overemphasized by its large height. Also, the differentiation of the expansion from the machine was lost, something we felt was important to acknowledge. This left the gabled roof option; this option lowered the height of the East facade to a point we felt was more appropriate to the house’s context, and recognized that the expansion was an addition to the machine. The gabled roof design was selected, and the height of the gable was set to match that of the machine’s. The process of construction followed that of the machine roof.
rafters 24” o.c.
rafters 16” o.c.
plywood
purlins
Bedroom Floors As a donation we received tongue and groove pine wood flooring. We decided to use this donated wood in BJ and Jason’s rooms. In addition to using it for flooring, as it was conventionally used, we made the design decision to also wrap the entire room with the boards, encompassing two opposing walls and the ceiling. This allowed the boys rooms to have a sense of unity. Tongue and groove wood boards are a fantastic system of putting down wood because the installation process is simple and very clean looking. We slid boards into place so that the grooves interlocked and fit snugly. Then we would place a piece of scrap wood against the board and hit the scrap with a rubber mallet to press the other board into place. We then nailed the tongue side to the plywood every 16 inches to coincide with the studs. Because the groove slips over the tongue side you don’t see any nails. The finished product was a wood pine floor that wrapped the entire rooms making you ponder where the floor stops and the walls begin.
Bedroom Walls and Ceilings As previously mentioned, we received a donation of tongue and groove pine during construction. After being used in Rose Lee’s bedroom and in the two bedrooms of the expansion a large quantity of the flooring still remained, so we decided to use the flooring to cover two walls and the ceiling of each of the expansion bedrooms. The process of installation followed that of the floors in the bedrooms. The effect was a continuous band of light pine boards wrapping the entire room. This solution also provided a nice alternative to drywall.
Bedroom Walls The walls of BJ and Jason’s bedrooms were constructed using two different materials. As previously detailed, the east and west facing walls were covered using tongue and groove 1x6’s which were simply cut down to the appropriate length, fitted into place one on top of the other, and left unpainted or stained. In contrast, the north and south facing walls were constructed out of finished plywood panels. For these two walls, first the 2x4 studs of the framing for the wall were painted black. Then, large finished plywood sheets were cut to the appropriate dimensions and nailed onto the studs to cover the wall. A 1/4 inch gap was left between adjacent sheets, which helped break up the plywood sheets into noticeably different panels. Because of this method of installation, we did not have to worry as much about the precision of a seam between two panels abutted to each other, which was beneficial in saving time. The plywood panels were then primed and painted a distinct shade of blue, and the wall construction was completed.
AN EXTENSION OF LIVING SPACE
At last! With the main construction of the expansion well underway we were able to start building the courtyard. We began by leveling the ground and marking off the perimeter of the space. Exploration of the design of the walls proceeded with the assembly of several mockups. By this time, however, the semester was drawing to a close. We were able to pour the foundation for the walls and begin building some of the wall panels before the summer school semester resumed back in Auburn. We then had to rely on the first few weekends of the summer to come back and work. The courtyard, however, would ultimately be completed by the upcoming group of fall students.
THE COURTYARD
Deck The deck was built soon after the completion of the framing and exterior of the expansion. The intention of the deck was to serve as an extension of the living space inside the machine, providing an easily accessible exterior space for Rose Lee as well as serving as a transition into the courtyard. We began by pouring concrete piers, alike to those of the rest of the machine and expansion, for the foundation and by hanging joists perpendicular to the Machine. The flooring was constructed with cut and planed cedar layed horizontally to emphasize the length against the house. We used 2x4’s so as to wrap the siding on the north facade of the machine onto the floor. Also, the overall change in size of boards was used to differentiate the two facades facing the courtyard from those of the rest of the house. The cedar boards were set in place using square head nails which align vertically all the way down.
Courtyard Foundation In order to support the heavy vertical walls a sturdy foundation had to be made. First a two foot deep trench was dug around the perimeter of the courtyard. Formwork was set along the top half of the trench to provide a nice, smooth finish to the sides of the foundation. Additional formwork was installed that created square voids spaced out along the foundation. These square voids allow the metal stirrups, which support the entire wall system, to be recessed so that the walls appear to float above the foundation. Before we poured concrete in the trench, rebar was placed and all formwork sprayed with diesel fuel to help in removal of the boards. The concrete was poured and troweled to a smooth, even finish. After the concrete cured for a few days, the formwork was removed, leaving a nice concrete perimeter. After leveling each stirrup in its niche, a concrete drill was used to create pilot holes. Impact bolts were then used to make sure the stirrups were secure, stable, and ready for the installation of the walls.
Courtyard Floors Our goal for the courtyard floor was to create a surface that would require no maintenance, while at the same time tie together the courtyard with the house. After looking at a few different case studies we decided on a concrete floor with 1x2 cedar planks laid within the concrete. The ratio of cedar to concrete started very dense closer to the machine and dissipated as the floor expanded north. The area that we were trying to cover was too large to pour in one day; therefore, it was necessary to divide the area into four segments, allowing us to pour on several different days. In order to avoid the failure of the concrete at the cedar planks we had to assure that there was at least two inches of concrete under the planks. We left an opening in the middle of the courtyard to plant a purple plum tree that will eventually grow large enough to shade the courtyard. In time, the cedar planks will rot and be replaced by small strips of grass. The process of construction was somewhat lengthy, requiring about six days to complete the floor with all of the formwork and extra finishing. We first cleaned the site of all rubbish and leveled it to the best of our ability. We then divided the courtyard into workable sections and added sand to further level the site. Then, stakes were placed to hold the cedar planks in place while we poured the concrete. This was difficult because the stakes had to be low enough to be covered by the concrete and high enough to securely hold the planks while we were pouring the concrete. After all the planks were in place we checked the level in order to ensure that none of them would protrude from the concrete. We then poured the concrete and finished it by hand. Finally, when the concrete had mostly cured, we used a pressure washer to remove any concrete from the top of the cedar planks in order to make them visible.
concrete/cedar floor construction sequence
1st step: build the formwork
2nd step: lay the metal mesh
3rd step: nail the cedar boards
4th step: pore the concrete
1st laying of concrete
2nd laying of concrete
3rd laying of concrete
4th laying of concrete
Courtyard Wall Mock-Ups After drawing many details and explorations of our courtyard wall system, we decided to build mock-ups to scale of the final ideas in order to see if they would actually work in the space and function as we designed them to. We built several iterations of the same concept, testing all of the unknowns that drawings cannot always convey-namely scale and structural feasibility. We also constructed several different options for varied levels of privacy in the walls; the size of the spaces between the members making up the walls gave more or less privacy to specific areas, providing the courtyard with a balance between privacy and relation to its greater context of the neighborhood. The result was a set of high-backed chairs or partial benches that we set up in the courtyard to sit in and test. Our final designs for the walls came from modifications of these same mockups.
Courtyard Walls The design process for the courtyard wall system was a compromise of antonyms. We wanted transparency and opacity, static structure and dynamic character, strength and delicacy, enclosure and exposure. The solution was a thickened “screen” made of vertical boards with strategic openings to the outside. Our aim was to create a sense of privacy and protection, while maintaining a connection with neighbors and the rest of the natural backyard. The walls were constructed from various widths of cedar, likening them to the rest of the house and keeping with the use of local materials. Either 1x6” or 1x4” vertical planks of cedar form the high walls that are still permeable due to a single 1-inch spacer between each vertical board, which allows for cross breezes and light to enter the space. The differing width of boards permits a varying degree of transparency which was dependant upon the view outside of the courtyard space. Also, the punched openings in the walls were intentionally limited to certain areas; views were framed toward the “green wall” in the back of the property and towards the neighbors’ adjacent front porch, encouraging social interaction amongst residents. The walls were pre-constructed on and off site in approximately four foot panels, and then raised into place and bolted into the steel brackets that had been set and screwed into the perimeter of the concrete floor.
Cedar Sun/Rain Screen The cedar rain screen‘s purpose is to allow the machine and expansion to be covered in cedar but still allow the cedar to breathe. The idea is that when it rains most of the water will be blocked by the boards. The moisture that is able to infiltrate the cedar will dry due to the spaces between the boards and the walls. In regards to construction, we set the cedar out two inches from the wall of the house by using vertical purlins. These members were painted black so that they would disappear between the reveals caused by the spacing of the cedar. We cut the cedar into two-inch wide strips that wrapped the entire house (including the eaves) horizontally. An exception of the orientation, however, occurred around the windows that were directly related to the courtyard. This change to vertical members added another dimension to the character of the elevations while providing a level of cohesion with the vertical walls of the courtyard.
THE FINAL PRODUCT
SUPPORTING THE COMMUNITY
Our first week of this semester was spent working with everything except our heads (hence: neckdown). The Rural Studio is committed to maintaining existing projects. Thus, this was a time when we could give back to former clients, performing necessary repairs in order to ensure the proper upkeep of projects. We were divided among three projects this year: solar kiln, haybale house, and mobile pod. A solar kiln for drying wood was constructed in the front lawn of the Morrisette house. The haybale house, the first project of the Rural Studio, received a facelift in preparation for its new owner. The mobile pod, a project that was begun last year, was completed. This week was a good way for us to get our feet wet in the methods of construction and also served as a meet and greet with the faculty and thesis and outreach students.
NECKDOWN WEEK
Hay Bale House The Hay Bale House was the first Rural Studio project, built in Mason’s Bend, Alabama in 1993. Its name comes from the technology of walls stuffed with 24-inch hay bales for insulation, which is then covered with an adobe stucco on either side. The house was originally built for Alberta and Shepard Bryant, hardworking people deserving of the first Rural Studio home. In 2003, Shepard passed away. Meanwhile, Alberta lived in the house with her children who took care of her. Since then, Alberta moved out to live with her children, and the house had fallen into disrepair. The first week of the semester, her old house became a neckdown project so that the very first Rural Studio house could be restored to its previous glory. The home went to Cupcake, Alberta’s granddaughter, who is a leader in the Mason’s Bend community, However, in order for her to move in, the entire house inside and out had to be gutted and made over completely. Throughout the week, we painted, installed new plumbing and a french drain, and made minor repairs throughout the entire house. We installed new kitchen cabinets and added new fixtures, put down brand new carpet, and resurfaced the roof, which all made the house look brand new. To finish out the week, we had a huge celebratory dinner of catfish and hushpuppies, in true Hale County fashion, in order to welcome Cupcake to her new home.
Mobile Pod A second neckdown project was the mobile pod, a project designed by second year students several years ago. This very small pod was intended to be a temporary home for any client of the Rural Studio who might need a place to stay during the construction of their home. The design suggested it was meant to accomodate two people comfortably with only a space for sleeping, a closet, a private space, and a full bath. The pod became “mobile� so that it can be situated anywhere the client needs, and it can travel to different sites when needed. Day one and two on the project were spent doing electrical work and applying plywood to the interior walls. Hardy board siding was put up on the exterior walls, as well as some cedar siding in places. Day three consisted of working with the hardy board on the clerestory, finishing the plumbing, and laying tiles in the bathroom. Days four and five were spent finishing details such as trim around the windows and paint on the interior walls. After the week of hard work, we celebrated by collecting all the scraps from the project and having a huge bonfire.
Solar Kiln The idea of the solar kiln developed through a necessity for the thinnings thesis group to have a way to cut and dry their own wood. It focuses on sustainability, making use of previously unused portions of pine forests in order to have a means to use natural resources in sensible ways. The solar kiln harnesses the power of the sun to dry out fresh cuttings by means of a south facing transparent roof and fans to circulate the warm, moist air. During neckdown week, the kiln was constructed on the front lawn of the Morrisette house. The first day, the site was cleared of trees and shrubs, and the ground was prepped for the foundation. Upon digging holes for footings, students realized that the water table was high, so it was necessary to pump water out of the holes before pouring concrete. Piers were poured, but the concrete didn’t take due to the frigid January weather. Day two required some rethinking of the foundation, and a second method was devised. Railroad ties, set horizontally in a bed of gravel, worked well to support the load, and from there, framing and other construction began. The interior of the kiln was painted black to aid in the absorption of heat, and the clear polycarbonate roof allows sufficient light penetration. The thinnings group will use the kiln in the future to dry lumber and make us of our own resources. The idea is to remain as self-sufficient as possible, and this is definitely a step in the right direction.
ARCH HISTORY 1: DICK TRIP
NEW ORLEANS
From March 26-29 we took a break from working on the expandable courtyard house and traveled to New Orleans, Louisiana with Architectural History Professor Dick Hudgens. It is tradition each semester to take a trip for the purpose of exploring the architecture and possibly gaining principles and methods that could be applied to the design of our second year project. This semester the destination was the lively, historical sector of New Orleans. We spent four days visiting several historic houses and landmarks throughout the French Quarter as well as the surrounding areas of Vacherie and Garyville, LA.
New Orleans | Day One A Rural Studio tradition has always been a week-long trip with our Architectural History professor, Dick Hudgins. This spring the annual trip was scheduled for New Orleans, Louisiana. We left Newbern Thursday, March 26th promptly at 8:00am. We arrived at the Olivier House Hotel, which was located right in the heart of the French Quarter, dropped our luggage off, and then headed for our first tour of the Hermann-Grima house, which was located a couple of blocks from our hotel. Here we learned about how life would have existed in the house as it was originally constructed, complete with a tour of the slave quarters and kitchen, where we were shown a live cooking demonstration. For our assignment, we sketched by hand the elevations of both the house and slave quarters. Then, we were free to explore the city, have dinner, and get settled in New Orleans.
New Orleans | Day Two Friday morning we woke up early for a busy day of tours. The first house we went to was a renovation project that one of Dick’s friends was involved in. He gave us a brief tour of this shotgun style home, and then we were off. The next house was the Pitot House, a Creole colonial style house built in the 1800s. This home was simple in design and was located right across from the bayou. We drew a section and the second floor plan of this home before moving on. The third home was the Gallier House. This house was built in 1857 and is located in the heart of New Orleans. It was one of the first homes during its time period to have both hot and cold water as well as a kitchen located inside the house instead of detached from it. It also contained adjustable air vents in the ceiling and operable skylights which were very modern for the time period. Due to these interesting air flow patterns, we were asked to sketch an exploded air flow diagram. The final event of the day was visiting Dick’s friend Peter Patout. He owned two homes located in very close proximity to each other. One was a double shotgun house and the other was a two-story townhome located behind the other and separated by a luscious courtyard. We really enjoyed this last home and were very lucky to have tasted probably the greatest iced tea in all of New Orleans!
New Orleans | Day Three Saturday was another early day, due to the fact that we were scheduled to tour two plantation homes on the outskirts of New Orleans. The first home was the Laura Plantation, a very large Creole homestead that included twelve outbuildings as well as sugarcane, vegetable, and fruit gardens that were a source of income for the plantation owners. We took one of our most interesting and informative tours, and we enjoyed the in-depth family history that was rooted there. We sketched a perpsective of the main house and were excited to learn that the owner of the plantation asked for copies of our work. The second and final home tour of the day was the San Francisco plantation in Garyville, Louisiana. This home was built in 1856 and was unique because of its advanced nineteenth century architecture, enormous ventilated roof, and large cisterns that stored and supplied all of the home with running water. The interior and exterior of this home was very ornate and intricate, and we enjoyed the tour from our amicable tour guide. We were asked to sketch another perspective of the exterior of the building’s facade, which turned out well in all of our sketchbooks.
New Orleans | Day Four Sunday was our final day in the exciting city of New Orleans. We started the day off in Jackson Square at the 1850’s House. These row houses were intended to be both elegant residences on the upper floors and retail establishments along the street level. We toured one of the re-created residences and then sketched an elevation of the building. After this tour and before leaving New Orleans, we stopped briefly in the Ninth Ward to see the new housing project that is currently underway. We then left New Orleans and drove to Biloxi to observe some of the projects that were built after Hurricane Katrina. We met up with Jessie Zenor, an intern architect at the Gulf Coast Community Design Studio. She gave us a tour of many homes that the GCCDS had been a part of. Some homes were still being finished, but at one of the houses we were lucky enough to meet the client and see the inside. The final stop of the day was the construction site of the Ohr O’Keefe Museum of Art. This $16 million museum is a gallery dedicated to “the father of American pottery,” George E. Ohr, and will also feature African American history and folk art as well as works by contemporary artists around the area. The structure of the existing buildings was very innovative and exciting, and the view from the top of one of the structures was beautiful. After this final stop, we began our long journey back to Newbern, Alabama.
A SPECIAL THANK YOU
PRESENTATIONS | REVIEWS CONSULTATIONS DONATIONS
Xavier Vendrell visited Rural Studio numerous times over the course of the semester. He is the founder of Xavier Vendrell Studio Chicago/Barcelona. Shanta Tucker is an environmental designer from Atelier 10 in New York. She visited Rural Studio early in the semester as we were still designing the machine and expansion. Dan Wheeler is the cofounder of Wheeler Kearns Architects in Chicago. He boosted our confidence and design decisions with both his praise and review. David Hinson visited and reviewed our work early in the semester. He is the Head of the School of Architecture for Auburn University. Bill Dooley visited Rural Studio several times throughout the semester. He is an artist from Tuscaloosa, Alabama. Tim Hursley visited Rural Studio in February. He is a renowned architectural photographer with some of his most successful work being that of the Rural Studio books. Pekka Heikkinen visited during the month of March. He is a professor of Architecture at the Helsinki University of Technology and is coordinator of the Wood Studio. He suggested that we use cedar alone to solve as many problems as possible. Michael Rotundi is the founder of RoTo Architects in Los Angeles as well as a founder of the Southern California Institute of Architecture. He observed our work and gave a lecture. Carme Pinos visited Rural Studio in April. She is a world renowned architect from Barcelona. Joe Ferrugia, our relentless structural engineer Andrew Freear, Director of Rural Studio, consistently guided us throughout the semester.
We would also like to thank the following people for their unrelenting support and help on this project: Jim Turnipseed Matthew Fornaro Melissa Denny Mary Ward Brown
Taylor Medlin
Dan & Melissa Gentry
Mr. Allgood
Serah Jill Mead
Mrs. Brenda
Bill Dooley Patrick Jones Mrs. Gayle Jim & Regina Toner
Danny Wicke
Johnny Parker
Dean Bennett Andre Steve Badanes Bobby Lowder Rose Lee Turner John Fourney Ellen Ball BJ Paul Staller Pella Jason Pam Door Stillwater Steel Stanley Scott Finn Lions Park Team
The Footwash community
Timber companies
Thinnings Team Kendra Mr. & Mrs. Sullivan Mr. Splaingard
Adam Whitley
GB & Mrs. Lynn
Alicia Gjesvold
Mickey Gayford
All of the parents