The Long House: Start Walking

In the light of the Projective Cast

[think beautifully » pull away » move » start walking » open lid » take apart]

The section/elevation and device model lead me into that occupation within the Long House. A series of 7 interior drawings were conducted to test the range and spatial richness of that engagement.

Louis Kahn stated that “the space induces the project.” Robert McCarter expounds on this by stating “one should begin with an idea about space, as a place of experience, and that this spatial conception then gives direction and meaning to the development of program and construction.” 3

In that light, synchronous events took place in that experience of each room.

A series of overlay composites and extrapolations from the Borromini and Lorrenzetti templates produced interpolations of each gallery where one became a sibling of the other in a multiplicity of spatial arrangements.

I will introduce each room and some of the feelings that became associated with each one, in the order I drew them.

1 The Inner Room: The room WITHIN a room. Duality mirroring the High Baroques quest for depth. A new horizon line (figure 24).

2 The Florida Room: Orange blossom youth with the sound and feeling of cool breeze. The interstitial moment (figure 25).

5 The Room Before the Florida Room: Rain. The rain basin. Stainless steel. Stained steel. Reverberation and the pause (figure 26).

3 | 4 The Visible Room: Total presence. Purple and white and blue and brick and grass. Triangular definitions (figure 27).

6 The Fractured Room: Torque of the landscape. Fractured light AND spaces created by this motion (figure 28).

7 The Shimmering Rooms: Water. Gold. Refractive light. The entry into the polychrome world. The proscenium arch (figure 29).

7 The Grotto: Wet cut stone. Crushed shells. Mother of Pearl. White iridescent mosaic. The colors of twilight (figure 29) .

7 The Orchard: The soft penetrable veil. Conductivity to the ground. Filtered surround-sound (figure 29).

In the production of these constructs, memory ‘traces’ were tracked and recorded as reference markers used to generate the 7 interior interpolations. This drawing illustrates a mapping of those alignment markers (figure 30). Some of these markers originated as ‘visual ques’ that were directly extracted from the precedent drawings. (“for instance”—show the dancing)

The tambourine serves as a visual queue and spatial place maker – and becomes a point of reference in the extrapolation (figure 31)

The 7 interpolations were then re-collected in a unison drawing that transitioned towards the color study (figure 32). The color study analysis transposes Lorrenzetti’s kinetic color ques. Thus emerging its variegated presence from the Well-governed City and the Well-governed Country.

At this point the Long House has come full circle from this inDUCtion. A visual conductivity of objects in the cityscape punctuated by moments of continuity.

Open locks between the gallery houses reverberate the idea of streets and moments of pause.

The hinged, crenellated kingdom gates open—and reveal the Shimmering Room, the Orchard and the Grotto and then to a harmonic transition of continuous landscape.

An homage to Lorrenzetti’s dancing figures are the “eyes” of the house that I feel represent frames of reference to orchestrate the architecture from the city to the country.


These images portray the exPEERiential qualities of the 7 galleries at various scales. The images were derived from the next device that was constructed (theatrical figures 33 thru 44).

The massing and color-study artifice. (figures 45 thru 48)

Footnote references:
3 McCarter, R., pg 5 and 9, Constructions.

[think beautifully » pull away » move » start walking » open lid » take apart]