Window Walls and Rooms-Within-Rooms
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How two important architectural ideas -- the window wall and the room-within-a room -- are used in house design. Continue reading →
Every Solid Loves a Void — and Space is a Wrap
Let’s explore two strong architectural ideas — the window wall and the room-within-a-room — and how they can enhance house design. Both have long histories. In one sense the glass wall goes all the way back to the tall banks of windows at the Tudor estate known as Hardwick Hall in England, built by Bess
of Hardwick in the late 1500s, shown here (photo courtesy Anglotopia.net). At that time glass was an important emblem of power and wealth because it was so rare — thus it was a fitting material for the richest woman in England after Queen Elizabeth I. You didn’t mess with Bess. A more recent example is the glass
living room wall to the right of the tree courtyard, at the Pavilion de l’Esprit Nouveau designed by Le Corbusier and built as a demonstration house or “machine for living” for the Paris Exposition of 1925 (photo courtesy 4rts.wordpress.com). As we have seen in previous posts, the window wall became a signature feature of Modernism, especially in mid-twentieth century works like Mies Van Der Rohe’s Farnsworth house and Philip Johnson’s Glass
House. Our Plan 520-4, by Irish architect Frank McGahon, shown here with its flanking window walls, is a recent version. The great appeal of the window wall is to unite inside and outside while framing both. The trick is to beware of exposures — even insulated glass can transmit heat and cold.
The room-within-a-room idea is vividly illustrated by a piece of furniture, also from England of centuries ago: the Great Bed of Ware, ca. 1580, with its large
post and beam frame and heavy curtains closing it off for privacy and warmth (photo courtesy Wikipedia).
Thomas Jefferson’s bed alcove at Monticello, shown above, is a sort of built-in version, minus the curtains (photo courtesy Colonial Williamsburg). Architect Charles Moore was fascinated with this idea and referred to it as an aedicula, which is Latin for a small shrine. (The most famous example of an aedicula
is the baldacchino with twisting columns over the altar at St. Peter’s in Rome, by Bernini, photo courtesy Saintpetersbasilica.org.) Moore used a much simplified version of it in his own house at Orinda from the early 1960s, where the larger
living and smaller bathing spaces are defined by columns and skylights, like separate domestic temples clustered under one roof (image courtesy Eleanor Weinel’s Arch4443). Moore’s design partner, William Turnbull, used an even more spare — and more Jeffersonian — version in his Sea Ranch cottage of the early 1980s, which is our historical Plan 447-1, where the bed is an alcove
in the corner. A flexible contemporary take on this idea is “The Cube” designed by architect Toshi Kasa of Spaceflavor for Feng Shui expert Liu Ming in his live/work loft in Oakland, California (photo by Joe Fletcher via The New York
Times). The 8 foot-square cube-on-wheels is a bedroom on one side and an office on the other, allowing Mr. Ming to use the rest of his loft for his classes. I trust the brakes are on in case there’s an earthquake.
An outdoor room within a garden is yet another way to go, as architect Ross
Anderson shows in our Plan 433-2, above. See the outdoor fireplace opposite the built-in bench forming a small living area at the edge of the courtyard in this partial view.
But where might the window wall and the room-in-a-room work together? How about Hojo House by Akira Yoneda of Architecton in Japan. The glass house is
behind an elegant scrim of steel tubes, creating a modified screen porch that distracts from the very tight infill site (thoughts of cages inevitably spring to mind; photo courtesy infoteli.com). But I think today’s most famous example of the two ideas working together might be the marvelous glass cube entrance to the Apple store
on Fifth Avenue in Manhattan, where the novelty of a structure that is there-and-not-there makes you see everything around it — like the Plaza Hotel across the street — more clearly. The simple contrast between solid and void is visually refreshing and builds a larger whole. Designed by Bohlin Cywinski Jackson, Apple’s magic container makes you realize it is a room within the much larger room that is the terrace on which it sits, the street, and the edge of Central Park itself. Some ideas just expand!