2-4-6-8 ROUSE pp. 14 - 21 FLORES RESIDENCE pp. 22 -.29 COHEN RESIDENCE pp, 30 - 37 SEDLAK ADDITION' pp.

38 - 43

LAWRENCE RESIDENCE p. 44 - 65

I I I - 83

INTRODUCTION by PILAR VILADAS lT~nil--t:°'7 - . l)'~ '7 ~"A

It is entirely fitting that this exhibition ofprojects by Morphosis and Eric Owen Moss should focus on houses, as these two firms, of all the "new wave" Southern California architects, have made the greatest contribution toward a significant transformation of the American house type. Despite the relatively small number of houses that each firm has designed - and even smaller number of built projects - both firms have produced a coherent body of work in this area.

As is the. case with many of their West Coast contemporaries, these two firms defy easy classification. Neither employs historical allusion on any but the most abstract or personal level, which excludes them from the mainstream of Post-Modernism; yet their work is far too eclectic for mainstream Modernism. And, while both firms share the local preference for inexpensive building materials, which first gained prominence in the work of Frank Gehry, Morphosis and Moss treat those materials with a regard for construction and detail that is usually reserved for more costly products.

In spite of these similarities, each firm's work reveals a different, highly idiosyncratic approach.

The two principals of Morphosis, Thorn Mayne and Michael Rotondi, share a cerebral, formalist orientation that is rooted in Rationalism and a European intellectual tradition, while Moss's curiosity about the psychological and sociological content and implications of a project's immediate surroundings produces a more extroverted, more pragmatically American style of commentary. Where Mayne and Rotondi's formal explorations are abstract and introspective, Moss's

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source material - the particular idiosyncrasies of a site or client - is more readily accessible.

Coincidentally, both Morphosis and Moss have made their most effective statements with additions to existing houses: Morphosis with the 2-4-6-8, Sedlak, and Venice III alley houses; and Moss with his 708 and Petal houses, and the project for the Silver Lake House. Morphosis effectively created a new type in its Venice' alley house additions by a succesive development of the idea of an auxiliary building (studio, guest house, etc.) that functions, practically and conceptually, as its own separate house. But where the 2-4-6-8 and' Sedlak additions are single volumes, Venice III is a layering of three distinct volumes, expressed in a hierarchy of materials on the building's exterior. In each case, Mayne and Rotondi have taken what was traditionally a secondary component of small-scale, urban residential architecture and invested it with a functional and theoretical importance that mirrors changes in modern life as well as the exigencies of land use and real estate values. Materially, these projects also offer the clearest demonstration of the architects' fascination with construction, which reaches its peak in the Venice III project.

On the other hand, structural references are minimized in favor of a more formal exploration of volume, section, and programmatic hierarchy in the Cohen and Lawrence residences, both of which are projects for new houses. In each case, programmatic planning is determined by the requirements of the site. But while the organization of the Cohen house is essentially horizontal and processional on its relatively spacious site, the two programmatic "containers" of

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9

the Lawrence house intersect within the confines of a narrow urban site, producing a vertical emphasis that is most pronounced in the semicylindrical vestibule that cuts through all the floors of the house.

While volume has always figured prominently in Moss's work (see the interior perspective of the Fun House), it is the aspect of commentary through analysis that consistently distinguishes his houses, despite the fact that projects such as the Pin Ball House and Fun House are more often remembered for their almost stridently graphic qualities. These two projects rely on formal conceits drawn from some aspect of the client's style of living and/or the existing "archaeology" of the site. Similarly, in the 708 House and Petal House, Moss uses as his subject matter the existing house that is the focus of his additions and modifications, as well as the architectural conventions of the surrounding residential neighborhood. But while the 708 House still reflects Moss's earlier penchant for caricature (the supergraphic numbers, the toy-like buttress, the flying gable) the Petal House reveals that Moss has abandoned ironic humor in favor of a more subtly modulated analysis of the suburban house. Instead of caricature, Moss opts for gentle subversion, achieved by means of methodical juxtaposition of old and new. Thus, the flattened graphic elements of the 708 House snap into three-dimensional depth in the Petal House. Moss broadens his exploration of old versus new in the Silver Lake I,Iouse, in which a lantern-like turret "invades" an existing Spanish-style house, and the replacement of the existing roof with a new, rotated roof once again

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10

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reveals the architect subverting a conventional local vocabulary with a slightly skewed syntax.

The drawings of these projects provide accurate reflections of each firm's particular sensibilities. Moss's straightforward line drawings, renderings, and collages chart his progression from the techno-Pop imagery of the Pin Ball House and the graphic bravura of the Fun House to the more analytical presentations of the 708 and Petal houses; for Moss, the drawing is ultimately the means to a built end. For Morphosis, however, a drawing is often an end in itself, with a life of its own, quite apart from the building it documents. Mayne and Rotondi see drawing as an art form, although they regard their role unequivocally as that of architects, not artists. Their intricately detailed, sensual drawings provide the architects with an independent means of analysis and catharsis, a way of realizing a project's intentions - sometimes after the project has been completed, and regardless of changes or compromises made during completion - purely for their own sake. Mayne and Rotondi have included no sketches or "process" drawings here. Rather, their recent drawings are aimed at distilling a series of ideas into a single, finely-crafted image. While the "kit of parts" drawings for the 2-4-6-8 House had a didactic, technological rationale, and were meant to be understood by the layman, the section drawings of the Lawrence House, or the composite perspective of Venice III, combine description with a virtuoso technique that is entirely personal. The "popular mechanics" imagery of the 2-4-6-8 House has given way to a much more internalized glorification of constructivist intricacy for its own sake. A senior editor of Progressive Architecture

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11

This project is an addition to an existing 1920s "beach bungalow" house. The client requested a multi-use studio space that was private and meditative.

The assemblage of objects contained within this "box" represents the architects' attempt to deal with a range of issues raised by this particular problem type, and a caricature of the experiences that occurred during the process of working with the client.

The solution deals with two main concerns: the process and documentation of building; and the design of the project in formal terms. The "kit of parts" method of illustration is an attempt to document the project in a familiar format that can be understood by the layman. The two posters, which catalogue the building materials and describe a basic step-by-step assembly, are left at the site while the "pocket-sized" working documents, the major means of communication between architect and client, are always in the client's possession.

In order to reinforce the aspect of retreat, the studio was conceived as a detached house behind the existing house, and consists of a single volume, with kitchen and bath, atop a two-car garage. The geometry of plan and elevation stress inward orientation. Windows

reinforce the centrality of the space while offering four differently-scaled viewpoints to the surrounding milieu. Rather than employing mechanical heating and cooling systems, the building relies on its windows for environmental control. Sunlight is regulated by external servo-operated blinds, and the space is ventilated by manually operated lintelvents on three sides, with a hatch over the entry. Solar collector panels provide hot water. All these parts are expressed as gadgets to be played with. The base of the structure is concrete slab and block with concrete stairs; the studio itself is wood frame covered with asphalt shingles; and the roof is a steel and wood structure clad in corrugated metal.

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Upper level

FLORES RESIDENCE ADDITION Pacific Palisades, California

1979

This expansion of a one-story house of 1950s vintage will include the addition ofa formal dining space, a bedroom, and a bathroom, as well as a loft, utility room, carport, and sundeck, The addition was conceived in a manner that would allow it to be perceived as distinct from the existing house, providing a large vertical space to contrast with an otherwise horizontal spatial sequence. The expansion would also create a new entrance by changing the sequence of movement from front to back, while reinforcing an existing north-south circulation pattern. The long, rectangular plan is organized on a one-way, 4-12-8-12-4 bay system under a 13' diameter barrel vault. The longitudinal walls devolveevolve in a south-north sequence; these walls are of plaster and glass block on the inside, and covered with topiary on the outside. This hedge wall terminates the horizontal sequence, and produces portals to a distant ocean view. Metal perches on the outside of the hedge wall produce alternative decks, not defined by conventional confines, and lifted over the hill. The relationship of perch to topiary as an anecdote encapsulates the major conceptual point of the project-an attempt to unnerve by tampering with faithful architectural relatio nships,

The plaster and glass-block wall and the freestanding hedge wall remain as constants in the vertical interpretation of the bay system. The middle wall oscillates from hedge wall to bearing wall, swaggering off course, obliterating the bay system to make room for the bathroom, orienting visitors to the northwest, and producing a secondary private deck area for the bedroom. As distinct as the addition stands from the house, so do the various components stand off from one another, appearing not fully engaged-roof to wall, railing to hedge, etc.

Photos: Y. Fr<tagawa

22

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23

COHEN RESIDENCE Woodland Hills, California 1980·

This two-bedroom house is planned for a hillside lot that consists of two flat pads, at different height and of different size, with views from west to northeast. The clients, a middle-aged couple who enjoy frequent entertaining and outdoor living, required the house to accommodate frequent guests within its moderate slze.

This project is concerned with the notion of place; the relationship of places; the fit of the house to the site; and the experience of movement. Each category of use was given its "own" form. The two major areas, the living/ dining and the bedrooms, are expressed as a compressed vault and a pyramidal cube, respectively. The service functions (kitchen, bath, garage, stairs, etc.) form the neutral rectangular connecting volume. This tripartite scheme represents an attempt to develop and exploit autonomous spatial types, each establishing a specific identity. The identity of each part is further reinforced by its association with outdoor spatial types: living/dining area to patio; bedrooms to lower garden; service (bathroom) to court.

Circulation, which occurs at the intersection of indoor and outdoor space, establishes a sequential movement that is central to the main concept. This is demonstrated by the

special attention given to the use and symbolism of the bath, the court pool, the lower yard, and the swimming pool, which is itself treated as a room.

The building emulates indigenous Southwest architecture by using thermal mass and by closing openings to the sun, except to the east, where morning sunlight filters into the living and kitchen spaces.

The house is wood-framed, with stucco exterior screeded at the base. Roofs will be sheet metal for the major spaces and built-up for the flat areas. Interiors will be plastered, except for the living/dining area ceiling, which will have exposed framing. All wood work will be natural finish and all floors tiled.

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30

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Upper level

Isometric

SEDLAK ADDITION Venice, California

1980

Photos: Y Futagawa/ W. Fujii

This library/studio/retreat for a single-family residence is built over a one-car garage. The project explores the relationship between architecture and landscape, with two main objectives: to minimize the building's appropriation of a large part of the yard by camouflaging it with a topiary wall; and to enable the coherent ideal object to emerge, conceptually, from the contingent topiary. The topiary wall is made thick to create room for the small bathroom, balcony, and desk alcove in the main space. At ground level, a wall forms an entry arcade leading to the stairway that rises to the doorway. Materials refer to those used in the existing house, and they also differentiate the parts of the building: base, middle, top, roof, wall, and hedge.

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38

The design of this house, located on a narrow site in a high-density community characterized by single-family houses and apartment buildings and located on the Pacific Ocean, is a response to the given urban situation, and attempts an integration of the aforementioned, heterogeneous building types. It is conceived in two parts: the "House," placed symmetrically on the site in memory of the original house on the site; and the "Block," which refers to the apartment block type and which slices diagonally through the site and "House." The "House" contains basic service functions, such as stairs and bathrooms, and is the conceptual and spatial center of the building, while the "Block" provides the datum and organizational framework, as well as the entry and private yard. The expression of the two pieces is intentionally banal, to camouflage the nature of the interior, which is diverse, unpredictable, and idiosyncratic.

To benefit from the ocean view, which can be seen over the roofs of existing houses, major living spaces are located on the fourth

floor, with the remaining uses organized top to bottom. The entry is located perpendicular to the long direction of the site, reinterpreting the 'notion of front and back, and using the interior of the site for the main organizing volume and vertical circulation.

Views are directed west to the ocean or east to the private yard; the two walls bordering the property lines are essentially solid, with glass block openings at certain locations. A single window in the kitchen and a group of three windows on the north side reinforce the short axis and provide a visual expansion of the building along this axis.

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46

Photos: Y. Fulagawa/ W. Fujii

This 850 square foot addition to an existing bungalow-style house on a 40' x 80' lot is a studio/retreat for a writer. It contains miniaturized aspects of a typical house: living, sleeping, study, library, and bath.

A sequence of three volumes, and three layers of volumes, produces a diverse set of spaces accommodating the various functions and spaces that are simultaneously alike and diverse (basement, loft, mezzanine, and roof deck). The new building was conceived as a prototype for a family on a small lot. In character and organization, it reflects the aspect of operating in three modes: as an extension of the existing house; as a separate retreat from the house, to be used by extended family members; and as a separate dwelling that could be rented or sold. This reflects the comprehensive nature of the locale, both architecturally and socially.

The different volumes are expressed in a hierarchy of materials: from the most fixed, the "structure" of metal panels and drywall interior; to the volume clad in two colors of asphalt shingles; to the most dynamic volume, which is contained by the canvas "sails" and metal tension/compression mem bers.

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