This is the second set in a three-part series of iterative studies exploring the relationship between program + specific aspects of architectural articulation in Rem Koolhaas' Bordeaux House.

Study 1: The relationship between formal devices; i.e. facades, openings, geometries, etc. and program - that is, the relationship between overall form/appearance and program.

This analytical drawing unpacks the facades and then attempts to envision a variety of roles the different parts of the facade play within the overall architectural program. A bold dichotomy between the internal and the external is the dominant theme; the facade is the architectural articulation of the limit of the world as known to the inhabitant of the architecture.

Study 2: The psychological relationship between different zones of use (programmatic functions).

This simple set of one-point perspectives looking down into the interior of the architecture allows the distinctive variations in psychological attitudes projected by the program to be read clearly. The upper floor has a clear sense of privacy, with vertical and horizontal elements separating private zones between members of the same family. The middle floor, the most fascinating of the three, is a sublime architectural environment bounded by glass and a minimal set of metal vertical panels. It is a transitional area, caught between the upper and lower floors, yet its simple materiality and freeform plan invites the individual to stop and consider why this floor seems so different from the other two. Finally the lower floor, cut into the earth, has a much more explicit relationship between solid-void to articulate the variety of domestic programmatic functions one would expect to occur here; cooking and cleaning, storage and utility, dining, and watching the television. It is the least romantic floor, inviting the inhabitants to look elsewhere for a more meaningful architectural environment; either of the two upper floors would be suitable.

Study 3: The relationship between structural strategy and program.

This analytical drawing attempts to understand the significance of the unique structural system by highlighting it within its architectural context and explicitly connecting the visual imagery with a keyword related to the human structural anatomy. In this way, the structural architecture is 'personified', allowing the program to be read more clearly; an architectural proposition that seeks to liberate the inhabitant from his own disabilities. Another consequence is that the floor plates, once again, can be read as floating elements within the overall program; their programmatic function is freed from structural concerns, producing exciting possibilities for a pure marriage between form and function.


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