Roofing/insulation for apprentice house

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Tom
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Post by Tom »

Sorry
This is the detail from Lewerentz I meant to post:

https://www.flickr.com/photos/artifice/ ... 674005896/

vortrex
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Post by vortrex »

Never heard of him. This reminds me of my house...

http://socks-studio.com/2015/03/01/conc ... almo-1969/

vortrex
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Post by vortrex »

Tom wrote:Sorry
This is the detail from Lewerentz I meant to post:

https://www.flickr.com/photos/artifice/ ... 674005896/
Very cool. I see they had to slather on the sealant around the edges.

Tom
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Post by Tom »

Never heard of SOCKS or seen those drawings of the flower store.
Very cool.

.... I'm going to be incommunicado for a day or two.
Computer going to doctor.

SDR
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Post by SDR »


Roderick Grant
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Post by Roderick Grant »

Lewerentz's fellow Swede, Gunnar Asplund was a major force in the development of modern architecture in Scandinavia, a well. His Stockholm Public Library is his most famous work, but the courthouse extension in Gothenburg is also wonderful, the interiors of which were an obvious inspiration for Alvar Aalto.

SDR
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Post by SDR »

The white-painted drywall seems to be treated in the Brink house as mono-material sculpture, as Roderick elsewhere suggests. Trying out your proposed changes on paper (or on-screen) seems wise counsel. I could see the inside surfaces of the tray window (where does that term come from ?) in 3/4" ply, with mitered matching thinner plywood covering the posts. The detail where plywood meets sheetrock at 90º would require study.

As for the end walls, I like the wood ceiling plane meeting the white vertical surfaces. Daylight reflecting off the end walls at the clerestory is probably a major source of light in the space, some of the time at least ?

As for the quality of light that is reflected off the surfaces of the tray window, you could stick sheets of gray paperboard to all surfaces of one half of the length of the window recess, for a comparison test.

Tom
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Post by Tom »

The problem of replacing the drywall finish of the slot window's sill and head with some type of finished plywood - would be it's visual relation to the wood of the ceiling.
You would be introducing one occurrence of a fourth material into a total composition of redwood siding, drywall, and brick.

Unless the wood of the sill and head matched the ceiling I think the two woods - would work against each other - visually speaking.
Using redwood siding length wise in the slot - that matched the ceiling - would definitely change the quality of light and brightness.

SDR
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Post by SDR »

It's a good point.

We're told the ceiling planks are cedar, so that would presumably be the material of choice. But much cedar and most redwood is pretty soft -- not an ideal material for horizontal surfaces which see some use (an objection which applies to sheetrock as well ?).

And there's no guarantee that new material of a matching specie would match the color of the existing ceiling, which has become darker and richer in color over time. It's possible that a different specie, perhaps in prefinished ply, could actually come closer in color to the ceiling, with (potentially) less chance of darkening. Cherry would be a poor choice on that front, as it suntans quickly and alarmingly.

Maybe Mr Brink had it under control, after all . . .

SDR

Roderick Grant
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Post by Roderick Grant »

True. Larry was a very smart man. He knew what he was doing. While his white drywall seems to fly in the face of everything FLW believed, Larry's take on the principals of FLW's philosophy is not to be underestimated. Not a copyist, but an interpreter.

Tom
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Post by Tom »

oops - thought it was redwood.

egads
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Post by egads »

Drywall does not have to be painted museum white either.

Tom
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Post by Tom »

egads is certainly right about that.

SDR
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Post by SDR »

Yes. But there's a reason for uninflected white: it alone reflects light neutrally, allowing every color in the vicinity to be its true self. What could be more natural than that ?

Let the yellows -- and then the blues -- of afternoon and evening alter the spectrum, naturally (organically ?); let daylight be reflected unaltered into the house, and light the space neutrally at night, perhaps with amber light emanating from candles or from mica-shaded A & C sources, where desired, for accent.

If pure white is too bright, choose a "darker" white, an oyster neutral or a pale gray, perhaps, which is uninflected but which returns less of the light which strikes it ?

This is the natural and expected effect associated with modernism. It is not necessarily a formula to be applied to, for instance, Wright's work, which comes with its own carefully-wrought spectrum . . .

SDR

egads
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Post by egads »

As my artist friend used to say, there are all kinds of whites.
In this case that was what I was suggesting, making the white less harsh.
Plain white suggests a house in Dwell.

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