When tasked with developing a building to respond to a set site and environment it is essential to research. Our site in Sunriver, Oregon had many crucial factors to consider before developing a house. The climate, environment, and topography became our focus in our research. The area experiences a low amount of precipitation due to it being located in the rain shadow of surrounding mountains. This caused us to really take into consideration elements like a roof to respond to the climate. The area sits on a high desert plateau and our site has two rivers west of the property. With no budget, these site conditions asked us to think creatively throughout our design process.

To start our design process we began abstract compositions using the defining lines, angles, and shapes of airports across the world. Using trace paper, we could hand draw these compositions and connect shapes and lines based on the defining elements of a satellite view of an airport. These figure and ground drawings were then combined in our group and subject to be manipulated to however each member saw fit. Some saw plan conditions while others represented interesting sections and elevations. To further express what each group member was envisioning, we created three dimensional artifacts and extrusions. These projections started to form spaces of habitation and the formation of a plan view of a building. Inspiration from the group's drawings is present throughout our building. Some pieces are exact shapes extruded as well as inspiration in some of our more monolithic supporting elements. In response to the site being sloped on a riverside, we decided on making our house step down the slope in three layers to create different levels of spaces. The highest spaces serve as social areas and private spaces are found as you maneuver down towards the river.

In contradiction to the downward pull of the floor, the roof is angled to pull space circulation and light up the slope. Our roof design is inspired by the Dancing Light House by Kendle Design Collaborative. However, our roof responds to our site and organizations of social to private spaces in the angles each roof plane is tilted. The roof towards the front is the highest tilted angle up while the lowest step has a less inclined roof. This allows for a better feeling of refuge in the private spaces and allows less cover and more light in the social spaces. The roof is supported by a few columns but mainly monolithic masses. The masses are meant to serve as geological and boulder-like in correlation to the surrounding volcanoes and mountains.

The project addresses the challenge of forming 3 hierarchical spaces by using a variety of carefully incorporated elements. Through this analysis of these elements, three internal logics are revealed; repetition, difference, and juxtaposition.

Repetition is apparent in the pattern shown in the gaps between the angled geometry. You will notice in the angled geometry a pattern of 8 feet solid, 8 foot gap, 8 feet solid, 4 foot gap, and then 4 feet solid. This pattern's proportions are inspired from my drawing in project 1. However, there is a slight difference in this pattern on the horizontal angled geometry where the last piece is another full 8 feet solid to match the proportions of elements nearby.

Under the same angled geometry, there is a 45 degree, negatively sloped shape that fits between the width of the gap of the above geometry. This shape is a juxtaposition by reversing the order of positive and negative space in the repeating pattern.

The project's primary mass was generated through a series of drawings and grids containing vertical, horizontal, and 45 degree lines. The organizing lines of the project appear similar to what is seen in the grid-like layout of the Geisel Library by William Pereira. However; in contrast to the Geisel, the angled lines, parallels and intersections are utilized to break up symmetry.

Despite this transgression of symmetry, the project is intentionally proportional in a more abstract, less strict way. The generative drawings utilized lines at 45 degree angles to create spiraling motion and cut through each corner of the drawings maintaining a 1:1 aspect ratio, which is an apparent repeating element in my drawing.

The new proportioning system of my model came from the rearrangement of simplified volumes that make up the massing. The lines that create these main volumes were then used as guiding lines for many elements.