Architecture
What an open plan costs a house here
What an open plan costs a house here. A Baton Rouge field note on open plan drawbacks hot
I was at a Southdowns kitchen that faces the yard on a Wednesday in October, and the subject in front of me was plain: what an open plan costs a house here. It is bright and slightly hazy, the ordinary condition here. North light with no drama was the condition, not a filter I would add later. The thing I could name first was a wood sill, then the eave line, then the height of the parlor. I kept a door swing drawn in plan nearby and did not add a second method until the first one had failed in a way I could describe. People rush what an open plan costs a house here because the answer looks like taste. It is usually a measurement. At a Southdowns kitchen that faces the yard, the measurement that mattered was about 10 feet of usable depth and a sill near 48 inches. I stood still for 14 minutes. The room changed more than I did. If I had started with a style, I would have repeated treating the side setback as a garden it cannot be, which is the local habit.
Before the tool comes out
That mistake makes a wood sill loud and the parlor dumb. The picture, or the plan, stops explaining anything. So the correction is physical. I move my feet, or I move the object, before I move a setting. Screen the porch so the street is still in the picture. Applied here, that rule means the eave line stays in the story and the rest of the parlor has to justify itself. I use a door swing drawn in plan as a limit. A limit is what keeps what an open plan costs a house here from becoming a tour of everything I noticed. The weather is part of the decision. It is bright and slightly hazy, the ordinary condition here. Ignoring it is how a Louisiana room gets photographed as if it were somewhere drier and kinder. North light with no drama will tell you whether a wood sill can hold a color for the hour you care about. I check the parlor from the doorway, from the seat a person actually uses, and from the corner that is slightly rude. The rude corner is often the true one, because it shows what this mistake is designed to hide: treating the side setback as a garden it cannot be. When I draw, the same corner becomes a section. When I photograph, it becomes the frame. The journal exists so those two notes can sit together.
The usual mistake
A workable test: can a stranger stand at a Southdowns kitchen that faces the yard and point to the eave line as the reason the decision was made? If they point at a finish instead, I have decorated the problem rather than solved it. Humidity is not a mood in this city. It changes a wood sill by the end of the day, and a plan that forgets that will look clever in April and tired in August. I would rather the note admit the season. October at a Southdowns kitchen that faces the yard is not a neutral background for what an open plan costs a house here. The parlor wants one job in this essay. I do not also solve the storage, the art, and the future addition. One job is how a field note stays honest. The query I am actually answering is open plan drawbacks hot climate. On the drawing table I write the rule in one line, then I try to break it with a door swing drawn in plan. If it breaks, it was a slogan. It did not break. Screen the porch so the street is still in the picture. The portrait of the work, if I need one, includes me only so the scale is human: a person, the eave line, and a wood sill under north light with no drama. I am not interested in a picture that could have been made in any city. The live oaks, the porches, and the wet air have to be doing something.
Working the decision
At a Southdowns kitchen that faces the yard, what they are doing is this: they set the contrast, they set the patience, and they punish finishes that were chosen from a screen. So I let a wood sill look like itself. I do not rescue it in editing, and I do not specify a substitute that only behaves in a showroom. There is a smaller version of the same lesson in the hand. the eave line either has a place or it is borrowing the parlor. Borrowing is how houses fill up. The architectural version is an extra door. The domestic version is a second tray. Both show up as the same kind of miss: treating the side setback as a garden it cannot be. I time the correction. 14 minutes is enough to decide, and not enough to fuss the life out of the room. Fussing is a tell. When I notice it, I step back to a Southdowns kitchen that faces the yard and ask whether the parlor still has a path through it. The path is the project. What an open plan costs a house here is only the name of the path today. If you want a number, use 10 feet as the minimum depth before a porch, a rug, or a run of cabinets gets to count as a place. Use 48 inches as a reminder that eye height, hand height, and sill height are the dimensions people actually touch. Use f/8 only if you are holding a camera. The point of the number is depth you can name, not a setting to worship.
Leaving the place
I write the caption before I trust the frame. The caption has to mention a wood sill and the hour. If it mentions neither, the picture is generic. Generic is the failure I am willing to be dull in order to avoid. A reader in Baton Rouge should be able to test this on the next Wednesday. Go to a porch, a kitchen, or a drawer and try the rule once. Screen the porch so the street is still in the picture. Then stop. Another improvement, added on, is usually treating the side setback as a garden it cannot be in a nicer voice. The houses I pay attention to are ordinary on purpose. A southdowns kitchen that faces the yard is not a case study with a client name. It is a condition I can return to. Returning matters more than coverage. What an open plan costs a house here gets clearer on the second visit, when I am less excited by the eave line. Excitement is a bad editor. The second visit asks whether a wood sill still matters when the light is only north light with no drama. Often it does. The things that fail the second visit were costume. I keep costume out of the plan, out of the frame, and out of the drawer. What remains is small enough to maintain in October, when the air is heavy and nobody wants a project. Maintenance is the part of architecture that photography can teach. A room you cannot put back in 14 minutes is a room that was never finished.
Further notes
architecture Baton Rouge field notes