In Vincent Van Duysen’s Patio House project, surface precedes plane.
Walls read as continuous fields rather than articulated frames, and openings register as interruptions rather than features.
What comes first is continuity over composition; structure withdraws from emphasis.
Where late modernism often articulated structure through frame and junction, Van Duysen suppresses articulation in favor of continuity. The gesture is not decorative minimalism but a recalibration of enclosure itself, shifting attention from construction detail to spatial mass.
Planes are often framed and articulated.
Here surface precedes structure.
Openings register as quiet interruptions rather than features.
What comes first is continuity over composition.
Frame withdraws from emphasis.
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