Ground design proceeds to areas immediately surrounding the abode which can be designed to effect outdoor rooms – a term I originally heard stumbling onto the Martha Stewart Show while channel surfing. The concept left an impression, and more than a decade later, I sought ways to adapt code geometry to such.
Outdoor rooms are especially applicable to CBA architecture in light of how its cosmic derivation paradoxically influences compactness on the inside. In that context, an outdoor room hypothetically presents the largest area for social gatherings, or for occupants to find more space for themselves.
The most immediate adaptation would be a conventional courtyard having full or partial height walls. These walls may adopt the same half waveform embanking as CBA walls. The embanking would be on both sides of the wall if part of a greater landscaping scheme, or the inside only in a denser city dwelling setting for example. Either way, the inside wall is always relevant. Although the optional CBA waveforms avail themselves to the outside of the wall, the nature of the enclosed space necessitates waveforms there be of the steeper 45° variety.
Courtyard inside corners, if not swept concavely by such waves, are 55° waves spun 90° according to the CBA inside corner option. In either case, 55° is present (inherently with the 45° wave). Presence of the 55° sloping element poses inherent tetrahedral linking to the same embanking built along the CBA wall. If space permits on the outside of the wall, 35° embankments (subject to the same limitation as the CBA embanking) interestingly complement the 55° manifestation on the inside while their inherent 45° slopes match those also on the inside.
Beyond the courtyard (or abode if there isn’t one), berms, owing to the innate vertical lines arising from their crests, may support, along with vegetation, posts that support an overhead rectilinear latticework. Another option that arises from berm or mound wave geometry, is to drop walls at the maximum slope level to accommodate bench seating, with max slope extensions determining dimensions of such.
On mounds or berm ends, the spaces wedged out may be 90°, 180°, or 270°, and for grid junctures or integrating rings, the these may be further subdivided into properly aligned 45° integrals. Thus berms, mounds, and embankments may serve as outdoor furnishings – luxuriant by virtue of flora occupying them also.
To create areas of semi-private intimacy, berms may be swept concavely into crosses, T, L, G or U-shaped partitions with imaginary plane intersections. Another possibility is created by the 35° mound that usually serves as an intra-grid juncture in either grid.
As the mound so employed possesses innate rectilinear extensions, the circle of the mound can be divided into quadrants which, extended outward, form a rectangular crest wherefrom 4 straight sections may descend without rounding. By such maneuvers, the plateau can host aa sitting area accessed by steps rising along the 35° slope.
Much of the above variations, options, and maneuvers can be applied to concave depressions. In such cases however, the bode element slopes are not keyed to waveforms but rather conically guide mini-amphitheaters, conversation pits, or wading pools descending from a wide beach to cylindrical depths.