In the Snyderman House, Graves interweaves architectural elements unrelated to any traditional reference to generate a singular language, in which visual contrasts take on a leading role. The work is located on a 16-hectare plot near Fort Wayne, on a plateau surrounded by trees. The program of the house responded to the needs of a private residence for a family of five, incorporating spaces for guest rooms, a study and outdoor social areas. The house is organized around a floor plan structured on two orthogonal axes that determine the main circulations and divide the central body into four well-defined quadrants. One of the axes, integrated into the compositional matrix of the house, orders the internal functioning by linking a staircase at each end. The other axis traces the direction of the main entrance and extends along the lot, connecting two independent volumes located at opposite ends: one for the guest room and the other for the study. Through this formal articulation, Graves explores the relationships between interior and exterior, generating a unique dialogue between the natural environment and the built space.

The floor plan is configured from an orthogonal grid, whose vertices serve as support points for a series of parallel and orthogonal porticos that define a three-dimensional structural system. These porticos function as support for various architectural pieces, acting as fragments within a more complex composition in which walls and stairs intertwine dynamically.

By arranging the vertical planes independently of the pillars, Graves generates a continuous and fluid space that favors the interaction and superposition of the different architectural elements.

In this way, Graves reworks modern principles such as the open plan and the independence between structure and enclosure, linked to the purist heritage of Le Corbusier. However, this operation takes on a relative metonymic character, since it incorporates architectural elements from another historical period and another culture, but stripped of any direct representative or symbolic intention. Instead of resorting to a mimetic language, Graves transforms these references into abstract components that expand the expressive possibilities of his architecture, creating a new formal syntax.

The portico structure establishes a permeable limit, which breaks with the traditional definition of building envelope, freeing the design so that the architectural elements expand beyond conventional limits, creating a work that is freer, more dynamic and open to its surroundings. By dispensing with a unifying envelope, Graves exposes a display of plastic elements, creating a more dynamic and expressive architecture.

The main staircase is located at the intersection of the two orthogonal axes, functioning as a focal point within an open spatial composition. On the other hand, a secondary staircase projects outwards from the volume of the house, perpendicular to the façade, extending the functional and visual boundaries beyond the internal structure. The double-height spaces emerge as a natural consequence of the three-dimensional portico system, reinforcing the spatial logic that supports the overall composition. The superposition and crossing of various architectural elements generate a structure that accentuates the concept of three-dimensionality of the design.

The curved planes used as enclosures evoke the work of John Hejduk, in particular the volumes of Wall House 2, both in form and tone. This compositional variety gives rise to a building that moves away from traditional forms and establishes a complex spatial dynamic, rich in ambiguities and possible interpretations.