UF SoA VIA Spring 2016 Sketching Portfolio

Analytic Drawing+Sketching Portfolio Adiel Alexis Benitez UF SoA in Vicenza. Spring 2016 Professor Bradley Walters

Line: exercises in markmaking

To draw is to “draw out,” or “draw from” -B. Walters

LINE STUDY: HAND

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MARKMAKING: “THE DAVID” MICHELANGELO. FLORENCE, ITALY.

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TORRE DEL MANGIA. SIENA, ITALY

ENTRY. ANTINORI WINERY. TUSCANY, ITALY.

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TORRE AGBAR. JEAN NOUVEL. BARCELONA, SPAIN

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FUNDACIO CAN FRAMIS BARCELONA, SPAIN

BARCELONA PAVILLION. MIES VAN DER RHOHE BARCELONA, SPAIN

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BASILICA PALLADIANA. ANDREA PALLADIO VICENZA, ITALY

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VILLA CAPRA, “LA ROTUNDA.’ ANDREA PALLADIO VICENZA, ITALY

CLOCKTOWER VICENZA, ITALY

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FIGURE STUDIES. FINDING SPACE VICENZA, ITALY

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GESTURE STUDIES VICENZA, ITALY

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Line+Tone: mapping fields and surfaces

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RAPE OF THE SABINES. GIAMBOLOGNA FLORENCE, ITALY

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BRION CEMETARY. CARLO SCARPA VENETO, ITALY

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CAPTURING JOY. AUDREY REINISCH AMSTERDAM, NETHERLANDS

PORTRAIT STUDY. AUDREY HEPBURN BENITEZ 16

ARCHERY RANGE. ENRIC MIRALLES BARCELONA, SPAIN

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UF VIA STUDIO VICENZA, ITALY.

THE EVERYDAY VICENZA, ITALY. BENITEZ 18

VICENZA, ITALY. BENITEZ 19

DETAIL STUDY. SCULTPURE. TRAJANS MARKET ROME, ITALY

DETAIL STUDY. CASTELVECCHIO. CARLO SCARPA VERONA, ITALY BENITEZ 20

MUSEU D’ART CONTEMPORANI DE BARCELONA. RICHARD MEIER. SECTIONAL ANALYSIS BARCELONA, SPAIN

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SURFACE STUDY: HAND

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SCULTURE STUDIES. ANTONIO CANOVA VERONA, ITALY

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Hard Line: analysis and speculation

URBAN ANALYSIS. VENEZIA, ITALY

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SPECUALTION. CAMPO SANTA MARIA NOVA VENEZIA, ITALY

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SPECUALTION. CAMPO SANTA MARIA NOVA VENEZIA, ITALY

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The analytic sectional perspective study allows for an investigative exploration of the Villa Capra. The villa functions under a strict uniform geometry. Utilizing a square plan and regular proportions in its extensions. The rotunda sets itself in the center of the plan, serving as a spatial armature in both plan and section. The building poche is thickened, particularly in section, which allows for further exploration in the perspective. In section the rotunda act as a organizing void, as such the drawing begins to exploit the character of the space to suggest a floating poche above the main level of the villa. The Piano noble, works in tandem with the void space under rotunda and act as sectional anchors. The vanishing points in the drawing work to emphasize the role of the rotunda, and the horizontality of the piano noble. The drawing also begins to project edges in front of the section cut to begin to draw connections between the section and the outside faces. In particular, there is a suggestion of the front building façade. The negative space between the columns is called out to set up the scale of the front face.

This in turn acts perpendicular to the axis of the section, allowing for the visualization of the two intersecting axis held by the rotunda. The section, and its relationship to the front façade also allow for a play between the service spaces on ground level, and the entry, which is suggested above. The clear division between the service spaces and the rest of the house is clearly shown through the emphasis of the rotunda, and space of the piano noble.

ANALYSIS. VILLA CAPRA, “LA ROTUNDA.’ ANDREA PALLADIO VICENZA, ITALY

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