ARCH 4/507
MATERIALS AND DETAILS: EVOCATIONS OF TIME AND PLACE
Anapaola Araujo Tupayachi
Prof. Jim Givens
TIME + SPATIAL PERCEPTION VIGNETES
COMPILATION 1
A collection of sketches that are composed and drafted based on personal perception, legibility, and curiosity. All of them expressed in vignettes that express the essence and understanding of a specific place, time, or moment.
Although surrounding elements were presented in the scene, the Tempietto itself was the center of my attention. Its distinctive circular configuration and intricasy mesmerized me in regads to its small scale. Its size and the space‘s enclosure created an intimate environment to help me capture basic form notions and composition.
I enjoyed the exercise of understanding the organization of this interior space in multiple dimensions to later express its character and the architecture’s interaction with other elements such as lighting. I intended to express contaiment as well as depth/shadow in plan and section respectively based on observation and assumption.
The amount of detail in the ceiling seemed slighty overwhelming and the ceiling big so I created a smaller canvas within my notebook.
As I interacted with San Carlo’s Church, I was able to contrast its qualities with the ones in Chiesa di Sant’Andrea (previous). I recall working diagramatically in plan first and then started expressing things vertically.
Out of the many carefully prepped gallery spaces, as soon as I encountered this space I knew I wanted to do my study in it. It was the light quality that struck me. It was well lit yet taking into account how to preserve the pieces in the space.
Not much detail in the sketch, nonetheless, with minimal shading, I explored countours and contrasts in this cross section.
Trajan’s Market was my first close encounter with a space where I can intuitively try to understand ancient construction techniques, detailing and other unique elements by exploring it on my own.
A hybrid of notes and sketches usually go along my detailing drawing process since they help me return to this information later and further research it.
Parco della Musica by Renzo Piano seemed the perfect place to create a set of drawings that would express the design intention(s) but also inform how connections and structure can work and serve historic and contemporary design.
A combination of section/elevation looking at the 3 amphitheaters, a parti of the complex, and supporting observational sketches of how the connections might be working are displayed.
10 minutes sketches looking at the different contruction methods that are characteristic in Florence. I find helpful to bold my stroke or call out from the main drawing if I want to highlight or focus on a specific section. Sporti and brick arches are showcased in these drawings.
Taking single bays from both interior and exterior spaces of different buildings seemed like completing individual tasks at first. Observing and carefully drafting the proportions and scale ofone place in relationship to a second space was an interesting exercise in many of the spaces we visited in Florence.
One of my favorite places visited in this trip, I genuinely enjoyed existing it it. I wanted to capture it overall from my view point -sitting on the portal edge by the exit. I intended to be careful about the proportions, elements behind, and depth minimal shading.
One of the unfinished statues by Micheangelo in the Museo dell’Academia in Florence. The fact of it being “unfinished” gave it a character/essence of uncertainty and freedom (to me) while sketching - it somehow made the time I spent in it enjoyable and quick.