emma k. gill egill1@vols.utk.edu | 865.323.2504
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“architecture is not the building, it is the moment�.
-scott finn
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KNOXVILLE MARKET HALL
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L’ECOLE A LA MAISON
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CASTLE PINCKNEY
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SUGAR SHACK
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ILLUMINATING THE LOST
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STUDY ABROAD
KNOXVILLE PUBLIC MARKET & CULINARY ARTS INSTITUTE Project | Integrations Professor | James Rose Programs | Revit and Autocad In Collaboration with | Emily Bingham When approaching the design of a public market hall with a culinary institute component, it became apparent that its relationship to the historical downtown Market Square was critical. While now revitalized and re-inhabited, its most basic programmatic division can still be distilled in section. In response to this division and hierarchy between private business and residential space versus public retail space, the section is realized in a long bar that becomes the market hall. Reacting to the more modern buildings on the nearby site and that same market square division, the culinary school pushes upward above the bar in a tower-like scheme. As a scheme based on contrasts, the datum between the two is exaggerated. Here, at the typical Market Square first floor height, a dynamic plane serves to regulate the two programs. This arrangement of “tower and bar� is organized based on existing site boundaries and circulation. The intersection of pedestrian traffic from the park east of the site and market square to the north creates a breaking point for the two programs where an active, multiuse pavilion space rests at the intersection. This transitions to the south into a public lobby for the culinary institute that breaks the roof to push into a tower of teaching, cooking and support spaces. In developing the exact form of the spaces, a rigorous structural system was used that was developed from an analysis of site and the initial goal of designing the plane between the two spaces.
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35° 57’ 52” N -83° 55’ 8” W
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kitchen classroom classroom
mechanical room
outdoor seating area culinary arts lobby breezeway market stall lobby lounge loccia
outdoor seating designated area for food trucks
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TOWER AND BAR The Knoxville Market Hall and the Culinary Arts Institute is an extension of Market Square. The programmatic organization of the existing and historic Market Square is emphasized in section for the scheme of the building. The public market hall stretches across the site while the culinary program breaks through the dynamic roof and extends into a tower scheme.
outdoor patio/garden kitchen
classroom kitchen
classroom kitchen kitchen offices
lecture hall
library
mechanical room lobby lounge
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LONGITUDINAL SECTION This section begins to show the change of public to private space from the market hall bar to the culinary arts tower. The market stalls are accessible from the west plaza and there is also a breezeway that connect the two plazas, keeping the original circulation of the site.
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105’
91’
77’
63’
49’
35’
21’
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MARKET ROOF MODEL The roof module responds to wind sun, and rain. The above photos are a conceptual model which reflects the diffused light quality. MARKET HALL Upon entering the market hall, the most striking aspect of the space is the colorful displays of locally grown food organized in the merchant’s flexible and customized cabinetry. After noticing the stalls, the users attention focuses upward to the dynamic roof forms that lets in diffuse light and keeps the space comfortable through a gentle ventilation.
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MARKET ROOF MODULE Module responds to wind, sun, and rain in the respective directions of action.
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WIND RESPONSE (-) prevailing breezes run across the roof plane and create a Venturi Effect, negative pressure in the roof. (+) the creation of negative pressure above the roof reacts in the space by pulling air (supplied by louvers at ground) out and a gentle stack ventilation effect is achieved.
SUN LIGHT RESPONSE (1) direct light is blocked by the sloping panels (2) some direct sunlight is reflected into the space though the window opening (3) majority of light is constant, indirect, diffuse daylight from the north
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ENCLOSURE ASSEMBLY pre-cast ventilation opening pre-cast opening beyond
bent plate steel gutter, 6” w-14 shape steel joist, 8’ o.c.
w-21 shape steel beam 24’ o.c. CPI Daylighting polycarbonate mullion steel “ear” welded
CPI Daylighting 2” polycarbonate multi-wall
steel tension cord for lateral bracing
CPI Daylighting glass-to-polycarbonate mullion Kawneer 3/4” double pane glazing vinyl signage surface applied to glazing
Greenheck 4” louver frame Greenheck 4” mechanical operable louver 6” concrete slab with 6” fold-down perimeter crushed stone engineered fill
MARKET DETAIL
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ROOF PANEL ASSEMBLY
custom glazing panel beyond Greenheck custom louver frame Greenheck custom mechanical louver custom pre-cast frc roof panel; 2” thickness bent plate steel gutter, 6”
MARKET STALL ASSEMBLY hss 6 x1/4 x 1/4 steel column
3” tube steel frame back painted glass with frame for signage
3/4” plywood construction millwork cabinetry
display shelving cabinet
storage below display cabinet
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L’ECOLE A LA MAISON Project | Haiti Studio Professor | John McRae and Andrew Godwin Program | Sketchup In Collaboration with | Taylor Heim and Christina Owens Haiti Studio gave me the opportunity to design a preschool in a developing country. Design that can help others is the type of design I am most passionate about. At the beginning of the semester, I researched their culture, environment, and ways of life. But it was not until mid-semester when our studio took a trip to Fond-des-Blancs, Haiti to experience the culture, people, food, and history did I really understand. This experience drove me to design with an anthropological attitude. There must be a sensitivity to the culture and programmatic issues on the site. This understanding and my passion for research and exploration informed my design process and work. During the semester, model building and using it as a tool for design was valued. I was in a team of three and using the model to collaborate was beneficial to the team and our understanding of the site. Through our research, site visit and exploration, our design concept revolved around the Haitian compound. We believed that there was need to encourage a sense of reciprocity between the home and the school in order for the knowledge learned in the classroom to be brought into the home.
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18° 16’ 54” N -73° 7’ 50” E
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HAITIAN FAMILY STREET SHOP KITCHEN L’Ecole a la Maison incorporates a similar scheme as the Haitian compound. Haitian compounds are usually comprised of a street shop, living quarters, a kitchen, and an outhouse. To maintain the experience of the compound, these elements are related into the new design. First the waiting area is placed near the main road similar to the street shop of a family compound. Then kitchen and cafeteria are positioned near the church so they can serve both the school and church gatherings.
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ENTRY PAVILION The space contains the garden (street shop) and the student cafeteria (kitchen). This garden area is for the guardians to tend to a garden while their children are in school. The food produced in the garden will contribute to the meal for the day. The kitchen and cafeteria are located next to garden and the church. This space can be used for teacher meetings and larger classroom gatherings.
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LAKOU The lakou is the central outdoor space that is surrounded by the Haitian homes. This is a communal space that includes play, religious services, and cooking.
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CREOLE HOUSE KAY HOUSE These two housing types show a transition between public and private spaces. This transition became a major influence in the layout of the proposal for the site as a whole, the new campus, and each classroom.
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MASTER PLAN The progression of the site is similar to that of a typical Haitian home. The church and cafeteria are the most public spaces on the site and it becomes more private getting closer to the lakou and the classrooms. The classrooms are turned and arranged along the lowest sloping topography in order to reduce digging along the site. The classrooms are separated in order to reflect how Haitian homes (kay and creole) are arranged around the lakou and how the classrooms can be constructed in phases.
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KAY HOUSE This represents the typical one-story kay house layout. Each classroom has a porch (public space), the classroom (semi-private), and the storage and garden in the back (private). The classroom has colorful moveable panels that encourage an interactive learning environment and provide ventilation during the hotter days.
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EXISTING Existing site containing the church and preschool.
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PHASE ONE The addition of the cafeteria, dining space and restrooms for 6 students.
PHASE TWO The existing preschool is torn down and the first phase of classrooms are built, starting on the Northern side of the site. During this time, the cafeteria area will be used for classroom space.
PHASE THREE The last set of classrooms are built at the top of the site. This allows for easy access for construction.
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MODEL PHOTOS
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site model
creole classrom
two story kay classroom
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CASTLE PINCKNEY Project | Research Professor | William Martellla Consultants | Larry Wilson and Richard Strange Department of Forestry, Wildlife and Fisheries, University of Tennessee, Knoxville Castle Pinckney is fading into the bay of Charleston’s water. The castle was built in order to fortify: fortify the soldiers, the city, the country. But now the island itself is losing its original intention. The concept of this design is to bring back the idea that once was, fortification. The island itself can be walked along the eastern side due to the oyster shells that line it. Because of this natural walkway, the visitors have the ability to take a path around the whole island. This will engage the visitor with the different views of historic Charleston, the Arthur Ravenel Bridge, Castle Pinckney and the pure tall grasses of the marsh and the white oyster shells. The boardwalk along the western side protects the island and marsh from the ocean’s violent waves. The structure itself, while in construction, will begin to attract periphyton and barnacle. This animal is the beginning of the food chain, which will thus attract small fish. Small fish will be lured to this area and will have a sense of protection behind the piles at the times of forceful tides. Eddies form with the tide change and the fish hide behind the structure for protection, while still feeding off of the periphyton. Within one year, larger fish will gather this area. Once three years has passed, this will be an ideal fishing ground for red drum, mahi mahi, flounder, spot, and mackerel. Now, the boardwalk is a place in which fortifies fish. The design goal is to create an ideal fish feeding ground with natural attraction. Fish will be drawn by the placement of fish attractors sunken to the ocean floor in the various fishing circles. Each circle will include different materials, for example, trees, PVC pipes, wooden stake boards, or a combination. This will inevitably attract different kinds of fish to different circles in order for fishermen to angle. What used to fortify, no longer is. With this design proposal, it will bring to life the idea of to fortify. 34
32° 46’ 26” N -79° 54’ 41” E
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? THE PROBLEM
Castle Pinckney is the only building on Shute’s Folly Island. Built in 1810, it is no longer preserved or used.
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THEN 1980 Image taken 100 years after the construction of Castle Pinckney.
NOW 2014 Just 25 years later, the waves of the Charleston harbor have partially engulfed the island along the western and southern side of the island.
THE GOAL How can we protect the island? The original use of Castle Pinckney was to fortify the coast line. Today, the island itself is not able to withstand the castle and waves of the harbor. The goal for the site is to protect, preserve and create a plan that can revitalize its original intention, fortification.
CASTLE PINCKNEY 1831 Image of Shute’s Folly island harbor.
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SITE ANALYSIS How can the site influence the design? By analyzing the site, problems and solutions may be discovered on how to save the island.
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OCEAN The strong waves from the Atlantic ocean travel into the Charleston harbor and the little coastline Shute’s Folly has left is severely effected.
MARSH Tall grass is the only thing currently protecting the island. it has created a swamp of unusable land and is quickly receding.
SHELLS The most durable land on the island is along the eastern coast and consists of oyster shells.
ECOLOGICAL RESEARCH Can the natural inhabitants have an effect on design? The harbor is on the end of the estuary, which is considered the “nursery of the ocean.”
PHYTOPLANKTON Phytoplankton and barnacle are the major components of the ocean’s oxygen and controls the ocean’s climate. It emits fluorescence and creates a green layer on top of the ocean. Attracting phytoplankton would produce a lusher marsh and stronger coast line.
SPECIES There are several fish that reside in the harbor, such as red drum, mackerel, mahi mahi, spotted sea trout, spot and flounder. By designing an area that attracts fish naturally, it will help preserve the island through the nutrients the fish bring.
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PROGRAM How can the design benefit from the ecology study? Through the discovery of animal life within the harbor, the design will be programmed as a fishing destination.
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FISH FARMING
Fish farms are a way in which fisherman can successfully collect fish in one area through the use of different attractors.
FISH ATTRACTORS Tires, plastic, wood, and trees are dropped into the circles of the fish farm. These attractors begin to grow phytoplankton, barnacle, and algae which in turn attracts fish. With different attractors in each circle, a study can be pursued to discover what material works best to attract certain fish.
DESIGN How can research impact the design? By implementing a boardwalk for the fishermen, the structure will mitigate the violent waves deteriorating Shute’s Folly island. The structure itself, while in construction, will begin to attract phytoplankton and barnacle. This animal is the beginning of the food chain, which will thus attract small fish. After three years, this will become an ideal fishing ground. The “fish forts” are now protecting and preserving the island the same way the castle once fortified the island.
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SUGAR SHACK Project | Design Build Lead Architects | Keith Moskow and Robert Linn In Collaboration with | 9 designers with different expertise Located near the Gile Mountains in the small town of Norwich, we designed and built a sugar shack in one week. It was my first design-build and it was through Moskow Linn Architects’ program called Studio North 14. It was an opportunity to meet other architects with different backgrounds and interests as well as explore Vermont and New Hampshire for the first time! The word “consumable” was the design concept. We designed a building that would feed its own purpose, to make maple syrup. The structural walls were built as a “bookshelf” to hold the wood. This wood will be used to burn the sap which produces maple syrup, “liquid gold.” It was a collaborative project consisting of three lead architects and twelve students. Different design ideas were explored on the first day and turned into construction documents to guide us through week. While the construction progressed, we made design changes for aesthetic and structural reasons. The building was completed in Fall 2014 and will be used in Spring 2015 for the fist annual maple syrup production!
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43° 45’ 46” N -72° 15’ 56” E
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STACKED WOOD concept The idea that the building itself would feed the fire.
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SAP TREES site The site surrounding the sugar shack is full of sap trees. Most of the trees will have a spile to draw the sap.
SUGAR HOUSE precedent A typical sugar house located just outside of Vermont.
SUNDAY
MONDAY
_Dug six holes, four feet deep, in order to pour concrete foundation with 4’x4’ posts _In order to prevent the freezing of the foundation it was necessary to dig over four feet into the ground
_Design day (personal sketching on following page) _Added framing around deck with 2’x6’ _Added joists with framing brackets 16” O.C. _Applied decking with 2’x6’
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INITIAL DESIGN IDEAS
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TUESDAY _Along the main structure, strong vertical members were established with a double stud 2’x6’ with 18” bases along the top and bottom _Created bracing along the frames for stability and a place to store the logs _Cut 2’x10’ members for roof _Grounded concrete and posts for decking _Developed horizontal members along back facade for stability 51
ON-SITE CONSTRUCTION DRAWINGS
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WEDNESDAY _Cut template for rafters of 2’x6’x14’ members _Pre-treated wood was used for the box stairs at the front of the shack
THURSDAY _Each rafter consisted of 2-2’x6’ and 1-2’x6 sandwiched together _19-2’x4’ purlins run perpendicular to rafters _Used barn board to enclose the back wall _Rented a wood splitter and cut wood in 21” pieces for “show wood”
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FRIDAY _Completed putting the rafters and purlins on the roof and nailed metal frames to hold them in place _Re-designed the exhaust for the roof _Added cut wood into the structural shelves
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SATURDAY
FALL 2014
_Completed small detailing _Added translucent plastic to window _Added swings
_Metal roof installed _Hung the entry door _Placed the evaporator To be used for maple syrup production in Spring 2015! 55
ILLUMINATING THE LOST Project | Study Abroad Professor | Riccardo D’Aquino & Francesca Riccardo Programs | Hand-drawn When designing the library it was essential to direct attention to the layers of history within the archeological site of the Trajan’s Market. The building is designed to incorporate pathways around the ruins in order to give the user not only a view of the historic layers, but also an interactive space. Trajan’s Market is a complex of buildings built during the second century AD and is composed of six levels of construction and the original streets of Rome. The site for the library represents the typical brick construction in Rome which housed many different uses over time. The main use of the site was an insula, housing for Romans during the Medieval time, which the geometries are still apparent in the ruins today. The concept of the library originates from the current attributes of the site. The site consists of three towers: the ancient tower of Trajan’s Column, the renaissance Tower of Milizie, and the medieval tower integrated into the building adjacent to the site. All these buildings are inaccessible, hence, the reason for creating a modern day tower scheme in order to give the public a view of the Trajan’s Market and city of Rome from an elevated space.
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41° 53’ 43” N 12° 29’ 12” E
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ANCIENT TOWER (1) The ancient tower located near the site is called Trajan’s Tower. The tower has internal stairs with small windows for views and light. When getting to the top, there is a 360 degree view of the city and the ruins below. Today, this tower is inaccessible to the public.
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RENAISSANCE TOWER (2) This tower is called the Torre delle Milizie. It is located along a private street that is accessible from the site.
MEDIEVAL TOWER (3) This tower is adjacent to the site. The tower has been incorporated into the buildings on either side. Medieval towers in Rome are typically like this and are used as the central core of the building.
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CIRCULATION The circulation of the library is located along the exterior walls of the building. This pathway is a narrow hallway that surrounds the library.
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TOWER VIEW At the top of the tower is a coffee bar with a 360 degree view of the city of Rome.
NATURAL LIGHTING While walking through the hallway of the library, the natural light pierces through the space creating thin light strips. Inside the library, the lighting becomes diffused. The tower has a light tunnel that diffuses light down to the nympham.
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SITE ANALYSIS The design is based off the current conditions of the ruins. This becomes apparent when the user walks up the sloped hallway which wraps the ruins. The books are located on a platform which are accessible from cutouts along the hallway. When the user enters onto different platforms inside the library, they are given a different view of the ruins from above.
reception lobby ruins first library stack platform entry ENTRY FROM SALITA DEL GRILLO AND LIBRARY 64
core entry to tower from museum view down to ruins office space library stack
ENTRY TO TOWER AND LIBRARY
core coffee bar patio sky lights above library
TOP FLOOR OF TOWER 65
STUDY ABROAD Goal | Record Travel and Exploration Material | India Ink, Pen and Pencil Camera | Sony A55 18-55mm For one semester, I had to opportunity to study abroad in Rome, Italy. I took studio, History of Italian Design, Historic Preservation and Architecture of the City. Many of these classes took place outside of the classroom. We studied famous buidlings through exploration and sketching. We also took tours through historic and modern museums. While I was abroad, I travelled to five other countries: Spain, Ireland, France, Krakow, and the Netherlands. During my travels, I documented places I saw and explored through drawings, photography and writings. Included in this section are a few places I became fond of during my travels abroad.
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arches fade in dusk, emerge in aureate light. the waning moon glows brushing the rugged surface. the dominate theater, lives. 41° 53’ 27” 12° 29’ 35” 14.01.2014 18:25.30 18:30.11
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dark of night rises, light falls into the lagoon. dark arches veiled. the light illuminating like dim flickering marbles. 45° 26’ 3” 12° 20’ 17” 06.05.2014 20:47.50 20:47.39
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EXPLORATION OF THE COLOSSEO Roman architecture was designed with close attention to geometries, forms and math. When sketching Roman architecture, figuring out proportions, shapes, and grids was a rewarding challenge. These are drawings from an exploration of the Colosseum in Rome, Italy. The drawing has a layering of materials. The pencil is used to figure out the overall form and the geometries. India ink is then quickly splashed on top of the image to place the shade and shadow into the drawing. A pen is used to define edges and add details. This process is repeated multiple times. Each layer applied furthered the exploration of the designed shapes, depth, structure and space. 72
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41° 54’ 7’ N 12° 27’ 15’’ E roma, italia
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letters home 3/18
3_Hello! I am on week three of my stay in Roma! I have adjusted to my classes and had my first group presentation this Thursday. We totally aced it. As for tours this week we went to the Gallery of Modern Art, San Clemente, the Sistine Chapel, and St. Peter’s Basilica. This morning I woke up and I asked my roommate where we were going on our tour. I remember them stating in class that we were going to the Sistine Chapel, but hearing those words were hard for me to process. I was going to see the SISTINE CHAPEL. The Chapel Michelangelo spent four years painting the ceiling of the famous painting, “The Creation of Adam.” Another thing about the Sistine Chapel is that it is located in Vatican City along with St. Peters. Vatican City is actually a country within the city of Rome. One usually needs a passport, but for tours this is not necessary. After the tour the Sistine Chapel, our guide, Valeria, said we could either exit the building or head to St. Peter’s. Of course I am going to go to St. Peter’s! I went with my friend but I had to run after him because he was so excited. As soon as we entered the doors of the Basilica we both just stopped. We slowly approached the baldachin designed by Bernini. The aisle felt like a mile long. We kept walking and walking with no sight of the baldachin getting any larger. Each step felt like a beating drum. I tried to tip toe while my eyed were glued to the ceiling with the baldachin in constant sight. When standing next to the baldachin you do not even feel human. The scale, the material, the height…was all so overwhelming. At each baldachin in a Catholic church, the cross points to Jesus on the ceiling. Jesus’ face was painted directly in the center of the dome of St. Peter’s. I stood there for a few moments to take in the size of the baldachin, eyes looking up with this weight pressing down on my chest. From there, we went under ground. Below St. Peter’s holds the tombs of some of the past Popes including St. Peter’s. I told my friend he must be enthusiastic because I am not even Catholic and I was beyond submerged in what I was seeing. He told me that it is not a Catholic thing or a Methodist thing…feeling the way I did was simply a human thing. I think my eyes watered a little bit being a part of this history… it is just difficult grasp everything that was happening; the space, the idea, the meaning, the entity. Besides the field trips, I have planned my Spring Break! I am going to Barcelona, Spain, Dublin, Ireland, and Paris, France. Sounds like a good Spring Break to me! As for visiting my cousin, Tammy, in Amsterdam, I plan on doing that over a weekend in April with a few friends! My school program is set up that we do not have classes on Fridays…it is awesome! But for the next couple months, a field trip is planned during a couple weekends. Hopefully my roommates and I will be able to catch a train to the beach or even go to Cinque Terra for a day trip. There is a lot to see and I am not going to waste a minute of it sitting around. Amore, Emma
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41° 23’ 6’’ 2° 10’ 24’’ E barcelona, españa
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park güell
casa batll贸 facade
casa batll贸 detail
sala hipostila
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45° 26’ 27’’ N 12° 18’ 55’’ E venezia, italia
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riva dei sette martiri
venezian faรงade
riva dei sette martiri
bell tower of the chiesa di san zaccaria
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Thank you for your time and consideration,
Emma Gill