Jonathan Hiser
Academic Works [2008 - 2013]
Virginia Tech Class of 2013 Bachelor of Architecture
Jonathan Hiser
Studio Projects
Thesis: Interaction Cottage-Cluster-Commune City Movement Watershed Observatory
Competitions
VSAIA 2013: Place Title Here BLT Architects: Avenue of the Arts Gateway VSAIA 2012: Beacon Emergency Housing Virginia Tech 3rd Year: Smoke Signal Tower
[2013] [2012] [2012] [2010]
Other Work
Virginia Tech Class of 2013 Bachelor of Architecture
Europe Study Abroad Geometry In Construction Louis Kahn Case Study
[2011] [2012] [2011]
[2012-2013] [2012] [2011] [2010]
Cottage-Cluster-Commune Friendship Retirement Community Roanoke, VA Spring 2012
In cooperation with Friendship Retirement Community in Roanoke, VA, this project aims to design for a growing retiring population. The focus studio met with existing residents, talked with current management, and visited the site in order to grasp a better understanding of the project. Friendship asked us to develop 15-20 Independent Living Cottages, smalls houses for a still active and mobile retirement population. This launched into an exploration of social interaction.
Site and Concept
The site Friendship set aside for the project is on the backside of their property. It features a large flat area (bottom center), that drops off into a steep forested area sloping down to a river (bottom). Some other features on site are an oak tree (below left), and a detention pond down the slope.
Spatial
Studying spatial interactions starts with finding different conditions: nested, connected, adjacent, interlocked, and overlapped. These conditions are ranked from most interactive to least starting with nested. In a nested condition, spaces are placed within spaces. An interlocked condition is the next step in the progression. This involves shared common space, but also gives each space its own territory. The remaining three conditions are separated by the distance between the spatial boundaries; Overlapped is touching, adjacent has a small separation, and connected has the largest separation.
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Social
Much like a college culture, being in a retirement community gives people an opportunity to live in an area with people at a similar stage of life. This community should foster multiple scales of interaction ranging from the larger community to the smaller units.
COTTAGE: a small simple house Focuses on interaction: between residents within the unit between units residents and visitors. between the resident and himself.
CLUSTER: COMMUNE: a group of similar elements gathered a small group living in a close knit closely together community sharing common interests Focuses on interaction: between units within the cluster between residents and visitors
Focuses on interaction: between commune and campus between the cluster and cluster
Commune and Cluster
Pond
Garden
Garden
Community Center
Lawn Space
Oak
Picnic Pavilon Garden
The Commune is the site’s largest scale of interaction. It features a community center nested within the three distinct clusters. This space includes open fields for lawn games, picnics or lounging in the sun. The entire community, including the existing picnic pavilion, is connected through walking paths with a focus around both the oak tree and the pond.
Small study volumes looked at interactions between the units as a whole. They allowed for quick iterations on the site with the intention of finding a comfortable arrangement keeping with the interaction of the community with a “nested” community center
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The Clusters are intended to have an internal focus as a response to resident’s request for gardening and social spaces. This space becomes the archetypal front yard, allowing residents to sit outside on nice days and wave at other residents walking the paths.
Cottage: Divisions and Openness
The individual cottages focus on making a good space through openness and enhancing the relationship between two connected units. Each pair of units features a shared carport and shared patio space, giving the residents a connection to their neighbors. The cottages divide into social “spaces.” The most private spaces are the bedrooms and bathrooms, divided into “my space (private).” The next layer consists of the combined kitchen, dining, living and sun space, categorized by “my space (public).” To make the transition between private and public “my space,” an alcove creates the entrance to the bedrooms. This limits the direct visibility into the public space.
My Space (Private)
My Space (Public)
Our Space
Your Space
Openness drives decisions made when designing the cottages. The first step was to make a gesture towards the cluster space by lifting the roof. Instead of typical A-frame trusses, the roof lifts up, opening to the cluster. However, the gesture is more than a formal decision. It opens to the building’s south side, allowing for more natural light.
Cottage: Material and Structure
Beige Carpet:
Polished Concrete:
Bedroom
Sun room Utility Closet
Small Wood Tile:
Rough Concrete:
Bathrooms
Entry Porch Driveway
Hardwood Floor:
Stone Pavers:
Public Spaces Living Dining Kitchen
Shared Patio
The spaces are divided based on material.The bedrooms feature a softer, standard carpet surface. The higher traffic and most open spaces use hardwood floor, with a smaller scale wood tile in the bathrooms. The sun room uses a polished concrete, to help with thermal massing in the space.
Structurally, the roof is supported by open timber framing. The trusses are placed about 5’ O.C. with columns placed 15’ O.C. The columns divide the house into thirds, with one third being the private space and two thirds being the public space.
Cottage: Light Shelf and Sunroom
With the roof structure’s development, an opportunity for a light shelf presented itself. The shelf is sized to bring light deeper into the space, as well as leave a small sun room under the eight foot shelf. The section below illustrates the effectiveness during winter (yellow) and summer (orange), and reveals a moment in winter when a single streak of winter sun penetrates the interior (pictured above right).
With the nested sun space under the light shelf, a thermal mass opportunity presented itself. In the winter the sun is able to heat the wall through plenty of direct sunlight, then the wall can radiate that heat back into the space. The charts show some of the work done to size the glazing for this space.
City Movement
at the
Urban Lab Observatory Cincinnati, OH Spring 2011
The Urban Lab Observatory was an opportunity to study cities and design a building to facilitate studying cities. The project looks to Cincinnati, Ohio, as an example, but also looks to find universal aspects of cities. The project takes a moment from the site, at an intersection, and uses it as a driving force for the project.
Site: Launching Point
After visiting and analyzing the site, a type of compression and expansion emerged as a launching point for this project. As traffic lights operate, cars compress and expand at the intersection. This is shown through the gradient on the roads in the site plan, and through the sketch of traffic at one such intersection.
The dimensions of the crosswalk area (40 foot square centered in a 60 foot square) provided order. Seven of these squares lie with a 10 foot overlap across the site. When they follow the traffic pattern, they compress at the intersection and become a starting point for laying out the program.
To further the compression, with each successive floor, one of the 40 foot squares drops off from the plan. This creates a stepped form, compressing at the intersection, and mimics the traffic flow.
Concept: Speed of Movement
While doing a series of photos, I noticed the difference in speeds between walking and driving which led to a diagram (below) It looks at the time taken to travel the same vertical distance on a ramp, a stair and an elevator. This looked at a range of speeds from slow to fast. From this, an exploration into the program of the building as slow, fast or paused movement was launched; ranging from gallery spaces to the apartments.
Fifth - Eighth Floor
Apartments
Fourth Floor
Gallery Studio Space
Gallery Library
Third Floor
Gallery Exhibition Rooms Film and Media Archive
Second Floor
Street Level
Gallery Lobby Auditorium Offices
Below Grade
Storage Warehouse Woodshop Auditorium Catering
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Redefining Brick: Precedent
Mario Botta’s Bechtler Museum sets a structural and skinning precedent for redefining brick. He engaged the historic brick vernacular of the church across the street from the site, but modernized the language through the use of Terracotta tiles. The tiles act as a rain screen for the steel frame structure on the inside, and still give the patterned feel of brick
Exterior of Bechtler Museum
96’
12’
18” Steel Girders, 1’ Steel Columns,
Terracotta Tile Rainscreen 1’ x (2’-5’) x 1.5” tiles
The ULO employs a similar steel frame system, based on a 20 foot grid in order to minimize the depth of beams to still allow enough clearance below the beams and ceiling. Hung off of the steel frames is a terracotta rainscreen similar to that used in Botta’s Bechtler Museum.
6” Steel Stud Wall
12” Reinforced Concrete
Model in Process showing structure
Facade: Response to the Internal
Dynamic Vs. Static The Terracotta tiling wraps around the building, sticking to the internal circulation. The tiling decreases in size from 5’ to 2’ from west to east, noticable in the South Elevation. To mark vertical circulation and structural elements, the course becomes stacked instead of staggered. This dynamic facade wraps around the static spaces, acceunated with gray concrete tiles.
Terracotta facade wraps around. Vertical elements in the facade mark the 40’ structural grid.
South Elevation
East Elevation
Window Sizing The hallways and lobby area have large windows to allow the most light in, while galleries have then, long, high windows to allow some light, but protect the art from direct sun. Apartment living areas have large windows, while bathrooms have small thin windows. Finally, the library stacks have no windows, while the study spaces have windows for some light.
North Elevation
West Elevation
Watershed Observatory Research and Recreation Facility Bryson City, NC Fall 2010
The Watershed Observatory attempts to bring a research aspect to Bryson City, NC. It provides a complex connecting a boat ramp to recreational facilities to research facilities. The site provides a link to the river and resultant lake, introducing an idea of Threshold. While the “Measuring Water� project filters in an idea of memory.
Context
Photo exploration measuring water through the body, setting up a concept of memory
Footprints in the mud. Measuring water though the water content in mud. Measuring memory through leaving temporary imprints.
Measures memory through the short term and long term. Measures water with area and volume of imprinting surface. Footprint on rock. Lasts a few seconds, until evaporation takes over. Footprint in mud. Lasts longer until water washes the imprint away.
The Observatory sites itself at the end of a road at an existing parking lot and boat ramp. The boat ramp connects the Bryson City area to the Fontana Lake. Due to the dam farther downstream, the water levels at the site fluctuate from a low winter level to a higher summer level, including occasional flood levels. The building complex sits on a plateau, bridging the river and the mountain, a threshold.
1 Boat Ramp 2 Fish Cleaning Station 3 Bathrooms/Changing Rooms 4 Outdoor Plaza 5 Beasley Memorial Plaza 6 Amphitheater/ Event Space 7 River Water Room 8 Parking 9 Research Library 10 Presentation/Exhibit Space 11 Map Room 12 Computer Room 13 Conference Room 14 Offices 15 Lab Space 16 Storage 17 Mud Room
Threshold
Entering the site by rounding a corner of the mountain. This initial sketch meshes Memory and Threshold into one. The monuments mark the memory of mountain topography before the road and indicate the crossing of the first threshold.
The five foot step down into the plaza is where the visitor crosses into the complex for the first time.
A long run of stairs connects the complex level to the bank of the river
Once on the banks of the river visitors can cross into the water and beyond to the Lake Fontana
Memory
Adjacent to the boat ramp, rests an elongated stair. It serves as a threshold from parking to plaza and pays homage to a historic home site. All that remains of the homestead is a set of stone steps, on which the family used to watch the cars drive by. Thus, the introduction of the step into the plaza attempts to capture that historic aspect in an updated form.
The elevation of the research facility reflects the horizontal strata lines on the opposite bank. The exterior wall lines orient parallel to the river, while the column lines orient perpendicular to the threshold wall into the complex.
Memory
The Research building wall uses 2x6s as its form work on the concrete wall, leaving an imprint on the wall. Then the same wood is used as an interior wall material, providing a direct link to the memory of the wood as form work.
The threshold wall denoting the complex entry, employs the use of a concrete cast in place wall. It explores memory through the use of driftwood logs from the river as its exterior form work. This leaves behind a textured memory specific to each individual log used.
The HearthStone VSAIA Competition Entry Alexandria, VA Spring 2013
Hearth: family life, the home Hearthstone: a stone forming the hearth The Hearthstone is a mixed use fire station, housing, and public space project on a small lot in Alexandria, VA. In conjunction with a nearby recreation center, elementary school, and housing, the project allows for interaction between firefighters and the community. This interaction comes from providing a fire pit for hosting cookouts, the always popular fire station barbeque, or for teaching fire safety. Each housing unit features a balcony overlooking the plaza to allow for interaction between residents and visitors. The glass structure becomes an icon, anchoring the Hearthstone to the surrounding community. It houses the lobby, information center, and community meeting space.
LEHIGH
N. Broad
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Site Train Stations Bus Stops
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The site provides an opportunity to bring coherence to the block, and to connect the residential zone with the transit centers and N. Broad Street. This proposal capitalizes on the site by creating a purposeful pedestrian zone, a protected public plaza, and sittable space for those waiting to catch a bus or train, all with the intent to bring a sense of community into the area by encouraging social interaction in the space. It also brings a fluid, dynamic, pedestrian character to the site.
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Housing Retail Pedestrian
HUNTINGDON Protected Public Plaza An internal courtyard isolates some of the street noise, and provides a protected space for user interaction.
Sittable Spaces
Purposeful Pedestrian Zone
Sittable space provides place A pedestrian corrider cuts for people to rest, wait for buses through the building mass, giving or trains, or enjoy the space as space to the pedestrian. This is events unfold. done to encourage pedestrian traffic through the block.
Avenue of the Arts Gateway BLT Architects Student Competiton Lehigh and N. Broad Street Philadelphia, PA Fall 2012
Beacon Emergency Housing Pods VSAIA Competition Entry Cape hatteras National Seashore Buxton, NC Spring 2012
Beacon: a fire or light set in a high or prominent position as a warning or celebration signal. The Beacon Emergency Housing Pods operate in conjunction with the prominent Cape Hatteras Lighthouse. The lighthouse not only protects ships from running aground, but serves as a beacon navigating people to aid before, during and after a storm. Hurricanes can leave places and people isolated, the Pods help to alleviate this isolationism by giving people an area to congregate after a storm. They can come for shelter, aid, or even just to know they are not alone in the storm’s aftermath. In emergency times they are activated to serve the community. Be it as temporary shelter during the storm, or as a focal point for rebuilding after the storm. Pods can be adjusted to serve as a Red Cross station, storing supplies for rebuilding and survival. However, hurricanes, while common for this area, are not a permanent situation. In non-emergency times, the Pods act as a visitor supplement by providing small kitchens to make picnic lunches, steps to sit on while taking in the sights and stages for special concerts and events at the site. The Pods are temporarily permanent in the same manner the Cape Hatteras Lighthouse is a temporarily permanent structure. While not intended to move, modern engineering has allowed it to move away from the encroaching coastline. The Pods are mostly permanent structures providing temporary functions as the community needs, and are meant to be a stable community center to aid in disaster
Smoke Signal Tower
3rd Year Competition Entry Hamilton, MT Fall 2010
Smoke-Signal: A warning provided through the use of smoke. The Smoke-Signal Tower and Museum work to educate and warn the public about the misunderstood nature of wildfires. Wildfires take life, but at the same time give new life to the forest by burning out the undergrowth. They are necessary to keep a forest full of life, but also threaten the residential communities built closer and closer to the forests edge.
Just as smoke is visible before a fire, the blackened tower rises ominously above the existing treeline, seen well before a visitor reaches the museum. The visitor enters the base of the tower between the roots extending out into space, anchoring the building into the forest. The exhibit space provides fleeting light opening up into a room of burnt out tree columns, juxtaposed on a view out into the forest. Once in the tower, the visitor is engulfed in the misunderstood nature of wildfire. As they ascend, they cycle through platforms of light and dark. Upon reaching the peak, the visitor is fully in the light, looking out upon the forest from atop this smoke-signal.
Europe Study Abroad Virginia Tech Travel Program Europe Fall 2011
Virginia Tech offers a 70 day European Travel Program for Fourth year Architecture Students. As a part of this program, the group travels to various cities in Europe, including 10 days of Independently planned travel. This included 23 citites, 10 countries and over 5000 miles. Traveling included learning numerous cultures, languages and meant countless sketches and photographs; all of which involved studying modern and historic architecture. The program provided invaluable experience. Geometry in buildings provided a focus, and this section displays a very small sample of the work done while studying abroad.
Pinakothek Der Moderne: Munich, Germany
Zollverein School of Design (2006) SANAA Cologne, Germany
While in Cologne, Germany the travel group visited and toured SANAA’s Zollverein School of Design. The complex is a converted coal mine, featuring museums and buildings by Rem Koolhaas and SANAA. The building adheres to a strict geometric layout, which is readable through the layout of the spaces and dimensions of floor tiles. The floor heights responded to the function of each floor, with studio spaces being the tallest and most open. Pictured above is one corner of the studio space, with numerous windows directed towards the old coal mine facilities. The building is a cube and focuses on the power of the square. Sketching and studying the building revealed several layers of the strict geometry ranging from space planning to form work marks on the elevations.
Louvre Renovation (1988) I.M. Pei Paris, France
I.M. Pei’s addition to the Louvre museum was a must see stop while in Paris. One thing noted while on site was the axis line it creates down Avenue. It starts with the Arc de Triumph, continues through an Egyptian Obelisk, the Arc de Triumph du Carrousel, and culminates with I.M. Pei’s pyramids (both inverted and the one above). The top sketch looks at the tension created with the inverted pyramid below ground, and the bottom sketch looks at the triangles present in the above ground pyramid.
Portugal Pavilion (1998) Alvaro Siza Lisbon, Portugal
Built for the 1998 Expo in Lisbon, the thin concrete canopy mimics the curved nature of a sail. Given the Expo’s proximity to the water, the nautical theme is fitting for this coastal city. Specifically, the Expo’s site was chosen as an area to revitalize and rebuild after earthquake damage. Due to seismic activity, the canopy and building are structurally independent. The canopy is roughly 8� thick concrete supported by tension cables. The main building houses exhibits, while the area under the canopy are used for national displays. Currently the building is empty, but there are plans to place a museum inside. The sketch was an opportunity to draw a plan and section on site, using pacing and estimation for correct proportions and dimensions.
Pont Du Gard near Nimes, France
The term construction is used to describe many aspects of Architecture. Construction to most people involves the physical act of assembling a building; however, it can also be a way to approach drawing and designing. As an approach to drawing, construction can demonstrate relationships, show ratios, and allow for development of the structural aspects of the building.
Pazzi Chapel, Florence, Italy
Both the Pazzi Chapel by Brunelleschi in Florence, Italy and the Pont Du Gard from ancient Rome in Nimes, France employ the concept of Construction, but in different ways. The Pazzi Chapel takes a conceptual design approach to geometric construction while the Pont du Gard takes a physical approach to geometric construction.
Geometries In Construction Europe Independent Study Paper Spring 2012
This sketch of the Pazzi Chapel starts to show how a constructed drawing can lead to a constructed building (above) The succession of volumetric figures pulls apart the volumes making the essential part of the chapel, showing how they relate to each other (left)
The Pazzi family hired Bunelleschi to add a chapel to the Basilica di Santa Croce. Started around 1430, and finished 30 years later, the chapel replaced a chapter house lost to fire on the site. Therefore, the size of the chapel was restricted by the existing walls creating a non-square space for Brunelleschi to work with. Brunelleschi, like most Renaissance architects, maintained an interest in geometry, giving the “ideal” forms of the square and circle a high priority in their designs. In the Pazzi Chapel, he still employs squares and circles as the starting point despite the rectangular
site. This start to design allows him to geometrically construct the space. When experiencing a space, it’s seen in a three dimensional-volumetric way. Rough on-site measurements reveal a central cubical volume, part of the ideal square form. This cube is flanked by rectangular bays on three sides (including the portico, not depicted) and a square base altar space in back. A circular dome tops out the central bay and the altar volume. This continues the ideal forms. When viewed from above, it shows a circle inscribed in a square, a highly valued geometric instance of the Renaissance.
However, the dome does not connect directly to the cube, instead there is a “half cube” that serves as an intermediate between the two volumes. In part this is due to structural aspects of the chapel. Since the outward horizontal forces in a dome will not give a dome the necessary support on a flat roof, the dome is held in part through tension rings. The forces are transferred from dome to ground through a semicircular arch and load bearing outer wall. In order to keep his cubical central bay, Brunelleschi added a secondary volume connecting the dome to the cube.
A geometric analysis overlayed on a basic plan of the Pazzi Chapel. The plan shows the marks on the floor and extends out to benches. It does not include the walls.
The Chapel is a space full of geometric relations. An analytical drawing can indicate where supports are placed, together with supplementary structural elements. When geometrically constructing the drawing, the edges of the volumes and those connection points can indicate structural support or how forces are transferred to the ground. After looking through the volumetric filter, a deeper analysis of the plan reveals three major sets of squares and inscribed circles, larger in size with each consecutive set. The first set is centered in the cha-
pel. The square is delineated by the lighter stone grid line marks on the floor. These lines are extended from the pilasters along the chapel walls out across the floor. When the lines intersect they form an area, this central square. This square area is also the same size as the chapel’s altar space. Both of which lie on a central axis with the chapel’s entrance. The second set is bounded by a second set of floor markings. This square also gives a base for the central cubical volume mentioned previously. It is important to note that in this case, the square and circle edges co-
incide with the walls of the chapel, and not the benches around the perimeter. The inscribed circle marks the general size and location of the chapel’s dome. The final square and circle set has a width equal to that of the floor space including the benches. This square also contains a nine square grid made up of the first squares size, seen in the drawing above. Finally, the inscribed circle intersects the y axis at the center point of the altar space. When taking all aspects into account, the rigid use of geometries by Brunellesschi result in the complete
The marks on the floor detail basic geometries from the plan (above left)
Markings on the wall detail geometries in interior elevation (above)
This view of the dome shows the ribbed support, and the division into 12 pieces, accented by the ribs. (left)
construction of the Pazzi Chapel. This ranges from the volumetric approach and analysis, to the detailing within the space to the arrangement of the floor plan. This reflects the ideals of the Renaissance and the emphasis placed on geometry in design, specifically the use of ideal square and circle forms. The detailing in the Chapel consists of the gray pietra serena, backed with a white plaster wall. All the architectural detail, the pilasters, the arches and entablatures are accented by the darker stone. The contrast between the two provide a clear way to view the geometries in the Chapel. They en-
hance readings of Brunelleschi’s focus on the ideal square and circle. Markings on the floor denote shapes and proportions. They make the squares and rectangles accessible to visitors, giving them the ability to pick apart the geometry on site. They also form a grid as connecting one pilaster with its pair on the other side of the room. In terms of the dome, the detailing divides the dome into twelve parts, a spiritually significant number, all centered around a circular oculus. In addition to the dome, the stone accents the
semi-circular arches are as well. As in any constructed space, both architectural elements and resulting spaces relate to each other. Construction can be a conceptual process, as seen through the Pazzi Chapel from volumes to plans to details.
The illustrations by John Fitchen show how the centering was supported and how decentering took place (left) The stone work reveals construction methods with protruding stones and places to hold scaffolding (above and right)
In contrast to the approach taken in the Pazzi Chapel, the Pont Du Gard takes a physical approach to geometry. The Pont Du Gard is one of the famous Roman aqueducts. It was built around 20 BC near Nimes in Southern France spanning over the river Gard. Because it uses no mortar to hold the stones together, it relies primarily on arch action. In arches, stones need to be carefully measured and cut in order to delegate compressive forces to the ground. This involves stereotomy, the science of stone cutting. In the arching portion each stone must provide sufficient contact surface with its neigh-
boring stone to physically produce a spanning arch. The Pont du Gard, like many Roman arch or vault constructions, employs centering to fabricate the spanning members and temporarily support the stones until the keystone is installed. After the arch is stabilized, the work of decentering will transfer the full load from scaffolding to the arch. The Romans developed a system to reuse the centering and other scaffolding without the need to disassembe and reassemble it. As John Fitchen analyzes in “Building Construction Before Mechanization,” the Roman
constructors devised a way to swivel the centering out from under the completed arch. It is carefully taken off of the protruding stones, which provided temporary support prior to the placing of the keystone. The placement and the design of the centering at its end condition give a few inches of clearance once the stones became self supporting. As seen in illustration “C,” the whole piece is swivelled out from under the arch and lowered after the scaffolding towers are removed. Arches, once physically assembled, reflect a constructed nature based on structural principles. Their constructive
dimension employs stereotomy and centering. Another aspect of the construction of the Pont du Gard are the anchoring holes and protruding stones for placement of the temporary supports, the scaffolding, and heavy timber supports. In many Roman buildings the protruding stones were cut off and holes filled to create a smoother surface. However, they were left in tact here, probably to make it easier to reerrect scaffolding for repairs. Illustration “A” gives a basic understanding of how the scaffolding and supports appeared with angled blocks in the middle of the arches to shorten the span
of the centering and hold it in place. Every protrusion and oddly shaped stone has a constructive functional reason for its placement. Although we do not know exactly each stone’s constructive obligation, we speculate that some provided an anchor point for a pulley system to place other stones. The constructive pieces combined with the unique nature of the building process provide a type of ornamentation to the building. Thus making the Pont Du Gard a physical application of geometry in construction as opposed to the conceptual planning geometry in construction of the Pazzi Chapel.
Bibliography Fitchen, John. “Building Construction Before Mechanization” 1986. Fazio, Moffett, Wodehouse. “A World History of Architecture.” 2008. Reynolds, Mark. “A New Geometric Analysis of the Pazzi Chapel in Santa Croce, Florence” from “Nexus III: Architecture and Mathematics.” 2000. Saalman, Howard. “Filippo Brunelleschi: The Buildings.” 1993