Dora Farrelly by PDF Uploads

Semester Two Portfolio Design Dora Farrelly

Note: All drawings have been scanned in on an A4 scanner and pieced back together digitally.

Semester One Work

New Work (since final review)

Amended Work

Thesis Rome is littered with Fascist architecture; an enduring legacy of Mussolini’s politics, these monolithic, rational forms have a preternatural perfection that is strangely alluring. A re-imagining of ancient Roman architecture, the simplified Neo-Classicism of the façades becomes a schematisation of ‘Romanita’, declaring an image of Italy’s future firmly established by its past. ‘You can never say that anything is apolitical, but this work deserved to be situated outside the historical context. I should add that I see Mussolini as separate from Hitler, although certainly things did sour in Italy.’ Peter Eisenman on the Casa Del Fascio, designed by Italian Rationalist architect Giuseppe Terragni

Acknowledging Fascist architecture’s appeal, should not mean ignoring its raw political context, and any attempts to do so in this way begin to demonstrate the failures of the Neo Avant Garde. Fascist architecture is inherently a product of its context and appeals to its aesthetics in ignorance of this results in shallow reasoning. This project deliberately uses Fascist architecture as a means of exploring its attraction and simultaneous revulsion, a tension played out seamlessly in Bertolucci’s profoundly unsettling film Il Conformista (1970). Engaging with this architecture and its politics unambiguously, instigates a remapping of the Neo Avant Garde. In addition, by inviting the unpredictability of Rome’s unexplored underground and a deep interest in materials and bodily experience, the project takes interest in its oversights and thus directly confronts its failures. This should be viewed as an experiment through the use of Fascist architect as a means of understanding what it illuminates about Rome’s historical, social and political context. Moreover, as the architecture’s austere perfection alienates it from the everyday, this project is an intended invitation to the spontaneous, chaotic messes of reality, creating a space for people in an architecture that seems to reject them. In semester one an archaeological dig was proposed along the Via Dei Fori Imperiali to recover fragments reburied in Mussolini’s abuse of archaeology for politic gain. This semester is a continuation of this narrative with the processes of archaeology and construction coexisting to create inhabitable space.

Pasolini imagines a fi lm of Rome in episodes: ‘Not exactly. There is only one episode: a vertical section of Rome, cut in two by the Tiber with its chaos of life. This single episode breaks into a thousand smaller episodes... they are episodes of love, of celebration, of violence, of pure joy, of extravagance, of poverty, of wealth. Five will be tragic, and end with a death, a Roman death. The last, conclusive episode, however, will be one of explosive, total generosity, representing a kind of hope.’ Pier Paolo Pasolini , Stories From The City of God, Sketches and Chronicles of Rome 1950-1966

Use of Film Following semester one, this project uses fi lm as an integral part. Without the ability to travel, fi lm has constructed cities of dreams, producing vivid imaginaries for what Italy might be, past present and future, and as such formulating a site for this project. The connection between fi lm and architecture here has been used specifi cally as a method of seeing, exploring the strength of visuals in revealing narratives with architecture used as a fundamental tool. ‘Above all, film represents Rome through its architecture, its history, and its people. It’s a multi-layered depiction of place, projecting visions of what a city can be. The definition of Rome explored here is abundant, yet offers only a minor insight into the city and its unceasing referencing. The city is swollen and expanding, full of contrast and impossible to navigate, it is both dead and alive, earthy yet divine, languid, yet full of vitality.’ Excerpt from Tools for Thinking paper

Collaged stills from Fellini’s Roma (1972).

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(Below) Site map showing the grid of the proposed archaeological dig in semester between the existing excavations on either side of the Via Dei Fori Imperiali, with the specifi c site for semester two indicated.

Demolition for the construction of the Via Dei Fori Imperiali in 1932. researchgate.net

Drawn at 1:1000

Trajan’s Market

Trajan’s Forum

Victor Emmanuel II National Monument. Roman Forum

Campidoglio

Colosseum

‘Fascists dreamt of ‘a Roman Italy’... a large part of the immortal spirit of Rome is reborn in Fascism. The past was presented and synthesized in a consciously elided form as a paradigm for the future.’ Flavia Marcello , Vision and Rhetoric in the Designs for Fascist Rome

In semester one an archaeological dig was proposed along course of the Via Dei Fori Imperiali. This semester will centre around the beginning of the dig at the very top of the road. In addition to its archaeological resources, this area has been selected due to its proximity to the Victor Emmanuel II National Monument. Situated between Piazza Venezia and the Capitoline Hill, the monument was conceived as a ‘modern forum’, its construction commenced in 1885 but was completed under Mussolini’s government in 1935. A Neoclassical re-imagining of Roman architecture the Vittoriano uses a completely diff erent language to that of Fascism, despite both fi nding their model in ancient Rome. This provides commentary on perceptions of the past and an interesting interplay the location of this project and attempts to spatialise Rome’s past as intrinsic to its present. ‘Three perspectives on the past were habitual in humanist consciousness. One was a sense of distance, a feeling that admired exemplars were remote in time, which allowed humanists considerable freedom in connecting with those precursors. A second was a theory of imitation, initiated in classical Rome but elaborated by the Renaissance sense of distance. A third was the notion of revival and rebirth - literally renaissance - associated with acts of unearthing and resurrecting, metaphors brought to mind by the past’s remoteness and resultant fragmentation and burial; this too enlarged the purposes and practice of imitation. David Lowenthal, The Past is a Foreign Country

Victor Emmanuel II Monument, Rome anotherbagmoretravel. wordpress.com

A drawing of some of the re-imagined elements of Ancient Roman architecture that exist within both the Vittoriano and the fascist architecture throughout the city.

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Nine square grid studies from semester one are an exercise in re-imagining the already synthesised interpretation of the past presented by Fascist architecture. These studies have formed a geometric basis that remains an intrinsic part of the project.

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‘The ground speaks to us of stability, so we prefer not to cut it open; understanding and representing it as a line means we don’t expose it’s thickness’ yet ‘the ground is neither stable nor impermeable; what lies beneath our feet is condemned to rise to the surface.’ Manon Mollard, Future Archaeology

What Lies Below The studies below are from semester one and indicate where the remains of the Imperial Forum are situated beneath Mussolini’s road with a proposal of where excavations might begin to take place using the geometric forms explored in the 9SG study. This is an imagined starting point, in reality extensive studies of the area would be undertaken before digging commenced, constantly re-evaluated as it progresses due to anticipation of the unexpected. The Forum was fi rst excavated under Mussolini’s government in the 1930s but due to the Fascist regime’s abuse of archaeology for political gain, two thirds of the remains were reburied beneath the road along with vast amounts of the city’s Medieval and Renaissance infrastructure. The unearthing of these forgotten fragments is an intentional opposition to Mussolini’s synthesised presentation of the past. The area focused on in this semester should be seen as the beginning for a process that could extend along the course of the road, with construction above ground manifesting as the dig progresses, a living creature churning up artefacts and earth that obstruct its path.

Excavation studies from semester one.

A drawing imagining the jumbled remains of past civilisations lurking beneath Rome’s surface city.

Surface Despite having the appearance of a 20 metre wide coat of asphalt, the Via Dei Fori Imperiali is actually paved, following the Roman tradition of tufa stones. The appeal of this surface treatment is somehow lost due to the road’s vast expanse, instead giving the impression of a sea of bleak grey. The proposed dig will preserve the road’s surface as a symbolic reminder of the site’s violent history, however with the intention of disrupting the tiles at the edges of the excavations as a surface consequence to the act of digging. Using Dimitris Pikionis’s paving at the Acropolis as a precedent, certain stones will be replaced with reclaimed tiles, stones and paving from throughout the city in an abstract tapestry that should direct attention to currently overlooked.

(Below) Landscaping of the Acropolis and surrounding area by Dimitris Pikionis.

Excavation

Photograph by Helene Binet divisare.com

Photograph of excavation in urban spaces.

The cobbled surface of the Via Dei Fori Imperiali

Scanned from: An Introduction to Archaeology

Googlemaps

(Above) Detail of modifi ed paving. Drawn at 1:10

Clay models from semester one imagining excavated spaces.

Axonometric pencil drawings of clay models exploring possible ‘cuts’ to the surface of the Via Dei Fori Imperiali.

‘This city in which life is so complex, in which the social classes are promiscuous and disordered, in which everything is grandiose and baroque, poverty-stricken or rich, and full of sunlight.’ Paolo Pasolini, Stories from the City of God: Sketches and Chronicles of Rome 1950-1966

Material Interest Initially an engagement with materials began with an investigation into the construction of both the Colosseum and Mussolini’s Palazzo della Civiltà Italiana or ‘Square Colosseum’ (see technology document). This set up a material basis for the project using concrete as a load bearing material with the addition of travertine marble, used as cladding. Undeniably, construction techniques have changed drastically in the years between the two structures, yet the parallel material choice is signifi cant as an example of Fascist ‘staging’ in a pronounced attempt to visually unify the state with the ancient world. In addition, I have been interested in the reuse of some of the excavated earth resulting from the archaeological dig as a building material. The use of these three materials together will create an interesting tension within the project. A juxtaposition of the extravagant (marble) with the commonplace (earth) with concrete as a mediator allows explorations of Fascist geometries from an alternate perspective that doesn’t rely on imitation. Pasolini’s writings have provided inspiration on this, his intimate chronicles of Rome depict the city as equally beautiful and incredibly ugly, passionately describing the joy to be found in both.

Depiction of the Colosseum during construction, artist unknown. rome.us

Photograph of a rammed earth home being constructed. ﬂickr.com

Palazzo della Civiltà Italiana during its construction in the middle of WWII. archdaily.com

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‘Lost under piles of mud, piled against the walls of ruins. There we are beyond all defi nitions: there we fi nd incurable cruelty and angelic goodness, often contained in the same soul.’ Paolo Pasolini, Stories from the City of God: Sketches and Chronicles of Rome 1950-1966

Rammed Earth Earth as a building material speaks to us intimately of its origin, even in its construction it tells stratigrahic stories of its past. Off ering a certain warmth that’s lacking in both Travertine and concrete, in its humbleness it somehow feels more human. These are some material explorations made using earth from my garden, experimenting with diff erent types of sand to result in varying colours and textures (see technology document). ‘soil brings to the fore the politics embedded in the soil as an archive, which is activated by the process of investigative memorialisation’.

These rammed earth studies have been photographed in front of a reclaimed stone slab as a representation of the material contrasts off ered within the proposed building.

Dubravka Sekulic, Milica Tomic, Philipp Sattler, The Architectural Review, Soil

Form-work used for rammed earth studies.

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Eruptions Archaeology in its nature deliberately disrupts the surface. In semester one, the subtle eruptions proposed visually interpret this process as a response to the dig and the ruins discovered underground, the resulting intervention encouraging public interactions both above and below ground.

Card models from semester one exploring possible ‘extrusions’ that could emerge on the surface, using an interpretation of the Fascist architectural language discovered through the Nine Square Grid studies. Modelled at 1:500

A drawing showing how as the dig progresses, extrusions and steps begin to be constructed, allowing people to interact with and explore the ruins. Modelled at 1:500

A series of models developing geometric studies in semester one, exploring how the forms growing out of the excavations could begin to create inhabitable spaces and create better connections with the existing archaeology sites. Modelled at 1:200 and 1:250

Axonometric drawings based on models. Drawn at 1:100

‘Archaeology was assigned a function as equally rhetorical as architecture’s: it aimed at the recapture of glorious antiquities and their transformation into accomplices of coming greatness. It was all about Romanità and its most eff ective propagation. The Duce decided what was worth remembering, and what should be forgotten.’ Peter Friedl, The Haunted City

An Alternative Approach to Archaeology Typically archaeologists work on site with intentionally minimal impact in order to preserve the site’s history as completely as possible. By contrast, this project proposes the opposite and the archaeologist’s methods and processes will be at the forefront, dictating the eventual form of the building as a translation of the excavation process. There are multiple reasons for this, the fi rst being that with the concept of the archaeological process as a central theme it undermines the Fascist regime’s abuse of it for political gain. The dig as a working site will be self-evident, any fi nds given equal importance. Secondly, as the historical build-up of the area has been so drastically compromised by Mussolini’s road the proposed dig is unlikely to further jeopardise the historical context.

Research Laboratory

Sorting and Categorisation of Artefacts

Public Access

Storing Finds Earth Soil

Construction of the Via Dei Fori Imperiali through the Medieval neighbourhood.

Test Pits

Records of Process

Excavation

Dig

Earth

arcgis.com

Soil

Storing Equipment

Records of Process

Rammed Earth Construction

A graphic diagram exploring the onsite activities of the archaeologists, beginning to map how this could be translated into a building.

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Archaeology to Construction As a translation of the diagram on page 31, the project will consist of two separate buildings. The fi rst will have an exhibition space open to the public on the ground fl oor, with a research laboratory for the categorisation and analysis of fi nds, and a seminar space on the fi rst fl oor. The second, smaller structure, will house the day to day activities of the archaeologists working on site, such as storage of both fi nds and equipment.

Archaeology Centre

Site Facilities

(Above) Plan sketch of the two proposed structures. Drawn at 1:500

A photograph of archaeologists on site. Scanned from: An Introduction to Archaeology

A drawing of the shapes of proposed excavations from semester one. Drawn at 1:500

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Plan and sections from design process. Drawn at 1:200

Section i

Section ii

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Cafe Space

Foro Traiano

Toilets

Exhibition Space

Proposed Excavations

Ground Floor Plan Drawn at 1:100 scale

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Ground Floor Plan indicating various routes through the building, It is designed to allow a constant fl ow of people from various entrances encouraging interaction both above and below ground. Drawn at 1:100 scale

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Ground Floor Plan redrawn, showing relation to existing excavations and proposed excavations. Drawn at 1:100 scale

A series of plan drawings of the fi rst fl oor. Drawn at 1:200 and 1:100

Oﬃce Oﬃce

Toilets

Research Laboratory

Seminar Space

Store

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‘Bertolucci combines a fl awless aesthetic with a deep emphasis on composition, design, and camerawork to slowly build a devastating portrait of the kind of personality that allows fascism to fl ourish.’ Aja Romano, Why Bernardo Bertolucci’s The Conformist still resonates today

As previously mentioned, fi lm plays an important role in this project and is used as a method of seeing. Bertolucci’s, Il Conformista (1970), is revered for its exquisite cinematography and depiction of Fascist architecture, with the medium of fi lm allowing meticulous attention to light and shade to frame the architectural settings as a means of narrativising the plot. Ultimately it is because of the fi lm’s beautiful aesthetic that allows such a meaningful commentary on Fascism, as the undeniable visual appeal of the architecture becomes deeply unsettling as the fi lm unfolds. This sense of subtlety is arguably far more successful than an overt political statement as simultaneous depictions of attraction and repulsion depict a piercing portrait of how Fascism was able to achieve what it did. With the intrinsic use of sets in this way, we can begin to see the architecture analytically. The following sketches are of spaces within the fi lm, with an interest in how both form and materiality manipulate light to such an eff ective degree.

Stills from Il Confomista (1970) by Bernardo Bertolucci. cinemedialife.wordpress.com m.imdb.com

Charcoal sketches of the spaces within the fi lm, exploring how qualities of light and shadow are aff orded by the architecture.

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‘Greek architecture taught me that the column is where the light is not, and the space between is where the light is. It is a matter of no-light, light, no-light, light. A column and a column brings light between them. To make a column which grows out of the wall and which makes its own rhythm of no-light, light, no-light, light: that is the marvel of the artist.’ Louis Kahn

Lighting the Dark Notions of light and darkness off er symbolic meaning to Fascism, from the self-professed shining future it declared for Italy to the devastating darkness it is viewed as now. Inspired by Bertolucci’s fi lm, these are some studies portraying the proposed lighting of underground spaces (see technology document). Using three columns, excavated but left in their original position from the Imperial Forum, as a marker, this series of sunken light-wells will encourage a connection between what’s above and below. Positioned directly below the exhibition space, varying conditions of light will fi lter down to illuminate the underground, both increasing the connection of the ground to the artefacts that have been displayed above, and allowing glimpses below.

Charcoal drawings from model depicting varying conditions of light on ruins underground.

(Above) Model exploring lighting conditions (see technology document).

Map indicating location of columns from the Imperial Forum.

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Section B-B This and Section C-C were drawn with the previous plan sketches simultaneously as a means of understanding the spaces. Drawn at 1:50

Section C-C Drawn at 1:50

Section D-D Drawn at 1:50

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Exhibition Space Intended as a space for the public to gather and move through, the exhibition space will display fi nds from the dig, in addition to artefacts from digs across the city. The exhibits will be displayed on plinths refl ecting the materials of the building, travertine, concrete and earth, and a ceiling of polished stucco will increase the qualities of natural light.

Stucco ceilings at the Gavina Showroom in Bologna by Carlo Scarpa. re-thinkingthefuture.com

Canova Museum in Possagno by Carlo Scarpa. Photograph by Peter Guthrie ﬂickr.com

Section D-D close up of exhibition space. Drawn at 1:50

Archeodunum Archeologic Research Center, Colomiers France. Photograph by Philippe Ruault. The process of sorting and categorising fi nds.

archdaily.com

Scanned from: An Introduction to Archaeology

Section D-D close up of research laboratory. Drawn at 1:50

Site Facilities Designed as an on-site oﬃ ce for the various archaeologists working on the excavations, this smaller structure will house facilities needed day to day and any equipment required, from small diggers to spades, and any remains that emerge as excavation work progresses. Additionally the building will include public toilets (a shortage in the city) and access to the roof to act as a viewing platform over the archaeological site and surrounding monuments.

Equipment/Artefact Storage Public Toilets

Mezzanine

(Above) Site Facilities Plan Drawn at 1:200

Archaeology Centre

Site Facilities

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Section E-E Drawn at 1:50

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‘If the state doesn’t model itself on the image of the individual, how will the individual ever model himself in the image of the state.’ Il Conformista, 1970

Elevation Typically, the architecture of Fascism was designed to be large and imposing, intentionally depicting the power of the state over the individual. By contrast, this design is deliberately embedded within the earth, with emphasis on ground condition over impressive stature. Existing equally above and below ground, it is intended to be experienced bodily, on a human level, allowing interaction in the horizontal with a constant reminder of the presence of surface.

Section/Elevation A-A Drawn at 1:100

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The Church of the Most Holy Name of Mary and Trajan’s Column in 1896. medium.com

Trajan’s Market and Tower of Milizie. digitalmeetsculture.net

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Section/Elevation A-A in Context.

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Clay and card model demonstrating how the building sits in the site, responding to both existing and proposed excavations. Modelled at 1:200

Proposed excavations

Existing excavations of Trajan’s Forum

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‘It becomes diﬃ cult to separate the city from its citizens, it is animated through its inhabitants, the architecture enlivened through its occupation, the setting and its subjects shaping the city’s narrative synchronously’. Excerpt from Tools for Thinking Essay

(Above) A drawing of one of the entrances to the centre, demonstrating the use of varying thresholds to encourage interaction.

Rome fi lled with people in Fellini’s Roma (1972). Still from ﬁlm

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Reflections This year of study has been immensely enjoyable and with the state of the world it has been a strange delight to attempt to immerse myself in a city I’ve never been to. Numerous films, books, and writings have contributed to a Rome of my imaginaries, ultimately formulating the city in which this project is situated. Working aside this brief has been incredibly challenging, yet rewarding and I feel I have learnt a considerable amount. Specifically, the significance of narrativising a project, the importance of being self-critical and a developing understanding of my own methods of working and production. This project has revealed many things to me that I feel I will have a continued interest in even as this semester comes to a close and I am excited to explore them, both personally and in further study next year. I also now desperately want to visit Rome.

Bibliography (covering both semester one and semester two design)

De Certeau, M. (1984) The Practice of Everyday Life. California: University of California Press.

(2007) Mussolini: Fascist Propaganda and the Via dei Fori Imperiali [online] Available at <http://www.advocacy.com.au/ scottsitaly2018/2.-fasc-prop.html> [Accessed 08/01/2021].

Eisenman, P. (2013) Interview: Peter Eisenman. Interviewed by Iman Ansari [The Architectural Review] 26th April.

(2013) The Poetry of Decay [online] Available at <https://failedarchitecture.com/2013/04/the-poetry-of-decay/> [Accessed 24/05/2021]. (2015) The Life and Death of Via dei Fori Imperiali: 1932-2015 [online] Available at <https://romeonrome.com/2015/02/ the-life-and-death-of-via-dei-fori-imperiali-1932-2015/> [Accessed 08/01/2021]. (2020) Fascist Archeology in Mussolini’s Rome [online] Available at <https://www.artandobject.com/articles/fascist-archeology-mussolinis-rome> [Accessed 08/01/2021].

Eisenman, P. (2004) Liberal Views Have Never Built Anything of any Value. Interviewed by Robert Locke [Archinect ] 27th July. Freud, S., and McLintock, D (translator). (2002) Civilisation and Its Discontents. London: Penguin Books. Heather Hyde Minor. (1999) Mussolini: Ritual and Cartography in Public Art during the Second Roman Empire [online] : Imago Mundi Ltd. Available at <http://www.jstor.org/stable/1151446> [Accessed 3/12/2020] Holleran, Claire. (2011) Rome, Ostia, Pompeii: Movement and Space.. Oxford: Oxford University Press.

(2020) The archaeological context of the Roman Forum (Forum Romanum) [online] Available at <https://smarthistory. org/the-forum-romanum-and-its-archaeological-context/> [Accessed 08/01/2021].

History.com Editors (2018) Roman Forum - HISTORY [online] Available at <https://www.history.com/topics/ancient-rome/roman-forum> [Accessed 05 January 2021].

(2020) Excavations of the Roman Forum at Butrint [online] Available at <https://butrint.nd.edu> [Accessed 08/01/2021].

Il Conformista, 1970. (Film) Directed by Bernardo Bertolucci. Italy: Paramount Pictures.

(2018) Why Bernardo Bertolucci’s The Conformist still resonates today [online] Available at <https://www.vox. com/2018/12/3/18114764/bertolucci-the-conformist-plato-shadows-cinematography> [Accessed 23/05/21].

Lindgren, H. (2003) ‘ARCHITECTURE; A Little Fascist Architecture Goes a Long Way’. The New York Times. [online] 12th October . Available at <https://www.nytimes.com/2003/10/12/books/architecture-a-little-fascist-architecture-goes-a-long-way.html> [Accessed 24/05/2021].

(Unknown) The Haunted City [online] Available at <https://www.documenta14.de/en/south/6_the_haunted_city> [Accessed 26/05/2021].

Martial, M V., and Nisbet, G (translator). (2015) Epigrams. Fifth edn. Oxford: Oxford University Press.

Adkins, L., and Adkins, R. (1989) An Introduction to Archeology. First edn. London: The Apple Press.

Macaulay, D. (1982) City: A Story of Roman Planning and Construction. Great Britain: Collins.

Artandobject (2020) Fascist Archeology in Mussolini’s Rome | Art & Object [online] Available at <https://www.artandobject.com/articles/fascist-archeology-mussolinis-rome> [Accessed 05 January 2021].

Mollard, M. (2021) ‘Future Archaeology’. The Architectural Review (1480), pp.26-29.

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