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Vincent Caranchini Student Portfolio

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Vincent Caranchini Student Portfolio Vincent Caranchini Ancient Egyptian Temple- Justin Keller Student Portfolio 1 2 History of Interiors: Justin Keller, Deqi Qin & Katie Eastman 3 4 Ancient Egypt began to take form as a country around 3100 B.C.E. and was located along the Nile River. The Egyptians are known for their monumental struc- tures and buildings such as the great Pyramids of Giza and numerous other temples. These massive structures were made of stone and bricks that they Egyptians gathered or made. The important structures (those for the gods and pharaohs) were adorned with gold, painted with bright colors, and covered with patterns and drawings. The interior was decorated just as heavily. Intricate patterns were used on the walls and in other Egyptian artwork. Pottery(1) was a popular form of art in this time. Their pots were used for storage and also decoration. The columns(2) were adorned with patterns that were taken from nature and simplified. The columns themselves also showed the rhythm of nature in their flower capitals. These forms were taken directly from original method of tying reeds together to make a column. The Sphinx(3) was an important part of Egyptian culture. A sphinx consists of the body of a lion and the head of another animal. The chairs(4) and benches(5) were intricately carved and covered with gold and fabric. These objects were common for the interior of an Egyptian temple. 5 Baroque (Rococo) Perspective Deqi Kin Louis XV Gilt and Grey Marble Top Console from the S. of France PLACE OF ORIGIN: France DATE OF MANUFACTURE: Mid 18th C. PERIOD: 18th Century and Earlier due to age. HEIGHT:32 in. WIDTH: 5 ft. 3 in. DEPTH: 27 in. A Magnificent Pair Of Giltwood Mirrors From Palazzo Cenci PLACE OF ORIGIN: Rome DATE OF MANUFACTURE: Circa 1730 PERIOD: 18th Century and Earlier MATERIALS AND TECHNIQUES: Of giltwood MATERIALS NOTES: Of giltwood. HEIGHT: 7 ft. 4 in. DIAMETER: 7.25 in. Pair Antique Chi- Pair of French nese Chippendale Rococo Giltwood Period Gilt Wood Bergeres Wall Lights PERIOD: 18th Century and PERIOD: 18th Century Earlier and Earlier MATERIALS NOTES: MATERIALS AND TECH- Gilt wood frames, uphol- NIQUES: Wood, Gesso, stery with loose cushion Gold Leaf, ormolu candle over platform. holders HEIGHT: 17 in. HEIGHT: 21 in. WIDTH: 24 in. WIDTH: 7 in. DEPTH: 20 in. DEPTH:6.75 in. SEAT HEIGHT: 31 in. Crystal and rock crys- tal large Piedmontese Rococo was fashionable from about 1730 to 1770. Rococo is all about the curve – C-scrolls and S-curves abound! Rococo frequently has references to rocks and chandelier shells and asymmetry is de rigueur! The Rococo style was the rage in France from about 1730-1760 during the reign of Louis XV. Rococo style rooms were designed as total works of art with elegant and ornate furniture, small sculptures, ornamental mirrors, and tapestry complementing architecture, reliefs, and wall paintings. PERIOD: 18th Century and This style was adopted by European royalty in the seventeenth century and was the preference of palaces and churches throughout Europe through the mid-eigh- Earlier teenth century (Louis XIV’s palace at Versailles is done in a Baroque style). The Baroque color palette is often rich, incorporating dark reds or greens to enhance gold MATERIALS AND TECHNIQUES: accent features that are commonly used to decorate mirrors, art, and accessories. Baroque interiors are highly detailed, including intricately carved wood detailing Gilt, Rock Crystal, Crystal- paired with luxurious textiles used for furniture, wall, and window coverings. These fabrics are often damask or floral patterned. In the early eighteenth century, HEIGHT: 4 ft. 10 in. Rococo evolved from the Baroque style, keeping the opulent design elements, but adopting a pastel color palette and taking itself less seriously with whimsical art. DIAMETER: 46 in. Gothic Architecture was symbolic of the triumph of the Catholic Church and engineering achievements of the time. The new age of soaring cathedrals meant the need for a new construction technique. Pointed arches, other known as Lancet Arches, were being used and improved upon due to their ability to carry much more weight than the previously used rounded arch (Kyles). This was followed by the use of a Hoodmould, a projecting piece of stone that follows the upper curve of the window opening deflecting rain and snow. These were later adorned with trefoil, quarterfoil, or multifoil moldings and windows. The pointed windows depicted include 5 Lancet windows tiered with smaller variations and two multifoil 1 windows in a Hoodmould. French Gothic Architecture used ribvaulted ceilings in order to disperse the building’s weight. Thin arches of stone, running diagonally, transversely and longitudinally extended upward from decorative columns and intersected to create the vaulted ceiling. Along with these, flying buttresses acted as an exoskeleton, distributing 4 the building’s weight outward and down (Gothic Art). The emphasis on creating windows was not only for allowing more holy light into the space, but to create openings for stained 3 glass windows and art. A small stained glass rose window can be seen in the chamber depicted. Dominant colors included saturated blue and brilliant ruby red. Wallpaper was ornate and heavily patterned in floral patterns and bare walls were either left as stone or painted flat colors. Decorative rubbing or cornices were common and elaborately carved. The Gothic inspired interior shown is adorned with furniture and finished 2 that would have been found in a Lord or Lady’s home and chamber. A large fireplace would supply heat to the room 5 while the curtains hanging from the Grand Canopy Bed would help insulate. Solid, large oak furniture was adorned with Gothic motifs and carvings and it is believed pieces may have been painted at one time. Gothic architectural details were reflected in the design of furniture, which featured arches and emphasized verticality. Chairs and beds were adorned with upholstery in deep colors such as purple, ruby, black, ochre, forest green and gold. Despite modern stereotypes of cold, scary, dark spaces, Gothic interiors were filled with colorful light and remarkable architectural elements. 1. 2. 3. 4. 5. Grand Tracery Walnut carved Corner wash stand French Cupboard French Caquetoire Gothic Canopy French Coffer with pewter bowl variation for linen (Gossip chairs) Bed with iron lock and pitcher 3D & Technology in Spatial Design Foundations: Reilly Englehart Architectural Drawing & Perspective via Set Design: Taylor Welch Liz Bublenic Hospitality Design: Program - Bakery Adjacency Matrx - Bakery Kitchen - Host Stand STELLA BARRA - Waiting Area - Pizza Kitchen - Main Dining Concept Statement: My concept for the restaurant Stella Barra is to create an - Restrooms atmosphere that is welcoming for a variety of guest. I wanted to take from - Server Station their brand to create a new look for Stella Barra. Their brand incorporates - Bar organic, local ingredients, along with a very eclectic style. They want their - Patio space to be lively and entertaining, while also keeping a very contemporary take to their interior. I decided to combined the classic colors from Italy Bubble Diagram because of it being a pizzeria. I used the color yellow to accent along the other tones of gray and brown. Yellow/orange is a very common color seen in Italy on many of their houses and buildings. I wanted the restaurant to have a contemporary vibe as well. I used a variety of straight angles and interesting geometric forms. I also like how their other restaurants have a very eclectic style so I incorporated different styles of chairs and tables throughout my design. I decided to divide my restaurant with the bakery on the first floor, main dining and a smaller bar on the second, and I devoted the whole third floor to a bar and lounge. Third Level: Bar, Lounge, and Patio Restrooms The third level of Stella Barra is designated to the lounge and bar area. The guest will enter through the stairs and/or elevator. There are also restrooms located on the third floor meeting ADA requirements for the amount of guest. This level hosts a large bar area that is opened up to the rooftop patio through sliding glass doors. The patio has a fireplace and small seating Bar areas for individuals. This also has seating that is Lounge sectioned off to create groupings for personal Elevator/Stairs Patio experiences. The pathways are at least 5’ wide for ADA. This level overlooks the second floor to see the dining area and bar below. The inside walls are glass to help create a very open feeling space (as seen below in section view). Section/Elevation View -Second and Third Floors Rooftop Patio Second Floor Bar and Dining Third Floor Bar Third Level View of Second Floor Residential Design: Cara Pirrello.
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