ROME STUDIO Place, Context, Responce Sydney Young Ohio University Contents
Preface
Herculaneum
Tempietto
Pantheon
Villa Borghese
S. Carlo
S Andrea
E.U.R
Dio Padre
Fuksas Church
MAXXI
Gli Archi
Conclusion
Bibliography Preface
Visiting over 100 foreign places in few a few short weeks was extremely overwhelming. After returning to the United States from Rome, Italy, it was time to collect my thoughts and expe- riences. The booklet is a visual guide of my stay in Rome. I have organized photos and drawings from the trip along with external research and personal narrative to fully synthesize and respond to the place and context of 10 sites the group visited. The 10 sites I chose were based on their honestly and integrity to me. As someone with no religious background, I found it very di cult to be interested in the numerous, highly decora- tive baroque churches that had been added to over the years. However, the churches I did choose, had left some sort of lasting impact on my understanding of historical architecture. As for the ancient sites I chose, they seemed to very genuine, and places that most people will never get to see in their life time. They really stuck me as important to history as well as the evolution of design. The modern buildings I chose in this project had the most impact on my understanding of modern design from a more worldly view, especially since these ultra modern building were built into such a historical city. This booklet is laid out along side history, which for the most was, was how the trip was organized. This organization helps re ect progression of my drawing stills as well as my compre- hension of each site. Throughout the course of this trip and the weeks after, the skills I have gained from the instructor and teaching assistant in terms of painting, drawing, visualizing space will follow be far beyond this project, as well as the ability to adapt and interpret a new culture. Overall I believe adding this project to my portfolio is a milestone of my personal progress in the program, as this is something I would have never been able to create from a textbook perspective. Herculaneum Herculaneum
Although most people don’t think of Herculaneum when they hear about the eruption of Vesuvius, but instead think of Pompeii, there is much more of Herculaneum preserved than the city of Pompeii. Items such as wood, cloth, and even food have been discovered. Herculaneum was much smaller than Pompeii. It’s also important to note that only about one quarter of Herculaneum has been excavated. Less human remains were found in Hercu- laneum due to the e ects of the volcanic eruption. While Pompeii was covered by hot lava gradually, Herculane- um was covered by lava along with about 40 feet lapilli, a type of ash debris that’s ejected from the volcano. Most remains were found by the shoreline from natives who didn’t make it out in time. Most people were able to ee north to Naples. Herculaneum was rediscovered in 1709 while digging for a well. Most of what has been discov- ered in the ancient city has been residential areas. The modern city was built on top of the part of Herculaneum that has yet to be excavated. Moving that many people and relocating them in order to continue would be very costly which is why the rest of the ancient city has yet to be uncovered (Herculaneum).
The parts of Herculaneum that have been discovered, have been mostly residential areas. In the present day site, there seems to be missing a basilica, a forum, and a theater, that would have been common, as seen in Pompeii. Walking around the site, it looks pretty similar to Pompeii. There are roads made of the same materi- al, however Herculaneum roads were missing the stepping stones that were used to cross. The public places that have been discovered are places such as a place for recreational sports, baths, and a swimming pool, which aren’t to nearly as high of a standard of missing elements. The three most impressive residential houses that have been found are the Samnite House, the Mosaic Atrium house, and the Stag house. The Samnite house is notes because of the atrium. Not only is well preserved but it’s special planning is said to be a great point of evolution. In the atrium, there is a clear second story that has a fence around it. The vertical expansion in the domus is an important marker in residential architecture (Dun- ham). In the Mosaic Atrium house, we see again, like the Samnite house, and numerous other Roman oor plans, we see the atrium rst, and across from it the tablinum. However this speci c tablinum has basilica attributes. There are columns dividing the space into a nave and side aisles. Above, there is the addition of a clearstory. The house gets its name from the well preserved Mosaic oor of the atrium, that due to the intense weight of the lava that once carved it, and now been warped. The Stag house shares a wall with the Mosaic Atrium house, but is important for its own individual reason. We see an increase of important of particular spaces. This house contains two tricliniums. One is located next to the atrium, the other is directly across from it, through the garden. Looking to the other side is a brilliant view of what would have been the ocean, as these houses are up on a ledge above the sea port. Because these places were particularly for dining, we can assume that these spaces were being more important in residential life. It’s also important to note that compared to prior spaces of similar layout, the ones in Herculaneum have signi cantly more windows and areas that allow in light (Dunham).
Walking around Herculaneum was so much more enjoyable than Pompeii. It was a lot more interactive and a lot more was open for viewers to explore. The preservation of the place was unbelievable, the intensity of some of the colors on the wall looks like they could have been painted less than 200 years ago. The Mosaic oors that remain have striking detail that took a tremendous amount of precision to lay, by hand. From what I had learned in previous classes about the layout of these residential homes from ancient rom and Greece, it was really an experiment to be able to put myself in a live size oor plan. Being able to maneuver the spaces just like people did 2,000 years ago and visualize the space as it had been was so much more helpful in understand the use and practicality of these spaces in that time. Not only was this an amazing site to see, but it was also extremely important to see in terms of understanding the evolution of space and how people interact with it. Being able to explore a town that has been frozen for almost 2,000 Herculaneum years is a rst hand experience that not all designers get to experience. Tempietto di San Pietro in Montorio
The Tempietto is nestled just a few minutes walk from Trastevere. Without prior knowledge of the building you would probably never know it existed. San Pietro sits to the left of the Tempietto. It used to be accessible though a large gate, how- ever, visitor are now rerouted through a museum maze that ends at the back of the temple. It is the smallest space we visited, as it is no bigger than a small cabin. 16 Tuscan order trace the circular perimeter. The Tuscan is a variant of the Greek Doric order is the most masculine order, which is appropriate in this setting because the Tempietto is the supposed site of the cruci xion of Saint Peter. There is access to beneath the temple, via two staircases at the back, where there is a small hole in the ground where the cross would have been placed at the time. Donato Bramante designed the small temple in 1502. Bramante would go on to redesign Saint Peters Basilica just a few years later. Bramante had a bit of an obsession of Antiquity, in the Tempietto and in Saint Peter’s. The concept of trying to create perfect geometry in perfect relationships and proportions is an ancient idea from the Greeks that would aide in imaging Heaven, since philosophically Gods were the only ones that could create the perfect ideas, while people only earth could only ever get close. There- fore, the closer designers got to perfect, pure forms, the closer they were to God. These concepts would turn into the Period known as the High Renaissance (Hint- zen-Bohlen, Brigitte). Tempietto
When we rst arrived at Saint Pietro, I think most of thought we were going in the church, and that the church was the Tempietto. We had to wind our way though a small museum to get to the Tempietto, which is in a side courtyard of Saint Pietro. I honestly was not expecting it to be so small. Its diameter is only 15 feet and the whole courtyard is probably 50 feet, at most. After learning that this was the cruci xion site of Saint Peter, the small martyrium became so much more paramount. The site works more as a marker than anything else, almost like a really large headstone. Being able to see something entirely at once and being able to walk around it in just a few seconds was really helpful in attempting to draw a oor plan. The interior was also pretty simple.
There were niches around the circular wall and a place to pray at the head of the space, which held relics. The design of this chapel is said to be one of the nest of the High Renaissance period due to its focus on harmony, classical antiquity, and symmetry that is implemented throughout every aspect of the structure. As one of the rst designs of this time, it also stood as a model for the focus of the rest of the movement (Roth).
Tempietto Floorplan (Right) Tempietto Alter (Far Right) Tempietto
Viewing the Tempietto was a truly harmonious experience. Everything about the marker seemed to be in perfectly placed. The building itself was also very well kept and maintained. The proportions made this space interesting and enjoyable to draw. Being able to view the entire space in just a few steps gave us a great rst hand experience of drawing a oor plan of one of these historic sites. Even form ground level you could tell that the proportions of the width to the height were intentional. The interior was just as harmonious as the exterior. The individual laid mosaic oor tiles created a symmetrical pattern across the space. There is a grated hole in the middle that allows you to see straight though to the bottom where the cross Saint Peter was cruci ed on would have stood. The small niches around the walls hold statues above the windows. Although small, the dome above is color with the most striking blue color. The exact proportions almost make it look at. Overall, visiting the Tempietto was a very playful experience, mostly due to the size of the marker.
Crypt Exteior Sketch Pantheon Pantheon
A curiosity that came to mind regularly throughout the trip while viewing these ancient sites was fulling understanding how these spaces were built so long ago without any of the technological advances we have today. Being used to this technology and current building systems puts a huge barrier in trying to picture real people excavating stone, moving it, carving it, and assembling mere rocks into monuments, especially the Pantheon. While other remarkable sites, such as the coliseum, which is only 40 years older than the pantheon is still standing, the condition of the Pantheon sticks out beyond all others in Rome. This phenomenon makes people all around the world wonder why a build- ing that old, made out of rocks, can even still be standing, let alone be in usable condition, while modern buildings seem to last only a fracture of the time. Personally I believe it to be more of a social argument rather than an architectural one. Most modern buildings are not designed to be timeless, in the way that the Pantheon has forever been a church, however buildings today are designed to be multiple purpose over time, as they have to keep up with our quickly changing lives. Nevertheless, this building struck me as one of the most impressive ones I had seen in Rome, and probably in my entire lifetime. The personi cation that lies in the stone that makes up the Pantheon gives the temple eternal life and allows the building breathe while playing an active role in historic and current day Rome (Roth).
Pantheon Dome and Oculus Pantheon
The Pantheon stands in the Piazza della Rotunda. Above the entry way, in Latin, is a phrase alluding to the original person who built on the same site, Agrippa. Originally a temple dedicated to the ruling family at that time, it was modestly rededicated to be a place honoring all gods, and thus where the name “Pantheon” comes from. In the re of 80 A.D. the building was rebuilt under the ruling of Hadri- an in 118 A.D. Over the years, the building has been able to withstand weathering, earthquakes, res, and oods due to the dedication of proceeding popes to continually restore the temple. Originally, the entrance was marked by stairs leading up to the porch, however, over time the porch has become ush with the pedestrian lled piazza due to the build up of almost 2,000 years of dirt and dust. The porch is lined with un uted columns with Corinthian marble capitals. Most of the bronze used to decorate ancient building in Rome has been melted down and reused elsewhere. For instance, the ceiling used to be decorated with bronze details, however that same bronze now lies in the baldacchino in St. Peter’s. In the piazza of the Pantheon there is fountain and an ancient Egyptian obelisk, like in most ancient Roman sites (Hintzen-Bohlen).
Exterior Ink Wash Drawing Pantheon
The viewer can only fully grasp the full extent and size of the temple while standing inside of it because due to the height of the porch, nearly none of the dome or length of the building is visible at ground height. Through the large doorway is the circular interior that is approximately 142 feet in diameter. The pantheon can perfectly t a sphere that is the same size inside of it. The only light that reaches the interior is that from the oculus: the 30-foot opening in the center of dome. While most of the original interior of the Pantheon remain, I was fortunate enough to be able to see the Pentecost, a tradition that dates back to 609 A.D. After the 10:30 mass on the Pentecostal Sunday, Roman re ghters haul bags of rose petals to the top of the dome of the Pantheon and they are dropped, at 12, noon, from the oculus symbolizing the descent of the Holy Spirit. The wall has alternating openings all around, marked by two columns, that each holds ruins, tombs, and statues. The Kings of Rome are buried on the second left and second right niches. Also buried in the Pantheon is the great Renaissance artist, Raphael. Above his tomb is the statue of the Madonna del Sasso, created by Lorenzetto, Raphael’s pupil. Inscribed on his tomb in Latin reads “Here lies Raphael; our great Mother Nature feared to be conquered by him in his lifetime, and to perish herself on his death” (Roth).
Pantheon Dome Photo Collage Villa Borghese
Villa Borghese was built in 1616 by Scipione Ca arelli Borghese, a nephew of Pope Paul V. It was built in the vineyard garden near Porta Pinciana, one of the gates of Rome. The casino portion of the villa was surrounded by a huge garden with fountains, architecture, statues, and elaborate vegetation. The casino was commissioned by Flaminio Ponzio. The private museum contained Borghese’s extensive art collection was continuously growing. In 1902 the entire site was acquired my the Italian government under King Umberto I. It was then donated to the city. Borghese’s private collection has become a public museum that is known world wide as Galleria Borghese and houses some of the most iconic pieces of art. The works ll two a tire oors of the casino. Some of the most tourist drawing pieces are by Bernini, Canova, and Raphael (Hintzen-Bohlen). By far the most mesmerizing piece is the sculpture by Bernini, The Rape of Proserpina. In the sculpture the god of the underworld, Pluto, is taking Proserpina against her will to the underworld to be his wife. Although only a fraction of a second is captured in stone, the realism of their expressions, their actions, and the movement of their bodies is enough to tell the entire story. The facial expressions of the gures are so real in that they display pure emotion, all most better than the human face can. Pluto’s expression is accomplished, as he walks away with his struggling trophy who stands no chance against him. Proserpina’s expression screams desperation as she is being carried away, giving a voice to the stone structure. The most impressive aspect had to be the imprints of Pluto’s nger tips digging into her tight. The stone becomes so elastic, like human skin, you forget you’re looking at a marble sculpture (Harris).
The other impressive sculpture is of Apollo and Daphne. Eros created two arrows, one made of gold and one made of lead. The gold arrow pierces Apollo, causing him to fall in love with the Virgin Daphne. However Daphne recoveries the lead arrow which makes her repulsed by Apollo. When Apollo catch- es up to Daphnes after refusing his advances, with a little help from Eros, he touches her waist and she instantly begins trans- forming into a laurel tree. The sculpture represents the exact moment that Apollo touches her. You see her toes turning into roots, her arms turning into branches, and her hair turning into leaves. Apollo hand was never even able to touch her bare skin, as when his hand touched her, it was instantly bark. The sculp- ture is the exact moment of touch and transformation than in real time, might not even be noticed by the human eye. The amount of fragile detail in the sculpture is what really makes it what it is. The thin, delicate leaves that are so fragile, took the most skills hands to carve. It one were to break there were no adhesives to repair them (Harris). Museums are, by far my favorite places to go. Seeing the Borghese collection was far more While all of the pieces in the galleria were impressive, the two sculptures really stole the impressive than any museum collection I had seen prior. Not only is the collection extensive, show for me, like most people that visit. They are the true picture of baroque sculpture. impressive, and so well preserved, it is also surrounded by the art of the building, and the Unlike renaissance sculpture, these pieces take something that instantly recognized as surrounding garden. It’s truly a complete experience of walking through the garden to the inanimate, and breathe so much life into them, making the stone almost unrecognizable. casino and through the museum. The pieces were more than just paintings on a wall and These pieces break though the stability of renaissance art, in a chaotic and unstable way. sculpture being displayed. The casino itself feels so personal, almost like I’m in someone’s You almost wonder how these sculptures can balance because if in that position in real home walking around. Essentially it was someone’s home. It was a place where someone kept life, one would surely fall forewords in the case of Apollo. The pieces tell stories rather than their most prized belongings, just as every day people do. The way Borghese purchased these just showing pro le, which is echoed though the entire baroque era. pieces and displayed them in her personal and private space, is similar to the way average people display things that hold a lot of value to them. San Carlo alle Quattro Fontane
San Carlo alle Quattro Fontane, which translates to Saint Charles of the Four Fountians, was commissioned by the Trinitarians in 1634 and was to be designed by Francesco Borromini. The church sits on the corner of two crossing streets. The streets were built by Pop Sixtus V, and run perpendicular to each other through Rome. There were four fountains added to each corner of the crossing of the roads, hence where the church got its name. Originally the church was set to cost ve times as much as the church would allow. After some redesigning, Borromini was able to get the cost down to what the church demanded. How- ever, he refused to give up the design of the plan, the façade, and the dome. These are the three things that make this small church so well known. The entire church is no larger than one of the piers in Saint Peter’s. The baroque rhythm of curved walls give a dramatic e ect to the building. The curved walls were used to not only bound the space, but give the sense that the space was pushing back on its boundaries. This ripple in the façade goes in and out like a wave. The bottom section, with columns in front, mark the entrance with sculptures of saints on either side. The second story displays angels holding up a giant oval paint of Charles himself. The façade sticks out, with height and design, compared to the other buildings on the street, but one who has never seen the interior, could not even guess a fragment of what it looks like (Harris, Beth, and Steven Zucker). Due to the long mess of the site, the entire plan is squeezed into an oval, even the dome. The rippling walls inside make the illusion that is is moving in closer. The walls have been compared to live creatures, because it seems like they are breathing. Looking up at the dome, the perspective of the crosses and polygons give the illusion that the dome goes on forever, however the dome does not get deeper. The geometry gets smaller. In the center lies a triangle representing the Father, Son, and Holy Spirit, the Holy trinity. In the triangle is a dove. Both the plan and the section are based on new designs of circles and ovals communicating with equilateral triangles, a di erent take then most baroque churches near by. Antlers di erence is the surprisingly light atmosphere.the lack of decoration beaming down on the viewer makes the space feel so much more calm and peaceful. Rather than elaborate designs in bronze, and frescos, and owing sculptures, this baroque church is ornamented in only white stucco. As a truly unique baroque design, many papal gures felt drawn back to the small site over and over again (Roth).
San Carlo
Cieling Detal (Above) Clositer Line Drawing (Right) San Carlo
My lack of religious background had no e ect on my appreciation of this space. Even without the religious aspect I could tell that San Carlo was just as unique as Saint Peter’s. From the outside I could only image the over decorated and dark, heavy feeling that came with most churches in Rome from this time period. The outside was similar. It had the columns, the curving walls, the the color, but even still, someone was di erent. It was tall and elongated and honestly I almost didn’t even recognize that there was a building behind the extruding structure. The small door at the top of a few steps lead into a space unlike any of Borromini’s that I had seen or read about.
It was long, but not long like the bigger churches. It was stretched, and compressed on the sides. Churches with the traditional cross layout are long, but this church had the illusion of being long, when actually it was really small. When I was in side and situated on a pew I was instantly relived that the walls were decorated with stucco. Although this is considered “baroque on a budget” I feel like I was able to grasp what baroque is better than other churches we visited. I was able to see the walls curve in and out. I was able to see where the decorations should have been. Essentially the absence of the decoration allowed me to visualize baroque decoration in the space. The dome however still immediate- ly caught my eye. I saw and attempted to draw it. Struggling to get the perspective, I realized, it was an illusion, and the shapes were actually getting smaller. The decrease in size, while still tting together perfectly, made the dome seem so much deeper than it was. The oval shape was also mesmerizing, because this whole time it’s been circles, and perfection, and the philosophy behind the geometry. But for some reason, the oval made everything I had learned about the baroque, make so much more sense. In a way, I’m like a papal member, as all of these small special details just make me want to go back.
Photo of Dome (Left) Drawing of Floor Plan (Right) Sant'Andrea al Quirinale
Upon rst glance the church the San’Andrea al Quirinale is welcom- ing visitors with oval arms that circle out to the small sidewalk in front of it. Similar to Saint Peter’s, but much, much smaller, this motif of the oval is used over and over again in baroque architecture. The front of the façade is huge compared to the small chamber that lies behind it. This “giant order” marked by two large Pilates’s, makes you forget that there is even a church behind the wall, as you can’t even see it. The oval from the outside is translated to the inside. The plan is an oval shape that is wider than it is long. The plan is extremely symmetrical. However the plan has no perpendicular axis. The four rectangular niches form an X shape, rather than a cross. Straight ahead at the alter is the real show. There is rst a painting, framed in marble. This same marble color is echoed in all of the columns and pilasters in the church. Above the painting is bronze and gold cherubs and angels dancing o the walls, leading their way up to a light. The light source however, is hidden, and it is actually natural. There is an opening that allows light to shine in, giving a glow to the surround alter. This theat- rical show illuminates the su ering of Saint Andrew in the painting. Above we see a sculpture of an elaborate, owing, and majestic Saint Andrew. His arms open, as he is in between the lower and upper level of the space (Bernini, Sant'Andrea Al Quirnale).
Photo from Roth Book. Sant'Andrea al Quirinale
The upper level of the church is golden illumi- nated white stucco. This is a drastic change compared to the dark deep colors of the lower level. Figuratively this color change can be seen as the lower being earth, with more natural colors, while the upper leaves of pure white and gold is heaven. Andrew is in between them, as he is moving up into heaven, the expression on his is of pure joy. The honey comb shape of the dome is met at the top with another oval. The lantern sits here on the top of the churched. Yellow stained glass windows re ect o the golden colors of the dome creating an even more heavenly scene. Andrew is pure white, and the yellow beams struck and illuminate his face, on his way to heaven. The consistency throughout this entire church from the mate- rials, to the shape and the colors, all coherent- ly represents the baroque era. It embodies everything the era was about with little sacri- ce in design, other than size. However this small church stands just as important as even the most famous, and well known baroque churches (Roth). Sant'Andrea al Quirinale
Upon walking into the church nothing really instantly surprised me, other than the size. It was one of the smaller things churches we visited. Once I sat down with my drawing mate- rials I started to notice more and more that the small space had to o er. I attempted to draw a plan. The niches were were all across from each other and the oor plan wasn’t too masked by columns and pilasters. I never got a chance to go and look into each individual niche because my of my attention was draw to the altar. Going through the motions of the theatrical experience the alter gives, I found the ceiling to be my favorite part. The individ- ual geometric shapes had such an amazing color to them. They looked like a honey comb, in shape and color. It was almost sweet. The heavenly part of the church was really coordi- nated well through this aspect of the dome. In the middle of the latter was a triangle, rep- resenting the holy trinity, with a dove in the middle. This was places is the brightest part of the church, where all of the light in the room radiated from. The whole dome was a show that I couldn’t stop watching. It was unlike any dome we had seen prior and it really caught my attention especially up against the prosciutto colored marble that ooded the lower half of the church. The dome was a relief to look at. I really think that this church was the melting pot of everything that baroque architecture was during this time. It had all of the aspects that played important roles in the movement. The lower half was deep, dark, elab- orate, decorated style of baroque that we were drilled into thinking was as baroque as baroque gets. And yes the sculpted of Andrew in motion into the heavenly upper portion of the space is really the part that gets the true point of baroque across: the story telling. In once single instance, one piece of time, and entire story is able to be told through motion, expression, and in this case, color which was a unique experience I didn’t get from other churches. Esposizione Universale Roma
From 1922- 1943 Italy was under the ruling of Benito Mussolini, and was known as Fascist Italy. Through a rocky journey, Mussolini nally rose to complete power in 1922, and began creating a new Italy, not only based on ideology but through architecture and art. The goal of Mus- solini’s architecture projects was to bring the city to modernization. Italy had been a predominant- ly agricultural industry. Mussolini told himself that building modernized structures would change the way Italy was seen from outside of Italy. Throughout his reign public art and archi- tecture become his main tools for propaganda. Although the main goal was to modernize Italy, Mussolini has a strong a nity for the past. He would frequently bring up ancient times in public speeches. Because of these clashing aesthetics he had, the overall look of fascist Rome in the EUR district was strange in the way that is was organized, but chaotic, and com- pletely contradicting, a characteristic similar to the ideologies of the fascist party. The new buildings constructed under Mussolini was hard, with intense, perpendicular lines. The solid, blank facades were bare compared to the city of Rome outside of the EUR lines (Brockhaus).
Drawing of Square Coliseum (Right) E.U.R. District
Present day EUR has been taken over as a business district, and the residential areas of Rome continue to be pushed out, ignored, and neglected, like they were before World War II. The EUR district was designed to be a monument representing and personifying Fascist Italy. One of the earliest structures of the site was Palazzo Della Civiltà Italiana, or the square coliseum, the building is a tall prism with rows and columns of windows on ever side. This was the site that would have houses the World A air during Mussolini’s reign, had the war not interfered. Con dently the World a air was also during the 20th anniversary of fascismin Italy (Turro). The building sticks out among all the rest and has a very di erent feel than the the rest of Rome. The building was made out of travertine, the same material used to make the original coliseum. Oddly enough, the number of rows and columns are the exact amount to spell out “Benito Mussolini”, as an example of the propaganda integrated into this style of architecture. This method implied power and absoluteness of the Fascist party. The city planning was d signed to t with rationalist architecture, which is the buildings, like the square coliseum, are exaggerated versions of ancient history. The Second World War paused development of the E.U.R. district, however there are numerous buildings in the area today that are connected to the time period. Other than the square coliseum, there is also the Palalottomatica arena that’s purpose was for the olymipcs. In for this of the building there is a man made lake that stretched the diameter of the theater. At the opposite end of the street the Square Coliseum sits on, is the Palazzo Della Congressi, a governmental building that looks strangely like the Pantheon. E.U.R also contains a modern art museum and new convention center called Nuvola Fuksas that was designed in 2016. Unlike the other Fuksas building we saw, this one is still rectangular on the outside, however the interior is more dynamic than anything else in E.U.R. (Brockhaus). Art in Fendi Headquaters E.U.R. Disrict
Visiting the E.U.R. sites was very di erent than any other part of Italy. The atmo- sphere of the entire district was so di erent than the rest of the city. It felt harder and colder, and de nitely higher end then the part of Italy Rome we were living it. There was a lot of buildings, but you didn’t really know what they were. They all kind of meshed together. There were no street shops, and there were no people trying to get us to buy cheap gag gifts. I honestly felt like I was not in Italy. This part of Rome, however was much cleaner. The Square Coliseum was recently purchased Fendi, a high end Italian brand and turned into their new headquarters. They took over the building after it had Ben sitting for decades, empty. The rst oor of the building is now open to the public and is a small gallery. The pieces in the gallery were really familiar to myself because I had spent more than a few days walking down Via del Corso, Romes main shopping street. At the Fendi store, variations of the art work are located in the front of the store. Other than the Fendi building, weren’t able to go into anything else. We did get to see the exterior of the Novola Fuksas convention center, but where quickly shoo-ed away when we got too close, another social di erence between the part of Rome we were living in, and in the invisbale barriers of the E.U.R district. San Paolo Church
From the outside, the church of San Paolo in Foligno honestly appears to be an empty concrete box in the middle of a eld, making a lot of us feel like we were even in the wrong place, or that this place was un n- ished. However, it only takes a few seconds to start to see the architectural detail that makes this massive prism a 21st century parish church. The building stands against the Apennine mountains as a symbol of “rebirth and resilience” of the region of Umbria. In 1997, an earthquake destroyed families, monuments, and works of art. Due to these circumstances, this building would be one very di erent than Massimilia- no and Doriana Fuksas would have ever designed. While the exterior is solid, natural concrete, there are small slits in the sides that look like someone took an X-Acto knife and cut out random polygons. Upon further inspection, they appear to be merely windows. There is a large vertical slab of concrete marking the entry way. Again, further looking at the slab reveals a cross design in intaglio, with nothing but the cut away stone outlining its shape. The entrance is revealed as a cut in the bottom of the prism that extends its entire length, lled with a glass wall and multiple solid pane glass doors. At this point you can nally see a key attribute of a church, the pews.
Photo of San Paolo church facade. San Paolo
Once inside. There seems to be something lingering in the air, quite literally. In the middle of the large concrete prism is another concrete prism, in suspension. The windows from the are actually what is holding the oating cube above the oor. These windows extend past the exterior walls and onto the cube in the center like a web holding itself together. They act as “light cannons” forcing a copi- ous amount of natural light into the space. The lack of windows that victors are able to see out of enhances looking at the beauty of the space itself rather than the technical performance of the where the space is. The original concept draw- ings for this space are very similar to the nal product. The idea of a cube suspend- ed within a cube actually came from a traditional basilica oor plan: a nave in the center with aisles on either side. Floor Plan Drawing The oating cube gives a separa- tion of the worship from the rest of the church without ever touching the oor. Above, there are three slits in the ceiling, allowing more light to pass into the space and move throughout the day emphasizing the nave. Unlike baroque churches throughout Rome, the 21st century churches are so well lit with natural light. The use of the light, natural colored materials re ecting the natural light makes them almost blinding to look it. Consequently, this also makes them a lot hotter than the older, darker church- es. Even compared to other 21st century churches, this church is still radically di erent due to the lack of glass and visibility to the outside which is usually seen as a modern design trend. Section Drawing San Paolo
Personally, viewing this church kick-started my interest in church design all together. As someone from a non-religious background, there always felt like there was something missing when we would visit other churches. Seeing these hyper-modern buildings, and being a young designer, managed to close that gap. While the entire space was breath taking, what really caught my eye was the light pendants handing from the ceiling that seemed to be hundreds of feet above me, which were also designed by Fuksas, along with the oak pews. Small thin wires suspend- ed these lights even with the cube in a perfectly ordered grid, each with the same shape of an angular prism. There Floor Plan Drawing was so much natural light in the church, I almost forgot that that it does not stay lit all day, and could only image the radiant glow those light pendants gave o after dark. Even with so much light, there were spaces of total darkness, where re ected light wouldn’t reach. The geometric shapes that make up the church and the di erent amount of light make the space very interesting to draw, probably one of the most interesting ones we had visited. It was also much more comprehensible, as decoration didn’t get in the way of what I was looking at.
There was a strange aspect of acoustics in the church that really caught my attention. While sitting there drawing, the church was so quiet I felt like the sound coming from my pen scratching the paper was too loud. I could only imagine what a mass would sound like. At one point someone dropped a pen and you could feel the silence breaking. The lack of outside noise and the lack internal building systems that we are used to in the United states, it was one of the most silence places I had ever been. Overall, visiting this church was a mind opening experience not only for the appearance of the design, but also how design plays a role in society. Detail of Light Fixtures Ceiling Line Study Drawing The Parisch Church of Dio Padre Misericordioso
While most churches the group saw were restyled to t the baroque era, the most unique style church we saw was saved for last; Dio Padre. The church was designed by Richard Meier in 1993 and was completed in 2003, as part of Pope John Paul II’s goal to breathe a new life into the Parish life in Italy. Like most 21st century buildings in Rome, Dio Padre’s design style sticks out against the surrounding area. Meier’s personal style of all white buildings makes Dio Padre seem angelic compared to the high decoration of the baroque churches that over populate Rome. Even though Dio Padre is missing the elaborate sculptures, high detailed decoration, and a frescoed dome, the building was nonetheless designed to represent attributes of Christianity, however more guratively. The space sits on a triangular lot with low white walls around it that separates the church from the parking lot to the left, the residential buildings to the right and the secular precinct behind the church. The church is geograph- ically located on the outskirts of Rome, which was the purpose of the millennial project; to reach new levels of religion by tapping into the important role that architecture plays in life quality, especially in these suburban areas of Rome. The church brings people from all over the world into a part of Rome that usually gets little to no attention com- pared to the bustling capital.
Exterior photo of the Church of Dio Padre, designed by Richard Meier. The Parisch Church of Dio Padre Misericordioso
The building seems to slice out of the re ective ground, as three sharp blades. Its form The purpose of placing a hyper-modern version of a church in a suburban area of looks impossible, as they curve, almost folding over each other. Geometrically, the Rome was to improve the overall quality of though architecture. The spaces we building is made up of simple spheres and cubes, focusing on how they interact with occupy have a major impact on the way we see life and the way we choose to live. each other. The outside greets the viewer with three curved, cantilevering walls that The low walls separate the church from everything else around it, making it truly to resemble sails. It has been said that these also represent the Holy Trinity. These aspects the main focus, as if anything else around it would even compare to its size, form, draw from ideas from the High Renaissance by tapping into the focus of using perfect striking white color. The gird that follows over the entire building gives it strength, forms to create a heavenly experience. Although the forms are set up in a much di er- binding it to the ground and holding it straight up. The building gives o an essence ent fashion, it is still a modern interpretation of what Bramante created in the 14th of peacefulness and pureness. The church stands as another landmark that pulled the city out of the past and into modern day.
Exterior Drawing Interior Drawing The Parisch Church of Dio Padre Misericordioso
Personally, once inside the church, the space was much smaller than I had expected. However, the ceilings were much taller than the curved exterior made them seem. The tallest sail came to a point in the middle of the building, and the others sails sectioned o other rooms of the church. I sat on the pew for a few minutes before taking out my drawing supplies. This church seems much more used by the public than S. Paolo did. There were handmade decals on the wall near the altar, fresh plants, and signs of use. S. Paolo seemed very cold and hard com- pared to this church. There was softness that came from the natural light bouncing o the white walls, even though they were made from solid stone. Behind the pews was a large twist- ing rectangular structure that held the organ, that is really only noticeable if you turn around once you are inside. The horizontal and vertical lines on the structure made it enjoyable to draw, as the curved lines broke their boundaries. This church was the last stop on out list and it was by far the most enjoyable church for me. After drawing nearly the entire interior, I went outside to draw the exterior. Sitting there against the wall surrounded by students, some from our group, and some from all other parts of the world, I realized that even though this struc- ture isn’t native to any of us, it did its job by bringing people together and making our time where we were more enjoyable.
Geometric shape that houses the organ. MAXXI
Exterior photo from the Architectural Review website, 2010. MAXXI
Visiting the National Museum of the 21st Century Arts, otherwise known as the MAXXI, was by far one of the most interesting and important experi- ences for me while studying in Rome. Zaha Hadid was one of the most in uential modern designers of the 21st century and as a design student seeing her work in person not only surpasses anything that a book could describe or show in a photograph, but also enhanced my interest for con- ceptual design. The site is outside of central Rome in a quieter neighbor- hood of apartments where former army barracks used to stand. Approach- ing the building has a much di erence experience than expected. The view from the street seems to be the same building that was there before the MAXXI and looks nothing like a Hadid design. Walking through the gates reveals a large campus that looks like nothing we had seen yet in Rome; cantilevering levels, wrap around glass windows, and curved con- crete walls distinctively mark the MAXXI. It is more than just a museum that you walk into. There is also a library, restaurant, and even apartments specially for artists on the campus. The building itself has its own gravity, that is consistent inside and out. Like most Hadid designs there is so much more to the design rather than just looking at geometric shapes and curv- ing lines. She managed to embody movement in the shape of the build- ing, walls, oor plan, and even the materials which pulls the viewer through the site. Although the maxi is located on a single lot, the building itself juts out in multiple directions reaching over other buildings and spaces, intertwining itself with the surrounding area. For decades, Rome seems to have been stuck in a design-less drought, however the integra- tion of the MAXXI brings the city back to present day, making it more than just a historical site (Essor).
Collage (above) made from pamphlets and maps from the MAXXI and sketch markers. MAXXI
Visiting the MAXXI was my personal most anticipated part of trip. Not only do I love museums, but being to see a museum that is a work of art itself by one of my favorite designers was an experience I will never forget. Seeing contemporary art was a nice change of pace at the end of the trip. In the space I felt very at home, even though I was thousands of miles away from Athens, Ohio. Visiting art museums is meditative for me mostly because I enjoy look- ing at every mark in a painting, getting as close as I can, almost being able to feel the artist making the marks. Spending time in a quiet setting, which the MAXXI surpris- ingly was, nding my way through the maze of galleries was really the best experience I had in Rome. By far my favorite exhibits in the MAXXI was on the rst oor there were models of all of the new metro stations in Naples, a lot of which we actually visited. It was interesting to see them in their entire composition at once, rather than moving through them seeing them piece by piece. A gallery like this just goes to show how important model making is in the design eld and how it can really seal the deal with an idea. While I aim to visit as many museums as I can, visiting more places that have this conceptual design aspect of them has de nitely become a desire as well. Being inside the MAXXI was an experience that is di cult to explain because it was such an ethereal experience. MAXXI
Once inside, tall ceilings direct eyes upwards reveling a chain of black snake-like stair cases dancing around the space. Having no real idea where the stairs could lead, only makes me more eager to explore. While navigating the three-story space I felt like I was going through points I had already been, or Photo from th MAXXI Interior Design exhibit that was running while our time in Rome. asking my self which way was the “right way”, which is exactly what the building This particular photo boosted my motivation to design, and put what we are learning was meant to do. Regardless of backtracking a few times, the space had inten- in the class room into real space. tionally moved me to those spots multiple times, along with having openings to below that focused on speci c art works. While the building itself is a spectacle, it never seemed to overshadow the integrity of the art displayed on its walls and in the courtyard. Multiple times while moving through the galleries I mentioned that each piece felt like they were built speci cally to go inside the MAXXI. All of the carefully curated pieces felt like they were exactly where they were meant to be. The interior was designed to be just as eye catching as the exterior. The curved “L” shape of the building created movement of a stationary object and every way you went seemed to be a mystery, never really knowing what you would nd. An interesting part of the rst oor was the workspace. Outside of the glass entry to the galleries there were multiple computers, desks, and stu- dents with open books. Integrating learning and working into the museum really intensi es the overarching goal of the space: to be more than an object (Essor). Gli Archi Co ee Bar Gli Archi interior Panorama
As part of Italian culture, most of the group decided to take part in drinking authentic co ee almost every morning. Right out- side of the International Studies Abroad O ce, was a small café that not only served great Italian style co ee, but also had American accommodations as well, as it was also right next to the American University of Rome. Most students would stop at this co ee shop on our way to catch the bus. You could grab a bite to eat as well.
On one of the last few days, I personally went and spent a little extra time in the place I had gotten so accustom to. I went in and was greeted by the same smiling faces that greeted me every morning, and ordered what would be my last authentic cappucci- no. Served in a short, round cup on a plate, the temperature is perfect to drink right away. The aroma of Italian co ee is enough, and no added sugar is needed. Foamed milk had created a mustache on my upper lip. I completed my mid morning snack with a lemon sugar croissant. Looking around at the people near me, students, American and Italian, on laptops, older men with a paper, and women with friends all found this very place to be their comfort spot, just as I had in just 4 short weeks. Co ee shops in Italy had some to mean so much more to me than co ee shops in America. From the outside, usually no name or brand is even displayed, instead the atmosphere sweeps out the door and on to the side walk giving people pass- ing by just a small taste of everything that comes with one cup of Italian co ee.
interior Panorama
Dining Room Sketch Conclusion
After visiting Italy for four weeks and then organizing my experience and work with this booklet for weeks after, I personally feel that I have received such an advantage in my ability to see, understand, and respond to architecture, which is a large portion of the design industry. Although all of the sites I was able to see in Rome impacted me in some way, I never thought that ten sites I chose would impact me as much as they did, even a place as small as a local co ee shop. Each of the sites had a unique atmosphere, that once inside made me feel a little less like an outsider. Completing this booklet has only me more excited to move on to the next project. I am excited to apply these newly sharpened skills of seeing and drawing to my designs and ultimately make them better. Not only have my skills of seeing and drawing improved but also understanding the context of places in their surrounding site. Moving forward I plan on exploring new places, near and far, and going through the same motions that I did in Rome of drawing, and even playing with college. Overall this method has given me more insight on how to fully experience a place, while enjoying it. Throughout this project I frequently found myself closing my eyes and reimaging the space from memory, and what it was like to be there surrounded by people who were having this rst-hand experience as well. This understanding space and how people interact with it will ultimately guide me though my career. Bibliography
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