SIENA - Week 3 Individual Assignment “Documenting Typologies and Places”
These are all freehand drawings that were all done in a style somewhere in between the analytique style, and the collage style. I did not want to fully focus on one style versus the other because I have been doing both quite separately throughout the course of this studio, and I decided to try and blur the boundaries between the two in these compositions.
The first drawing of the dorm room window shows a top-down plan-elevation drawing showing the different components of the system that allow for a variation of opened or closed. The plan in the center of the composition shows the space and relative size of the room in which the window was designed. Above the plan is a detail drawing of the connection between the window framing, the glass casing, and the interior wooden “window” that would be used to completely block any and all light into the room. This detail caught my attention because typically in the states we only use one hinge for a window or door to attach to the framing. Here, there is an additional component to the system that allows for an extra feature into the system. To allow for fluidity in the movement, the second hinged attachment is not attached to the window framing like the window casing is, instead, it is attached directly to the window casing itself so that the second attachment can move just as easily as the first attachment. The larger drawing on the right half of the composition which is more focused on in the bottom right corner, is the detail on the opposite side of the window, that allows the wooden shutters from the outside to latch onto the wall so that they do not swing close unexpectedly from any winds that might blow them closed. The connection is made through the mortar of the brick, and then the window rests up against the wall when pressed to be in the opened position, and then the latch flips up from the hinged connection of the system and rests on the tie back into the mortar with the shutter then providing the force that keeps the hinge from swinging back down into an opened position.
The second drawing is of the Palio fence system. The detail to the top right is an example of how this is a temporary system. The fence is held up by two parts. The first is an area where wood pieces are wedged into a hole in the ground. The second, is a chain link tie that wraps around a permanent structural piece of the Campo - the concrete columns. This system works in a 360 degree manner. If you look at the section drawing along the bottom, the chain link fence does not allow the top of the fence to fall to the left, and the wedge system at the bottom of the fence does not allow the bottom of the fence to slip out towards the right. A very ingenious system that has been working for centuries.
The Palio stand system allows for two things. People to rest on, and people to circulate through. As you can see in the section in the bottom right, a person can circulate underneath the system and move throughout the Campo. This is smart because during Palio, there is no where to circulate through to the inside of the stands. The second area that allows circulation through the stand system is shown in elevation to the bottom left of the drawing. In front of every entrance to the Campo, there is a door system that swings open and allows people to either exit, or enter the Campo. The detail to the top right shows how the temporary structure is assembled.
The fourth drawing shows the public loggia that was right down the street from our dorm. This composition consists simply of a section and plan. The section shows the steep grade change proceeding up to the loggia. This I found to be quite interesting because in plan, the surrounding environment looks so close that it looks like it would be very hard to have such a steep incline (or decline) in such a small amount of space. The plan shows the close relative relation to the surrounding buildings.
The final drawing is of the public fountain that was just around the corner from our dorm, and right next to the grocery store. I found it intriguing because it was plugged inside of a bay that was only one of many bays that ran along the street side. The top shows how the fountain was placed on the bay at the corner of the intersection. The section shows how the fountain itself has a very interesting sectional quality. It is clear that the fountain is to be viewed from only one side, and not 360 degrees, or even 180 degrees. Because of this, the designer extended the centerpiece of the fountain from the side of the viewer. I found it interesting that they chose to have it extend from the front of the fountain, instead of the back because then it would be possible to “hide” or conceal this condition. But then I thought about it more, and I realized that I began to have the desire to just walk out onto the small ledge created by the extension, and it started to make sense why the designer chose to place this extension in the front for the viewer to see, and not in the back - because it adds another dimension of interaction for the viewer to observe.