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Newark Investigations

Piranesi Intervention

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Week 1 Upper East Side

Week 2 Downtown

Week 3 SoHo

Week 4 Midtown

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Free Travel

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Site Designed and Maintained by David Scheetz

NJIT School of Architecture M.Arch 13'

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This blog was created for the purposes of cataloging the places that we visited on our study abroad program and to showcase the work that I did while abroad. The first half of the studio took place from May 29, until June 28, in Newark, NJ with case studies and day trips in New York City, NY. The studio resumed in Italy from July 11, until August 29, 2012. We explored a large portion of Northern Italy with trips to Milan, Verona, Padova, Venice, Multepulciano, Pienza, Vicenza, Veneto, Rome, Florence, Monteriggioni, and Siena. At the end of the studio, we were given a 10 day period of free travel from August 18 until our flight home on August 29. During this time, I traveled to London, Paris, and Frankfurt. It was an amazing trip, and one of the best experiences of my life. To navigate the blog, use the links to the left to skip to a desired portion of the blog. Otherwise, continue to scroll down and move from page to page as the blog is in chronological order with the most recent blog posts showing first. I hope you enjoy my blog. Feel free to email me with commentary or questions regarding this study abroad program, or any of my work at DavidJScheetz@gmail.com.

FREE TRAVEL - London, Paris, Frankfurt

After our stay in Siena, we had 10 days off to travel freely. My family came out to meet me in London, where we would stay for 3 nights, Paris for 4 nights, and Frankfurt for 3 nights. It was a great way to extend my understanding of European culture, architecture, and design. It was a great way to end an amazing trip.

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.

August 15, 2012 Siena Week 3 Group Project

Week 3 Group Project Artist Retreat

Partners: Erica Claustro, Danqing Zhu

SIENA - Week 3 Group Project “Artist Retreat”: Drawings

This assignment called for an artist retreat along the path between our dorm and Porta Romana. We chose the site right next to Porta Romana because of its extreme slope. We decided to use and further emphasize this slope by building at the top of the slope, and carving into the site for the construction of the retreat, as shown in the first diagram. The next set of diagrams show how the landscape will remain versus a newly introduced built environment (i.e. circulation paths) and the elevation markers that correspond to each of the varying steps down along the slope. The last set of drawings are the plans of the retreat, which were each drawn on a separate piece of trace paper as to allow for an understanding of this system of layered construction within the slope of the landscape. The drawings work from the highest point at the top left of the drawings, to the lowest point in the bottom left.

SIENA - Week 3 Group Project “Artist Retreat”: Models

The intention of our design of the retreat was to separate each type of artist. Visual artists were given the high point to be inspired by the views and to receive the most natural light. Writers and composers were given the space closest to the library but farthest from all other interaction to allow for seclusion, privacy, and quite for their work. Musicians were given the lowest point, which is farthest away from both of the other living quarters, but closest to the public spaces. This is done because their work is typically done in completely closed spaces, and they make the most noise. We put them at the lowest elevation for the lack of natural light, and also used the landscape to help reduce the amount of noise given off by their performances and practicing.

The last two photos are circulation study models. The first is how we originally intended the circulation to work. Then, after further iterations, we came to the final result which is shown in the last photo. The main circulation path breaks off into secondary and then tertiary circulation paths to allow for the maximum amount of privacy, and the most amount of possibilities for variation since not everyone always wants to be alone. The design was made to allow for the maximum amount of possibilities to allow for maximum variation within the retreat, to be able to offer any type of artist with a very specific set of needs everything that they could possibly need.

SIENA - Week 3 Group Project “Artist Retreat”

Insider a designer’s mind. These are my sketches from the beginning stages of conception of the design, working through our concept and ideas to execute our final design for the Artist Retreat.

Aug 10, 2012 Florence Day 2

Second day in Florence where we walked around the city to stop in several locations to sketch, and then ended the day at the Duomo.

August 9, 2012 Siena Week 2 Group Project

Week 2 Group Project for Porta Camollia.

Partners: Alex Guimaraes, Erica Claustro, Hooman Khadem

SIENA - Week 2 Group Presentation “Porta Camollia”

For this assignment, we were asked to document the path from the Campo to the Porta Camollia. Since our path was almost a straight line from the Campo to Porta Camollia, we decided to display our presentation in a way that would emphasize its linear path. Since the assignment called for documentation of specific places along the path, we decided to construct a model that would consist of 2D planes, in a 3D perspective. This idea allows for the continuation of a single path, but allows for the understanding of the individual places that make up the path. The ground plane consists of the names of the shops that influence the flow of traffic and the feel along that section of the path. Attached to each frame are three sets of drawings. The first set is along the lower portion of the frame, which shows the different types of store fronts, door designs, and rhythms that occur along the ground floor of the path. One thing we noticed about this, is that closest to the Campo the storefronts are much larger, and so are the stores. As you get farther away, the windows get smaller, the opaque surfaces get larger, and the store sizes get smaller. This increases the amount of doors along the path, and therefore creates a different type of rhythm. The next set of drawings are a study of the windows along the path. We noticed that the commercial area has a different type of window, than that of the residential area. These areas contained windows that were smaller in size, and contained systems on them that would allow for a more private experience (i.e. shutters to block light, or views into/out of). The final set of drawings is the skyline/roof line on top of each frame. With such a straight path, we originally expected the roof line to be similar, but as we began to walk the path we noticed a vary varied and jagged roof line. After we walked the site a few times, we realized that the roof line began to hint as to whether or not the building was a commercial or residential building. The residential areas were more broken up and had a quicker shorter rhythm to them, which is explained by a person’s will for individuality. The commercial areas were much longer and straighter than the short, jagged roof line of the residential area because the stores are bigger, and they use their store fronts to individualize their property. Each frame gets smaller and so does each drawing as the frames go “backwards” from the viewer. This gives a forced perspective of the path, and forces the viewer to see the path as we have designed.

When we set out to investigate the path, we originally believed that the path would go from commercial to residential. After our investigation we realize that the path actually goes from large commercial, to medium, and then smaller sized commercial stores, into residential, and then back to small commercial stores before it reaches the gate. We were first confused by this last bit of commercialization along our path, but then after wondering past the gate and exploring what was beyond it, we realized that the influence of the path to Paris had been commercialized, and this commercialization from outside of the gate, was beginning to pour itself into the gate and down our path.

SIENA - Week 2 Group Presentation “Porta Camollia”

Inside a designers mind. These are my working sketches from the project to try to work through the organization of the model, the gradient of the sky, and the appropriate lineweight and stroke to use.

August 8, 2012 Siena Week 2 Individual Assignment

Week 2 Individual Assignment La Lizza Park planning strategy for music, or music-related facilities.