FILIPPO BRUNELLESCHI
Brunelleschi’s craftsmanship as a goldsmith.
Image of the dome’s influence over the city of Florence.
The model highlights Brunelleschi’s achievements, the design of the Florence Cathedral’s domes as well as the re-discovery of perspective drawings. The physical dome (cardboard) is translated to the 2D representation of dome (board+water color). The 2D rep holds the proportion of the actual model—like all perspectives. Orthogonal lines, (strips of board and drawn on the base with charcoal) emphasize the use of one-point perspective.
BANCA DEL MONTE DEI PASCHI
View illustrates the building’s contrast to its context.
The irregular shape lot is bordered by Via Romano Bilenchi to the northeast and Via Spugna to the south, and brick masonry housing to the west.
The site is 12.5 miles outside the city of Siena.
The three concepts between the building is its articulated structure, accented masonry use, and the floating metal volumes (Red, Yellow, Purple, respectively)
Tree like structure, alluding to a gothic theme.
Masonry used to address the corner that reflects back to the city.
In program, the volumes are separated into a large, open, public first ground floor, a small meeting room and catwalk on the mezzanine level, offices and private spaces on the upper and remaining floors.
Diagrammatic Section
Diagrammatic Plan
View from Via Spugna
View showing relationship of stone entry to its context
The model uses charcoal to illustrate the varying depths that attempt to recreate the floating volumes in the Banca del Monte dei Paschi di Siena.
CARAVAGGIO
Samples of Caravaggio’s work displaying his mastery of adding dynamism to still life’s and chiaroscuro. Clockwise from top left: Supper at Emmaus, Basket of Fruit, Martyrdom of Saint Ursula, Boy Bitten by Lizard, and David with Head of Goliath.
Unlike his contemporaries who “pounced” their canvas, Caravaggio painted directly on the it. The half prepped canvas provided his midtones while he accented the highlights and shadows in his image.
one can infer that his paintings reflect his fast-paced lifestyle in that he willingly painted over a completed painting, changed its composition in order to resell. The above radiograph image of Martydom of Saint Matthew reveals two figures that were not in the present painting.
The model symbolizes Caravaggio’s use of the brown midtones, his tendency to draw from life, and chiaroscuro through the contrasting colors.
