BENV 7813 - PAIGE K

CASTELVECCHIO MUSEUM  1:1 DETAIL HANDRAIL - CARLO SCARPA  This detail model explores the intricacy in combination of various components. It pays homage to the artistry of Carlo Scarpa, who celebrated the mechanisms of simple facilitory elements with exaggerated detailing.  PRECEDENT IMAGE  PRECEDENT IMAGE   INITIAL SKETCH   ACRYLIC DETAIL ONLY  Scale 1:1  Materials: -Portland Oregon Timber  -Tallowwood  - Clear Acrylic  - Stainless Steel  - Brass  Techniques:  - Timber joinery - Laser Cutting -Welding - Metalwork  - Wooden Lathe 

CASA OCHEQUEBRADOS  1:500 TOPOGRAPHIC MODEL- ELEMENTAL  This model celebrates the role architecture plays as an object in landscape. Rigid geometries are contrasted with the rough and jaggered topography and texture and shadow is explored. The communication method of 'floating' the topography is intended to focus specifically onto the nature of the landscape 'holding' the  architecture, as it barely touches the earth.  PRECEDENT IMAGE PRECEDENT IMAGE PRECEDENT IMAGE ORIGINAL SKETCH  Scale 1:500  Materials - Stainless steel mesh - Tallowood Timber - Blue Modelling Foam - Stainless Steel rods  Techniques   - CNC cutting (blue foam toposurface)  - Hand forming mesh  - 3D printing  - Timber laminating 

CENOTAPH TO NEWTON  1:500 SECTIONAL MODEL - ETIENNE LOUIS BOULLEE  This sectional model conveys qualities of material and texturality, the of surfaces capturing light and reflection.  Celebrated in these geometries is symmetry, mathematic formulation and materiality. As evident, this fabrication captures sensory  qualities   quite well, however the detail does not express the monumentality of the precedent as one would intend.  Scale 1:500  Materials  - Hydrocal Plaster  -Blue Foam -Acetate  - Copper  Technique  - Wooden lathe (blue foam) - Vac forming  -Casting  -Metal shaping  -Metal work / welding 

3.  CASTELVECCHIO MUSEUM   CARLO SCARPA  THRESHOLD KEY CONCEPT In 1958, Carlo Scarpa was confronted with the restoration of the Museo di Castelvecchio in Verona, Italy. This was a 14 th century fortress in the west of the city. The complex had overgone series of remediations over the years. In 1957, Scarpa was appointed as the new architect for the museum, with the position to reinvent various spaces. Scarpa’s practice is reminiscent of ‘Kintsugi’, an ancient Japanese technique of repairing pottery with a gold glue that becomes part of its new identity (Murphy 1990 ) . Scarpa’s interventions at the Castelvecchio are based on relations that Scarpa himself invents for the layers he selects (Murphy 1990 ) . He states, “to allow it (the old fragment) to maintain its own identity, its own history…, you increase the tension between the new and the old” (Murphy 1990 ) . Manipulating layers of different scales and properties, he critically selects what to erase and w

2.  CENOTAPH TO NEWTON  ETIENNE LOUIS BOULLEE  IMAGINATION, EMPIRICISM, KNOWLEDGE KEY CONCEPT  Etienne- Louis Boullee’s Cenotaph to Newton is an imagined monument embodying and idealising the core theories of the enlightenment converging on empiricism and romanticism, celebrating the sublimity of architecture in an ode to Sir Isaac Newton (Kaufmann 1952) . The 18 th century visionary for a colossal monument, represented as a series of ink and graphite rendered drawings portrays the provocative design which foreshadowed the modern conception of architectural design (Schaller 1997) . The proposed ‘Cenotaph to Newtown’, which would have been erected at 150m, becoming the tallest built structure in the world, stumping the Pyramids of Giza, was idealised as the resting place for revolutionary scientist Isaac Newton, who’s work became a revered symbol of Enlightenment ideals (Kaufmann 1952) . Newton described as a ‘natural philosopher’ formulated the laws of motion