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CONTACTSIENA STUDIO

BIO-TECHNOLOGY RESEARCH FACILITYPRE-COMPREHENSIVE STUDIOSTUDIO INSTRUCTOR: PROF. THOMAS NAVINFALL 2012

COMPREHENSIVE STUDIOSTUDIO INSTRUCTOR: PROF. TONY SANTOSSPRING 2013

THIRD-YEAR STUDIOSTUDIO INSTRUCTOR: PROF. ANTHONY (TONY) SCHUMANSPRING 2012

THIRD-YEAR STUDIOSTUDIO INSTRUCTOR: PROF. LISA FISCHETTIFALL 2011

OPTIONS STUDIO (STUDY ABROAD)STUDIO INSTRUCTOR: PROF. CLEVE HARP, ERSELA KRIPASUMMER 2012

21ST CENTURY AGORA

PHOTOGRAPHY

ARCHIEOLOGY CENTER

NEWARK VISITOR PAVILION

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ACCEPTED TO THE NJIT’S SIENA STUDIO STUDY ABROAD PROGRAMFEBRUARY 2012WINNER OF 2012 “ SIENA STUDIO AWARD” IN NJIT SCHOOL OF ARCHITECTURE AND DESIGN ANNUAL AWARD PROGRAM.NOVEMBER 2012GRADUATED 5 YEAR B.A ARCHITECTURE (164 CREDITS) IN 4 YEARS.SEPTEMBER 2009-AUGUST 2013

NEW JERSEY INSTITUTE OF TECHNOLOGY(NJIT)[NEWARK,NEW JERSEY] B.A ARCHITECTURE2009-2013MIDDLESEX COUNTY COLLEGE2007-2009

EMPLOYER: LEADING EDGE CONSTRUCTION AND REMODELING INC, CRANFORD, NEW JERSEYMARCH 2009-PRESENTEMPLOYER: A&R BUILDERS INC, TEANECK, NEW JERSEYJUNE 2010-PRESENTDESIGNING, CONSTRUCTION, AND REMODELING OF EXTERIOR AND INTERIOR OF RESIDENTIAL AND COMMERCIAL BUILDINGS. DETAILED WORKS INCLUDE: ROOFING,BASEMENT, KITCHEN, BATH,PLUMPING, TILING, WALL REPARING, FLOORING, AND LANDSCAPING.

EMAIL: HOOMANKHADEM68@GMAIL.COMMAIL: 28 MACARTHUR CT, LINDEN, NEW JERSEY,07036BLOG: HOOMANSIENA.WEEBLY.COMPHONE: +1(908)4940433

FLUENT IN: AUTOCAD MICROSOFT OFFICE EXPERIENCED IN: 3D STUDIO MAX RHINOCEROS ADOBE INDESIGN ADOBE ILLUSTRATOR ADOBE PHOTOSHOP SKETCH UP REVIT LIGHT ROOM [PHOTOGRAPH EDITING]

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ENGAGES STUDENTS IN THE ARCHITECTURE AND URBANISM OF THE CONTEMPORARY AMERICAN AND ITALIAN CITIES OVER AN INTENSIVE 15-WEEK SUMMER SEMESTER. THE COURSE OUTLINE INCLUDES:1- WALK, MAP, AND MEASURING (GROUP)2- MANHATTAN TEAM FIELD INVESTIGATIONS (GROUP)3- ITALIAN DESIGN RESEARCH PRESENTATIONS4- DESIGN AND DRAWING EXERCISES5- GROUP TOURS

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IENA TUDIOS

THE SEAGRAM PLAZA IS DOMINATED BY THE SEAGRAM BUILDING DESIGNED BY MIES VAN DER ROHE. THIS ELEGANT 38-STORY SKYSCRAPER HAS ALTERNATING HORIZONTAL BANDS OF BRONZE PLATING AND BRONZE-TINTED GLASS AND DECORATIVE BRONZE I-BEAMS WHICH EMPHASIZE ITS VERTICALITY. FOR AVOIDING THE NEED FOR SET-BACKS, TOWER IS PLACED IN REAR OF ITS SITE AND SET BACK FROM PARK AVENUE, SO IT INCORPORATES A LARGE PLAZA IN THE FRONT AS PART OF THE DESIGN. GRANITE PILLARS ARE USED AT THE BASE AND HAS A TWO-STORY GLASS-ENCLOSED LOBBY. THE SET BACK OF THE TOWER ON THE PLAZA CAUSES TO OPEN UP THE VIEW TOWARD THE MIDTOWN TOWERS. THE WATER FOUNTAINS ARE SYMMETRICALLY PLANNED ON THE SITE. THE TOWER CANTILEVERS OVER THE PLAZA TO CREATE SPATIAL PLACE FOR VISITORS. THE PAVING BLOCKS OF THE PLAZA CONTINUE VERTICALLY IN TOWERS SLABS AS THE TOWER RISES UP, SO IT DOES PROJECT. THE DIFFERS AS THE BOTH BLOCKS ON THE SIDES OF THE PLAZA RUN DOWNWARD SLOPED TOWARD THE EAST,BUT THE BASE OF PLAZA AND THE TOWER REMAINS AS STREET ELEVATION.

TRINITY CHURCH IS MARKED AS ONE OF THE OLDEST CHURCHES IN MANHATTAN. IT IS LOCATED IN INTERSECTION OF WALL STREET AND BROADWAY. THE CHURCH IS SORROUNDED BY MEMORIAL FROM NORTH AND SOUTH SIDES, WHICH BOTH HAVE CIRCULATION PATH TO THE BACK OF THE CHURCH. THE CHURCH IS ALIGNED WITH THE WALL STREET, THE BELL TOWER OF CHURCH IS DOMINATING THE VIEW FROM THE WALL STREET. AT FAR WEST END OF THE CHURCH, THERE IS HIGH GRADE CHANGE WITH CHURCH STREET DOWN BELOW, AND A BRIDGE THAT CROSSES OVER THE CHURCH STREET CONNECTS THE CHURCH TO A MODERN BUILDING THAT HOSTS ALL THE OFFICES AND RELATED PROGRAMS TO THE CHURCH. THE ORNAMENTAL INTERIOR MAIN HALL OF THE CHURCH IS ON THE SAME AXIS WITH WALL STREET. THE HALL RUNS TO THE TWO CHAPELS THAT LEAD THE VISITORS TO COURTYARD AND GARDEN ON BACK OF THE CHURCH AS WELL AS CIRCULATION PATHS TO THE MEMORIAL PARK.

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MANHATTAN TEAM FIELD INVESTIGATIONSTRINITY CHURCH

MANHATTAN TEAM FIELD INVESTIGATIONSSEAGRAM PLAZA

MANHATTAN TEAM FIELD INVESTIGATIONSSEAGRAM PLAZA

THE MALL IS STRAIGHT PATH PERFECTLY ON NORTH-SOUTH AXIS OF MANHATTAN WHICH RUNSIN MIDDLE OF THE CENTRAL PARK FROM 66 STREET TO 73 STREET. IT IS THE ONLY STRAIGHT PATH IN CENTRAL PARK, AND IT CONNECTS DRIVING ROAD OF 66TH STREET ,THAT CROSSES THE CENTRAL PARK, IN WHICH LEADS TO THE BEAUTIFUL BETHESDA SURROUNDED BY THE LAKE AND TERRACE DRIVE AS PLATFORM OVER THE BETHESDA. THE MALL AND THE TERRACE ARE ONE OF THE BUSIEST PARTS OF THE CENTRALPARK WHICH CONNECT THE SOUTHERN PART OF THE CENTRAL PARK TO THE ITS NORTHERN PARTS.THE MALL IS SURROUNDED BY TREES THAT ACT AS SHELTER FOR THE PATH AND THEY CREATE SHADE. THE CENTRAL PARK WAS CREATED IN ORDER TO CREATE MAJOR PUBLIC LANDSCAPE FOR THE RESIDENTS OF MANHATTAN BEFORE IT WAS FULLY DEVELOPED BY CONSTRUCTING BUILDINGS, AND THE MALL IS A TAKE AWAY FROMTHE ORIGINAL GRID OF THE MANHATTAN. THE RICHLY ORNAMENTED BETHESDA TERRACE IS CONSIDERED AS HEART OF CENTRAL PARK. IT WASORIGINALLY BUILT AS A GRAND TERRACE OVERLOOKING THE LAKE. THE MAGNIFICENT CARVINGS REPRESENT THE FOUR SEASONS AND SIDE FACING OF THE MALL REPRESENTS TIMES OFDAY. BETHESDA WAS DESIGNED TO BE A PLACE TO EXPERIENCE NATURE AWAY FROM THE URBAN SPRAWL THE PARK, AND IT ALSO PROVIDES A PLACE WHERE PEOPLE CAN GATHER. AS RESULT, THE TERRACE IS A CENTER OF SOCIALIZING FOR PEOPLE TO SEE AND TO BE SEEN. THE TERRACE INCLUDES THE TWO STONE STAIRCASES THAT RUN 40' FROM THE UPPER LEVEL PLATFORM TO THE BETHESDA FOUNTAIN PLAZA. THE BETHESDA PLAZA AND FOUNTAIN ARE ON PERFECT AXIS WITH THE MALL PATH.

PALLADIO WANTED TO DESIGN THE THEATER THAT REPRESENTS CLASSICAL THEATER DESIGN. THE ACTUAL BUILDING OF THE TEATRO OLIMPICO IS THE BREAK STRUCTURE, BUT THE INTERIOR IS THE ELABORATE WOODEN THEATER THAT HAS HALF CIRCLE OF STEEP ROWS OF STAIRS.THE ELEVATION OF THE INTERIOR CELEBRATES THE ARCHITECTURAL DETAILS AND IT IS DECORATED TOO. THE THEATER'S INTERIOR CAN BE DIVIDED TOTWO PARTS. ONE THE STAGE THAT IS ELEVATED FROM THE ENTERANCE, AND ALSO THE HALF CIRCLE WOODEN SEATS ROWS THAT COMPLETES THE DESIGN OF THE INTERIOR. THE CEILING OF THE THEATER WAS PAINTED IN BLUE WHICH IS MEANT TO REPRESENT THE SKY ABOVE THE THEATER. THE INTERIOR FACADE OF THE THEATERHAD THREE DOORWAYS THAT REPRESENTS THE INSIDE OF THE THEATER AS GREAT PERSPECTIVEOF CITY. THERE WERE ARTICULATED ARCHITECTURAL DETAILS AND STATUES ON THE INTERIOR SUCH AS COLUMNS, BASE, SHIFTED WALLS AND SCULPTURES. THE ELEVATION OF THEINTERIOR, AS MENTIONED, CELEBRATES THE ARCHITECTURAL DETAILS AND IT LOOKS DECORATED TOO. THE THEATER'S INTERIOR CAN BEDIVIDED TO TWO PARTS. ONE THE STAGE THAT ISELEVATED FROM THE ENTERING POINT, AND ALSO THE HALF CIRCLE WOODEN SEATS ROWS THAT COMPLETES THE DESIGN OF THE INTERIOR. THE ENTRANCE FILTERS VISITORS INSIDE THE THEATERAND SPREAD THEM OUT TO THE SEATS. THE DIFFERENCE IN MATERIAL USE IS ALSO ESSENTIAL IN PALLADIO'S DESIGN. CHOOSING THE WOOD MATERIAL FOR ALMOST HALF OF THE THEATER DIFFERENTIATES THE SEATINGS FROM THE STAGE.

MICHELUCCI DESIGNED THE SAN GIOVANNI BATTISTA IN A WAY TO REFLECT BOTH TRADITIONAL AND MODERN CHARACTERS. THE CHURCH IS LOCATED OFF THE HIGHWAY THAT GOES TO FLORENCE. THE CROSS FLOOR PLAN ANDSTONE BASE OF THE CHURCH REPRESENT THE TRADITIONAL REFLECTION OF THE CHURCH, AND THE ORGANIC SHAPE OF VERTICAL MEMBERS AND COLUMNS AS WELL AS THE IRREGULAR SHAPE OF THE COPPER ROOF REPRESENT THE MODERN REFLECTION OF THE CHURCH. THE REASON THATMICHELUCCI DESIGNED THE CHURCH NEXT TO THE HIGHWAY WAS IN MEMORY OF THE WORKERS WHO LOST THEIR LIVES DURING ITS CONSTRUCTION, AND TO STOP THE DRIVERS THAT ARE DRIVING IN THAT HIGHWAY NOT FOR THE REST,BUT TO TAKE QUICK LOOK AT THE CHURCH. AS GROUP ASSIGNMENT WE HAD TO CHOOSE A ARCHITECTURALLY SPATIAL SPACE IN THE CHURCH, AND ANALYZE IT MORE IN DETAILS THAT WHY THE SPACE IS ARCHITECTURALLY IMPORTANT. WE PICKED THE MOST IMPORTANT SPACE IN THE CHURCH WHERE THE MAIN VERTICAL CIRCULATION TO THE SECOND FLOOR OF THE CHURCH IS. THE HALLWAY ENDS TO THE CIRCULAR SPACE THAT STAIRS START ON ITS RIGHT SIDE AND BY HALF A WAY TO THE SECOND FLOOR IS WHERE THE RAMP STARTS TO CIRCULATE AROUND. MICHELUCCI WANTED TO KEEP THE ORGANIC IDEA OF THE CHURCH, SO THIS MIX OF STAIRS AND RAMP GIVES EXPERIENCE THAT THEY NATURALLY CAME OFF THE GROUND. ALSO TWO OVERLAPPED MASONRY WALLS ON THE CIRCULAR SPACE GIVE TRANSITION TO WHERE THE RAMP STARTS IN MIDWAY TO THE SECOND FLOOR.

GROUP TOURS, ITALY, VENICEFONDAZIONE QUERINI STAMPALIA

GROUP TOURS, ITALY, VENICEPEGGY GUGGENHEIM COLLECTION

GROUP TOURS, ITALY, VICENZATEATRO OLIMPICO

GROUP TOURS, ITALY, FLORENCESANGIOVANNI BATTISTA

ON SHORT WALKING DISTANCE FROM PIAZZA SAN MARCO IN VENICE, WE VISITED FONDAZIONE QUERINI STAMPALIA MUSEUM. THE MUSEUM HAS CARLO SCARPA'S BEST RESTORATION DESIGN ON ITS GROUND FLOOR. CARLO SCARPA'S DESIG WAS CONCENTRATED ON FOUR EXISTING ELEMENTS OF BUILDING, THE BRIDGE,THE ENTRANCE, THE PORTICO, AND THE GARDEN. THE MOST IMPORTANT CHARACTER OF SCARPA'S DESIGN IS THE ENGAGEMENT WITH THE LAND-SCAPE, MATERIALS AND HIS OBSESSION WITH VENETO CULTURE. HIS DESIGN IS DEEPLY SENSI-TIVE AS WE SAW MANY DETAILS , WHICH SHOWS HE CONTEMPLATED ON EVERY SINGLE DETAIL IN HIS DESIGN. CARLO SCARPA'S DESIGN CELE-BRATES THE GREAT RELATIONSHIP BETWEEN THE OLD DESIGN AND HIS NEW RESTORATION. HIS DESIGN ACTS AS LAYERS THAT PASS THROUGH THE OLD EXISTING DESIGN WHICH GIVES MORE PURE BEAUTY TO THE SPACE. THE FONDAZIONE QUERINI STAMPALIA IS BUILT ON THE AXIS PARALLEL TO THE CANAL AND THE WATERGATE IS THE MAIN ELEMENT OF THIS DESIGN DESIGN TO LET THE LIGHT INTO THE BUILDING. IN MUSEUM, WE WERE ASSIGNED TO CHOOSE A SPACE THAT WE WERE INTERESTED IN, AND WE HAD TO THINK ABOUT THE SPACE AND DRAW ITS TECHNICAL DRAWINGS. I CHOSE THE SPACE THAT BY FAR I FELT IT WAS THE MOST TRANSITIONAL SPACE IN SCARPA'S DESIGN. THE CONCRETE BOX THAT HAS IRREGULAR OPENINGS THAT CONTAIN GLASS AT SOME PARTS AND JUST OPEN AT SOME OTHER PARTS. THE BOX IS THE FOCAL POINT OF THE GROUND FLOOR AND IT IS DIVIDING THE ENTRANCE TO MAIN EXHIBITION HALL AND THE GARDEN BEYOND THAT.

PEGGY GUGGENHEIM COLLECTION WAS DIFFERENT FROM OTHER MUSEUMS AND EVEN SOME PIAZZAS THAT WE VISITED IN VENICE. L SHAPED MUSEUM CREATED A COURTYARD THAT INCLUDES SCULPTURES,LANDSCAPE,SEATING AREAS AND OTHER WORKS BY PEGGY GUGGENHEIM. THE INTERIOR HAS GREAT EXHIBITION OF PAINTINGS AND SCULPTURES BY PEGGY GUGGENHEIM AND OTHER FAMOUS ARTISTS. THE BACKYARD OF THE MUSEUM IS EDGED BY GRAND CANAL.THE ELEVATED GROUND LEVEL OF MUSEUM MAKES IT AN ICONIC PLACE IN VENICE. THE PLAN IS ORGANIZED IN THREE PARTS. TWO PARTS ARE THE EXHIBITION HALLS THAT ARE SORROUNDING THE THIRD PART WHICH IS THE COURTYARD. PEGGY GUGGENHEIM COLLECTION HAS OTHER MUSEUMS IN BERLIN, DUBAI, BILBAO, AND NEW YORK AS WELL.

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SPANISH STEPS IS SITUATED IN CLIMBING THE STEEP SLOPE BETWEEN THE PIAZZA DI SPAGNA AT THE BASE AND TRINITA DEI MONTI, THE FRENCH CHURCH, AT THE TOP. IT IS KNOWN AS THE WIDEST STAIRCASE IN EUROPE. THE PURPOSE OF BUILDING THE SPANISH STEPS WAS THAT THE FRENCH KING WANTED TO CONNECT THE CHURCH TO THE CITY.SPANISH STEPS LEADS TO PIAZZA DE POPOLO BY VIA FELICE, AND IT IS ON THE RIGHT AXIS BY VIA CONDOTTI THAT IS THE MAIN WAY LEADING TO PIAZZA SAINT PETERS. VIA CONDOTTI IS ONE OF THE FAMOUS STREETS IN THE ROME FOR ITS SHOPPING STORES. THE SHIFTS BY THE EDGES OF THE STEPS IN EACH FLIGHT IS DIFFERENT FROM THE OTHER FLIGHT WHICH IN THAT SENSE THE SPANISH STEPS WAS MEANT TO BE IRREGULAR. THE STEPS THEMSELVES ARE ON THE PERFECT AXIS, BUT THIS WAS NOT THE INTENTION OF THE ARCHITECT. THE INTENTION WAS TO HAVE GREAT VIEWS OUT TO THE CITY WHICH WAS MORE IMPORTANT THAN HAVING SYMMETRICAL AND PERFECT AXIS STAIRS. THE MONUMENTAL STAIRCASE OF SPANISH STEPS HAS 138 STEPS THAT INCLUDE 12 FLIGHTS THAT ARE MADE BY CUT STONE BEARING MASONRY INITALIAN BAROQUE STYLE.THERE IS GREAT VIEW OVERLOOKING ROME AND THE FOUNTAIN AT THE BASE OF STEPS. THE SOBER FOUNTAIN WAS DESIGNED BY BERNINI.

PIAZZA DEL CAMPO IS LOCATED IN HEART OF SIENA. THE CENTER HOB OF THE CITY OF SIENA GATHERS ALL THE RESIDENTS OF THE SIENA FROM ALL THE NEIGHBORHOODS TOGETHER. THECAMPO USED TO BE A MARKET PLACE. THE GOVERNMENT DECIDED TO REGULATE THE BUILDINGS AROUND IT AND MAKES IT AS CIVIC CENTER OF SIENA. SIENA IS THE MEDIEVAL TOWNTHAT WAS BUILT OVER THE CENTURIES STARTING IN 1400'S. THE PURPOSE OF THE ENTERING WAYSOF THE CAMPO WAS TO CONTROL THE NUMBER OF PEOPLE WHO ARE ENTERING AT EACH TIME OFTHE DAY. THE TOWN OF SIENA WAS FAMOUS FOR MARKETING AND BUYING LANDS. THE CAMPO SLOPES DOWN TOWARD THE PALLAZO PUBBLICO,ONE OF THE ICONIC BUILDINGS OF SIENA.EVERY YEAR DURING THE PALIO TIME,THE CAMPO WELCOMES ALL GROUPS OF PEOPLE FROM DIFFERENT NEIGHBORHOODS FOR THEIR DAILY PARADES THAT STARTS FROM CENTER OF THEIR CONTRADA(NEIGHBORHOOD) TO THE CAMPO. THEY SING THEIR LOCAL SONGS AMONG HOLDINGTHEIR FLAGS. PEOPLE OF EACH CONTRADA WITH ALL DIFFERENT AGES MAKE THE CAMPO SUCH FASCINATING PLACE TO BE AND GET TOGETHER. AT NIGHTS CLOSER TO THE PALIO DAY, AROUND 2000 PEOPLE CAN BE SEEN EVERY NIGHT HANGING OUT IN THE CAMPO,EATING IN SURROUNDING RESTUARANTS.

THE DUOMO DE SIENA IS ANOTHER MAJOR ICON OF TOWN OF SIENA. THE CATHEDRAL IS THE BEST EXAMPLE OF THE ITALIAN ROMANESQUE-GOTHIC ARCHITECTURE. THE CATHEDRAL WAS DESIGNED BASED ON A UNIFORM PLAN AND IT IS CONSIDERED TO BE SUPERIOR DESIGN. THE FRONT FACADE OF THE CATHEDRAL STARTS TO DETAIL SUCH AS BIZANTINE CHURCHES. THE GEOMETRY OF THE FRONT FACADE IS FASCINATING AS ALL DIFFERENT LAYERS AND GEOMETRICAL SHAPES CREATE THE DOMINATING ITALIAN GOTHIC FACADE FOR THE CATHEDRAL. THE PLAN OF THE CATHEDRAL IS LATIN CROSS. THE PLAN OF THE PIAZZA IS ALMOST L SHAPE. THE BLACK AND WHITE STRIPES OF THE FACADE MAKE GREAT TRANSITION FROM THE EXTERIOR OF THE CATHEDRAL TO THE INSIDE OF IT AS THE BLACK AND WHITE STRIPES, WHICH ARE CONSIDERED AS COLOR OF SIENA, CONTINUES ON COLUMNS, BAYS, AND WALLS. THE CATHEDRAL IS LOCATED ON ONE OF THE HIGHEST HILLS OF SIENA WHICH FROM ITS EAST CONNECTS TO THE PIAZZA DEL CAMPO, FROM ITS WEST TO THE ESCALATOR SYSTEM THAT LEADS DOWN TO THE WEST GATE OF THE CITY FINTABRANDA GATE, AND FROM ITS NORTH TO THE GRAND STAIRCASE OF DUOMO WITH HUGE ELEVATION CHANGE. THE PIAZZA ITSELF IS SITTING ON ALMOST FLAT GROUND WITH JUST A LITTLE ELEVATION CHANGE ON ITS SOUTH EDGE.

GROUP TOURS, ITALY, VENICEFONDAZIONE QUERINI STAMPALIA

GROUP TOURS, ITALY, VENICEPEGGY GUGGENHEIM COLLECTION

GROUP TOURS, ITALY, VICENZATEATRO OLIMPICO

GROUP TOURS, ITALY, FLORENCESANGIOVANNI BATTISTA

PIAZZA DE POPOLO IS ONE OF THE LARGEST PIAZZAS IN EUROPE. THE PIAZZA DE POPOLO DEFINES ITSELF IT WAS DESIGNED FOR PEOPLE. THE PIAZZA IS SITUATED BY THE NORTHERN GATEOF ROME, PORTA FLAMINIA.THE PIAZZA WAS DESIGNED IN NEOCLASSICAL ARCHITECTURAL STYLE. THE NEEDLE TOWER AND THE FOUNTAIN IN MIDDLE OF THE PIAZZA ACT AS SYMBOLS OF THE PIAZZA. THE GREAT VIEW OUT TO BORGHESE GARDEN TO THE EAST DEFINES THE PIAZZA EVEN MORE AS AN ICONIC PLACE FOR PEOPLE OF THE ROOM,SINCE THE BORGHESE GARDEN IS SITUATED ON ONE OF THE SEVEN ROME'S HILLS. THE GATE IS WHAT FILTERS PEOPLE FROM THE NORTH INSIDE THE PIAZZA,AND THEN FUNNEL THEM OUT TO THREE MAIN STREETS OF THE ROME. THERE ARE THREE MAJOR CITY'S STREETS THAT BRANCH OUT FROM THE PIAZZA DE POPOLO THAT ARE ICONED BY TWO CLASSICAL CHURCHES IN SOUTHERN EDGE OF THE PIAZZA. ONE STREET IS ON PERFECT NORTH-SOUTH AXIS GOING TOWARD SOUTH AND THE OTHER TOO DIAGONALLY BRANCH OUT TOWARD SOUTHEAST AND SOUTHWEST.

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AS ONE OF OUR ASSIGNMENTS IN SIENA, WEHAD TO DOCUMENT THE MAIN ROUTE TO THE PORTA CAMOLLIA. AS A GROUP OF 4 WE DECIDED TO DOCUMENT OUR OBSERVATIONS ALONG THE PATH FROM THE CAMPO TO THE GATE. AS RESULT WE DECIDED TO MAKE PERSPECTIVE MACHINE THAT COULD INCLUDE ALL OUR OBSERVATIONS AS GROUP IN IT. THE MACHINE THAT IN ADDITION TO THE ROUTE TO THE GATE CAN BE SELF EXPLAINABLE. THE PERSPECTIVE MACHINE INCLUDED SERIES OF FRAMES THAT PROPORTIONALLY WERE GETTING SMALLER AS THE ROUTE GETS CLOSER TO THE GATE. ALL THE DRAWINGS AND OBSERVATIONS GET SMALLER AS THE FRAMES GET SMALLER AND MORE FAR AWAY FROM THE CAMPO.

DESIGN PROPOSAL FOR AN ARTISTS’ RETREAT HAD TO INCLUDE:IDENTICAL SMALL PRIVATE CELLS AND SEPARATE PRIVATE ART/DESIGN STUDIOS FOR (6) VISITING ARTISTS, EACH WILL BE IN RESIDENCE FOR 6 MONTHS. COMMUNAL FACILITIES TO INCLUDE LIBRARY, STUDY, DINING FOR 14, KITCHEN,LAUNDRY, AND CLOISTER. FOR OUR SITE, WE CHOSE A BUILDING FACADE NEAR IL PANO IN THE SHELL CONTRADA AND THE BACKYARDS OF THREE ADJACENT BUILDINGS. WE DECIDED TO KEEP THE EXISTING TYPICAL AND MEDIEVAL TOWN BUILDING OF SIENA AS MAIN FACADE, AND USE THE BACKYARD OF THE BUILDING TO PROPOSE OUR DESIGN. AS WE STARTED DESIGNING AS TEAM, WE DECIDED TO PROPOSE MODULAR NETWORK AND SERIES OF SMALL STUDIO POBS AND LARGER SPACES FOR LIBRARY AND GALLERIES. THE CLOISTER WAS CONCENTRATED ON THE CENTER AS IT IS SHOWN IN THE MODEL(WIRE MODEL), AND ALL THE PROGRAMS ARE ORGANIZED AROUND THE CLOISTERS.BECAUSE OF THE IDEA OF MODULARITY,THE SPACES COULD BE MOVED AS ARTIST DESIRE AND AS LONG AS THE CHAIN IS STILL BEING HELD.

DESIGN AND DRAWING EXERCISES, SIENAMAPPING

DESIGN AND DRAWING EXERCISES, SIENAARTIST’S RETREAT

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