Experience at the Accropolis

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Elegant symmetry

I recently had the privilege of studying some of Andrea Palladio’s seminal work in Vicenza. The father of the neoclassical style, Palladio mastered the art of symmetry and classical orders, simple proportions, and elegant design that was functional and very pleasing to the eye. 

Lines on a Page

Sometimes one reaches a point when experiences are far too much to process and express, in those cases, it is often best to execute a “memory dump” either writing or drawing (or whatever one’s preferred method of self expression) whatever random things are cluttering the mind, essentially clearing space for the experiences to be thoroughly processed. To some it may seem like gibberish, but it is an important step in the process, and for those who are looking, it can hold some secrete beauty.

Organic Growth

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perspective of the rear of the Museo Santa Maria Della Scala

In the medevil hilltop city of Siena, there is a building complex, that at one point was the Ospidale Santa Maria della Scala.  It has since served many functions, and now has been converted into a museum. Over the centuries the building complex has been added to more times than can be numbered, and not it is a conglomerate of seemingly ramshackle layers, each one adding to the story. I first experienced this building from this perspective and immediately was presented with the urge to explore it. It looked so interesting and irresistible.

Imagine my excitement when I came around to the other side and discovered that is was a museum, and still more when I began to explore the exhibits in the catacombs dug into the hill on which the building sprawls.

Orsanmichele, [de]scribing the city.

Frames and negative space.

Fabric, insterstitial, space between. 

There is museum in the center of the city, who’s top floor thrusts itself up above the rooftops and with 10 massive windows frames the city below.most of the notable buildings are visible from these windows, however, as with all of Firenze, the viewer is never offered a frontal view, or a complete picture. Instead, each icon is shown as a focal point in the composition, but onlya portion is shown, the space between the icons, and from each icon to the edge become s a beautiful study in negative space, such that the space between the iconic bioldings, the city fabric, becomes celebrated as something beautiful. 

30 in 30, #9

A view from inside Orsanmichele, showing how each frame is composed individually, but the foci are never frontal, but instead, off to the side.

30 in 30, #10 

The inside of the upper piano is also just stunning to look at. The ceiling is at least 40ft to the bottom on the beams, and then the vaulting continues above that.