The students observed, selected and recorded a series of architectural and atmospheric elements from the field trip to Rome. These were documented in sketch books and then investigated through different mediums when back in London. This formed a collection of elements to assist in the building project.
Model representing Casa dei Crescenzi’s relationship with time. The present day is represented by opaque materials, while demolished structures are in clear acrylic. Ancient architectural spolia are in white plaster, while Medieval details are in semi-opaque wax. Copper wire represents the now-invisible link between Casa dei Crescenzi and the nearby Ponte Rotto.
The layout is abstracted from the Altare della Patria, located at the centre of ancient Rome, yet a modern forum characterised by a colonnade. The model seeks to convey the variation in scale for each level whilst bringing out the grotesque nature of Rome.
The model is based on the experience of visiting St Ivo's and the geometry and sizing of building elements which warped perspectives. The viewer is able to pick the model and peer into several viewpoints to see a certain perspective; each viewer explores St Ivo in their own way.
A comparison between and transformation from the old elements in Rome to the new ones. By looking into the mapping of the city from different periods of time and choosing elements that merged together over time, the concept is expressed by a vertical landscape that covers a range of scales and materials.
The model explores the layers of elements which articulate the detailed façade of one of the gates in the Roman Forum. Alongside the ornate Roman gate, the model is designed to create various viewpoints: when looking through the model each viewpoint creates a unique image of what’s behind.
The plaster model explores the notion of scale in Rome. Using the Nolli map as the base, various objects taken from prominent landmarks were skewed to different scales. Focus is placed on the junctions between the scales: a 1:10 tile melts into the urban fabric whilst a 1:200 column from the Pantheon protrudes from the ground.
A close analysis of Chiesa di San Carlino Alle Quattro Fontane, a church by Borromini: the architecture has been studied through its careful geometry and allowance of light. Exploring pockets of space within the ceiling and the manner in which shapes are distorted, a series of models that formed a 3D experience from 2D images was created.
A project trying to capture the rooftops of Rome, with the idea that shadows suggest what’s behind, that which cannot be seen. Like a stage set, the model is made with a specific line of sight, creating a scene when aligned.