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#self portrait #moi

linear space planning (museum program)

summer 2020

#Tyler School of Art and Architecture

bubble diagrams depicting programmatic elements to scale

summer 2020

#Tyler School of Art and Architecture #sketch

Columbarium Designs

March 2020

#process #rhino #illustrator

Earring Rack Design [sun studies]

2.19.2020

#Tyler School of Art and Architecture #sun study #light study #earring rack

When prompted to draw a cemetery in thirty seconds or less, most people of the western world would produce a similar result: a density of U-shaped or rectangular headstones, and simple crosses, on a manicured surface. This is the cultural collective image of a burial ground. Perhaps what is most compelling about Aldo Rossi’s intervention at San Cataldo Cemetery is that it looks nothing like this expected result. The interior of the site is made up of three unique structures: a large cube-like ossuary, snaking columbaria wings, and several rows of burial chambers in a triangular formation. These interior structures are equally unornamented, and geometrically simple. His use of color in this project is often used to connect his work to post-modernism, though he vehemently opposed this distinction.

A competition was held in 1971 to build an addition to an existing nineteenth-century cemetery designed by Cesare Costa, of which construction began in 1858. Rossi’s second proposal, with some requested modifications, ultimately won the competition - though not without criticism. The jury described Rossi’s entry as “indifferent” and “ignoring the significance of the mystery and intimacy of death.” Along with his second submission for the 1971 competition, Rossi submitted a project statement entitled “L’Azzurro del cielo,” in English: “the blue of the sky.” In this statement, Rossi defended the supposed indifference of his design, arguing that, “since antiquity, death has become increasingly private, with the associated rituals reduced to keeping alive regrets, or grief. This left architecture the task of expressing history and the public, or collective, aspects of death.”

The shape of Rossi’s design almost perfectly mirrors the existing cemetery, employing a similar use of thick parameter walls to define and enclose the space. Inside, it is so open that thefull depth of the space is easily understood. Rossi left large portions of this space intentionally unprogrammed, stating that, “this courtyard for the city of the dead should be empty except for these three monumental structures.” Rossi intentionally employs this openness, and the mirroring openness of the sky to encourage introspection.

‘The Blue of The Sky’ is a repeated theme found throughout the project.The blue roofs of the long columbarium wings allow them to almost dissolve into the blue of the sky. The orange cube-like ossuary is the most demanding of attention. The journey to the structure, and then up inside of it, is not unlike the journey to the Brion Tomb. Once inside the structure occupants are confronted with a much darker space. Sunlight reverberates off of the orange exterior, through the square relief windows, creating a warm glow against the loculi cut into the walls. A large square portal in the roof lets daylight pour into the space, drawing the eye upwards. In his project statement, Rossi referred to this structure as a “celestial observatory.” From the square windows on all three additional levels, the blue of the sky and landscape beyond is understood.

It is fascinating to think that Rossi would’ve walked through the existing cemetery, among the fine sculpture and neoclassical elements, and arrive at the design that he did. These unornamented geometric forms are not uncommon in Rossi’s work, though many of his built projects exist within an urban fabric. Here, with a context of the rural Italian countryside, these forms are so abstract, so far from what is expected of funerary architecture, that they have an otherworldly quality. Perhaps this setting is what allows them to be so successful.

#writing sample #aldo rossi #Tyler School of Art and Architecture

#Physical #Sketch #Tyler School of Art and Architecture

Exploded Axon Diagram - Rhino/Illustrator

(November 2019)

#Digital #Tyler School of Art and Architecture

Newsletter “Cover” Spreads for Rittenhouse Needlepoint (2019)

A Finisher's Perspective on: Colorfast (and Not So Colorfast) Threads (Originally published July 2019)

For whatever reason, my eyes are just drawn to hand-dyed variegated threads. They're beautiful. Their flowing color gives us the in-between shades that we just can't get with solidcolored thread. They allow us to mimic the variation that we might find in an alpine meadow, or a beautiful sunset on a partly cloudy day.

Threads like these are, however, often susceptible to bleeding. With just a few droplets of distilled water on the rosy thread pictured above, the dye released after a matter of seconds!

This release of dye can be a potential nightmare for finishers, which is why we ask about it on our finishing forms. Here at Rittenhouse Needlepoint, we wet block most of your pieces - after testing the fibers for colorfastness, of course. Wetting the fibers, and the canvas underneath them, allows us to redirect the tensions in a badly skewed needlepoint. It requires, sometimes, a dozen dry-blocks to get the same results that you can get through a wet-block. This is not an exact science, obviously. Sometimes the paint used when the canvas was designed can release pigment once it is wetted. Sometimes the color bleeding will come from unexpected sources such as beads!

The most obvious sources of color bleeding will come from reds, greens, and dark colors. We test anywhere that a dark colored thread touches a very light color. Christmas-themed pieces such as green holly leaves with red berries on a white background are a perfect example of this.

But I am not here to tell you that you can't have it all! Working with these specialty threads simply requires a little extra care. Subscribe Past Issues Translate One option is to get in the habit of stitching on stretcher bars or a scroll frame so that your piece does not skew as badly (and therefore, does not need to be blocked as intensely). If you are a very tight stitcher, loosening up a little is also helpful.

You can also try to 'fix' the dyes in these fibers at home. After you've purchased your beautiful hand-dyed threads, take the tags off and make a bath of tepid to cool water and white vinegar. I like to do half and half, but 1 part vinegar to 3 parts water will work just as well. Let them soak, and then rinse thoroughly with tepid water to ditch the vinegar smell. Spread them out on a clean towel and allow them to dry.

And of course, if you know you have used threads prone to releasing dyes, you can always request to have your needlepoint 'dryblocked only.' The cost of finishing includes 1-2 blockings, so it may cost you a little more, but it will give you the peace of mind on your beautiful heirloom piece!

Thank you for continuing to trust us with your beautiful needlework. If you have any additional tips or tricks for working with not-so-colorfast threads, send them our way! We'd love to hear from you.

#needlepoint #colorfast threads #writing sample

Occupancy study of proposal for mixed-use performance space on vacant lot in North Philladelphia (Nov 2019)

#Architecture #Tyler School of Art and Architecture #Diagram #Architectural Diagram

Model Pavillion Wood Carving, Paper Crafting

#model building #model making #architecture student #Tyler School of Art and Architecture

Modular Screen Hand Drafted Section

#hand drafting #Tyler School of Art and Architecture #architecture student

Model modules hand-drafted, isometrically

#hand drafting #architecture student #Tyler School of Art and Architecture

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