DAISY AMES

Nolli & Piranesi Analysis

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This drawing investigates the geometries that lie within Borromini’s San Carlo alle Quatro Fontane and Sant Ivo. 

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For Formal Analysis we were assigned to compare the compositional elements of the plan and facades of two Palladian churches in Venice - Il Redentore and San Giorgio Maggiore. My diagrammatic drawing points out Il Redentore’s phenomenal transparency opposed to San Giorgio Maggiore’s lack there of. You can see that the columns in Il Redentore’s interior are derived from those of its facade, whereas the columns in the interior of San Giorgio Maggiore are derived from neighboring interior columns rather than those of the facade. 

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Sebastiano Serlio was an Italian Mannerist architect with little to no completed/built work. He interpreted regularized Renaissance palazzos and created his own un-regularized plan by making shifts and asymmetrical relationships. My drawing marks the regularized and un-regularized portions of the Variant of a House for a Venetian Gentleman. 

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For Eisenman’s Formal Analysis class last week we had to indicate the critical differences between the exterior and interior facades in Alberti’s Sant’ Andrea in Mantua. While the exterior and interior have analogous columnar arrangement, the interior facade uses the columns for affect, whereas the exterior facade relies on columns for structural support. the difference I pointed out is that the exterior relies on another set of smaller columns. Then, I brought the two columns’ spatial elements into the plan below. Interestingly enough, the space of the columns in elevation mirrored the spatial differences in the two types of side chapels. Following the black stip from elevation through to plan, you can read the spacial components as they translate in both cases. 

11x17 ink on mylar. 

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The objective of my diagrammatic drawing is to show the critical difference between the transepts of two Florentine churches - San Lorenzo and Santo Spirito. Architect, Filippo Brunelleschi learned from design complications in San Lorenzo and resolved them in San Spirito. San Lorenzo had shifted its transepts and disrupted the column grid in order to accommodate for the entrances to two larger side chapels - only one of which was built (exploded portion). San Spirito’s plan makes no shifts and reads as one harmonious, uninterrupted Latin cross church (semi-circular side chapels).

Furthermore, a critical similarity became apparent when I represented the additional bay of San Spirtio. As it turns out, the two cases of “added space” are spatially analogous (black strips). 

11x17 ink on mylar.