The driving ideas behind the depend on the ones raised by the frescoes in the Palazzo Pubblico in where a government can be concluded to be either good or bad based on the depicted scenarios in the paintings. The good and bad are closely related to “good and evil” for they have a strong attachment to the government’s ability to rule in accordance with religion. So needless to say the tragic, famine infested setting is to trigger a connection to an evil-driven government. The successful and prosperous governments are depicted in scenes that are to be read as a result of faithful and holy governance.
My criticism is that there is not a distinct black & white situation where a government can be judged as successfully good or ineptly bad. This notion is represented through the dissociation of governments and religion in the separation of extremes.
While separate, both should reveal that there is not a necessarily good or bad case and instead it is only a matter of perception and attachment to specific values. The intention is to ultimately highlight the dependence of both extremes to one another, and conclude that the idea of a good and bad product from the government is merely a byproduct of behavior, resulting in an effect or cost.
On the supposedly “good” government poster discusses a condition in which the government establishes a satisfied and effective social status. Activities can be carried out freely. Awesome products and leisure activities can be carried out. In this scene, people are taking advantage of the opportunities provided by the investment in technology and liberal policies adopted by the government.
In the “bad” government aspect of the picture, the focus is on the procedures necessary to acquire the goods needed for a comfortable and “productive” lifestyle. Procedures such as food production, death quotas by medication/diseases, wars, political policies/education and investments can be identified as the “cost” or effect of a demand for an understood forward-moving society.
For this exercise, the objectives were to successfully recreate the physical encasement of the piazza that accurately expresses the special qualities of the place. San Quirico however, is a bit different from the other more conventional spaces. In time its proportions have allowed it to best identify with a program of a more modern character, essentially a parking lot. Even though its elevation reveals that it in fact is part of the oldest part of the city, and the tight, almost timid spaces are not a reflection of importance but of legacy. On hilltops space is a very precious thing to find, so in order to open up room for the use of the public realm was nothing short of a luxury. Piazza San Quirico is that luxury; which of course was considered in order to sustain the activity that would come from the church of San Quirico.
The project was a pretty challenging task: limited time to generate a counter intuitive 2 dimensional representation of the space. This piazza in a flattened state should have embedded within it the ability to fold any necessary amount of times in order to ultimately create a 3 dimensional simplified version of the actual space. In my experience it took one try to experiment with the folding and orientation and in the second iteration I began to solidify the objects more distinctly. It is always gratifying to see your creation coming together, especially when you started from scratch.
Porta San Giuseppe is a tricky key piece that is responsible the various conditions of arrival, entering and exiting of the city in its south-eastern territory. Its presence in the end of via Giovanni Dupre Marks
where as in the opposite effect, it is the first marking threshold into the inner corridors of the city for a person arriving through Porta Tufi and its designated parking deck.
Interestingly enough, the physical form of the porta seems to inherit its complex role in the fabric of Siena, and has built up so many layers that it becomes impossible to identify its point of convergence.
The gate is composed of an angled piece that responds to two main ways in Siena, turning circulation appropriately to its new grid completely unnoticed. Within the framing piece of the arch there are a series of evolved semi arches that have each a unique criterion to respond to; and together they all work to reinforce the purpose and character of the Porta.
The analytique has taken on a collage approach in the representation of the documented state of the subject, because it can more successfully relate the experiential influence of the gate with the hard lined analytical drawings that anchor the object within the entire setting. The focal point of the page lies in the positioning of the Porta San Giuseppe in plan, which then further guides the main hard lines which are the visual turning moments where the gate behaves as a key to realign the user into a new grid. These lines then work to orient the placement and orientation of more drawings that can be noticed throughout the page discretely within larger drawings. Ultimately the lines projected from a single plan, reveal the objects, directions and ideas that Porta San Giuseppe attempts to respond to in its complex form. This approach should attempt to cover the many scales in which the gate participates in.
Today we made a trip to Florence as a group, for most of us whom had already ventured out of the walls of Siena for further exploration, Firenze was the next hub over; So I wouldn’t be surprised if some of us found ourselves looking out of the bus window and seeing an elegant riverbank and really wanting to go there. Today is our chance to officially do it.
Morning started out rushed as usual, always trying to get the most out of the day we wake up before the sun does, take the first bus to Florence and sleep on the ride. Once in Florence we estimate that we are far too early to do anything so we go around in search of food and we found it, McDonald’s of course. While eating the not-so-ideal breakfast in front of the Santa Maria Novella Train Station which sounds much cooler than it actually is. To make the day more difficult, we were welcomed to town by a crazy old lady across the street who insisted in pointing to the sky and screaming rambled words with a tone of importance. That alone clearly got our attentions, but it didn’t prepare us for the second half of the show – she took her clothes off….
At Santa Maria Novella I finally got to be face to face to the facade of genius of the renaissance. It was much smaller and tucked away as I had imagined, but its presence was still pretty impressive.
Moving about and going to the streets of Florence was exciting and even more exciting was unexpectedly running into famous projects; it’s pretty sad to say, but it feels like encountering a celebrity.
The cupola of the Duomo was where you should be. Once again, a never-ending stage of only stairs, spiral stairs. When you finally reach the top the air is the freshest you have ever felt it. I’m sure this wasn’t intended but they didn’t need all of the depictions of hell and the purgatory on the way to heaven, the journey to the top of the Dome is exactly that.
Overall Florence is a large town with plenty to see, shop and discuss about. Its charged history and remaining proof of what once was thriving here makes it stand apart from most other tourist infested locations in Europe.
So split, how can I begin? It’s a port city thriving with tourism ( to our surprise). But with Roman remnants scattered throughout the centre, it makes for a pretty interesting place to walk around and discover; much like a mini version of Rome. So what new does it have to offer? The streets are filled with commerce-stands, stores and most of the time when you look over to the side you are reminded of its naval setting and you’re brought right back to the greater scale of its routes to the Mediterranean.
Taking a taxi to the hotel was nice because it gave me plenty of chances to observe and absorb the culture; its similarities to the rest of the Europe that i know of, and its similarities to the other cultures that until now are still a mystery. The hotel was very nice; its brick construction is nostalgic of previous beach towns I’ve stayed at. The bathroom, room and balcony overlooking the bay are gratifying after the never-ending “ferry” ride. Front desk speaks English, free internet, free soap, and to my discovery from Moe’s practical joke, free porn. I can’t help but to imagine the scenario where a person walks into the room and is welcomed by the soothing sounds of females moaning and sensually dictating phone numbers in German as if they were provocative words. In other words, even though the euro didn’t make it here, Europe is still very much in this place.
Split turned out to be the best investment of time and money within the limits of our capacity. the afternoon in this place is certainly memorable. The streets were infested with people, tourists and locals alike, while in the background nature continued to do its amazing job like a cherry to top it all off. The energy in this place is enough to make you start treating it as home and want to stay here for a few more days; it would be pretty hard to top this. Split is a good place for spending the afternoon walking around the medieval streets, people watching, following crowds and observing architecture. At night there is also a very active circulation of people of various ages with plenty of things to do, from watching a live band on the strip park, or for a more local approach as we came to discover, go to bars and clubs by the bay. And the morning isn’t any less involving if you are an active person. The beach scene was already vibrant when we arrived, and before we even left the hotel; Croatians do very much enjoy outdoor activities. the Mediterranean beach was bumpin. The bays of green and blue water were stages for human performance and interaction, pretty much taking the place of the Italian piazza; except more awesome (eastern euro style) just google kazantip and you’ll know. Taking my chances and seeing it for myself was definitely a good experience, and a positive turn out of events.
The history of the Mediterranean Basin was what Peter Lang had in store for us yesterday morning. Surprisingly, his ability to stick to topics of substance allowed him to hook our interest through the entire session which successfully communicated the desired intentions of the lecture.
Afterwards we went out and once again took a swing at finding the mysterious Fountain of Follonica, which was one day another place for gathering for the people Siena. The fountain is well placed for it being situated within the fortress walls but seems a bit secluded considering that it is located at the end of a valley, away from where the apparent city limit is. Regardless of its use, the fountain is a gorgeous structure and similar to the other rather hidden fountains scattered throughout the town. The irony to me is how in the tourist map, the Fonti di Follonica is represented even though it is virtually inaccessible, while some of the more accessible fountains are not. I can only guess that the intention may have something to do with the preservation of the two somewhat delicate assets of the city. or for a less speculative assumption, it may have been a simple decision made by the graphic designer.
Of course we again ended up in the Campo, sitting and interacting with the locals, tourists or local tourists? Just being part fo the event is what is appealing to us.
Today, we once again paid the Zebra church a visit, only to wait for it to not open on time. But at least it wasn’t as if I was on a schedule (or anything)
We were sent to the unknown like Iberian sailors, with the intention of finding something we had an idea of and turned out to be far from actuality. And like the Portuguese did not find an alternate route to India, we group Parkour did not find a well presented object holding the corner or two streets, or at the bottom of a staircase but instead we didn’t find it at all. It was confusing – the map was signifying that the fountain was there but absurdly, it was nowhere to be found. To add to the suspense there was not any distinct evidence that it was not there either. Instead we were surrounding the area where the map pointed to be a fountain and had no visual confirmation of it not existing. Great that’s all we needed, nothing more than a rumor of a fountain we need to know for the completion of our project. This isn’t over.