Nero's Palace: The Domus Aurea

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building as representation of status
intricate decoration: mosaic,murals, paintings
moving rooms
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"The Domus Aurea (Golden House), Rome (A.D. 64-68 and possibly later), was built or begun by Nero after the great fire in A.D. 64. It was less a palace than a series of pavilions and a long wing comprising living and reception rooms, all set in a vast landscaped park with an artificial lake in its centre where the Colosseum now stands. Most of it has largely disappeared. The main architectural interest lies in the wing just referred to, known as the Esquiline wing, which stood a little to the north of the lake and was subsequently built over to form part of the enclosure of the Baths of Trajan. It most resembled the country and seaside portico villas of Campagna, and was open to the views of and beyond the lake. The more westerly part, which was certainly of Nero's time, also had a peristyle behind the faade. In the centre, the faade was set back, following three sides and two half-sides of an octagon. To the right of this was the less conventionally planned eastern part, which contained the feature of greatest importance and originality. This was an octagonal hall roofed by a concrete dome, 14.7 m (50 ft) across the corners, and open on all sides to the garden or to surrounding smaller rooms—as far as is known the first appearance in a building of this kind of a new concept of interior space which was to come increasingly to the fore over the next half-century." - Sir Banister Fletcher A History of Architecture, p.246


Octagonal room, plan and axonometric drawing:

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The most interesting part of Domus Aurea for me is its social programme - architecture as a status representation, demonstration of cultural aspirations and power.
Extravagant decoration spoke fir itself: stuccoed ceilings were applied with semi-precious stones and veneers of ivory while the walls were frescoed, coordinating the decoration into different themes in each major group of rooms. Rooms sheathed in dazzling polished white marble were given richly varied floor plans, shaped with niches and exedras that concentrated or dispersed the daylight. There were pools in the floors and fountains splashing in the corridors.
The culmination of the house was a revolving octagonal dining room. Its mechanism, when operated by slaves, made the ceiling appear to move (although the room itself was actually rotating). Furthermore, the perfume was sprayed and the flower petals were showered on the guests.


Of course, Nero was a Roman emperor, so such inventions do not surprise, just fascinate. However, it makes me think - our homes are the same - a demonstration of our financial capability, of our taste, of our priorities in life. But where is the line when they become not a reclusion, but an open house of display?


 On the other hand, isn't our design work a status representation as well? It speaks of our creativity, craftsmanship, even financial investment in the project; and, after assessed and given a mark, puts us in a certain hierarchy together with our peers.

1956-1973
Carlo Scarpa: Intervening with History


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Foundation Querini Stampalia
Castelvecchio
Brion Vega Tomb
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craftsmanship
materiality
investigation through drawing
working on every component
symmetry
articulated geometrical relationships
intervening with existing historical fabric
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Throughout his work, Carlo Scarpa has been meticulous with every detail and the smallest of design elements, their finishes, material choices and joining points. He used drawing to work and rework his designs over and over again until the final idea has filtrated through.

His drawings are informative of the long process he had to go through, and it does reverberate with my method of working - pencil on paper is the medium I am most comfortable in. Many ideas are born from and develop through scribbles in my sketchbook. However, my platform is all about material experiments, thats how projects got kickstarted at the beginning of the year. Only through making you come across certain material qualities or project possibilities that you wouldn't have imagined otherwise. But I sometimes feel that my imagination runs faster than my hands can craft it into at least a sketch model, so thats when the drawing gets my preference.


I find Scarpa's material choices very interesting, especially in Brion Vega tomb, where fascinating wood patterns meet metal against concrete, lined with water and vegetation:

The plasticity and serenity into which Scarpa works the concrete, remind me of Tadao Ando's architecture:

Brion Vega

Tadao Ando's Church of Light

Nonetheless, I find Ando's work much more refined, elegant and spatially rewarding. In Brion Vega I sometimes feel that spaces are cluttered with detail and decoration, almost a sort of Baroque of Modernism.

I have to admit though, most of the details are beautiful and carefully designed, and the openings are thoughtfully placed to orchestrate an architectural journey, but somehow they do not work together.  Each element craves for attention and tries to overwhelm the other.

It's almost as if Carlo Scarpa wanted to show off numerous design exercises that he very cleverly managed to solve. 
However, it reminds me more of ornamented Art Nouveau than of purist Modernism.

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In design, I believe hierarchy is very important - hierarchy of spaces, hierarchy of decoration elements, hierarchy of images versus text, hierarchy of colours, hierarchy of fuctions, hierarchy of potential users, etc. It may be direct, chronological, sequential, it can be a narrative, a process, etc. or completely the opposite. I think in Brion Vega, especially its interiors, it is sometimes lost.