Project Description: Read and become familiar with the excerpt of Dante’s Inferno as well as Canto I, which introduces the scene and situation. Reread the selection, paying specific attention to a spatial analysis of the journey to create an itinerary. While specific moments are created along the itinerary, also take into consideration progression and the notion of memory. Acceptable literary elements you should incorporate in the analysis may include:

Character development
Environment
External characters (characters other than Virgil and Dante)
Syntax
Dialogue

And any other components comparable to those listed above.

SYSTEMS
The itinerary is to be constructed with an emphasis on the two characters, Virgil and Dante, and their personal perspectives of their situation. The two systems parallel and intersect one another. Secondary and tertiary systems should also be incorporated. Note: itinerary systems are primarily linear yet should also have relationships throughout, avoiding an exclusive line.

The drawing is to be composed on one sheet of 22x30 watercolor. The medium is to be pencil, with a strong understanding and reading of lineweights. Color must also be incorporated in the drawing. The specific means of the color is open to stickyback, chartpak, colored pencil, vellum, pastels, watercolor, and other mediums that accompany layers and translucency. The use of color MUST be neat, clean, and of course systematic.

Expectations: A thoughtful and thorough investigation of the reading as seen through a comprehensive drawing. Also expected is a complete understanding of the drawing, which includes the ability to explain and discuss the reading as well as the drawing.

Dante + Lorenzetti

The constructed mapping of the Lorenzetti fresco will take on a series of transformations. The mapping will be reinterpreted as 2 layers, ¼ inch each. The construction is folded along a specific moment, of which the new mapping will be 2 layers thick and the overlapped portion will consist of 4. This “constructed plane of 4 layers” will be articulated by your understanding of the mapping. Also introduced is the itinerary drawing, which will carve into the plane and introduce a new purpose in the model.

Components (3)

The “constructed plane of 4 layers” will be constructed of 4 layers of ¼ inch poplar and plexi (optional) each. The Lorenzetti construction will be folded along the location of the city wall. Each layer is to be articulated and have a relationship with the other layers. Strategic placement and thoughtfulness of void must also be resolved.

The itinerary piece will be constructed of basswood and plexi. It should embed itself within the layers, with a thorough and responsive dialogue between Lorenzetti and the Inferno. The itinerary should extend past the boundaries of the “constructed plane of 4 layers” in two locations, one for Dante’s itinerary and one for Virgil’s itinerary.

Two moments (one for each character), where the itineraries extend past surface. Moments are 4” x 4” x 4”. The moments are constructed through an analysis of each character of which a certain scale is also considered. One moment is to be primarily basswood with plexi. The other moment is to be primarily plexi with basswood. Both moments should be embedded partially into the “constructed plane of 4 layers”.

Project Objective: Draw direct relationships of the first two phases, they being:
1 Inferno Itinerary
2 Lorenzetti’s Urban Edge

Project Description: The model will be composed of three specific components:
1 BASE—two layers of ¼ inch poplar of which the 3 sections of the Lorenzetti image are translated. Either one layer or both layers are then folded along the spatial location/representation of WALL, so that the model ranges from 2 to 4 layers of ¼ inch poplar, highly manipulated with the spatial ideas of the painting. The manipulations further act to respond to the other two components of the model. Also expected of this component is the dialogue between the two layers and the thoughtfulness of cuts, voids, and mass. The base is NOT allowed to rest on the surface of which it sits. It will be supported strategically by itinerary and moment, NOT by arbitrary non-spatial elements.
2 ITINERARY—an introduction of the Dante mitinerary drawing into the folded plane, with emphasis on movement through, over, under. Translation of spatial movement of the itinerary drawing into physical model should also be highly thoughtful, relating the cuts and moves of the folded plane. It will be constructed of primarily linear wood and plexi, manipulated of course.
3 MOMENT—a process of understanding and applying spatial characteristics of Dante and Virgil will yield a series of actions.

Create a list of 4 spatial vocabulary terms for each Dante + Virgil, a total of 8 words. Think also about how the two relate to each other.
Construct two moments, one for Dante and one for Virgil. These should be integrated with the plane and itinerary. Placement of moment is important and should directly correspond to itinerary, which will act as movement from the moments. The moments are not specific in their location of the plane, however should spatially tie into the context. The moments themselves should be highly spatial while maintaining hierarchy of space. The moments will be constructed of basswood and plexi.

IMPORTANT NOTE: The model, particularly the moment components, will take on a scale where a person is “this” big. The models are not literal representation of rooms or ground/path; they are a spatial understanding of occupation, envelopment, movement, etc. of a given scale. Hierarchy and scale should not be neglected, but further contemplated and understood.
SECOND IMPORTANT NOTE: The model and its components should take on a spatial complexity that ultimately goes beyond the narrative of the story and painting. It is important to draw out spatial understandings of these catalysts and develop the spatial relationships between components.

Expectations: A neat and articulated model is expected, as well as an understanding and ability to explain the particular components of the model. Craft is highly important, as this is the final model of the semester. The relationships between the 3 components are crucial in this particular phase of the course. Also expected are the continued learning and execution of intelligent use of scale, material, and space.

home

projects