WELCOME.

This web-blog is intended to act as an accurate representation of the work produced during the 2009 Siena Studio.

My name is Jason Ring, & I am a Graduate Student studying Architecture at the New Jersey Institute of Technology. This summer, myself & other Grad / Undergrad Students partook in a 12 week program which was divided between 6 weeks in Newark & 6 weeks traveling abroad in Italy.

Everything you’re about to see / read has been produced or photographed by me (with the exception of the group assignments, which are collective). Everything else has been cited to order to give proper credit to whomever responsible.

These are the following people I collaborated with:

(de)FRACTURE (Newark, NJ) with Josh Lindemans, Stacy Mulrain, & Joel Okpala.

COLLAMANAGE (Rome + Siena, Italy) with Stacy Mulrain, Carlos Rodriguez, Cory Attardo, Steve Schreyer, & Caitlin Palamara.

To get the most accurate portrayal of our journey, I suggest you start from the first entry & work your way backwards.

Take care & enjoy,

Jason.

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SAN GIMIGNANO.

For our final week, a few of us decided to stay local. I actually enjoyed this because I was able to spend leisure time in Siena & not have to really worry about the mapping assignment or getting to the internet cafe on time.

Carlos, Toni, Steve, Cory, & myself decided to set out one day for San Gimignano (we wanted to stop by Monteriggioni as well, but we got a late start). Anyway we caught a bus which let us off at Poggibonsi which was interesting, but there didn’t seem to be a whole lot going on by the bus station.

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We did stumble across this really superb “pixilated man” sculpture, which Cory & Steve were quick to make friends with. From there we caught the bus to San Gimignano. It was brought to my attention that you can actually see the numerous towers of this hilltop town from a few miles away.

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The Duomo.

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I drew these two images inside the Duomo. The interior space of the Duomo was rather dark. The largest window was behind the alter – this created a silhoutte of the crucifix. I also found the San Gimignano version of “Mister Know It All” here. According to him the painted walls of the Duomo are the “first known use of perspective.” I’m no art historian, but… I don’t believe that to be true.

To be honest I wasn’t blown away by San Gimignano; it reminded me of another iteration of Pienza. Though, I have to say though the views of Tuscany were absolutely breathtaking.

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Two Towers. 

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Carlos & Toni.

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PISA.

Today Cory, Steve, & myself visited Pisa. Here’s how our day fanned out:

1.) Took a 2 hour bus ride from Siena; arrived in Pisa’s Galileo Airport.

2.) Rode the city bus for 30 mins to the Piazza del Duomo to see the Leaning Tower. We also each received a nickname from Steve. I was “Information Boy,” Cory was “Time Boy,” Steve himself was “Map Boy.” Bottom line: we did not want to miss the return bus home.

3.) Walked / took pictures for another 30 mins. Saw people pose like idiots, were all unimpressed by the Tower itself, but I was actually surprised to see that the Battistero leans as well.

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Tourists.

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The closest I got to posing.

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The Leaning Baptistry of Pisa.

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4.) Took a 30 min. bus ride back to the airport.

5.) Rode another 2 hour bus back to Siena.

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This was actually one of the more exciting things I saw all afternoon.

CONCLUSION: Steve made an excellent point. The Leaning Tower is an inspiration to us all as Architects, because it proves that you can completely mess up, & yet still have people travel all over the world to see your design.

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COLLOMANAGE, part 2.

Today’s final review went rather well. Our group created a physical map of our spoke which represented the different mapping focuses. I used different colors of yarn to three-dimensionally represent my previous trace paper drawings. Those different colors represented different starting points & directions. For example, Red yarn represented the documented movements toward Porto Romano / Yellow yarn was for movements into the historic city / Blue yarn stood for the few examples I found of individuals starting at the Terzi & moving down Banca di Sotto. I then attached Green yarn to the corresponding path to demonstrate various moments of pause & Beige yarn to show the points & directions of photo opportunities.

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I understand these images may be confusing in a two-dimensional picture format, but I’ll try my best to explain what else is going on. The bottle caps represent Steve’s parking analysis. Plastic vs. Metal are designed to demonstrate different types of parking along our route. If you look closely, Caitlin’s wooden doors are collaged into the large scale map. The large cardboard fins you see represent Stacy’s topography; which vary in different slopes & thicknesses. Carlos & Cory have their mapping analysis hanging from the ceiling, which you’ll see in the foreground & are meant to be read stepped away from the iteration taped to the wall.

Our group then set out to create some kind of intervention that was representational of our findings. Influenced by the Sienese painter Ambrogio Lorenzetti, we attempted to update his famous three-wall mural found inside the Palazzo Pubblico; we focused on the one wall entitled “The Effects of Good Government on Town & Country.

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The construction of Siena’s wall creates a very clear distinction between what is city & what is country; traditionally there has never been an in-between environment. This is beautifully documented in Lorenzetti’s full piece. Today, three conditions exist: the historic center, the suburbs, & the country. What we wanted to convey is two extremes, both possible futures for Siena as a whole.

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The first example we entitled “Good Siena.” In it a balance is ultimately reached between the residents of the city & the tourists who visit. The city itself is able to thrive, while the suburban areas begin to infiltrate inward. Unlike in Lorenzetti’s piece, the wall does not create a barrier, but is instead breached by the surrounding community. With this we foree the possibilities for an exquilibrium between the historic & contemporary / city, suburbs, & country / insider & outsider.

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The second example is the other end of the spectrum; we called this one “Bad Siena.” In this example tourism & commerce take over. Siena turns into a variation of Pienza where the exteriors remain, but what goes on within is inauthentic. The scene itself becomes a forgery of what the city once was. The suburb doesn’t really exist at all & the Tuscan landscape transforms into the typical inhanced photograph seen on the common postcard. Things we discussed were the possibilities of contradas being renamed after corporations & the Palio becoming an event that takes place every afternoon.

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TOURIST TYPOLOGIES:

After spending a few weeks documenting tourist circulation patterns, I began to see typologies of characteristics & general attitudes. The following are the most common types of tourists I noticed while continuing my research in mapping.

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The Lemmings: They’re typically a group of tourists that follow around a guide for the afternoon. They’re pretty easy to spot because they move much like a heard of cattle; if you get caught in their way, chances are you will get trampled. Typically they come across as loud & rambunctious. I determined this is probably because they feel safer being part of a pack rather than wandering by themselves. Essentially, they see & hear whatever the guide wishes to tell them. Every once in a while, one will step out of line & ask a very basic & insignificant question, but this is a rarity. The image above was taken inside the Campo two days after the Palio. The guide is attempting to explain this to a group of wide-eyed French tourists who are probably hearing about this “horsey-race” for the first time.

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Mister Know-It-All: This guy thinks he’s a tour guide, but actually isn’t. In reality he’s just someone who’s visited the city on more than one occasion & therefore thinks he’s gotten everything figured out. If you listen to him long enough, you’ll find holes & contradictions in the information he’s more than willing to share with you. The people he drags around frown upon the Lemmings because they’re clearly less priviladged. They also ask the same tourist-related questions, but are more willing speak their minds. This photo, also taken inside the Campo, shows Mister Know-It-All explaining the matching facades of the Palazzo Pubblico to the structure across from it. I followed this group down Banca di Sotto, where the man in the blue shirt asked about the rings on the building facades (originally meant for tying up horses). He responded by saying, they ”probably for decoration” & quickly changed the topic back to something he wanted to talk about instead. 

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Miss Itinerary: This individual is very similar to the Lemmings, except she prefers to wander off on her own (or so she thinks). In actuality, her circulation within the city is predetermined by a text. The major difference here is she has the ability to start or stop as she pleases, skip over what she chooses to, or deviate from her planned route. These tourists are probably the most common. They’re also easy to spot because you’ll frequently catch them outside… anything of importance, reading either to themselves or aloud if they’re within a group.

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The Starers: The starers are my personal favorite because they’re clearly wasting away their vacation. Their characteristics are probably the simplist of all the typologies. They stare, & do nothing else. They wander in silence & approach anything “shiny.” They essentially just… walk, look, & go home. They clearly make no efforts to digest or attempt to understand the city. On an unrelated side note: I didn’t even realize how sweaty the guy in white was until I printed this image out for our final.

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The Speed Reader: This person, always seems to be in a rush. I followed one from Porto Romano who must have taken a gigabytes’ worth of images within the span of ten minutes. Anything that appears to be of some minuscule interest instantly become a snapshot, whatever it is. The majority of the time, this tourist has absolutely no conception as to what they’re taking a photo of. She never comes to a complete stop, but will often pause for a split second, only to take another picture. What goes through her mind must be: “I’ll digest this trip later, when I get home.”

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The Compulsive Video Guy: Like the Speed Reader, this guy never knows when to turn his camera off. The only Siena he sees is the Siena that’s through his video camera’s LCD screen. He has no interest in viewing the city with his own eyes, & is more interested in bringing home something to show his friends whenever they ask, “So how was Italy?” The guy in the image above had an enormous love affair with his zoom lens & would constantly have his kids stage something cute or funny to be captured on film. Which angered me since it meant his video isn’t even a genuine documentation of their family trip.

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The Pointers: I personally like the pointers a lot, most likely because I’ve discovered that I am actually one of them. They’re much more inquisitive than the typical tourist, which is funny because they’re always under the impression that they’re discovering something no one else in the history of Siena has ever seen. You’ll always find them in small groups, but you won’t know who they are until one of them will stop, nudge the person along side them… & point. This typically ensues a few brief moments of staring, followed by an argument about what it is they’re looking at. They’ll then move onward searching for the next great adventure to stumble across.

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The Inconsiderates: These are probably the most famous of all tourist group typologies. They’re not as common as you might think, but they stand out with their ridiculous clothing & sheer insensitivity to other cultures. They’re the type of people who will take a trip to Italy & then get angry when no one speaks English. They’ll walk in front of the street cleaners & refuse to move, will dump their trash on the steps of San Martino, and are most likely the ones responsible for the graffiti inside the stairwell of Brunelleschi’s Dome. They have no real conception of Italian culture or  what is considered rude or impolite. All-in-all, they make no effort to fit into the local scene & take pride in the fact that they are a tourist.

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POP-UP PIAZZA.

The purpose of the Pop-Up Piazza was to create an accurate, physical representation of an assigned piazza space. This three-dimensional “pop-up” was to be constructed from a single sheet of water-color paper. That sheet could be scored, cut, or folded, but the sheet must remain intact; i.e. pieces could not be completely severed. The project also had to be able to lay flat as a single sheet & be able to reassemble. Upon hearing the description of this assignment I was both excited & apprehensive. I’ll be honest, I was probably the most difficult & frustrating project we had all trip. I must have made about 18 different iterations before I found one that worked successfully. With that said, the end result proved to be much more rewarding.

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Santa Maria di Provenzano my church. We were to include not only the church itself, but the piazza space & the surrounding buildings. Here are some drawings, a few failed attempts, & finally the completed piece.

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Approaching from the street.

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Interior of the Piazza.

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Measurments of the space.

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Failed attempt.. getting there.

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Final Pop-Up folded flat.

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Final Pop-Up… POPPED-UP!

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ASPECTS OF URBAN FORM ESSAY.

       “Over the last week or so, my opinion on Rome, Naples, and Siena has changed enormously. Upon my initial draft, I attempted to critique each city’s success in regards to social and historic integration. I saw Rome and Naples as similar entities, in that they both perform well as a city and yet are also successful in interweaving a multitude of architectural, cultural, social, and historic layers. To contrast this point, I wanted to compare these two examples to Siena; a city in which I considered to be the antithesis of the woven Rome / Naples. I also sought to argue how Siena’s lack of integration between the historic and contemporary, as a “frozen city,” is a major concern. The cause of this I concluded was as a result of the local contradas as this “impenetrable force” that will not let outsiders within, thus causing a very clear distinction between what is an outsider, and what is actually Sienese. I then thought over the issue at hand, and realized that not only was I sniffing around in the wrong direction, but that there is a much deeper, and more important social issue at hand.

       In reality, Roman is not the ideally successful city that I once believed it to be. The harmony I initially alleged to be present actually does not exist. The truth, as I now remember, is that Romans do not live within the city center, but rather on the outskirts; they then commute in. Theoretically, this makes everyone an “outsider” (commuters and tourists alike) in one degree or another. Yet, as an industry, tourism has sucked the city dry. Its monuments and sacred relics are put upon display as more of a museum, rather than an integral part of the social environment. The result of this has created trinket shops and tourist traps within the negative space of what once was the city’s previous iterations.

       Naples, on the other hand, really is different from Rome. The way I see it, Naples operates much like New York City, in that an apparent equilibrium exists between the contemporary and historic. Yet, unlike Rome, this integration works within the context of the city, rather than as bulleted pedestals. On the other hand, in regards to tourism, much like Manhattan, the residents of Naples act in what I believe to be a very similar manner. As an outsider, I felt I was treated with some distain and that my presence was fairly unwanted and ultimately intrusive to their everyday lives. The vibe I received from the city was that the people of Naples want nothing more than for their intruders to disappear, and for the city to be left alone.

       Then there’s Siena. I still believe there is a very clear distinction between what is Sienese and what is not. Unlike Rome or Naples, the local residents appear indifferent and somewhat uninterested in the leaches that are feeding off the blood of their city. From what I’ve discovered while mapping, two Sienas exist, and yet operate simultaneously, but realistically completely disconnected. Originally I viewed this as a real dilemma, that it is the residents’ responsibility to incorporate what is contemporary, and integrate themselves more successfully with more modern times. I now realize that “we” are actually the problem. I’ve been informed that tourism has grown steadily within the last few years. I’ve also learned within the last few weeks that due to increasing housing prices, the residents of Siena are forced to move to the outskirts, and as a result, are replaced with an abundance of tourists and college students. In reality, it’s the outsider who is taking control over the city. If this trend continues, the Siena we now know will eventually become a smaller iteration of what Rome now is; where everyone in one degree or another is an outsider and everything is either on display or up for sale. This cannot happen. So, is it our job as tourists to just go away and leave these people alone? Or do the Sienese need to band together and chase us out completely? I don’t really know the answer to this predicament. But I do know that this concern needs to be more acknowledged, and actions must be made before the city transforms from a breathing entity to an unanimated spectacle.”

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