Project Type: Academic (Analytical and Graphical Exploration)
Institution: Woodbury University, School of Architecture
Year: Fall 2011 -Spring 2012
Case Studies: 
+ Franciscan Church, Salzburg, Austria.
+ Vladislav Hall, Prague, Czech Republic.
+ St. Mary’s Church, Stargard Szczecinski, Poland.
+ Church of the Assumption, Bechyne, Czech Republic.
+ Kaseh-Sazi Dome, Unbuilt.





These drawings were produced by Maxi and his students at Woodbury on seminars investigating issues of both representational media and generative geometry.

Critic & Curator: Maxi Spina, Associate Professor
Drawings by: Maxi Spina, Conner MacPhee, Giancarlo Cassia, Jennifer Pope, Laura Castillo, Raúl González, Richard Tsui, Sal Vargas and Steven Copeland.



2014  102nd ACSA Conference Proceedings, p. 97-98.  
2013  suckerPUNCH
2013  “Uncertain” Group Exhibition, WUHO Gallery.
2013  “Rhythmic Space” Solo Exhibition, Wedge Gallery. 

Rhythmic Space [Structure and Texture in Vault Design]

Rhythmic Space showcases analytical drawings of case study buildings composed of complex vaulted-ceilings - enlisting cellular and fan vaulting, and curved ribbing, while producing figural motifs ranging from ‘diamonds’ to ‘petals’. While disparate in their geographical and historical origins, the buildings studied here offer the most advanced examples of spatial composition by means of geometrical and formal experimentation. 

Employing vector-based techniques of representation, Rhythmic Space approaches its subject through the evolution of a precise visual syntax that connects different geometric orders through complex set of relationships. The scale transitions and measurements of the Vault’s projecting ridges, valleys and ribs are marked by the expansions and contractions of a drawing technique which works right at the juncture between the diagrammatic and the figurative. 

By employing several drawing techniques, including notating, diagraming and vector mapping, the exploration navigates the unstable boundaries existing between the topographical connotation of space and the rhythmical undertone of structure. In this way, different orders of vault subdivision find their correlated representation through density shifts in vectorial textures, which imply depth through gradient variations in light and shadow. In keeping with the fascination with the unstable margin between structure and texture, Rhythmic Space explores the conspicuous intimacy existing between complex formal compositions and spatialized graphic fields.