not an easy book
This play of layers of openings is sometimes discordant in rhythm and scale: Vanbrugh' s giant arched opening at Eastbury and Armando Brazini's in the Forestry Building at the E.U.R. site in Rome illustrated the same kind of superadjacency on the inner and outer walls, but Brazini's was rhythmically discordant.
On Vanbrugh's entrance facade to the kitchen court at Blenheim, disengaged columns, which frame the grand opening, are discordantly superimposed upon the windows that make up part of the regular rhythmic pattern behind. The same thing happens at Seaton Delaval, where
the disengaged columns block some of the windows.
Quondam © 2020.01.20