ABSTRACT
The year is 1506 and the 27-year-old architect and painter Baldassare Tommaso Peruzzi begins construction on the Villa Farnesina in Rome. Peruzzi's now famous projection typifies how, by way of scale and great craft, two-dimensions transcends two-dimensions. Like Peruzzi, Norman Kelley's story begins with Rome. Unlike Peruzzi, Norman Kelley is not a painter. Architecture, like film, is often driven by escapism. During the nineteenth century in London and elsewhere, panorama buildings preceded the movie theater. In order to examine the dome's orientation and architecture's rationale for adorning such grand spaces with heightened ornament despite their being difficult to admire from the ground, one redraw the dome and all of its decorative appeal onto a digital model where orientation, lens length, and resolution are easily controlled. The Madlener house was designed by Robert E. Schmidt in 1902. From a distance it is severely proportioned, yet intricately ornamented up close.
