Promptly after exams ended at Cornell last Spring, I set out on a 24 hour journey by tram, train, and plane from my home in Pennsylvania to the ancient ruins of Pompeii. With two backpacks balanced across my shoulders in front and back, I schlepped through stations on both sides of the Atlantic looking like an over-loaded, under-experienced backpacker on an urban expedition. As I neared my destination along the Circumvesuviana train line, I glanced cautiously at several potential pick-pockets and prayed that they wouldn’t take advantage of my vulnerable state. They deemed me a less lucrative target than the handbag wielding tourists nearby and I emerged unscathed.


For three weeks I lived at Pompeii’s “Motel of the Mysteries” with a small and talented research team from the University of Texas. Although hardly the set of an Agatha Christie novel, our accommodations were sufficiently mysterious to fuel daily postulation about illicit mafiosa activity and clandestine afternoon encounters. We would often sit around our poolside table in contemplation of a few recurring questions: Why is the swimming pool shaped like a Roman Amphora? Do businessmen often bring young women to World Heritage sites? Are rooms here offered at an hourly rate?

Each morning, our team travelled by car from the safety of Pompeii into the modern squalor of Torre Annunziata, where crime and poverty continue to draw attention and tourism away from the town’s archaeological gem. There – in the midst of social and economic wreckage left in the wake of crummy politicians and crime lords – sits a 2,000 year old country residence called the “Villa Oplontis.”
Although less extensive than either Herculaneum or Pompeii, the archaeological site in Torre Annunziata boasts brightly colored wall paintings and cleverly sequenced spaces that invite visitors into the minds and lives of the Roman elite and the people who served them. Construction and renovation transformed the Villa repeatedly in the decades leading up to explosion of 79AD. Now it is possible to track this architectural evolution through three distinct styles of Roman wall painting and a number of clearly identifiable masonry techniques.

As an architecture student among trained archaeologists and art historians, I tackled two projects that utilized some of the drawing and software skills I learned back in Ithaca, NY. My first task focused on the Villa’s masonry and resulted in a series of digital elevation drawings cataloguing construction type and materials throughout the complex. My second task focused on the Villa’s frescoes– many of which remain fragmented and disorganized in a storage room. Using scaled photos of each fragment as a starting point, I created an interactive digital “puzzle” in Adobe Illustrator to identify matches or alignments between parts. After some work, I came up with the following reconstruction which appears to align vertically with an existing scene:

I must say that my experience working among researchers at the Villa Oplontis impressed upon me a deep respect for and interest in the ancient world. It is not too difficult to imagine dropping architecture to pursue an Indiana Jones inspired career in archaeology. I could spend the next fifty years of my life travelling around the world in search of mankind’s greatest achievements. But, then again, it would be pretty cool to build a few buildings myself and leave them for someone else to discover.