Archive for November, 2010

22
Nov

Siena

Siena is a distinguished by its food, art, medieval landscape, and the natural surroundings.  While there were many interesting parts of Siena, the most influential, in my opinion, are the Piazza del Campo and the Cathedral of Siena.

View of Sienna from Torre di Mangia

View of Siena from Torre di Mangia

The Piazza del Campo is dissimilar from the normal Italian archetypal piazza in that it is shaped like a seashell and sloped towards the Torre del Mangia, which anchors the piazza.  This piazza is most commonly known for the Palio, a horse race with competitors from the different “contrade,” quarters, of Siena.  Unfortunately, the Palio happens only twice a year- once on July 2 and once on August 16.  However, we were able to experience the year-long culture that surrounds the Palio.  While we walked around Sienna for dinner, we were able to see a community dinner for one of the competitors.

Piazza del Campo

Piazza del Campo

The Piazza del Campo is my favorite piazza in that the simple move of sloping the ground plane changes the environment so drastically.  The slight slope creates a notion that the ground is something that can be occupied and sat on. In fact, while we were there groups of people sat on the ground of the Piazza- enjoying a lunch, eating gelato, or gathering for a quick chat with friends.

View of Torre di Mangia from Piazza del Campo at night

View of Torre di Mangia from Piazza del Campo at night

The other main visit in Siena was to the Cathedral of Siena, a Romanesque-Gothic structure that is characterized by its striped façade and interior.  Underneath the Cathedral, it is possible to see the baptismal font designed by several 15th century sculptors- among them, Donatello, Ghiberti, and Jacopo della Quercia.

Cathedral of Siena

Cathedral of Siena

Interior of Cathedral of Siena

Interior of Cathedral of Siena

Walking down to the Baptistry

Walking down to the Baptistry

The most famous work of art in Siena is the Maesta by Duccio in the Museo dell’Opera del Duomo.  The front altarpiece is composed of a depiction of the Madonna and child surrounded by saints and angels.  Supposedly, after the piece was completed, the panels were paraded around the Piazza del Campo and around the city streets.

Even today the cultural, political, and financial importance that Siena held during the height of its importance in the medieval times is still clear.  While the town is fairly small, it is punctuated by very monumental works of architecture and civic spaces.

Siena streets

Siena streets

22
Nov

Granada

Granada is one of the most beautiful cities in Spain. It lies against the backdrop of the Sierra Nevada Mountains, which shade it from the intense temperatures of the summer. My trip to Granada included a visit to the Alhambra, tastes of Spanish tapas, looking at street art, visiting cave structures, and drinking sangria. Needless to say Granada is a city of complexity and layers. While it is known most commonly for the Alhambra, a mega Moorish palace and fortress complex that was completed during the fourteenth century, Granada reveals itself as a growing and exciting city. In fact, Granada is one of the most popular towns among university students, as we soon discovered on our short trip there.

View of the Alhambra Complex from the top of Granada

View of the Alhambra Complex from the top of Granada

The first day in Granada, we visited the areas above the center of the city, where there is a lot of interesting street art- some done by local artists and others by international artist who are drawn to the Granada art scene. Along the way, we also visited a cave structure that is one of many dug into the hillsides of the Alhambra. From the outside, it is quite difficult to distinguish the house as a cave structure, because the façade is quite typical. However, only about a fifth of the house is built in front of the hill. The other four-fifths of the home is created by digging into limestone hillside. These cave homes are not as rustic as you may think, however. They are equipped with internet, electricity, and all the other modern amenities. Our free tour guide explained that the inhabitants continue to dig deeper into the hill, creating more rooms as the family begins to grow.

Granada street art

Granada street art

one of my favorites

one of my favorites

Later that night, we had our first taste of tapas in Granada. Granada is particularly unusual in that there is a very strong food and drinking culture. So much so that, tapas are almost always free with a drink. We decided to test out this theory and headed to a local bar. At the bar, we ordered some local wine and beer, and true enough, the drinks came with free sandwiches and slices of manchego cheese. After drinks, we went to a local club frequented by university students and enjoyed free drinks all night. Supposedly, drinks are free on certain nights of the week. I am still perplexed as how this works exactly. Nonetheless, we enjoyed our share of free sangria.

The final day in Granada, we visited the Alhambra complex. We had to wake up very early due to the fact that there are a limited number of Alhambra tickets given out every day. The complex is enormous. It took us about three hours to see most of the structures within the complex. While we were there, the court of lions was restored, and we were able to see the lion fountainheads that were on exhibit. The most impressive part, however, was the extensive landscape that joined the multiple structures within the complex.

Patio de los Arrayanes

Patio de los Arrayanes

Palacio di Carlos V

Palacio di Carlos V

cute Alhambra kittens

cute Alhambra kittens

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View out into a courtyard

Fountains in Palacio di Generalife

Fountains in Palacio di Generalife

The use of water creates a flow within the spaces. My favorite part was the ancient aqueducts that come down from the Alhambra, through a massive green park, and into the center of the city- connecting the Alhambra to the main city center. It is possible to dip your feet into the aqueducts on the walk up to the Alhambra, because the aqueducts are located on the ground. This can be especially nice during the blistering temperatures of the Granada summer.

Flowing Water in Palacio di Generalife

Flowing Water in Palacio di Generalife

Ancient aquaducts in the park leading up to the Alhambra

Ancient aquaducts in the park leading up to the Alhambra

22
Nov

Brion Cemetery

main tomb of Brion Cemetery

Main tomb of Brion Cemetery

The Brion-Vega Cemetery in San Vito d’Altivole is the epitome of Carlo Scarpa.  In fact, he spent nine years perfecting this project- a family cemetery, memorial, and landscape.  Usually, the cemetery is not open to visitors, but we had special access to all parts of the Brion-Vega Cemetery- due to our special relationship with the caretaker of the cemetery- who also happens to be the great nephew of the original couple that contracted this project.

Brion Cemetery surrounded by corn fields

Brion Cemetery surrounded by corn fields

Walking towards the cemetery, it becomes quite evident how subtle the project is against the landscape.  When we were there, the corn from the surrounding fields had already been cut, but usually the height of the corn and the height of the perimeter walls are equal- creating a very minimal visual presence upon approach.

window of the pavilion of meditation

Window of the pavilion of meditation

jumping over the metal division

Jumping over the metal division

Reflection of the sky in the water element

Reflection of the sky in the water element

Stepped surfaces and Jeffrey Blanchard

Stepped surfaces and Jeffrey Blanchard

Reflections

Reflections

Constantly, Scarpa uses his play on pulling and pushing planes.  He realizes them both on small and large scales.  In addition, the use of water amplifies his intentions by creating a double vision of his designs.  As usual, Scarpa places importance on the details of the design.  While San Vito d’Altivole is a sleepy little town, it is worth visiting to experience the embodiment of Scarpa’s work and design in the Brion-Vega cemetery.

Chris Ryan closing the gate to the Cemetery

Chris Ryan closing the gate to the Cemetery

22
Nov

Barcelona Pavilion

The Barcelona Pavilion is studied in every architecture school as the ideal architectural space.  It was quite surreal to visit it in person.  It is located at the periphery of the Parc Guell in Barcelona.  The location is not so great, in fact and when we were there, it was mostly occupied by homeless people and drunkards.   However, it becomes immediately clear why Mies Van der Rohe’s pavilion is so completely idealized by architects everywhere.  The pavilion is raised up on a plinth made of travertine. The simplicity of the architecture lies within the spaces, which read more as a horizontal planes that flow into one another than clearly divided spaces.

the gang on the way to the pavilion

The gang on the way to the pavilion

the exterior of the pavilion

The exterior of the pavilion

double vision

Double vision

Barcelona chairs

Barcelona chairs

Taek, Anjelica, and Walker by Alba sculpture by Georg Kolbe

Taek, Anjelica, and Walker by Alba sculpture by Georg Kolbe

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Walker by the exterior bench

In addition, the use of water, onyx, marble, and various glasses create a playfulness through the use of reflections.  The play between the super thin steel columns and masonry walls also creates an interesting dialogue.  It seems almost impossible that the pin-thin columns could hold the weight of the roof.  The visit to the pavilion was interesting in that it put a personal experience to a work of architecture that I had known so intimately only in my mind and sketchbooks.

22
Nov

Palazzo Farnese Photo Diary

View of Caprarola from Palazzo Farnese

View of Caprarola from Palazzo Farnese

Walking up to the Palazzo Farnese

Walking up to the Palazzo Farnese
Students at the base of the circular staircase

Students at the base of the circular staircase

Courtyard in Palazzo Farnese

Courtyard in Palazzo Farnese

View of the circular staircase

View of the circular staircase

22
Nov

Villa Lante Photo Diary

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View of the Two Pavilions from the Garden

View of the Two Pavilions from the Garden

View of the Bagnaia Tower from the Garden

View of the Bagnaia Tower from the Garden

Water Dining Table

Water Dining Table

Central fountain in Garden

Central fountain in Garden

Water Stairs

Water stairs full of water from heavy rain

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Water Fountain in the Upper Gardens

Vince, Yeung, and Walker enjoying the gardens

Vince, Yeung, and Walker enjoying the gardens

22
Nov

A Delightful Lecture by Fritz Haeg

On Thursday Nov 4th, Fritz Haeg enlightened us with a wonderful and refreshing lecture at Palazzo Lazzaroni. Mr. Haeg has recently been awarded a fellowship at the American Academy in Rome. And although he carries the label of an architect, he operates very much as a gardener.

He currently lives in a Geodesic Dome in the hills of Los Angeles, which he remodeled and now uses as a living and a social gathering space. He did not start his career as a traditional architect. He started his career as an event organizer, a teacher, and a gardener. He became involved in “not serious” activities, as a means of reclaiming the ‘public.’
Unlike a traditional architect, he is less interested in buildings and more interested in living systems. He prefers to organize people, rather than things.

He prefaced his Edible Estates project by telling us a quick anecdote about the historical significance of the term ‘nature.’ Before the colonization of the Americas, the natives did not have a word in their vocabulary to describe nature. They did not need a term to distinguish one thing from the other: nature from non nature: nature from town or village.
Whereas, the English had a word to describe nature, and they, therefore, isolated nature from an urban or inhabited landscape. With the notion of ‘nature,’ came a distinction between the pleasure garden and the production garden.

We have inherited this term ‘nature’ and today, the gap between an invisible global industrial agriculture, and the purely ornamental mono-cultural landscape, is greater than ever before. Fritz Haeg’s work responds to this dual “nature”: striving to create cities that function as if the word for nature did not exist. The suburban lawn presents his first object of attack. He calls this space an “insidious and sick” place. His first project “Edible Estates” attacks this purely visual and passive space.

His working method is impossibly modest, and his projects intentionally stray away from the monumental. In Edible Estates, he worked as a kind of a gardener/design advisor to families who owned a suburban lawn. He first pitched his idea to different housing communities. The idea was simply to transform the lawn into a garden. He started to work with those families who were interested and willing to participate in such a venture. He simply visited the families for a few days, and helped them to transform their lawn into an edible garden. He states again and again that he does not intend to create monumental architecture, but to create (or trigger) little scrappy, homemade projects that produce a viral effect. With each intervention, the trimmed (preferably front) lawn is converted into a wild looking ‘edible garden.’ The tame suburban “lawnscape” is redefined and the neighbors become an audience to this transformation. The lawn, a previously anti-social buffer zone, becomes an edible garden: an intensely social and active space. The neighbors, for once, can see other neighbors in their front garden. And the gardening neighbors can see where their food is coming from.

Thanks Fritz, for creating beautiful edible landscapes, and please keep on gardening!

(Fritz Haeg is currently working on a rooftop garden at the American Academy and he is seeking volunteers to take care of one of his projects in New York City: the Lenape Edible Estate)

15
Nov

Panoramas from Tuscany

View from Montepulciano

View from Montepulciano

View from Montepulciano

View from Montepulciano

Sienna's 'skyline'

Siena's 'skyline'

Siena: Piazza del Campo, Palazzo Pubblico, Torre del Mangia

Siena: Piazza del Campo, Palazzo Pubblico, Torre del Mangia

Siena: Piazza del Campo, view from bottom side

Siena: Piazza del Campo, view from bottom side

Siena: Piazza del Campo as seen from the top of Torre del Mangia

Siena: Piazza del Campo as seen from the top of Torre del Mangia

Siena: View from Torre del Mangia, Duomo on left

Siena: View from Torre del Mangia, Duomo on left

Siena: Duomo interior

Siena: Duomo interior

15
Nov

Ravioli / Fettucine 101

the gang

the gang

The rendezvous time was set for 4 in the afternoon. We were to make fresh ravioli and fettuccine. Together, we were to have a feast.

Once our arsenal of wooden cooking board, ravioli making tools and manual and electric dough rollers was laid out, the first step was making the dough. We mixed flour with eggs. The renowned house chef, Anna Rita, led us through the process. Despite some small (and large) setbacks, we eventually had our dough.

To flatten the dough for ravioli and fettuccine shapes, it has to be rolled out to a very thin and even consistency. We used dough rollers to repeatedly thin down the dough.

Further along the chain, workers would spoon small amounts of spinach cream filling onto the sheet of dough at regular intervals.  With folding of the dough and specially designs cutters, the ravioli took shape. As time went on, we became more inventive with the shapes. We created doughnut, heart, diamond, candy bar, shark egg and moon shaped ravioli. Many of these are displayed in the images below.

Having defied the rule of pasta cooking, don’t cook different-sized things together; we were left with very unevenly cooked ravioli. None-the-less, it was very delicious, especially after having put so much effort and time into making the damn things. Our only problem was that there was way too much food. Platter after platter of different pasta dishes came out from the modest kitchen. People were withdrawing from the table to confront their ‘food comas’ lying down- and food was still being brought out.  Few of us were willing and able to endure more when the cakes were ready.

Afterward, we packed much of the food in containers and brought it back to our various homes for later enjoyment.

tools of the trade

tools of the trade

Anna Rita vs. students

Anna Rita vs. students

pasta dough =eggs + flour

pasta dough = eggs + flour

disaster: eggs overflow

disaster: eggs overflow

rolling the dough and forming the ravioli

rolling the dough and forming the ravioli

manual rolling of the dough

manual rolling of the dough

ravioli, with later, more exotic shapes toward bottom

ravioli, with later, more exotic shapes toward bottom

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fettucine

10
Nov

Odile Decq: MACRO + lecture

On November 4th, we visited renowned French architect Odile Decq’s MACRO extension in Rome. We were fortunate to get a private tour of the building that is set for inauguration December 4th. The site, an old Peroni (beer) factory, is one of several museum complexes of the MACRO – Rome’s Museum of Contemporary Art.

Decq's public rooftop piazza and surroundings

Decq's public rooftop piazza and surroundings

The most striking aspect of the design is the integration of public circulation and a public piazza. During the day, although the museum is privately run, the public can walk through the lobby, through some gallery spaces via an elevated walkway, and access the completely public rooftop piazza with its notable water feature- all this without purchasing a ticket. Water continuously runs over the entirely glass ceiling of the lobby/atrium space. This creates a sort of fountain on the rooftop piazza and a strong statement inside. The project is an extension of the museum that already occupies a neighboring plot. It is also an insertion into the old Peroni factory. It was not mandated in the design competition rules that the old façades and some existing structure must be conserved.

Odile Decq lectured at our Palazzo several days after we had toured the MACRO. She gave an overall presentation of her favorite projects. In designing each one, there is clearly an attention to detail as she too was the artist behind most of the objects that inhabited her building: lighting fixtures, desks, chairs, door handles, sinks, etc… even a dog basket- she, and her office OBDC (Odile Decq Benoît Cornette), does it all. At the MACRO, it is very noticeable that things are customized and very well integrated into the aesthetics and ideas of the architect. Therefore, the architectural attraction of the project includes the spatial configuration and expression of the spaces, of course, but also things like the bathroom sink (which in this project is made of translucent plastic and changes color and one uses it within a mirror-flanked bathroom).

I think any architect would be appreciative, and maybe envy, of her freedom of design and the array of scales at which she works.

above the (very red) auditorium volume, fountain/glass ceiling visible above

Above the (very red) auditorium volume, fountain/glass ceiling visible above

public suspended pathways travers lobby and an exhibition space

public suspended pathways traverse lobby and an exhibition space

example of a designed detail, specific for the project

Javelin lights- example of a design detail specific to the project

in an artist's studio, the museum features several

In an artist's studio, the museum features several

the project (left) negotiates the old factory façade (right)

The project (left) negotiates the old factory façade (right)