I arrived in Kyoto yesterday and hit the ground running.
Here is a link to the photos...I am completely exhausted, but I will write more later.
I will say this: these gardens, temples, shrines, and sites are completely mind-blowing...they are fantastic!
http://picasaweb.google.com/christopher.kitterman/KyotoDay1#
Monday, October 13, 2008
Friday, October 10, 2008
YOKOHAMA>
After a rough start this a.m., I finally made it to Yokohama to see the International Port Terminal by F.O.A. (Foreign Office Architects). Only 30 minutes from Tokyo Station, Yokohama is supposed to be the 2nd largest city in Japan after Tokyo. If you saw the maps I have of the subway / train service between the two cities, you definitely wouldn't doubt this fact...the Tokyo subway system dwarfs Yokohama in terms of representation and in scale in general. It is very difficult to find anything that describes the route to get there and to get around once you are there, but I was able to figure it out...
The International Port Terminal is adjacent to 'downtown' Yokohama and easily reached by foot from the Kannai station (go to this station and not 'Yokohama' if you make it there). On the two lane road tethering the terminal to the shore, the building appears ominous as you see it from below instead of head-on, because an elongated ramp leads up to the entrance so vehicles can park on the pier underneath the building. Coming down from the building, the wood decking greets the sidewalk and takes you into the project. There are two ways of entering the building: one by means of the roof and the other is a traditional entry into the entry hall. The deck bifurcates; both outer edges gently ramp up to the roof while the main deck leads you inside.
Just prior to entering, the landscaped roof or roofscape overhangs the glass enclosure; it is here that you see the structural expression of the building itself. Steel plates are folded in an origami-like system (sorry for the reference) that thicken as you move away from the center and, depending on the location of the series of ramps that connect the three levels, turn down and become structural 'columns' for the building. When looked at from the side, you can clearly read these 'columns' running vertically through the building. Always appearing symmetrically balanced along the building's center, what occurs on one side of this center line is mirrored on the other side. Inside, the decking continues, but the grey, folded steel dominates the space. It has the feeling as if you are inside of a ship itself. Huge florescent uplights are used to illuminate the space. No skylights occur; the only connection to the water from the inside are the occasional glass walls which surprisingly do not help to illuminate the interior much more, and the ramps that lead to the roof.
Outside on the roof is where you experience the swells that occur in the main hall's structural ceiling. Long ramping processions lead to this new roofscape of decking and grass lawn inserts. Depending on local conditions on the roof, the decking's linear strips adjust to the different geometries producing wild patterns that are exasperated by how each plank reflects sun or by the glare produced from a previous rain. Double steel tubes are held off of the surface and act as benches again recalling the linearity of the decking planks. After the entry hall, the roof returns to meet the interior level; here, the sides become wide steps which play as an informal seating venue. Another entry occurs--this time to an formal restaurant and other back of house programs for the complex.
Illuminated by vertical linear light strips, the roof is also dramatic at night. The patterning of the seemingly random placed lights against the blackness of the sky and bay beyond is nice, and, too, when viewed against the city.
I had a great time here and even took some time to visit closer to the downtown area. Fortunately, I came upon a German Oktoberfest and enjoyed a beer while singing 'Ein Prosit' with the Japanese crowd...that for some reason was not on my 'formal' itinerary! never saw that one coming!
http://picasaweb.google.com/christopher.kitterman/Yokohama#
The International Port Terminal is adjacent to 'downtown' Yokohama and easily reached by foot from the Kannai station (go to this station and not 'Yokohama' if you make it there). On the two lane road tethering the terminal to the shore, the building appears ominous as you see it from below instead of head-on, because an elongated ramp leads up to the entrance so vehicles can park on the pier underneath the building. Coming down from the building, the wood decking greets the sidewalk and takes you into the project. There are two ways of entering the building: one by means of the roof and the other is a traditional entry into the entry hall. The deck bifurcates; both outer edges gently ramp up to the roof while the main deck leads you inside.
Just prior to entering, the landscaped roof or roofscape overhangs the glass enclosure; it is here that you see the structural expression of the building itself. Steel plates are folded in an origami-like system (sorry for the reference) that thicken as you move away from the center and, depending on the location of the series of ramps that connect the three levels, turn down and become structural 'columns' for the building. When looked at from the side, you can clearly read these 'columns' running vertically through the building. Always appearing symmetrically balanced along the building's center, what occurs on one side of this center line is mirrored on the other side. Inside, the decking continues, but the grey, folded steel dominates the space. It has the feeling as if you are inside of a ship itself. Huge florescent uplights are used to illuminate the space. No skylights occur; the only connection to the water from the inside are the occasional glass walls which surprisingly do not help to illuminate the interior much more, and the ramps that lead to the roof.
Outside on the roof is where you experience the swells that occur in the main hall's structural ceiling. Long ramping processions lead to this new roofscape of decking and grass lawn inserts. Depending on local conditions on the roof, the decking's linear strips adjust to the different geometries producing wild patterns that are exasperated by how each plank reflects sun or by the glare produced from a previous rain. Double steel tubes are held off of the surface and act as benches again recalling the linearity of the decking planks. After the entry hall, the roof returns to meet the interior level; here, the sides become wide steps which play as an informal seating venue. Another entry occurs--this time to an formal restaurant and other back of house programs for the complex.
Illuminated by vertical linear light strips, the roof is also dramatic at night. The patterning of the seemingly random placed lights against the blackness of the sky and bay beyond is nice, and, too, when viewed against the city.
I had a great time here and even took some time to visit closer to the downtown area. Fortunately, I came upon a German Oktoberfest and enjoyed a beer while singing 'Ein Prosit' with the Japanese crowd...that for some reason was not on my 'formal' itinerary! never saw that one coming!
http://picasaweb.google.com/christopher.kitterman/Yokohama#
Thursday, October 9, 2008
TOKYO!! (You are not in Kansas anymore...)
Wow!
I was so exhausted after the flight to Tokyo. No problems in the arrivals procedures, but now I know how foreigners visiting the US must feel...I was fingerprinted and photographed before entry was granted.
The bus from Narita to T-CAT (Tokyo City Air Terminal) is about 60 minutes and is 2,500Yen...not so bad.
I arrived without problem to my hotel and I have lucked out again on proximity to public transportation. Very easy to reach.
The city is HUGE. I am blown away...Instead of just collapsing from exhaustion as I wanted to, I decided to venture out to a neighborhood called GINZA...shopping and such for a quick drink and snack. I left around 5pm and was hoping to see the guys with the white gloves push and squeeze the passengers on the train, but no such luck...it was practically empty.
After a 3-4 hour excursion to loosen up the legs after the travels, I passed out.
NEXT DAY:
Well, I have to admit, one of the top sites on my list of things to see and do here in Tokyo is Herzog and de Meuron's Prada store. Not necessarily to shop (haha), but because it is one of my favorite projects of the Swiss duo's.
In a neighborhood called Omotesando, there is a thoroughfare that is home to many upscale shops in the city...I think it is even nicer than Ginza, actually. Anyhow...there are four major stores located here: Toyo Ito's Tod's, SANAA's Dior Store, Tadao Ando's Omotesando Hills (shopping mall), and Herzog and de Meuron's Prada Store.
Tod's is a concrete and glass tower (actually they are all towers except for the Ando project) that very much recalls the angular composition of solids and voids of his Serpentine Pavilion (2002) in London-only in concrete and now a tower.
SANAA's Dior is a series of stacked glass boxes each with a different volumetric expression. Using a double glass facade of transparent at the outer layer and silkscreened glass with a grid pattern at the interior. I believe there is another scrim of the gridded pattern at the interior as well, because, a moire pattern is produced upon closer inspection, and the surface looks like it has a slight billow to it--like a pillow. It is very sexy...
HdM's Prada: wow. it is remarkable. the exoskeleton is both structure and frame for the glass inserts-some of which are flat and some have a bubble shape to them. Also in the matrix are translucent panels where 4 form the expression of the changing rooms on the facade. The tower is set in a folded paver plaza that is surrounded on two sides by a moss covered wall that interlocks with the pavers. Inside, depending on which floor you are on, the changing rooms act as the mediator between two different levels..these are solid tubes that run through the entire horizontal length of the building. You can move through these to access different floors or there is a conventional stair that works its way up. Displays are either molded into a core like structure that links all of the floors or they are free standing elements...some of which are molded fiberglass pieces with LED lights embedded into the fiberglass itself...they are beautiful. The women's clothes 'racks' are sheathed in fur...they are very cool. As you are not supposed to take photos of the interior, I was able to snap one quickly before I was reprimanded by the usually-sweet-but-can-pull-out-the-'OH no you didn't just take a photo in here' sales attendants . You can see the fur for yourself...
With that...
Order is the day. The subway station marks where you are to stand and which side of the walk you should walk on...everyone follows suit. Everything is meticulous...
Everyone, too, is exceptionally friendly...especially if you are not trying to take illegal photos in their stores. I cannot believe that I walked into each of these stores and someone not only greeted me within 30 seconds, but wanted to show me around, too. That never happens in NYC, or at least not to me...
For instance: I stopped for a coffee in the Omotesando area and the server was so sweet and kind. She brought me water without asking, she made my napkin into an orgami piece to wrap around the spoon for goodness sakes. Upon leaving, I left a nice tip for her kindness. Riding up the escalator, I heard someone calling 'excuse me, excuse me!' Noticing that I was standing on the right hand side instead of the left side, I assumed she was just trying to tell me to get on the correct side of the stair. I move over, and I got a tap on my shoulder...It was the server bringing BACK my tip thinking I left it by accident! WHA?! I tried to explain that was for her, but she wouldn't take it...again, never in NYC!
http://picasaweb.google.com/christopher.kitterman/Tokyo#5255181465316727538
I was so exhausted after the flight to Tokyo. No problems in the arrivals procedures, but now I know how foreigners visiting the US must feel...I was fingerprinted and photographed before entry was granted.
The bus from Narita to T-CAT (Tokyo City Air Terminal) is about 60 minutes and is 2,500Yen...not so bad.
I arrived without problem to my hotel and I have lucked out again on proximity to public transportation. Very easy to reach.
The city is HUGE. I am blown away...Instead of just collapsing from exhaustion as I wanted to, I decided to venture out to a neighborhood called GINZA...shopping and such for a quick drink and snack. I left around 5pm and was hoping to see the guys with the white gloves push and squeeze the passengers on the train, but no such luck...it was practically empty.
After a 3-4 hour excursion to loosen up the legs after the travels, I passed out.
NEXT DAY:
Well, I have to admit, one of the top sites on my list of things to see and do here in Tokyo is Herzog and de Meuron's Prada store. Not necessarily to shop (haha), but because it is one of my favorite projects of the Swiss duo's.
In a neighborhood called Omotesando, there is a thoroughfare that is home to many upscale shops in the city...I think it is even nicer than Ginza, actually. Anyhow...there are four major stores located here: Toyo Ito's Tod's, SANAA's Dior Store, Tadao Ando's Omotesando Hills (shopping mall), and Herzog and de Meuron's Prada Store.
Tod's is a concrete and glass tower (actually they are all towers except for the Ando project) that very much recalls the angular composition of solids and voids of his Serpentine Pavilion (2002) in London-only in concrete and now a tower.
SANAA's Dior is a series of stacked glass boxes each with a different volumetric expression. Using a double glass facade of transparent at the outer layer and silkscreened glass with a grid pattern at the interior. I believe there is another scrim of the gridded pattern at the interior as well, because, a moire pattern is produced upon closer inspection, and the surface looks like it has a slight billow to it--like a pillow. It is very sexy...
HdM's Prada: wow. it is remarkable. the exoskeleton is both structure and frame for the glass inserts-some of which are flat and some have a bubble shape to them. Also in the matrix are translucent panels where 4 form the expression of the changing rooms on the facade. The tower is set in a folded paver plaza that is surrounded on two sides by a moss covered wall that interlocks with the pavers. Inside, depending on which floor you are on, the changing rooms act as the mediator between two different levels..these are solid tubes that run through the entire horizontal length of the building. You can move through these to access different floors or there is a conventional stair that works its way up. Displays are either molded into a core like structure that links all of the floors or they are free standing elements...some of which are molded fiberglass pieces with LED lights embedded into the fiberglass itself...they are beautiful. The women's clothes 'racks' are sheathed in fur...they are very cool. As you are not supposed to take photos of the interior, I was able to snap one quickly before I was reprimanded by the usually-sweet-but-can-pull-out-the-'OH no you didn't just take a photo in here' sales attendants . You can see the fur for yourself...
With that...
Order is the day. The subway station marks where you are to stand and which side of the walk you should walk on...everyone follows suit. Everything is meticulous...
Everyone, too, is exceptionally friendly...especially if you are not trying to take illegal photos in their stores. I cannot believe that I walked into each of these stores and someone not only greeted me within 30 seconds, but wanted to show me around, too. That never happens in NYC, or at least not to me...
For instance: I stopped for a coffee in the Omotesando area and the server was so sweet and kind. She brought me water without asking, she made my napkin into an orgami piece to wrap around the spoon for goodness sakes. Upon leaving, I left a nice tip for her kindness. Riding up the escalator, I heard someone calling 'excuse me, excuse me!' Noticing that I was standing on the right hand side instead of the left side, I assumed she was just trying to tell me to get on the correct side of the stair. I move over, and I got a tap on my shoulder...It was the server bringing BACK my tip thinking I left it by accident! WHA?! I tried to explain that was for her, but she wouldn't take it...again, never in NYC!
http://picasaweb.google.com/christopher.kitterman/Tokyo#5255181465316727538
MADRID FINAL DAYS...
So, the opera performance was spectacular! I attended Verdi's Un Ballo in Machero at the Teatro Real, which is located adjacent to the Royal palace, but the King and Queen were not in attendance...:-)
Over the last days, I visited the Museo Reina Sofia. The collection leans towards the modern as opposed to the Museo del Prado. The highlight was absolutely viewing Picasso's Guernica in person. I had no idea how enormous the canvas is, nor how powerful the piece is in person. I am not sure if this is the because of the scale or not, but I appreciate looking at the painting and seeing how Picasso worked through the composition as you can see traces of how the scene progressed as he worked towards its completion. The bull's eyes, for instance, became further apart and more skewed than in an earlier draft. Also included in the exhibition are studies of different aspects of this painting: large hands, feet, the bull's head, the horse...all were drawn similar to the scale of the final work.
Jean Nouvel has made an addition to this museum. He has made a concrete plaza surrounded on three sides by his new buildings and the fourth side by the original building. There is a huge and very thick canopy with different cutouts for light placed high above the plaza level. A new bookstore, library, restaurant, and office spaces are part of the program. No additional gallery spaces (or that I saw) were constructed. It is very PoMo with red everywhere. The restaurant has a smoothly molded canopy in fire engine red with different tables of white, folded corian to contrast. Everything else is grey granite...UHH.
Also, I visited the Jardim Bontanical adjacent to the Museu del Prado...at little run down, but still some great stuff. I love the idea of putting landscape (nature) on display in a formal garden setting. Plants that would probably never grow naturally next to each other or grow in the climate of Madrid in general are painstakingly cared for just for us to see...
Great wine, sangria, food, and some nice jogs in the park again before I left...sadly. Spain and Portugal have been truly amazing.
Off to Tokyo.
http://picasaweb.google.com/christopher.kitterman/MadridLastDays?pli=1&gsessionid=Znpdnndf2cshfnYqcfKueQ#
Over the last days, I visited the Museo Reina Sofia. The collection leans towards the modern as opposed to the Museo del Prado. The highlight was absolutely viewing Picasso's Guernica in person. I had no idea how enormous the canvas is, nor how powerful the piece is in person. I am not sure if this is the because of the scale or not, but I appreciate looking at the painting and seeing how Picasso worked through the composition as you can see traces of how the scene progressed as he worked towards its completion. The bull's eyes, for instance, became further apart and more skewed than in an earlier draft. Also included in the exhibition are studies of different aspects of this painting: large hands, feet, the bull's head, the horse...all were drawn similar to the scale of the final work.
Jean Nouvel has made an addition to this museum. He has made a concrete plaza surrounded on three sides by his new buildings and the fourth side by the original building. There is a huge and very thick canopy with different cutouts for light placed high above the plaza level. A new bookstore, library, restaurant, and office spaces are part of the program. No additional gallery spaces (or that I saw) were constructed. It is very PoMo with red everywhere. The restaurant has a smoothly molded canopy in fire engine red with different tables of white, folded corian to contrast. Everything else is grey granite...UHH.
Also, I visited the Jardim Bontanical adjacent to the Museu del Prado...at little run down, but still some great stuff. I love the idea of putting landscape (nature) on display in a formal garden setting. Plants that would probably never grow naturally next to each other or grow in the climate of Madrid in general are painstakingly cared for just for us to see...
Great wine, sangria, food, and some nice jogs in the park again before I left...sadly. Spain and Portugal have been truly amazing.
Off to Tokyo.
http://picasaweb.google.com/christopher.kitterman/MadridLastDays?pli=1&gsessionid=Znpdnndf2cshfnYqcfKueQ#
Friday, October 3, 2008
MADRID:
Tuesday a.m. I arrived in Madrid after an exceptionally painful 13 hours of train travel from Porto. Instead of Traveling southeast, I had to first go north and into Spain only to turn around and come back south. In any case, I arrived and have been enjoying myself over the past few days.
After taking care of laundry and getting some sleep on Tuesday, I spent basically all of Wednesday at the Prado Museum. The collection is basically European art from 1100-1800 with an obvious focus on Spanish art. Spectacular...it has to be one of my all time favorite museums, but what is really magnificent is the Velazquez and Goya collection. Velazquez's work in particular was exciting to see as I studied the seminal painting 'Las Meninas' in a theory class at Tulane. Seeing it in person was great as the scale of the painting only adds to its power.
The Prado is located next to the Jardim Botanico which I plan to see later on in the week, but even further beyond that is a great urban park called Parque del Buen Retiro. It is a Beaux Arts layout with different fountains and pavilions set in a structured series of paths through different gardens. It has been a great place to run in the evenings....
I have also visited the Caixa Forum by Herzog and de Meuron...It is the reuse of an existing building with an addition to the roof. The ground plane has been opened up with a new, folded steel roof supporting the underside of the building. Four different feet reach the ground as support, but from different vantage points, the brick building seems to be floating over a folding concrete plaza. Set perpendicular to the building, is a lush green wall. Planting vary drastically giving an exceptional amount of texture and relief to the wall. The green becomes a nice contrast to the red of the building.
The addition is a cor-ten clad structure that rests abruptly on the existing building's multiple pitched roof line. Created as a perforated veil, the addition is glass enclosed; the cor-ten becomes a filter to look through on what is a restaurant level.
To enter the building, you pass into the one 'foot' resting on the ground that is actually open. Here, the soffit of this open plaza under the building undulates and folds down to rest on the ground plane; inside is a folded stainless steel stair that circles its way up to the next level where the major publics spaces are located: information, book store, and informal lounge. The same stainless steel is carried through as flooring with different walnut wood pieces defining the program elements mentioned above. There are two floors of free exhibitions above with the restaurant level above those.
The lower level plaza and green wall are remarkable. Treated in a similar fashion as the Forum building in Barcelona with an undulating ground plane and building soffit, the Caixa Forum seems better scaled for habitation as there seems to be enough light to actually make it hospitable; also, there is a water feature that makes the folding of the ground plane integrated into a larger idea instead of just undulating for the sake of undulating.
Enough talk..I have an opera to attend at the Teatro Real...Verdi is on the bill and I am excited!!
Thursday, October 2, 2008
The Old Fart and the Sea
Leca de Palmeira:
Just outside the limits of Porto is a great landscape / architecture project by the Portuguese architect, Alvaro Siza. It is the Leca Swimming Pools situated in and on the Atlantic Ocean's rocky coast here in northern Portugal. Accessed by a trip on the Porto Metro and a 40 minute walk across an industrial canal, the beach and the swimming pools are well worth the trip.
The project consists of three or so swimming pools built into the rocks along the shore along with a series of changing cabanas / storage rooms for guests. Arriving to the complex along a road running parallel to the shore, a series of scopper standing seam roofs are all that is visible. These fragments vary slightly in pitch and rest upon a series of concrete retaining walls running parallel to the street edge. From the road, a ramp leads you into this complex; on the seaside are the various pools and beaches associated with the complex.
Unlike my previous day's visit to the Casa da Musica where you are allowed to roam freely through the complex, I was not afforded the same hospitality here at the swimming pools. As I arrived, two men were setting on the roof edge, and when I attempted to walk down the entrance ramp, one of the 'gentlemen' leaped up and began YELLING, 'NO! NO! NO! ***%@^@" (I assumed the '***%@^@' means we are closed in Portuguese, but you never know...) Dressed in a purple shirt, khaki pants, and a red beret, the man had no indication that he actually worked there. It did not say 'Leca Swimming Pools' (in Portuguese) on his shirt, nor was there any sign posted that listed the hours and / or days of operation. Nothing. So, to get the man to stop screaming, I backed up, apologized, and walked away.
Some of you may be thinking, as I am known to do on occasion, that I am over exaggerating this description...that the man was probably just saying something to the point of, 'sir, we are not open today..' or 'thank you for coming, but...' But that is just not the case...it has been a long time since I have been yelled at and this is exactly what he was doing. I have to admit, I almost started laughing at the fact...
So, as I am walking away, I decide that this trip is not going to be a total bust. I can take photographs of this from the sidewalk outside the complex. Sidewalks are public, at least they used to be. Along the seawall edge, there is white metal grate fence that keeps people from accessing the roof. I take out my camera and stick the lens through the grating and damn if the guy doesn't start screaming at me again! This time waving his arms like crazy! So, I pull the lens back through the grating and he stops screaming, but he is still standing up with his eyes drilled into mine. I start taking my photos and he is watching every move. Just for fun, I stick the lens through the grating again, and yes, he started screaming at me! Now that I have learned how to push his buttons, I decided I can make this photographing experience fun and humorous all at the same time...
As mentioned earlier, the pools are cut into the rocks along the beach; however, there is a point where the rocks stop and a sandy beach begins. From here, you can easily walk into the swimming complex as the beach in the complex opens directly onto the public beach. But my friend running the complex, or one of his accomplices, strung a red tape from the sea wall down to the lower rocks as a barrier to keep people out. Now, I am not looking for trouble and I am not going to cross this tape, but like the fence on the seawall, I decide to get as close as possible. Of course, the bully has moved into the lower terraces and is watching me come down the stairs towards this tape. As I get closer, so does he. I set all my gear down and take out my film camera and start composing a shot. By this time, he is waving like crazy, and so to have a little fun with him, I just wave back as if I was his best friend that I see down the street and we hadn't seen each other in ten or so years! He didn't find this amusing, I guess, because he stopped waving, but went back into the shadows to watch me. I climbed upon some of the rocks for another photograph still on my side of the tape, and sure enough, he starts flapping his arms AGAIN! I repeat my wave back and he retreats again.
There is no one at this complex. The pools have been drained and there are just a few people on the beach in general. Why he was so adamant about keeping me behind that tape is beyond me. It is not like I was going to go over and kick out lights or tag the bottom of the white pool with spray paint or anything...the huge camera should have given it away that I was not that type. I guess he does have to watch out for people like that though...
Upon leaving, I walk in the opposite direction of the canal as there is more to see along the seawall. I stop to take a few more pics, but I do not find my new friend. I guess all the waving to each other tired him out, so I moved on, happy to have made a new aquaintance in Portugal.
here is the link for the photos...to protect the innocent, I did not include a photograph of my new friend...
http://picasaweb.google.com/christopher.kitterman/PortoAlvaroSiza?authkey=B6u976T_-68&pli=1&gsessionid=QgtqXau-4MGL8D2sga7uOA#
Wednesday, October 1, 2008
CASA DA MUSICA-PORTO
After arriving and checking into my accommodations, I am informed that I have a few hours before the room will be ready. So, without a shower since yesterday morning and wrinkled clothing, I freshen up and head out to find the Casa da Musica.
Porto has a fairly new metro system, and fortunately I am again close to a stop and easily get to the music hall.
Setting in the middle of a travertine plaza rises a multi-faceted concrete object with various types of glazing expressed on its surface. Depending on your position, views through the glass allow you to see that each of these spaces is treated in vary different materials. On an opening just above the plaza level, a stainless steel stair slides out of the opening an rests on the ground.
Entering the building up this stair, you arrive in an exceptionally vertical space that is defined by a stair with angular walls on one side (the facade) and a clean vertical wall on the other. Above, different shapes jut out into the space and angular columns cut through bracing who knows what. Adjacent also to the entrance is a ticket / coat check and a bank of Apple computers for composing electronic music; all is for the public. On the other side of the coat check is another stair that works its way up through the building. The entry sequence is one of two spaces that cut through the entire building; the other is the main concert hall.
Stairs and corridors are expressed with stainless steel, perforated screens, and exposed concrete. Therefore, any space that is not 'circulation' is treated with a new material. Moving up through the building past different bars and break-out spaces for intermissions, I arrive at one of the main concert hall's two ends. This is another exceptionally vertical space defined by a 'wavy' glass wall on both sides--you are standing in the air separation between the building and the hall. The concert hall is a shoebox type with the stage placed at a position that allows seating on both sides. The walls are plywood sheets with a gold leaf pattern recalling the wood's grain enlarged and pixelated imprinted onto the wood itself, so from afar, the actual wood recedes as different shades of brown with a new layer of golden veins that change intensity depending on the time of day. Also on the two wood side walls are different cutouts, again in 'wavy' glass exposing different spaces looking into the main hall.
Since the stage is placed in such a way that the audience can set on either side, a curtain is not necessary. The 'wavy' glass recalls the draping of a curtain, but its use is not simply for aesthetic reasons; as suspected, I was informed that the shape if for acoustical means. The repeating regular wave is extruded in plan; unlike a plane of glass, when the 'wavy' glass is pushed upon there is no noticeable deflection. By stiffening the glass through a change in its structural qualities, vibrations are reduced or eliminated altogether allowing for vast amounts of natural light and visual permeability to exist in a typology that is not accustomed to these traits-- all without compromising the acoustical qualities of the performance hall.
The seats are also ingenious. At first, I didn't think twice about the actual seat, but once I set down in one, it made perfect sense after a few seconds. All the seats are in the down position, which I didn't first consider when I set down. Normally when I take my seat at a theater, I have to lower the seat before actually setting. Initially, I thought this is the most uncomfortable seat as I had like 12 inches or so to set upon and my butt almost didn't fit! I first thought 'geeze... fat Americans... standing room only in the back of the theater!' but then I have seen some Europeans with some big butts, too, so... Fortunately, the seat slides out transforming the seat to a regular and comfortable dimension. By making the seat sliding instead of folding, you eliminate those awkward situations in a typical row of seating when people brush their butts against you as you stand up, fold your seat up, and turn ever-so-slightly to allow the patron to pass saying, 'excuse me, excuse me...' Here, you just slide back and there is enough room for everyone to have their personal space and enough distance to pass. The armrests are a clear, rubber-like resin cast over a steel arm with the seat number cutout. LED lights are illuminated to backlight the number making it easy to see, while, at the same time, casting a small glow under the armrest with just enough light that if you need to read your program during a performance, you can. I don't know if it is a difference between Europeans and Americans or just this theater, but at the evening's performance I attended, no usher had to come to a row, shine their small flashlight in your face and ask you to move over a seat because the numbers are unclear which seat is which. Everyone took their seat and we all enjoyed a marvelous concert from the Porto Symphony.
A second, smaller performance hall is located next to the main hall; it is clad in perforated plywood panels dipped in red ink that make each panel vary in color intensity (again as I was informed). Here, the seats and stage are movable allowing for various types of performances to occur from a piano recital that I attended to and electronic rave (which was not while I was there, sadly).
There are numerous performance, VIP, and regular patron lounges that overlook the main concert hall. There are photos of each in the photo album; the link is below.
Finally, at the roof level is a fantastic restaurant and a very special outdoor terrace adjacent that opens towards views of the city and the ocean. The terrace is clad in black and white tiles and the side walls follow the angle of the roof; at the point where the side walls fall below a handrail height, a glass handrail stops you from moving to the complete edge.
If you get a chance to go to the Casa da Musica, you must make it up to see this terrace. The complex has adopted a belief that attending a theater experience shouldn't be for a select few. My performance's ticket was 15E; except at some small theaters downtown, I don't think you could get a ticket for the quality of performance I saw for that price in NYC. Also, the building is completely open. No one ever stopped me from going into either of the concert halls or any of the other spaces for that matter; besides the rehearsal rooms and performers' dressing rooms, only one space was closed off to the public. This newly adopted 'transparency' the complex has adopted wants people to visit the building and see as much as possible without compromising the performers' privacy.
http://picasaweb.google.com/christopher.kitterman/CasaDaMusicaOMA?authkey=Y3fFcGyn-H8#
Porto has a fairly new metro system, and fortunately I am again close to a stop and easily get to the music hall.
Setting in the middle of a travertine plaza rises a multi-faceted concrete object with various types of glazing expressed on its surface. Depending on your position, views through the glass allow you to see that each of these spaces is treated in vary different materials. On an opening just above the plaza level, a stainless steel stair slides out of the opening an rests on the ground.
Entering the building up this stair, you arrive in an exceptionally vertical space that is defined by a stair with angular walls on one side (the facade) and a clean vertical wall on the other. Above, different shapes jut out into the space and angular columns cut through bracing who knows what. Adjacent also to the entrance is a ticket / coat check and a bank of Apple computers for composing electronic music; all is for the public. On the other side of the coat check is another stair that works its way up through the building. The entry sequence is one of two spaces that cut through the entire building; the other is the main concert hall.
Stairs and corridors are expressed with stainless steel, perforated screens, and exposed concrete. Therefore, any space that is not 'circulation' is treated with a new material. Moving up through the building past different bars and break-out spaces for intermissions, I arrive at one of the main concert hall's two ends. This is another exceptionally vertical space defined by a 'wavy' glass wall on both sides--you are standing in the air separation between the building and the hall. The concert hall is a shoebox type with the stage placed at a position that allows seating on both sides. The walls are plywood sheets with a gold leaf pattern recalling the wood's grain enlarged and pixelated imprinted onto the wood itself, so from afar, the actual wood recedes as different shades of brown with a new layer of golden veins that change intensity depending on the time of day. Also on the two wood side walls are different cutouts, again in 'wavy' glass exposing different spaces looking into the main hall.
Since the stage is placed in such a way that the audience can set on either side, a curtain is not necessary. The 'wavy' glass recalls the draping of a curtain, but its use is not simply for aesthetic reasons; as suspected, I was informed that the shape if for acoustical means. The repeating regular wave is extruded in plan; unlike a plane of glass, when the 'wavy' glass is pushed upon there is no noticeable deflection. By stiffening the glass through a change in its structural qualities, vibrations are reduced or eliminated altogether allowing for vast amounts of natural light and visual permeability to exist in a typology that is not accustomed to these traits-- all without compromising the acoustical qualities of the performance hall.
The seats are also ingenious. At first, I didn't think twice about the actual seat, but once I set down in one, it made perfect sense after a few seconds. All the seats are in the down position, which I didn't first consider when I set down. Normally when I take my seat at a theater, I have to lower the seat before actually setting. Initially, I thought this is the most uncomfortable seat as I had like 12 inches or so to set upon and my butt almost didn't fit! I first thought 'geeze... fat Americans... standing room only in the back of the theater!' but then I have seen some Europeans with some big butts, too, so... Fortunately, the seat slides out transforming the seat to a regular and comfortable dimension. By making the seat sliding instead of folding, you eliminate those awkward situations in a typical row of seating when people brush their butts against you as you stand up, fold your seat up, and turn ever-so-slightly to allow the patron to pass saying, 'excuse me, excuse me...' Here, you just slide back and there is enough room for everyone to have their personal space and enough distance to pass. The armrests are a clear, rubber-like resin cast over a steel arm with the seat number cutout. LED lights are illuminated to backlight the number making it easy to see, while, at the same time, casting a small glow under the armrest with just enough light that if you need to read your program during a performance, you can. I don't know if it is a difference between Europeans and Americans or just this theater, but at the evening's performance I attended, no usher had to come to a row, shine their small flashlight in your face and ask you to move over a seat because the numbers are unclear which seat is which. Everyone took their seat and we all enjoyed a marvelous concert from the Porto Symphony.
A second, smaller performance hall is located next to the main hall; it is clad in perforated plywood panels dipped in red ink that make each panel vary in color intensity (again as I was informed). Here, the seats and stage are movable allowing for various types of performances to occur from a piano recital that I attended to and electronic rave (which was not while I was there, sadly).
There are numerous performance, VIP, and regular patron lounges that overlook the main concert hall. There are photos of each in the photo album; the link is below.
Finally, at the roof level is a fantastic restaurant and a very special outdoor terrace adjacent that opens towards views of the city and the ocean. The terrace is clad in black and white tiles and the side walls follow the angle of the roof; at the point where the side walls fall below a handrail height, a glass handrail stops you from moving to the complete edge.
If you get a chance to go to the Casa da Musica, you must make it up to see this terrace. The complex has adopted a belief that attending a theater experience shouldn't be for a select few. My performance's ticket was 15E; except at some small theaters downtown, I don't think you could get a ticket for the quality of performance I saw for that price in NYC. Also, the building is completely open. No one ever stopped me from going into either of the concert halls or any of the other spaces for that matter; besides the rehearsal rooms and performers' dressing rooms, only one space was closed off to the public. This newly adopted 'transparency' the complex has adopted wants people to visit the building and see as much as possible without compromising the performers' privacy.
http://picasaweb.google.com/christopher.kitterman/CasaDaMusicaOMA?authkey=Y3fFcGyn-H8#
LAST DAY BILBOA
Today, after getting in a nice run along the river, I visited the Bella Artes Museum-good Picasso show-, and I spent some time exploring the city and taking care of some small errands before I leave tomorrow for Porto. It is an overnight train, but I have to travel by bus to another Spanish city to catch the train to Portugal...then another train to Porto. Fortunately, it is a sleeper car...
http://picasaweb.google.com/christopher.kitterman/BilbaoDay2#
http://picasaweb.google.com/christopher.kitterman/BilbaoDay2#
Thursday, September 25, 2008
Travel Day / Bilbao Day 1
Tuesday was a travel day from Barcelona to Bilbao. 9 hours on a train! I couldn't believe it when I got my ticket, but I guess it could have been worse...so before I checked out of my room, I took a little run through BCN so at least I had some activity besides setting...
I took a taxi from the station to my accommodations, and after 5 euros, we finally arrived. Of course the driver had to stop and pull out his map 4 or 5 times--the hotel is literally across the river from the station! I guess I don't blame him, he has to make a living, too.
In terms of accommodations for this leg of my trip, I decided to go the 'hostal' route as basic expenses here in Europe are much more expensive than in South America. I had assumed that 'hostal' and 'youth hostal' were basically interchangeable here in Spain...not the case. Apparently, my accommodations in BCN were under the category of 'youth hostal', which means shared baths, discarded hairs on the counters and floors, uncomfortable beds, noise, etc. However, I am pleasantly surprised that when I check into my room here in Bilbao, I am staying in a 'hostal', hence I have a nice, clean private bath (sans discarded hairs and such), a closet, a TV with four Spanish stations that I have not turned on since, and a comfortable bed. All in all, this is a very nice room, in a great building, and in a great location for the same price as my youth hostal experience...I can appreciate the difference between Barcelona and Bilbao, but in less you want to relive some college dorm experience, if you are budget traveling, put your money on the 'hostal' options...
After a walk along the river to as close as I can get to the Guggenheim without spoiling the surprise of seeing it firsthand in the light of day, I turn back, find a bar for a glass of sangria, and head off to sleep.
The Guggenheim:
It is a 20 minute walk from my room to the museum. Along the way, Santiago Calatrava's foot bridge crosses the Bilbao River. Like most of his work, it has thin, spindly structure for the tensile elements and thick concrete for the compressive structure--all painted white. Here, the bridge decking is glass--some transparent and some translucent with what I assume to be lighting integrated into the assembly.
Upon arriving to the museum from the old quarter of the city, you pass the stone clad tower and an elongated, titanium clad horizontal bar that snakes and weaves itself under an existing vehicular bridge to the main atrium of the museum. As you move towards this atrium, the path along the river lifts up gently to expose a new moat that laps up to the museum base on one side and the river on the other. At the atrium, the museum expresses this fact with multiple folds and billows surrounding a vertical wall of glass that offers views into the interior. Objects clad in stone, white draping walls, and ribbons of pedestrian circulation define this zone. Following the pedestrian path, you pass the entire length of the museum and return to the grade level began on the previous side; a stone stair perpendicular to the river leads you up along this side of the museum's block-like massing to an entry plaza. Here, Jeff Koons' "Puppy" greets guests before you descend another stone stair to the formal entry--this time, the stair takes you into the heart of the building--the atrium.
Although drastically different in materials, siting, and size, I would argue that the atrium space of Gehry's Guggenheim functions like and recalls attributes of FLW's NYC Guggenheim museum's atrium. In NYC, the atrium works as an organizational device: entry functions, vertical circulation, and gallery spaces all are located adjacent to the central void of the building. Instead of a continuous spiral that is both circulation and gallery, Gehry uses typical conveyance systems--stairs and glass enclosed elevators--to move people vertically through the building. However like FLW, every major gallery space opens onto the main atrium connected by a series of paths and at times bridges around and through the central void. In each project, people are always brought to a central zone before they move laterally to other galleries. Both, too, are top lit with skylights allowing natural daylight to filter into the building's void. Although I have never read nor heard that the references I mentioned were intentional on Gehry's part to establish a relationship with FLW, the similarities are a pleasant reference especially since both are part of the Guggenheim legacy.
The exterior cladding materials define programmatic uses: titanium clads galleries that are atypical in their layout--i.e. walls, ceilings, and floors do not always meet perpendicular to each other; stone clads 'traditional' uses such as restaurant, bookstore, typical galleries; and the blue defines the offices and support spaces for the museum. Hence, the titanium clad gallery that snakes underneath the vehicular bridge is an atypical gallery and actually houses the Richard Serra permanent collection exhibit:
Check out other photos here:
http://picasaweb.google.es/christopher.kitterman/BILBAO24Sept2008?authkey=nFn0Fur8T3A#
I took a taxi from the station to my accommodations, and after 5 euros, we finally arrived. Of course the driver had to stop and pull out his map 4 or 5 times--the hotel is literally across the river from the station! I guess I don't blame him, he has to make a living, too.
In terms of accommodations for this leg of my trip, I decided to go the 'hostal' route as basic expenses here in Europe are much more expensive than in South America. I had assumed that 'hostal' and 'youth hostal' were basically interchangeable here in Spain...not the case. Apparently, my accommodations in BCN were under the category of 'youth hostal', which means shared baths, discarded hairs on the counters and floors, uncomfortable beds, noise, etc. However, I am pleasantly surprised that when I check into my room here in Bilbao, I am staying in a 'hostal', hence I have a nice, clean private bath (sans discarded hairs and such), a closet, a TV with four Spanish stations that I have not turned on since, and a comfortable bed. All in all, this is a very nice room, in a great building, and in a great location for the same price as my youth hostal experience...I can appreciate the difference between Barcelona and Bilbao, but in less you want to relive some college dorm experience, if you are budget traveling, put your money on the 'hostal' options...
After a walk along the river to as close as I can get to the Guggenheim without spoiling the surprise of seeing it firsthand in the light of day, I turn back, find a bar for a glass of sangria, and head off to sleep.
The Guggenheim:
It is a 20 minute walk from my room to the museum. Along the way, Santiago Calatrava's foot bridge crosses the Bilbao River. Like most of his work, it has thin, spindly structure for the tensile elements and thick concrete for the compressive structure--all painted white. Here, the bridge decking is glass--some transparent and some translucent with what I assume to be lighting integrated into the assembly.
Upon arriving to the museum from the old quarter of the city, you pass the stone clad tower and an elongated, titanium clad horizontal bar that snakes and weaves itself under an existing vehicular bridge to the main atrium of the museum. As you move towards this atrium, the path along the river lifts up gently to expose a new moat that laps up to the museum base on one side and the river on the other. At the atrium, the museum expresses this fact with multiple folds and billows surrounding a vertical wall of glass that offers views into the interior. Objects clad in stone, white draping walls, and ribbons of pedestrian circulation define this zone. Following the pedestrian path, you pass the entire length of the museum and return to the grade level began on the previous side; a stone stair perpendicular to the river leads you up along this side of the museum's block-like massing to an entry plaza. Here, Jeff Koons' "Puppy" greets guests before you descend another stone stair to the formal entry--this time, the stair takes you into the heart of the building--the atrium.
Although drastically different in materials, siting, and size, I would argue that the atrium space of Gehry's Guggenheim functions like and recalls attributes of FLW's NYC Guggenheim museum's atrium. In NYC, the atrium works as an organizational device: entry functions, vertical circulation, and gallery spaces all are located adjacent to the central void of the building. Instead of a continuous spiral that is both circulation and gallery, Gehry uses typical conveyance systems--stairs and glass enclosed elevators--to move people vertically through the building. However like FLW, every major gallery space opens onto the main atrium connected by a series of paths and at times bridges around and through the central void. In each project, people are always brought to a central zone before they move laterally to other galleries. Both, too, are top lit with skylights allowing natural daylight to filter into the building's void. Although I have never read nor heard that the references I mentioned were intentional on Gehry's part to establish a relationship with FLW, the similarities are a pleasant reference especially since both are part of the Guggenheim legacy.
The exterior cladding materials define programmatic uses: titanium clads galleries that are atypical in their layout--i.e. walls, ceilings, and floors do not always meet perpendicular to each other; stone clads 'traditional' uses such as restaurant, bookstore, typical galleries; and the blue defines the offices and support spaces for the museum. Hence, the titanium clad gallery that snakes underneath the vehicular bridge is an atypical gallery and actually houses the Richard Serra permanent collection exhibit:
Check out other photos here:
http://picasaweb.google.es/christopher.kitterman/BILBAO24Sept2008?authkey=nFn0Fur8T3A#
Wednesday, September 24, 2008
Modernism in the Gothic Quarter...
http://picasaweb.google.com/christopher.kitterman/BARCELONA_days34#
RICHARD MEYER / BARRIO GOTHICO
Richard Meyer’s Museu d’ Art Contemporani de Barcelona (MACBA) museum is a HUGE building in Barcelona’s Barrio Gothico or historic district. Here in this district, it is not uncommon to find passageways between buildings of no more than four to five feet as is common in other European cities’ districts of similar age. So, when I came upon Meyer’s building on a map, I was surprised to see it was located here…if you looked at a Nolli (sp?) figure / ground plan of old European cities, you normally expect to see the object buildings—that is buildings that are free standing, very uncommon—as churches or maybe even train stations, but here in Barcelona, you find Richard Meyer’s museum, too along with the churches.
(Nolli Plan example above; the dark shapes are buildings, so you can easily make out streets and such)
For reference purposes only, it can be described as a Pompidou Museum diagram: at some point in time, there was an erasure or removal of buildings. An object building is inserted into the new site, but biased towards one side, as it never sits exactly in the middle to create an entry plaza. The Pompidou’s plaza is angled down towards the entrance; at the MACBA the plaza is flat. Adjacent to the plaza is the vertical circulation for the building. The Pompidou has its signature ribbon of escalators hung off the façade; the MACBA has a series of ramps just inside of the window wall. Behind the circulation are huge, flat gallery spaces. The Pompidou has basically uninterrupted (or can be depending on the exhibition) gallery spaces, while the MACBA has different proportions for different uses. As far as I could observe, most of the walls seem to be permanent and the changing exhibitions adopt accordingly.
However, one of the best qualities of the Pompidou is the fact that the building is higher than all of the surrounding buildings, so when you make it to the top floor and have lunch or dinner at Georges (if you haven’t you must must must), you have an amazing view of the city. Here, Meyer sticks his café with outdoor seating on the second level overlooking the plaza below. I am not sure if the Pompidou references are intentional or not as there is no mention of it in any literature I have read (I feel they are completely relevant, though), I was hoping for the roof top extravaganza, but was slightly disappointed to be perched just 15’ above grade…
Check it out and let me know if you feel the Pompidou vibe, too.
Next, I finally took a walk down the entire length of Las Ramblas. It is basically the heart of the Barrio Gothico and is an amazing public space in Barcelona. The street connects the Placa de Catalunya and Eixample district to the north with the Monument a Colom to the south. It works as a huge promenade defined by a wide public street with a continuous double alley of trees in the middle flanked by a single lane of vehicular traffic on each side with a normal sidewalk between the vehicle lane and the building edge. Here for the most part, the buildings maintain a constant datum down the length of the run. The center trees are fully mature and the foliage reaches to the upper portions of the buildings and maintain a constant canopy down the center promenade. As a result, there are multiple speeds of movement occurring along Las Ramblas. The sidewalks on either side work the same as in any city—at times extensions of the building into the public realm and the sense of movement here is quick and to the point. The central promenade diffuses the speed and becomes a slow, leisurely walking ground. Outdoor cafes, small shops, and street performers help to accomplish this feeling under the continuous protective canopy provided by the trees. The width of the Las Ramblas is just enough that you are aware there are other layers of movement, but the main emphasis is the central promenade. It is people watching at its best.
RICHARD MEYER / BARRIO GOTHICO
Richard Meyer’s Museu d’ Art Contemporani de Barcelona (MACBA) museum is a HUGE building in Barcelona’s Barrio Gothico or historic district. Here in this district, it is not uncommon to find passageways between buildings of no more than four to five feet as is common in other European cities’ districts of similar age. So, when I came upon Meyer’s building on a map, I was surprised to see it was located here…if you looked at a Nolli (sp?) figure / ground plan of old European cities, you normally expect to see the object buildings—that is buildings that are free standing, very uncommon—as churches or maybe even train stations, but here in Barcelona, you find Richard Meyer’s museum, too along with the churches.
(Nolli Plan example above; the dark shapes are buildings, so you can easily make out streets and such)
For reference purposes only, it can be described as a Pompidou Museum diagram: at some point in time, there was an erasure or removal of buildings. An object building is inserted into the new site, but biased towards one side, as it never sits exactly in the middle to create an entry plaza. The Pompidou’s plaza is angled down towards the entrance; at the MACBA the plaza is flat. Adjacent to the plaza is the vertical circulation for the building. The Pompidou has its signature ribbon of escalators hung off the façade; the MACBA has a series of ramps just inside of the window wall. Behind the circulation are huge, flat gallery spaces. The Pompidou has basically uninterrupted (or can be depending on the exhibition) gallery spaces, while the MACBA has different proportions for different uses. As far as I could observe, most of the walls seem to be permanent and the changing exhibitions adopt accordingly.
However, one of the best qualities of the Pompidou is the fact that the building is higher than all of the surrounding buildings, so when you make it to the top floor and have lunch or dinner at Georges (if you haven’t you must must must), you have an amazing view of the city. Here, Meyer sticks his café with outdoor seating on the second level overlooking the plaza below. I am not sure if the Pompidou references are intentional or not as there is no mention of it in any literature I have read (I feel they are completely relevant, though), I was hoping for the roof top extravaganza, but was slightly disappointed to be perched just 15’ above grade…
Check it out and let me know if you feel the Pompidou vibe, too.
Next, I finally took a walk down the entire length of Las Ramblas. It is basically the heart of the Barrio Gothico and is an amazing public space in Barcelona. The street connects the Placa de Catalunya and Eixample district to the north with the Monument a Colom to the south. It works as a huge promenade defined by a wide public street with a continuous double alley of trees in the middle flanked by a single lane of vehicular traffic on each side with a normal sidewalk between the vehicle lane and the building edge. Here for the most part, the buildings maintain a constant datum down the length of the run. The center trees are fully mature and the foliage reaches to the upper portions of the buildings and maintain a constant canopy down the center promenade. As a result, there are multiple speeds of movement occurring along Las Ramblas. The sidewalks on either side work the same as in any city—at times extensions of the building into the public realm and the sense of movement here is quick and to the point. The central promenade diffuses the speed and becomes a slow, leisurely walking ground. Outdoor cafes, small shops, and street performers help to accomplish this feeling under the continuous protective canopy provided by the trees. The width of the Las Ramblas is just enough that you are aware there are other layers of movement, but the main emphasis is the central promenade. It is people watching at its best.
Igualada Cemetery
http://picasaweb.google.com/christopher.kitterman/IgualadaCemetery#
Today I took an hour and a half train ride from Barcelona to a small town called Igualada to visit one of my favorite landscape-architecture projects: Carme Pinos and Enric Miralles’ Igualada Cemetery. I had heard that the cemetery is only open two days during the week—Sunday and Monday—and since it was supposed to (and did) rain all day on Monday, I opted for the Sunday visit.
I must begin by saying that architects are the only profession I know of that are willing to travel to the ends of the earth to see a specific project. I have hiked through hills, people's private property, climbed fences, and boarded trains not exactly knowing when to get off just to see a project. This day's trip, although not requiring to climb fences or trespass, is another adventure in the making.
Having only a general knowledge of the cemetery’s location upon arriving in Igualada, I thought I would take a taxi to the site and plan on walking back. No taxis. I found a phone number and figured out how to place a call, but no answer. I asked for assistance with the taxi issue and the response was ‘it is Sunday,’ which I am forced to assume that the response really means no one needs a taxi on Sunday and by the look on the guy’s face, this fact should be obvious. (If you find yourself in Igualada on a Sunday, know where you are going.) I find a map in the station and quickly trace a copy of the route for my walk for reference. I have no idea how far away the site is from the station or how long this might take. The morning in Barcelona had been overcast and cool, but the weather was much different in Igualada with strong sunshine and warm temperatures. Dressed with the protection of jeans and a black shirt, I head out in the direction of my scribbled map without water, as nothing was open to purchase a bottle of water either—another Sunday issue I suppose.
After fifty minutes or so, I arrive at the site. Located outside of the main city in a very industrialized area, the cemetery was built in an abandoned quarry; hence, a dramatic site carved out of the ground over time. As a result, the quarry has exposed the horizontal strata of the surrounding landscape—a reference to time again—not always seen. The first sign of the cemetery is a rusted steel rebar fence and gate (fortunately open). As a fence, the horizontal and vertical rebar members create a regular grid, but above a certain point, the horizontals stop and the verticals extend some three feet above. Without the horizontal connections, each vertical piece bends and deflects referencing the characteristics of the surrounding fauna. Plants and human constructs share the same characteristics.
The first sign of ‘architecture,’ that is something that could be recognizable as a ‘building’ is in fact the only weather sealed enclosure at the site; a small morgue with the appropriate facilities is located off the main drive. Having only one façade, the facility is a concrete structure is embedded into quarry face where the hillside overlaps onto the roof. Hearses and other autos need for services are parked adjacent to and underneath the roof of the complex. Pinos and Miralles uses sculptural cut outs in the roof allowing harsh rays of sunlight to enter into the relatively dark space for vehicles creating a dialog of dark / light and solid / void. These cut outs reinforce the idea that the roof is actually a ground plane by giving the ceiling a thickness not normally used in traditional buildings; at times, concrete trellis like planes angle down from the openings, again, emphasizing the thickness of the roof.
Outside of and adjacent to this facility is the formal entrance to the cemetery itself. A huge angular cor-ten gate of steel tubes announces this entry. From here, one descends down into a passage way carved into the ground exposing walls of shifting concrete blocks—references to the surrounding quarry’s newly exposed cliff faces. These blocks, however, are the burial niches for the deceased. The passageway’s floor is a mixture of concrete, gravel, and randomly placed wooden railway ties that when paired with the shifting faces of the concrete burial niches give the project a sense that water has eroded and exposed each of these faces leaving the random wood pieces and the sculptural characteristics of the walls as evidence left behind.
Pinos and Miralles’ choice of materials becomes very important in discussing the relevance of time’s passage in this project. Steel rebar and cor-ten panels are, I feel, important materials used as both are left intentionally untreated and exposed to the elements to weather appropriately. Hence, the act of rusting becomes a reference to the passage of time—the material is allowed to age naturally. Concrete being the other predominant material used throughout the project is used not only for its obvious structural capacities, but it is these structural capacities of spanning space and retaining earth that are celebrated with concrete’s ability to provide a sense of massiveness.
Ok..enough archi-speak. This is one of my all-time favorite projects. If you ever get the chance to see it, I highly recommend it, and if you ever get a chance to look at the drawings the architects made for this and their other projects, they are pretty spectacular, too. Simple black and white drawings, but it is how they draw and describe the shapes and forms of their projects that have a beautiful complexity to them that allow you to get lost in the drawings.
Today I took an hour and a half train ride from Barcelona to a small town called Igualada to visit one of my favorite landscape-architecture projects: Carme Pinos and Enric Miralles’ Igualada Cemetery. I had heard that the cemetery is only open two days during the week—Sunday and Monday—and since it was supposed to (and did) rain all day on Monday, I opted for the Sunday visit.
I must begin by saying that architects are the only profession I know of that are willing to travel to the ends of the earth to see a specific project. I have hiked through hills, people's private property, climbed fences, and boarded trains not exactly knowing when to get off just to see a project. This day's trip, although not requiring to climb fences or trespass, is another adventure in the making.
Having only a general knowledge of the cemetery’s location upon arriving in Igualada, I thought I would take a taxi to the site and plan on walking back. No taxis. I found a phone number and figured out how to place a call, but no answer. I asked for assistance with the taxi issue and the response was ‘it is Sunday,’ which I am forced to assume that the response really means no one needs a taxi on Sunday and by the look on the guy’s face, this fact should be obvious. (If you find yourself in Igualada on a Sunday, know where you are going.) I find a map in the station and quickly trace a copy of the route for my walk for reference. I have no idea how far away the site is from the station or how long this might take. The morning in Barcelona had been overcast and cool, but the weather was much different in Igualada with strong sunshine and warm temperatures. Dressed with the protection of jeans and a black shirt, I head out in the direction of my scribbled map without water, as nothing was open to purchase a bottle of water either—another Sunday issue I suppose.
After fifty minutes or so, I arrive at the site. Located outside of the main city in a very industrialized area, the cemetery was built in an abandoned quarry; hence, a dramatic site carved out of the ground over time. As a result, the quarry has exposed the horizontal strata of the surrounding landscape—a reference to time again—not always seen. The first sign of the cemetery is a rusted steel rebar fence and gate (fortunately open). As a fence, the horizontal and vertical rebar members create a regular grid, but above a certain point, the horizontals stop and the verticals extend some three feet above. Without the horizontal connections, each vertical piece bends and deflects referencing the characteristics of the surrounding fauna. Plants and human constructs share the same characteristics.
The first sign of ‘architecture,’ that is something that could be recognizable as a ‘building’ is in fact the only weather sealed enclosure at the site; a small morgue with the appropriate facilities is located off the main drive. Having only one façade, the facility is a concrete structure is embedded into quarry face where the hillside overlaps onto the roof. Hearses and other autos need for services are parked adjacent to and underneath the roof of the complex. Pinos and Miralles uses sculptural cut outs in the roof allowing harsh rays of sunlight to enter into the relatively dark space for vehicles creating a dialog of dark / light and solid / void. These cut outs reinforce the idea that the roof is actually a ground plane by giving the ceiling a thickness not normally used in traditional buildings; at times, concrete trellis like planes angle down from the openings, again, emphasizing the thickness of the roof.
Outside of and adjacent to this facility is the formal entrance to the cemetery itself. A huge angular cor-ten gate of steel tubes announces this entry. From here, one descends down into a passage way carved into the ground exposing walls of shifting concrete blocks—references to the surrounding quarry’s newly exposed cliff faces. These blocks, however, are the burial niches for the deceased. The passageway’s floor is a mixture of concrete, gravel, and randomly placed wooden railway ties that when paired with the shifting faces of the concrete burial niches give the project a sense that water has eroded and exposed each of these faces leaving the random wood pieces and the sculptural characteristics of the walls as evidence left behind.
Pinos and Miralles’ choice of materials becomes very important in discussing the relevance of time’s passage in this project. Steel rebar and cor-ten panels are, I feel, important materials used as both are left intentionally untreated and exposed to the elements to weather appropriately. Hence, the act of rusting becomes a reference to the passage of time—the material is allowed to age naturally. Concrete being the other predominant material used throughout the project is used not only for its obvious structural capacities, but it is these structural capacities of spanning space and retaining earth that are celebrated with concrete’s ability to provide a sense of massiveness.
Ok..enough archi-speak. This is one of my all-time favorite projects. If you ever get the chance to see it, I highly recommend it, and if you ever get a chance to look at the drawings the architects made for this and their other projects, they are pretty spectacular, too. Simple black and white drawings, but it is how they draw and describe the shapes and forms of their projects that have a beautiful complexity to them that allow you to get lost in the drawings.
Wednesday, September 17, 2008
BARCELONA_17 SEPT 2008
After some much needed sleep, I ventured out to Parc Montjuic. This is the area where the Barcelona Olympics were held, I believe, and is also home to some very nice parks and museums.
First, was a visit to see Mies' Barcelona Pavillion. I had visited the Farnsworth House in early June before leaving on the fellowship and was excited to see the project in person. Today's visit was no different. Although not a house per se, the pavilion was Germany's entry into the World's exposition. The project is an interplay of planes--some solid and some transparent that create two inhabitable 'spaces' situated adjacent to two reflecting pools. Travertine and a green marble are the solid planes where the first material is both the flooring material of the entire project and the vertical walls for the smaller of two enclosures. The green marble is the other enclosure material for the larger enclosure. Articulated as a series of planes setting both parallel and perpendicular on a raised plinth, the pavilion is a play of solid and void. The larger of the two interior rooms (surrounded by green marble) has also a red marble plane to define a zone for seating that overlooks a reflecting pool.
More later...until then, here is a link to the new photos of today and yesterday's sites:
http://picasaweb.google.com/christopher.kitterman/BarcelonaGaudi#
First, was a visit to see Mies' Barcelona Pavillion. I had visited the Farnsworth House in early June before leaving on the fellowship and was excited to see the project in person. Today's visit was no different. Although not a house per se, the pavilion was Germany's entry into the World's exposition. The project is an interplay of planes--some solid and some transparent that create two inhabitable 'spaces' situated adjacent to two reflecting pools. Travertine and a green marble are the solid planes where the first material is both the flooring material of the entire project and the vertical walls for the smaller of two enclosures. The green marble is the other enclosure material for the larger enclosure. Articulated as a series of planes setting both parallel and perpendicular on a raised plinth, the pavilion is a play of solid and void. The larger of the two interior rooms (surrounded by green marble) has also a red marble plane to define a zone for seating that overlooks a reflecting pool.
More later...until then, here is a link to the new photos of today and yesterday's sites:
http://picasaweb.google.com/christopher.kitterman/BarcelonaGaudi#
Tuesday, September 16, 2008
BARCELONA_16 SEPT 2008
Greetings from Barcelona! Long time no post....
Wow! This is an absolutely beautiful city!
Arrived at BCN and transferred with no problem (but did witness a Spaniard literally push an American women while bording the flight in NYC...more on that later). Checked in and found that I am staying relatively close to the Parc Guell.
So, that is where I started today-Gaudi Day-and let me say-Gaudi is spectacular! I am completely blown away! We do not give his work justice in school I am sad to say...
Also visited and toured Casa Batllo and Casa Mila...have tons of photos, but will update those and the rest of S. America soon...tomorrow a.m. It has been an exceptionally long day and I am tired...
If you don't know his work...google Gaudi Barcelona and enjoy!
Wow! This is an absolutely beautiful city!
Arrived at BCN and transferred with no problem (but did witness a Spaniard literally push an American women while bording the flight in NYC...more on that later). Checked in and found that I am staying relatively close to the Parc Guell.
So, that is where I started today-Gaudi Day-and let me say-Gaudi is spectacular! I am completely blown away! We do not give his work justice in school I am sad to say...
Also visited and toured Casa Batllo and Casa Mila...have tons of photos, but will update those and the rest of S. America soon...tomorrow a.m. It has been an exceptionally long day and I am tired...
If you don't know his work...google Gaudi Barcelona and enjoy!
Thursday, July 24, 2008
BUENOS AIRES, DAYS 4-6
Although during my stay was the celebration of the Argentine Independence, you never would have known...It is not celebrated with such fanfair as it is here in the states.
I have spent most of my time in the city's Palermo neighborhood. Here, there are located many of the city's museums and the country's foreign embassies. There are three sites in particular that I have enjoyed visiting:
1. MALBA-Museum of Latin Art Buenos Aires
This is one of a few privately maintained museums in Buenos Aires. With that, you pay a slightly higher entrance fee, but the collection and the building warrant the price. While visiting, I viewed a show of Mexican artists whose work was situated around the period of 1968, so the work was highly charged with political and cultural themes of the time...i.e. war, gender issues, media...all obviously still relevant today as well.
One piece in particular was a mobile version of Bruce Newman's Broken Obelisk. The sculpture now is an open steel frame (instead of a corten steel structure) with netting/cloth to infill the frame. The entire piece is able to be dismantled and reassembled quickly. So part of the exhibit was to show this new art in different settings...i.e. art to the masses.
2. Evita Museum
Although some might think this to be a cliche in Buenos Aires, the museum did accomplish showing her contributions to the country beyond her high fashion tastes. I was not aware that she brought the women of Argentina the right to vote in the mid twentieth century, nor did I know that she and Peron accomplished so much to aid the needs of children with disabilities by building schools and offering special programs. Some of these schools are still in operation today. Although I am not completely up to date on all of the issues why she was not welcomed by many people in the country, I can appreciate that a museum dedicated to Eva Peron would only show the positive aspects of her legacy. So the exhibition may not be exactly balanced per se, I was, however, able to gain an additional appreciation of what seems like a very inspiring and influential woman.
3. Eva Peron's final resting place
As part of the exhibition, I learned that her body was originally buried in Milan, Italy. After Juan Peron left Argentina for Spain, he had her remains removed from Italy and brought to Madrid. It was only after his death that she was finally returned to Argentina where she resides in a masoleum in Buenos Aires. The exhibition showed many photos (some very macabre) of her body mutilated by different persons during each move. It seems a shame that people would find the need to harm and disfigure a body-deceased or not-out of protest to her and her legacy.
I have spent most of my time in the city's Palermo neighborhood. Here, there are located many of the city's museums and the country's foreign embassies. There are three sites in particular that I have enjoyed visiting:
1. MALBA-Museum of Latin Art Buenos Aires
This is one of a few privately maintained museums in Buenos Aires. With that, you pay a slightly higher entrance fee, but the collection and the building warrant the price. While visiting, I viewed a show of Mexican artists whose work was situated around the period of 1968, so the work was highly charged with political and cultural themes of the time...i.e. war, gender issues, media...all obviously still relevant today as well.
One piece in particular was a mobile version of Bruce Newman's Broken Obelisk. The sculpture now is an open steel frame (instead of a corten steel structure) with netting/cloth to infill the frame. The entire piece is able to be dismantled and reassembled quickly. So part of the exhibit was to show this new art in different settings...i.e. art to the masses.
2. Evita Museum
Although some might think this to be a cliche in Buenos Aires, the museum did accomplish showing her contributions to the country beyond her high fashion tastes. I was not aware that she brought the women of Argentina the right to vote in the mid twentieth century, nor did I know that she and Peron accomplished so much to aid the needs of children with disabilities by building schools and offering special programs. Some of these schools are still in operation today. Although I am not completely up to date on all of the issues why she was not welcomed by many people in the country, I can appreciate that a museum dedicated to Eva Peron would only show the positive aspects of her legacy. So the exhibition may not be exactly balanced per se, I was, however, able to gain an additional appreciation of what seems like a very inspiring and influential woman.
3. Eva Peron's final resting place
As part of the exhibition, I learned that her body was originally buried in Milan, Italy. After Juan Peron left Argentina for Spain, he had her remains removed from Italy and brought to Madrid. It was only after his death that she was finally returned to Argentina where she resides in a masoleum in Buenos Aires. The exhibition showed many photos (some very macabre) of her body mutilated by different persons during each move. It seems a shame that people would find the need to harm and disfigure a body-deceased or not-out of protest to her and her legacy.
Tuesday, July 8, 2008
BUENOS AIRES: DAYS 1-3
B.A. THURSDAY
I am located in ´microcentro´of B.A. Buenos Aires, as from the flight into the airport and the transfer into the city, seems much more flat than either Sao Paulo or Rio. The city is spread along the Rio de la Plata which seems more like a bay-estuary off of the Atlantic Ocean. Across the Rio de la Plata is Montevideo, Uraguay.
Laid out in a orthagonal grid, the main thoroughfare of the city centre is the Avenida 9 de Julio. There are 2 major avenues perpendicular to this avenue--they are Avenida de Mayo and the Avenida Corrientes. The Casa Rosada (the ´pink house´ think Evita) and the Palacio del Congreso are at the ends of the Avenida de Mayo. In front of the Casa Rosada is the Plaza de Mayo where protests are held every day in this open space now dedicated solely for this purpose. Protests began (or so I was told) when the national government murdered some of its own citizens. The mothers of the fallen took to this Plaza and placed hoods over thier heads and marched silently...the space has been used for this purpose ever since. Opposite the Casa Rosada is the original government building when the city was settled and is open as a museum today. Congress now resides in the Palacio del Congreso.
There are two diagonals from this Plaza-the major diagonal connects the plaza-Casa Rosada with Avenida 9 de Julio. The significance of the Avenida 9 de Julio is this date marks the Argentinian independence from Spain (1816). At 12 lanes in width, it takes some patience to get from one side to the other...these mega avenues I am finding are fairly common in B.A. At the junction of this, the diagonal, and the Corrientes Ave. is the Obelisco. The Obelisco signifies three of the city´s key historical events: the foundation of B.A., the declaration of the city as the capital, and to mark the location where the first Argentinian flag was flown.
Ok..enough history.
I have basically spent these three days visiting major city districts in which to orient myself. Unfortunately, some of the sights I am wanting to see are closed, and one happen to be open but the lady looked at me and said ´mañana´...I guess she didn´t have time for the gringo. bi-atch!
The upscale part of the city is called Palermo and it is here that the embassies, major parks, and other cultural institutions are. I was able to see some great galleries and one museum in particular, MALBA (Museu de Arte Latinoamericano de Buenos Aires) had a great temporary exhibition on Mexican Art. (I am also learning the inuendos of South America´s thoughts of Central American--specifically Mexico..not good) The permanant collection is worthwhile, too.
The building is nice, but not noteworthy. I was impressed to find out that this building and museum are privately funded-hence the more than normal entrance fee, but still a bargain. After seeing the two collections, I was able to find some of the building´s exterior terraces where I could finally enjoy some warmer temperatures and some brief sun...It was a nice visit and if you find yourself in B.A., you should see this collection.
I am located in ´microcentro´of B.A. Buenos Aires, as from the flight into the airport and the transfer into the city, seems much more flat than either Sao Paulo or Rio. The city is spread along the Rio de la Plata which seems more like a bay-estuary off of the Atlantic Ocean. Across the Rio de la Plata is Montevideo, Uraguay.
Laid out in a orthagonal grid, the main thoroughfare of the city centre is the Avenida 9 de Julio. There are 2 major avenues perpendicular to this avenue--they are Avenida de Mayo and the Avenida Corrientes. The Casa Rosada (the ´pink house´ think Evita) and the Palacio del Congreso are at the ends of the Avenida de Mayo. In front of the Casa Rosada is the Plaza de Mayo where protests are held every day in this open space now dedicated solely for this purpose. Protests began (or so I was told) when the national government murdered some of its own citizens. The mothers of the fallen took to this Plaza and placed hoods over thier heads and marched silently...the space has been used for this purpose ever since. Opposite the Casa Rosada is the original government building when the city was settled and is open as a museum today. Congress now resides in the Palacio del Congreso.
There are two diagonals from this Plaza-the major diagonal connects the plaza-Casa Rosada with Avenida 9 de Julio. The significance of the Avenida 9 de Julio is this date marks the Argentinian independence from Spain (1816). At 12 lanes in width, it takes some patience to get from one side to the other...these mega avenues I am finding are fairly common in B.A. At the junction of this, the diagonal, and the Corrientes Ave. is the Obelisco. The Obelisco signifies three of the city´s key historical events: the foundation of B.A., the declaration of the city as the capital, and to mark the location where the first Argentinian flag was flown.
Ok..enough history.
I have basically spent these three days visiting major city districts in which to orient myself. Unfortunately, some of the sights I am wanting to see are closed, and one happen to be open but the lady looked at me and said ´mañana´...I guess she didn´t have time for the gringo. bi-atch!
The upscale part of the city is called Palermo and it is here that the embassies, major parks, and other cultural institutions are. I was able to see some great galleries and one museum in particular, MALBA (Museu de Arte Latinoamericano de Buenos Aires) had a great temporary exhibition on Mexican Art. (I am also learning the inuendos of South America´s thoughts of Central American--specifically Mexico..not good) The permanant collection is worthwhile, too.
The building is nice, but not noteworthy. I was impressed to find out that this building and museum are privately funded-hence the more than normal entrance fee, but still a bargain. After seeing the two collections, I was able to find some of the building´s exterior terraces where I could finally enjoy some warmer temperatures and some brief sun...It was a nice visit and if you find yourself in B.A., you should see this collection.
RIO DE JANEIRO - TRAVEL TO BUENOS AIRES
LAST DAY: RIO DE JANEIRO
I had to take one last jog along the copacabana beach...the view is too amazing to miss.
I revisited Ipanema--this time by bike. I took a leap of faith and got on the roads with the crazy busses and other drivers. My ´bike´ as the saleslady promised was anything but...
The right pedal was near to falling off and would have had I not kept pushing it back onto its peg while navigating one way traffic and the ocassional side walk. However, I finally was able to locate an access point to the bike trail at the lagoa and for 8km I was hope free and able to enjoy some spectacular views. The botanical gardens in Rio are supposed to be famous and while taking an excursion off of the path, not only did I find the gardens, but also found out that today, they are closed. My guidebook says "open all year except Christmas" and some other holiday...I guess I chose the other holiday to attempt to visit. Next time.
Wednesday is my travel day to Buenos Aires. I have to admit that I was fortunate to arrive in Rio at the national airport instead of the international airport...Rio looses much of its splendor about 1 km north of the centro area and the int. airport was a good thirty minutes beyond that. Not so pretty and I would have hated for that to be my first view of the city. The national airport is directly across a major artery of the city and the views of the surrounding city and landscape are amazing.
No problems getting settled into B.A. The flight was longer than I had expected--3.5 hours. I went from mild, sunny, but increasingly hazier days in Rio, to a much cooler and foggier Buenos Aires. It took 4 days in B.A. before I saw the sun.
The first night was spent exploring the neighborhood around the hotel. Fortunately, I am in tourist central--the equivalent of times square--so I have my McDonalds, Burger Kings, and other delights to remind me of home and of globalization.
I chose to pass on these options and found a nice little café to watch the porteños (persons from B.A.) pass by. As additional part of my location´s charms, I did get to see a pretty amazing tango performance in the street.
(I am having a difficult time locating a computer that will allow me to upload photos...I will share all of these as soon as I can.)
I had to take one last jog along the copacabana beach...the view is too amazing to miss.
I revisited Ipanema--this time by bike. I took a leap of faith and got on the roads with the crazy busses and other drivers. My ´bike´ as the saleslady promised was anything but...
The right pedal was near to falling off and would have had I not kept pushing it back onto its peg while navigating one way traffic and the ocassional side walk. However, I finally was able to locate an access point to the bike trail at the lagoa and for 8km I was hope free and able to enjoy some spectacular views. The botanical gardens in Rio are supposed to be famous and while taking an excursion off of the path, not only did I find the gardens, but also found out that today, they are closed. My guidebook says "open all year except Christmas" and some other holiday...I guess I chose the other holiday to attempt to visit. Next time.
Wednesday is my travel day to Buenos Aires. I have to admit that I was fortunate to arrive in Rio at the national airport instead of the international airport...Rio looses much of its splendor about 1 km north of the centro area and the int. airport was a good thirty minutes beyond that. Not so pretty and I would have hated for that to be my first view of the city. The national airport is directly across a major artery of the city and the views of the surrounding city and landscape are amazing.
No problems getting settled into B.A. The flight was longer than I had expected--3.5 hours. I went from mild, sunny, but increasingly hazier days in Rio, to a much cooler and foggier Buenos Aires. It took 4 days in B.A. before I saw the sun.
The first night was spent exploring the neighborhood around the hotel. Fortunately, I am in tourist central--the equivalent of times square--so I have my McDonalds, Burger Kings, and other delights to remind me of home and of globalization.
I chose to pass on these options and found a nice little café to watch the porteños (persons from B.A.) pass by. As additional part of my location´s charms, I did get to see a pretty amazing tango performance in the street.
(I am having a difficult time locating a computer that will allow me to upload photos...I will share all of these as soon as I can.)
Tuesday, July 1, 2008
R.G. DAY 5,6
RIO DE JANEIRO:
SUNDAY:
Today, I take the ferry from Rio across the bay to Niteroi...the equivalent of Oakland to San Fran.
Here, is another Niemeyer museum, the Museu de Arte Contemporanea located on a point in which Rio and the Sugar Loaf become the backdrop for the fluid concrete construction. Resting on a small base, the museum is basically a huge cantilever peering out over the bay. The galleries are small, but I think what people come to see are the view and this building speaking to the sugar loaf in the distance.
Tonight, I had dinner and drinks with some Columbians (Bogata) that have befriended me...one is a chef, so I have someone who can choose what to eat here at a nice spot in Ipanema. We tried to find a place that I would have assumed to be bliss...what is translated to the school of cachaça (yum), but it is not in the neighborhood or close by...so no go.
MONDAY:
I do what I give other persons a hard time for...I joined a tour to see the Corcovado and the Cristo Redemer. Since you have to pass through many favellas to get to the summit, I thought it would be safer and cheaper than taking a taxi to the park. Also, we make other stops in the city that I have yet to see, so this is a go.
What should be the most prominent point in all of Rio is unfortunately a viewing platform in the clouds. Every day has been clear, except today. Although what glimpses I get of the city below, the experience to see the Cristo up close is spectacular.
more later..
http://picasaweb.google.com/christopher.kitterman/RIODEJANEIRODAYS456
SUNDAY:
Today, I take the ferry from Rio across the bay to Niteroi...the equivalent of Oakland to San Fran.
Here, is another Niemeyer museum, the Museu de Arte Contemporanea located on a point in which Rio and the Sugar Loaf become the backdrop for the fluid concrete construction. Resting on a small base, the museum is basically a huge cantilever peering out over the bay. The galleries are small, but I think what people come to see are the view and this building speaking to the sugar loaf in the distance.
Tonight, I had dinner and drinks with some Columbians (Bogata) that have befriended me...one is a chef, so I have someone who can choose what to eat here at a nice spot in Ipanema. We tried to find a place that I would have assumed to be bliss...what is translated to the school of cachaça (yum), but it is not in the neighborhood or close by...so no go.
MONDAY:
I do what I give other persons a hard time for...I joined a tour to see the Corcovado and the Cristo Redemer. Since you have to pass through many favellas to get to the summit, I thought it would be safer and cheaper than taking a taxi to the park. Also, we make other stops in the city that I have yet to see, so this is a go.
What should be the most prominent point in all of Rio is unfortunately a viewing platform in the clouds. Every day has been clear, except today. Although what glimpses I get of the city below, the experience to see the Cristo up close is spectacular.
more later..
http://picasaweb.google.com/christopher.kitterman/RIODEJANEIRODAYS456
R.G. DAYS 3,4
RIO DE JANEIRO:
I am not sure where I have left off...but I'll start with Friday.
Friday was a long walk through Copacabana and Ipanema...Copacabana is known as the tourist sector of the city and hence people are always coming up to me wanting to sell whatever they have in their hands at the moment...mostly shirts and baseball caps, but I have seen jewelry, cigarettes, and the occasional underwear. nothing too exciting.
However, Ipanema, is one of the more upscale neighborhoods of the city and therefore has less street pedalers. The best bars and restaurants are located here in addition to the Lagoa Rodrigo de Freitas...an interior lake under the arms of the Cristo Rendentor. There is an 8km trail around the lake for jogging and cycling and the city's row team is housed here. I have been told to visit a few bars/restaurants in this zone, so tonight I shall check them out.
SATURDAY:
Today, after a nice run along Copacaban, I traveled to centro via the metro. Like Sao Paulo, it is easy to navigate and very clean. At the cinelandia metro stop, I visited a square in which the Biblioteca Nacional, Teatro Minicipal, and the Museu Nacional de Belas Artes surround. Each is classical in style...The national library was not officially open to the public, but I was allowed to visit the lobby and the stair atrium...There was what appeared to be a middle school graduation ceremony that I crashed and I am sure all of the parents were thinking, 'who is that guy related to?!' But, it was a cute ceremony.
The Belas Artes has a vast collection of Brazilian painting and sculpture. The collection bascially followed the trajectory of the history of art, so you could trace the Brazilian perspective of the differnt art movements. Also, I was able to see an exhibition of the landscape architect Roberto Burle Marx which was spectacular. There were models, sketches, and final drawings for different projects across the nation. I also learned he was a sculpture, too.
Unfortunately, the Teatro National was closed for renovations, but I was told it was modeled (almost literally) to the Paris Opera by Garnier.
The last stop of the day was a visit to the Museu de Arte Moderna (MAM) designed in 1952 by Lucio Costa and Eduardo Reidy. It is a concrete bar building set with a theater (that I only later learned...more on that experience) in a expansive Burle Marx landscape/park. The exhibits included a Brazilian photographer (whose name I have forgotten) and a spectacular painter (whose name I have just not on me).
Tonight, I have found a broadway show (whose name I shall not mention, but is closed on broadway) to see. Although I have no idea where the theater is, I take a cab to make the 7.30 start time. I arrived surprised by the fact that I am back at the MAM and I am thinking this is a mistake, but I do not know how to tell the driver this. He drops me off at a ticket kiosk...there is no sign or indication that the show I am supposed to see is actually playing, so I get nervous...
I am indeed at the correct venue...fortunately, and after getting my ticket, I am told the show is here and what I have just now learned is the theater adjoing the museum just recently visited. However, I am the only person outside and there is no activity in the building. Did I get the days wrong? I look again at the ticket and see 21.30. Quick (and simple) math indicates this to be 9.30 and not 7.30! So I am two hours early and from my walking today, I remember a. there are no places in the immediate area to grab a drink or dinner and b. I was told this is not the place to be alone after dark. Not wanting to drop another round trip fare via taxi, I get back to the metro and return to my area for a quick snack and drink before making my way back to the show.
This is not the typical broadway experience I have grown accustomed to...not that this is a problem, but for starters, I arrive and am handed what I thought were sanitary towels to clean my hands with...a nice gesture. But upon closer inspection before I opened the package, I realized it was Palmolive dishwashing detergent samples! I look around and see Palmolive soap, advertisements, and signage everywhere! Having no need for dishwashing detergent, I returned so some other Carioca (a person from Rio) can enjoy.
As I make my way to my seat, I locate the orchestra section and step into the theater. There are no seats or I should say not your typical stadium style seats, but a flat and what feels like a scaled up version of my elementary school cafeteria complete with hundreds of tables for four and a raised platform that is the stage! I didn't realize this was a 'dinner theater' experience or I would have forgone the snack earlier! I find my table and I am seat 'c'...which is not marked any where. I assume the couple I am setting with are a and b, so I take a seat, but the stage is to my back. To make a long story short, seat d is the largest Brazilian I have seen on my trip and table 516 and 518 on either side of us are so tightly packed that the seats between tables touch each other when occupied. I can clearly see that 'd' is agitated that 'c' (me) is also tall and broad shouldered. He makes a scene and proceeds to set in the aisle, now in front of seat 'a' at my table. She gets pissed and sends him away. At this time, a loud buzzer sounds and we are to take our seats. After 'd' is asked to move three times, he finds a spot; I turn my seat towards the stage, and we enjoy the show.
I am not sure where I have left off...but I'll start with Friday.
Friday was a long walk through Copacabana and Ipanema...Copacabana is known as the tourist sector of the city and hence people are always coming up to me wanting to sell whatever they have in their hands at the moment...mostly shirts and baseball caps, but I have seen jewelry, cigarettes, and the occasional underwear. nothing too exciting.
However, Ipanema, is one of the more upscale neighborhoods of the city and therefore has less street pedalers. The best bars and restaurants are located here in addition to the Lagoa Rodrigo de Freitas...an interior lake under the arms of the Cristo Rendentor. There is an 8km trail around the lake for jogging and cycling and the city's row team is housed here. I have been told to visit a few bars/restaurants in this zone, so tonight I shall check them out.
SATURDAY:
Today, after a nice run along Copacaban, I traveled to centro via the metro. Like Sao Paulo, it is easy to navigate and very clean. At the cinelandia metro stop, I visited a square in which the Biblioteca Nacional, Teatro Minicipal, and the Museu Nacional de Belas Artes surround. Each is classical in style...The national library was not officially open to the public, but I was allowed to visit the lobby and the stair atrium...There was what appeared to be a middle school graduation ceremony that I crashed and I am sure all of the parents were thinking, 'who is that guy related to?!' But, it was a cute ceremony.
The Belas Artes has a vast collection of Brazilian painting and sculpture. The collection bascially followed the trajectory of the history of art, so you could trace the Brazilian perspective of the differnt art movements. Also, I was able to see an exhibition of the landscape architect Roberto Burle Marx which was spectacular. There were models, sketches, and final drawings for different projects across the nation. I also learned he was a sculpture, too.
Unfortunately, the Teatro National was closed for renovations, but I was told it was modeled (almost literally) to the Paris Opera by Garnier.
The last stop of the day was a visit to the Museu de Arte Moderna (MAM) designed in 1952 by Lucio Costa and Eduardo Reidy. It is a concrete bar building set with a theater (that I only later learned...more on that experience) in a expansive Burle Marx landscape/park. The exhibits included a Brazilian photographer (whose name I have forgotten) and a spectacular painter (whose name I have just not on me).
Tonight, I have found a broadway show (whose name I shall not mention, but is closed on broadway) to see. Although I have no idea where the theater is, I take a cab to make the 7.30 start time. I arrived surprised by the fact that I am back at the MAM and I am thinking this is a mistake, but I do not know how to tell the driver this. He drops me off at a ticket kiosk...there is no sign or indication that the show I am supposed to see is actually playing, so I get nervous...
I am indeed at the correct venue...fortunately, and after getting my ticket, I am told the show is here and what I have just now learned is the theater adjoing the museum just recently visited. However, I am the only person outside and there is no activity in the building. Did I get the days wrong? I look again at the ticket and see 21.30. Quick (and simple) math indicates this to be 9.30 and not 7.30! So I am two hours early and from my walking today, I remember a. there are no places in the immediate area to grab a drink or dinner and b. I was told this is not the place to be alone after dark. Not wanting to drop another round trip fare via taxi, I get back to the metro and return to my area for a quick snack and drink before making my way back to the show.
This is not the typical broadway experience I have grown accustomed to...not that this is a problem, but for starters, I arrive and am handed what I thought were sanitary towels to clean my hands with...a nice gesture. But upon closer inspection before I opened the package, I realized it was Palmolive dishwashing detergent samples! I look around and see Palmolive soap, advertisements, and signage everywhere! Having no need for dishwashing detergent, I returned so some other Carioca (a person from Rio) can enjoy.
As I make my way to my seat, I locate the orchestra section and step into the theater. There are no seats or I should say not your typical stadium style seats, but a flat and what feels like a scaled up version of my elementary school cafeteria complete with hundreds of tables for four and a raised platform that is the stage! I didn't realize this was a 'dinner theater' experience or I would have forgone the snack earlier! I find my table and I am seat 'c'...which is not marked any where. I assume the couple I am setting with are a and b, so I take a seat, but the stage is to my back. To make a long story short, seat d is the largest Brazilian I have seen on my trip and table 516 and 518 on either side of us are so tightly packed that the seats between tables touch each other when occupied. I can clearly see that 'd' is agitated that 'c' (me) is also tall and broad shouldered. He makes a scene and proceeds to set in the aisle, now in front of seat 'a' at my table. She gets pissed and sends him away. At this time, a loud buzzer sounds and we are to take our seats. After 'd' is asked to move three times, he finds a spot; I turn my seat towards the stage, and we enjoy the show.
Sunday, June 29, 2008
R.G. DAYS 2, 3
After a nice 5k jog along copacabana, I made my way to Sugar Loaf...Amazing.
http://picasaweb.google.com/christopher.kitterman/RIODEJANEIRODAYS12
http://picasaweb.google.com/christopher.kitterman/RIODEJANEIRODAYS12
RIO DE JANEIRO: DAY 1
R.G.:
I arrived in Rio in the evening and proceeded to my hotel located in the Copacabana section of the city. I had thought that the hotel was one block off of the beach, but was surprised to find out that not only was I 4 blocks (yikes) from the beach, my 2nd floor room faced AWAY from the beach! I have a great view of the metro stop conveniently located across the street from the hotel...time for a capirinha.
Although I have been told not to walk around Rio by yourself after dark, I throw this aside and make my way to the Av Atlantico promenade. Although it is dark, I can tell this will be an amazing view in the morning...I find myself a nice hotel to crash. A rooftop bar awaits.
I have learned from previous experiences not to tell the hotel bar (at least in a foreign country) that you are not staying in their hotel...service drops significantly. So, on the elevator ride to the top, I learned there are 25 floors here and when asked which room I was staying in I responded something to the likes of '20....' and mumble the rest...then just say you'll pay cash and they wisk you away to the outdoor table with the view. Much better than my 2nd floor metro stop view...haha.
I arrived in Rio in the evening and proceeded to my hotel located in the Copacabana section of the city. I had thought that the hotel was one block off of the beach, but was surprised to find out that not only was I 4 blocks (yikes) from the beach, my 2nd floor room faced AWAY from the beach! I have a great view of the metro stop conveniently located across the street from the hotel...time for a capirinha.
Although I have been told not to walk around Rio by yourself after dark, I throw this aside and make my way to the Av Atlantico promenade. Although it is dark, I can tell this will be an amazing view in the morning...I find myself a nice hotel to crash. A rooftop bar awaits.
I have learned from previous experiences not to tell the hotel bar (at least in a foreign country) that you are not staying in their hotel...service drops significantly. So, on the elevator ride to the top, I learned there are 25 floors here and when asked which room I was staying in I responded something to the likes of '20....' and mumble the rest...then just say you'll pay cash and they wisk you away to the outdoor table with the view. Much better than my 2nd floor metro stop view...haha.
Thursday, June 26, 2008
SAO PAULO A.M.; TRAVEL TO RIO: DAY 7
Wednesday:
Today is a travel day to Rio de Janeiro, but before I leave, I wanted to see a Niemeyer complex for the Latin Americans.
Set in a large concrete plaza and split by a major street are a series of white pavilions in which different programs dedicated to the Latin Americans are housed. So, as you can guess, there is a library, a gallery, a theater, and a museum among others.
Similar his OSC, there is a similar vocabulary here for some buildings. Each building is articulated as an object piece set onto a vast plaza; water is used at times to reinforce this design move.
Of the buildings I visited, the theater seems the most exciting in terms of the interior spaces. Although I was unable to visit the theater itself as a closed rehearsal was taking place, the lobby is striking because of its simplicity...the extruded hyperbolic vault has three access points to the interior of the theater. Two are circular stairs and the third is a processional ramp. The back wall where the access points are located is cladded in mirrors, so the hyperbola is completed. At show times, this must be a great place to people watch as each ascends to the theater seats beyond. Maybe next time...
PICS OF DAYS 5,6,7
http://picasaweb.google.com/christopher.kitterman/SaoPauloDays45Y6
Today is a travel day to Rio de Janeiro, but before I leave, I wanted to see a Niemeyer complex for the Latin Americans.
Set in a large concrete plaza and split by a major street are a series of white pavilions in which different programs dedicated to the Latin Americans are housed. So, as you can guess, there is a library, a gallery, a theater, and a museum among others.
Similar his OSC, there is a similar vocabulary here for some buildings. Each building is articulated as an object piece set onto a vast plaza; water is used at times to reinforce this design move.
Of the buildings I visited, the theater seems the most exciting in terms of the interior spaces. Although I was unable to visit the theater itself as a closed rehearsal was taking place, the lobby is striking because of its simplicity...the extruded hyperbolic vault has three access points to the interior of the theater. Two are circular stairs and the third is a processional ramp. The back wall where the access points are located is cladded in mirrors, so the hyperbola is completed. At show times, this must be a great place to people watch as each ascends to the theater seats beyond. Maybe next time...
PICS OF DAYS 5,6,7
http://picasaweb.google.com/christopher.kitterman/SaoPauloDays45Y6
SAO PAULO: DAY 6
Tuesday:
After learning the subway metro system yesterday, I went a little further out and took a 4th train to see another Lina Bo Bardi building / complex...SESC Pompeiia.
This complex houses a library, gallery, theater, restaurant-cafe, and an amazing complex for sports. The cultural program are housed in what appear to be typical warehouses--sawtooth skylights, long bays-- with a central drive between another row of warehouses. Inserted into these larger spaces are little set pieces by Bo Bardi for the library, the theater, the galleries, and such.
Beyond is sports complex--two towers, one an existing storage facility and the other is new by Bo Bardi. In the storage side are large, open air gymnasiums, basket ball courts, and a swimming pool on the street level, while the new addition houses changing rooms, and smaller spaces dedicated to lifting weights, yoga, etc. She connects the two buildings with open air bridges and what is produced is an exciting space of observation of persons and the city beyond.
After learning the subway metro system yesterday, I went a little further out and took a 4th train to see another Lina Bo Bardi building / complex...SESC Pompeiia.
This complex houses a library, gallery, theater, restaurant-cafe, and an amazing complex for sports. The cultural program are housed in what appear to be typical warehouses--sawtooth skylights, long bays-- with a central drive between another row of warehouses. Inserted into these larger spaces are little set pieces by Bo Bardi for the library, the theater, the galleries, and such.
Beyond is sports complex--two towers, one an existing storage facility and the other is new by Bo Bardi. In the storage side are large, open air gymnasiums, basket ball courts, and a swimming pool on the street level, while the new addition houses changing rooms, and smaller spaces dedicated to lifting weights, yoga, etc. She connects the two buildings with open air bridges and what is produced is an exciting space of observation of persons and the city beyond.
SAO PAULO: DAY 5
Monday:
Today I ventured to centro or downtown Sao Paulo. Av. Paulista is located on a ridge in the city, so it is used as a navigation point. The places I have visted so far have been located on the opposite side of this ridge from centro...
Centro is dense and the streets are more like the financial district in Manhattan with the street life of Canal Street. Hence, lots of selling on the streets--pirated movies, thongs and bras, lighters, bongs, and every once in a while an interesting find such as a model of a spider.
Here in centro are some important artifacts for the city. Two of the main cathedrals are located here in addition to the first school and church at the 'zero' point--i.e. centro-- of the city. The age of the buildings here predate the city on Av. Paulista and the others side of the ridge. To see it all, there is an art deco tower that has an observation tower at its top 40+ stories above the city. Although there is no fee to reach the top, I had to sign a piece of paper and have my photo taken for security...I was later told there had been an increase of suicides, so the waiver I just signed took the responsibility off from the building and in my hands. Once I reached the top, I understood the need for the waiver...the parapet is waist high and there is nothing else to keep you from stepping over the edge! Although the weather has been overcast, the view was still worth while.
Afterwards, I was able to find the city market in what I believe is located in a refurbished train depot...The bays and the openings seem to recall train platforms, but I have yet to confirm this...the building might just as well be built for the purpose of selling as well...
In any case, it is a huge collection of fruits, meats, seafood, and spices with cafes located on a mezzanine level to observe the spectacle below.
Today I ventured to centro or downtown Sao Paulo. Av. Paulista is located on a ridge in the city, so it is used as a navigation point. The places I have visted so far have been located on the opposite side of this ridge from centro...
Centro is dense and the streets are more like the financial district in Manhattan with the street life of Canal Street. Hence, lots of selling on the streets--pirated movies, thongs and bras, lighters, bongs, and every once in a while an interesting find such as a model of a spider.
Here in centro are some important artifacts for the city. Two of the main cathedrals are located here in addition to the first school and church at the 'zero' point--i.e. centro-- of the city. The age of the buildings here predate the city on Av. Paulista and the others side of the ridge. To see it all, there is an art deco tower that has an observation tower at its top 40+ stories above the city. Although there is no fee to reach the top, I had to sign a piece of paper and have my photo taken for security...I was later told there had been an increase of suicides, so the waiver I just signed took the responsibility off from the building and in my hands. Once I reached the top, I understood the need for the waiver...the parapet is waist high and there is nothing else to keep you from stepping over the edge! Although the weather has been overcast, the view was still worth while.
Afterwards, I was able to find the city market in what I believe is located in a refurbished train depot...The bays and the openings seem to recall train platforms, but I have yet to confirm this...the building might just as well be built for the purpose of selling as well...
In any case, it is a huge collection of fruits, meats, seafood, and spices with cafes located on a mezzanine level to observe the spectacle below.
Monday, June 23, 2008
DAY 4: SAO PAULO
Sunday:
It was my goal this morning when I got up to visit the 'forma' store by Paulo Mendes da Rocha--same architect as the MuBE. It is located somewhat close to the MuBE, but I decided to try my luck with a taxi since I got a late start. What is the equivalent of 25$ later, I arrived at the forma only to find out it was closed! So, I had the taxi keep going to cross on of the major rivers of Sao Paulo to drop me off at the Sao Paulo Jockey Club. Ok, I don't bet on horses, but I have read that this facility is supposed to be a nice Art Deco design and is supposed to have a spectacular view of the city. 30$ for what was a 15 minute cab ride...that was my splurge for the trip!
The stadium was designed by Elisaro Bahiano and Victor Brecheret--the sequence from the porte corchet to the viewing platform is very dramatic to say the least. Once there, the track becomes the foreground for a wall of buildings beyond...nice drinks, too. :-)
Out of money for the day, I begin my trek back across the river to the jardins area...moving across 8 lanes of fast moving traffic with my 'hump' was basically committing suicide, but I was able to survive the frogger game!
It was a 50 min walk to the MuBE, which then was another 1 1/2 hours to the hotel...uphill.
I was able to find a Sao Paulo city musuem with artifacts from its colonial period and a revisit to the MuBE to help break up the walk. The former had a presentation of a Japanese artist's photographs of living in Sao Paulo (just ok) and the MuBE had a antiques fair and a presentation of Italian residential furnishings...mostly Poliform. Thank you JSA...
Back in time for one more free concert--this was a string quartet playing music by modern Brazilian composers and the second act was an A Capella group again from the Amazon section of Brazil. The first act was, again, amazing. The second act was was mostly older women who were singing well beyond their ages of 80+.
It was my goal this morning when I got up to visit the 'forma' store by Paulo Mendes da Rocha--same architect as the MuBE. It is located somewhat close to the MuBE, but I decided to try my luck with a taxi since I got a late start. What is the equivalent of 25$ later, I arrived at the forma only to find out it was closed! So, I had the taxi keep going to cross on of the major rivers of Sao Paulo to drop me off at the Sao Paulo Jockey Club. Ok, I don't bet on horses, but I have read that this facility is supposed to be a nice Art Deco design and is supposed to have a spectacular view of the city. 30$ for what was a 15 minute cab ride...that was my splurge for the trip!
The stadium was designed by Elisaro Bahiano and Victor Brecheret--the sequence from the porte corchet to the viewing platform is very dramatic to say the least. Once there, the track becomes the foreground for a wall of buildings beyond...nice drinks, too. :-)
Out of money for the day, I begin my trek back across the river to the jardins area...moving across 8 lanes of fast moving traffic with my 'hump' was basically committing suicide, but I was able to survive the frogger game!
It was a 50 min walk to the MuBE, which then was another 1 1/2 hours to the hotel...uphill.
I was able to find a Sao Paulo city musuem with artifacts from its colonial period and a revisit to the MuBE to help break up the walk. The former had a presentation of a Japanese artist's photographs of living in Sao Paulo (just ok) and the MuBE had a antiques fair and a presentation of Italian residential furnishings...mostly Poliform. Thank you JSA...
Back in time for one more free concert--this was a string quartet playing music by modern Brazilian composers and the second act was an A Capella group again from the Amazon section of Brazil. The first act was, again, amazing. The second act was was mostly older women who were singing well beyond their ages of 80+.
DAY 3: SAO PAULO
Saturday: I walked from the hotel to Paulo Mendes da Rocha's Museu Brasilero de Escultura (MuBE). The walk from Av. Paulista to this musuem traverses along the ridge and then downhill to the valley passing many affluent neighborhoods in the city. It was a nice 1 1/2hr warm-up walk!
However, when I got to the museum, it appeared closed...which only after walking around the entire complex did I find a small gate open to which the attendant allowed me to come in and visit. Hence, I had the entire place to myself! Very nice!
The museum is a substantial concrete structure that is broken into smaller galleries and then stacked and interlocked together with a very interesting section. Part of the museum appears carved into the site, but the major exterior plaza (like MASP) is a hardscape above these galleries. Since the galleries have hardscape above, natural light is brought into the spaces through a series of slots, sometimes for circulation and others for water/planting features..the pictures might help to understand what I mean...see the link below.
After some time there, I began the trek up the hill to the hotel...this time, not as easy with the 20lbs. camera grafted to my back as a hump...but oh well.
I was able to locate a theater near the hotel that gives free concerts (!!) so I was able to get a ticket to hear two concerts. Brazil hosted a competition to find the most talented musicians in the country. After 2000 submittals, the board identified the top 50 and they are dispersed across Brazil to perform and rotate between major ports of call. So, I heard two groups tonight. One, was an absolutely spectacular saxophone quartet w/ percussion that was a mix of jazz and 'modern' music...not sure how to describe, but it was exceptionally entertaining. The second group was from north Brazil comprised of 2 flautists and 3 percussionists. I was told this was more like the sounds from the Amazon. Again, I was super impressed but the real highlight was the fact that one of the fife players was a 92 year old woman! She was electricfying and the entire audience was blown away. I can only wish for this this much energy when I am that age...she was and is amazing.
http://picasaweb.google.com/christopher.kitterman/SAOPAULODAY3
However, when I got to the museum, it appeared closed...which only after walking around the entire complex did I find a small gate open to which the attendant allowed me to come in and visit. Hence, I had the entire place to myself! Very nice!
The museum is a substantial concrete structure that is broken into smaller galleries and then stacked and interlocked together with a very interesting section. Part of the museum appears carved into the site, but the major exterior plaza (like MASP) is a hardscape above these galleries. Since the galleries have hardscape above, natural light is brought into the spaces through a series of slots, sometimes for circulation and others for water/planting features..the pictures might help to understand what I mean...see the link below.
After some time there, I began the trek up the hill to the hotel...this time, not as easy with the 20lbs. camera grafted to my back as a hump...but oh well.
I was able to locate a theater near the hotel that gives free concerts (!!) so I was able to get a ticket to hear two concerts. Brazil hosted a competition to find the most talented musicians in the country. After 2000 submittals, the board identified the top 50 and they are dispersed across Brazil to perform and rotate between major ports of call. So, I heard two groups tonight. One, was an absolutely spectacular saxophone quartet w/ percussion that was a mix of jazz and 'modern' music...not sure how to describe, but it was exceptionally entertaining. The second group was from north Brazil comprised of 2 flautists and 3 percussionists. I was told this was more like the sounds from the Amazon. Again, I was super impressed but the real highlight was the fact that one of the fife players was a 92 year old woman! She was electricfying and the entire audience was blown away. I can only wish for this this much energy when I am that age...she was and is amazing.
http://picasaweb.google.com/christopher.kitterman/SAOPAULODAY3
Sunday, June 22, 2008
DAY 2: SAO PAULO
Saturday: after the capirinha buzz, I decided to visit the Parque Ibirapuera--home to the MAM (Museu de Arte Moderne), MAC (Museu de Arte Contemporanea), OCA, and others with landscape by Burle Marx.
The park itself is pretty extensive with multiple resevoirs and open fields for play with the cultural institutions creating an enclave connected by a sinuous concrete awning.
The MAM is having an exhibition about the cultural relations between Brazil and Japan; hence the art was dedicated to these exchanges of design, art, and living.
Unfortunately the OCA was closed preparing for a new exhibition. This building by Neimeyer is a concrete dome with circular apetures punctured evenly around the base. From the photos I have seen of the interior, there are these amazing ramps that define the exhibition space on the interior...I will try to revisit before I leave Sao Paulo...
While in walking the park, I found this rather amazing tree that I have no earthly idea what the species is, but it has these limbs that remind me of a willow tree, but are much more dense in quantity especially around the trunk.
link to photos, day 2: http://picasaweb.google.com/christopher.kitterman/SAOPAULODAY2
The park itself is pretty extensive with multiple resevoirs and open fields for play with the cultural institutions creating an enclave connected by a sinuous concrete awning.
The MAM is having an exhibition about the cultural relations between Brazil and Japan; hence the art was dedicated to these exchanges of design, art, and living.
Unfortunately the OCA was closed preparing for a new exhibition. This building by Neimeyer is a concrete dome with circular apetures punctured evenly around the base. From the photos I have seen of the interior, there are these amazing ramps that define the exhibition space on the interior...I will try to revisit before I leave Sao Paulo...
While in walking the park, I found this rather amazing tree that I have no earthly idea what the species is, but it has these limbs that remind me of a willow tree, but are much more dense in quantity especially around the trunk.
link to photos, day 2: http://picasaweb.google.com/christopher.kitterman/SAOPAULODAY2
Friday, June 20, 2008
DAY 1: SAO PAULO
So, I arrived without problems yesterday morning at GRU. Easy bus transfer to my hotel in the Jardins district of the city-2 blocks from Av. Paulista which seems to be a major thoroughfare--banking, culture, shopping, etc--for Sao Paulo. After settling into my room, I walked the neighborhood and visited two sites: MASP by Lina Bo Bardi and the Parque Trianon.
The MASP is the Museum of Art and is a concrete structure with two distinct art exhibition galleries: one set of galleries is in the bar above the entry plaza with an open floor plan and the other set of galleries are below the entry plaza. Although the bar building is glazed on the long sides, natural light is not utilized as a lighting source for the upper galleries (or at least at the exhibition I attended). The below plaza galleries take light from one end that looks back towards the Bixiga neighborhood and is a dramatic view. I wasn´t supposed to shoot any interior pics, but I was able to find some ´blind spots´in the security...
The Parque Trianaon is directly across Av. Paulista from the MASP and is a super dense forest of palm trees and other plants here inBrazil. Unlike Central Park, there are no clearings in the park except for a few small playgrounds, a vehicular cross street, and the stone pathways that are carved out of the foliage. Very cool and a nice contrast to the open plaza under the MASP.
After returning to the hotel, I was able to find a good bar where I could have my first Brazilian caipirinha--which those of you I have been fortunate to go to La Palette with in the W Village know they are spectacular! Well, I was not disappointed and the cachaça was litterally mind numbing. Fortunately it was a short stumble back to home base.
If I can ever finish this post, I am off for the Parque do Ibirapuera where Oscar Neimeyer has some projects and should be a nice walk from where I am now. I´ll add pics next time, until then....
TRY THIS LINK FOR PHOTOS http://picasaweb.google.com/christopher.kitterman/SAOPAULODAY1
let me know if this works...if so, I will use this to post pics as it is easier to manage.
TRY THIS LINK FOR PHOTOS http://picasaweb.google.com/christopher.kitterman/SAOPAULODAY1
let me know if this works...if so, I will use this to post pics as it is easier to manage.
Monday, June 16, 2008
Inaugural Post
Although I don't consider myself a 'blogger' by any means, I wanted to set this up before I left New York this Wednesday...first stop, Sao Paulo, Brazil! I just received my Brazilian visa today, so I am good to go...
I will use this site to share stories and pics of the trip. Please share any comments and you know how to get in touch with me.
But in the meantime, I have a few friends to visit before I leave...
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