Posts

L.A.’s New Icon Academy Museum of Motion Pictures Arts and Sciences

Los Angeles has a new icon: the spherical Geffen Theater, a state-of-the-art place for film projections designed by Pritzker Prize-winning architect Renzo Piano. It is part of the Academy Museum of Motion Pictures Arts and Sciences, inaugurated last September.

 

The City of Angels is not short of icons, but few have visual clarity. The most explicit are the Theme Building at LAX, the Hollywood Sign, the Watts Towers, and the Disney Hall. To these, the Geffen Theater marks a significant addition. It becomes even more important because it is linked to the adaptive reuse of the May Company Building of 1939, now renamed the Saban Building.

 

The Geffen Theater, a concrete-and-glass sphere -150 feet in diameter – on the north side of the museum, seems to be suspended in space like a spaceship from another planet that just landed. It was first called “Death Star,” like the space station and galactic superweapon featured in Star Wars. Piano detests that label! He suggests “Dirigible,” “Zeppelin,” “Spaceship,’ “Flying Vessel,” “Soap Bubble.” I would call it “The Geffen Sphere.” Geffen means grapevine in Hebrew. The theater’s shape relates to the spherical grapes that produce the human finest drink, wine.

 

Context

Museum’s context: building, art

The museum is amid eclectic surroundings. The neighboring Pavilion of Japanese Art, designed by Bruce Goff and realized by Bart Prince, is the jewel of the lot. But there are others. The functional yet not exiting Resnik Pavilion, also designed by Piano; Michel Heizer’s “Levitated Mass,” intended to be a “large-scale” 340-ton granite megalith that in reality will remain minuscule in relation to the surroundings; across the Saban Building, the exhibitionist Petersen Automotive Museum red box structure wrapped in a series of convulsing steel ribbons; the now-under-construction $750-million LACMA Museum expansion, designed by another Pritzker Prize-winning architect, Peter Zumthor; and further away, the La Brea Tar Pits Park and Museum define a prehistoric area in total contrast to the Geffen Sphere’s modernity.

 

Some Details

 

The new 300,000 square-foot new museum includes 250,000 square-foot exhibition areas, the 288-seat Ted Mann Theater, the 1,000-seat David Geffen Theater, and the cascading glass-covered Dolby Family Terrace, where guests have stunning views of the LA skyline and the Hollywood Hills. Additional uses include the Shirley Temple Education Studio, the Debbie Reynolds Conservation Studio, the Fanny’s restaurant and café, and the Academy Museum Store.

 

The museum Director and President, Bill Kramer, was pivotal in the puzzle of coordinating the design team. It included Renzo Piano Building Workshop, executive architect Gensler, preservation architect John Fidler, structural engineers Buro Happold, general contractor MATT, and the exhibition’s designer, Kulapat Yantrasast, from Thailand, founder of the LA-based firm wHY. Yantrasast worked closely with Academy representatives and more than a dozen curators. They wrangled the Academy’s extensive array of film artifacts and memorabilia into immersive experiences rich with diverse narratives.

 Piano stripped the former May Co. department store to its bones. Then he created an atrium that contains the escalators and the elevators. A glass curtain wall entirely replaced the north façade of the Saban Building. The two parts of the building are connected by filigree steel-glass bridges. The bridges consist of glass roofs and parapet glazing. The museum’s massive, 690-panel theater is supported by four columns with seismic isolators and can move freely up to in an earthquake. The Geffen Sphere is covered by a steel-glass dome that has been manufactured and installed by the German firm Gartner.

 

“The idea of the sphere,” says RPBW project architect Jonathan Jones, “was to create an otherworldly object that transports you, as movies do.” With most of its form hovering above a pedestrian plaza, the sphere was envisioned, explains RPBW partner Luigi Priano, “almost like a spaceship—levitating above the ground, as if ready to take off as soon as the movie starts.”

 

Unlike many famous architects, past and present, Renzo Piano is not a mannerist of his style. He confronts projects open-mindedly, relating to the surroundings in many different ways. In the building that made him famous, the Pompidou Center, Piano and his British partner, Richard Rogers, approached the Parisian project through total contrast. On the other extreme, at The Fondation Jerôme Seydoux-Pathé, he developed the building inconspicuously, behind an entrance made by young August Rodin. In my film As We Saw It- Paris Builds, you may appreciate the contrast between this poetic project and Paris’ new huge Palais de Justice.

 

Beyond becoming a new icon in Los Angeles, the Geffen Sphere is a new landmark of architecture from now on.

The Wende A Museum of Art and Culture Behind the Iron Curtain

The Wende Museum is a unique depository of memories from the Eastern European countries beyond the Iron Curtain that endured Communism-labeled fascism during the Cold War. It is dedicated to preserving this period’s art, culture, and stories.

West and East Europe divided by the Curtain Wall

When my friend Elisa Leonelli sent me a recent article she wrote about her visits to The Wende, we followed after her steps. It was quite a surprise. We found very appealing both the museum’s content and the space that architect Christian Kienapfel of Paravant Architects created within Culver City’s old National Guard Armory.

Engels, Mark, Lenin, Stalin

 

Bust of Lenin, Istaravshan, Tajikistan, 1965

The Cold War era started with the end of World War II and ended with the collapse of the Berlin Wall in 1989. It was a conflict between American-led democratic capitalism and Russian-led Communism. It includes the atrocities committed by Stalin and the Gulag it created; it includes Russia’s invasion of Hungary and the Prague Spring’s crashing; and it also includes the obsessive period of McCarthyism that contributed to a distorted view of socialism.

The Wende Museum (wende in German means in English, “change, turning point”) is the brainchild of Justinian Jampol, its founder and director. It raises awareness to the world behind the Iron Curtain. Arts and artifacts, censured literature and publications, and human stories about everyday life can now be seen, read about, and listened to. The artifacts exhibited in the 13,000 square foot space are only a fraction of the collection, which is more geared to educate and entice curiosity rather than to enshrine masterpieces. Segal Shuart Landscape Architects designed a pleasant rear garden to accommodate outdoor events.

My personal experience with the subject is indirect. I heard stories from Ruth, who spent her teens in Communist Romania. While we were students in Rome, we befriended Romanian artist Ion Nicodim, who in 1963 made a tapestry, Ode to Man, (approximately 32 x 15 feet) that was donated by the Romanian government to the United Nations. We traveled throughout Romania during Ceaușescu’s regime and felt the oppression in the air. In 1976 we visited then Berlin divided Berlin. Years later, in 2018, we made two documentaries in the unified city.

Ode to Man, by Ian Nicodim, 1963

The film included in this article brings some visuals of paintings, murals, and monumental sculptures from that period (such as GDR’s painters Heinz Drache and Willi Sitte,) and also artworks by some Eastern European contemporary artists that became famous in the West, such as Christo and Marina Abramović, and younger ones still living in those countries, such as Pazza Pennello (Kyiv, Ukraine,) Jana Želibská (Bratislava, Slovakia,) and Ewa Juszkiewicz (Warsaw, Poland.)

The Wende Museum is an inducement not only to learn about a recent past but also to us warn about the dangers of fascist movements at the present time.

The Kiss – leonid brezhnev and Enrich Honecker, 2009, Berlin Wall

With Piazzolla at the Bowl An Historic Event at the Hollywood Bowl Amphitheater

The concert of Astor Piazzolla’s Las Cuatro Estaciones Porteñas / The Four Seasons of Buenos Aires, at the Hollywood Bowl, on August 26, 2021, was of historic importance. A public of about 15,000 people came to the concert conducted by Gustavo Dudamel, with the performance of Karen Gomio as a soloist.

Astor Piazzolla

Unlike Vivaldi’s concertos, Piazzolla’s Four Seasons wasn’t originally intended to be in four movements.  Piazzolla wrote the first of the four compositions, Summer (Verano Porteño) as a standalone work for Alberto Rodríguez Muñoz’s play The Mane of Gold (Melenita de oro). Autumn (Otoño Porteño), Spring (Primavera Porteña), and Winter (Invierno Porteño) came around five years later, in 1970. Piazzolla alludes to some of Vivaldi’s melodies in his own series, yet his composition is unique. The pieces were conceived for his quintet of violin, piano, electric guitar, double bass, and bandoneon, of which he was a virtuoso.

Piazzolla was not only one of the 20th century’s great musicians, but he was also one of the most prolific. His over 3,000 compositions include avant-garde tango music, opera, symphonic compositios, and music for film.

The concert at the Bowl brought the extraordinary performance of Karen Gomio, a musician born in Tokyo who developed her career in Montreal and New York. She now resides permanently in Berlin.

The coupling of Piazzolla’s Seasons with Tchaikovsky’s Symphony No.5 surprised me. It seems to me that the music of Bela Bartok, Stravinsky, Copland, and Gershwin are much closer to his spirit. And also the music of great jazz composers and performers, such as Gil Evans, Gerry Mulligan and Dave Brubeck.

In the film I included brief segments of interviews with some musicians that played with him for many years, such as Pablo Ziegler and Fernando Suárez Paz. To learn more about his complex life, Maria Susana Azzi’s detailed and knowledgeable biography is highly recommended, particularly the expanded new edition in Italian.

For brief a scheme of his life, you may watch my recent Piazzolla Con Brio film.

Hollywood Bowl Marquee

 

The Ford in Hollywood Theater Setting as a Hidden Treasure

When you go to the Long Beach Opera, expect the unexpected. The program fitted our expectations: Arnold Schoenberg’s Pierrot Lunaire (1912) and Kate Soper’s Voices from the Killing Jar (2012.), an all-women performance. Jenny Wong directed the music, the choreography was directed by Danielle Agami, and the singing was by soprano Laurel Irena. Yet the greatest surprise was its staging at The Ford Theater by the Cahuenga Pass, next door to the Hollywood Hall.

The Ford is, since its renovation, a hidden treasure, a cultural gem, one of the best-kept architectural secrets of Los Angeles.

The Holywood Bowl and The Ford Theater

In 1918, Christine Wetherill Stevenson (1878-1922) bought a 60-acre land known as Daisy Dell, including the Hollywood Bowl area. An amphitheater was built in 1920 as a venue for the religious-themed Pilgrimage Play. In 1929 a fire destroyed the original theater, and in 1931 a new one was built made of cast concrete to resemble the ancient architecture of the Holy Land. In 1952 the Pilgrimage Theater closed for two years due to the construction of the Hollywood Freeway. It came to a final close in 1964.

Following popular periodical productions, including rock band performances, an extensive renovation started in 2014, designed by architect Brenda Levin and landscape architect Mia Lehrer. The renovation was dedicated in 2017. In 2019 the theater’s operation was transferred to the Los Angeles Philharmonic.

The Ford’s 1,200-seat setting is unique, not only by comparison to the nearby 17,500-seat Hollywood Bowl but also to classical amphitheaters. The Greek amphitheater was conceived to have a natural horizon behind the stage. The Roman amphitheater had its stage built, and therefore could more easily adapt to urban environments. What is unique at The Ford is that nature beyond the stage is steeply uphill, a background of a different character than historical precedents.

The picnics areas are also very different than the ones at the Bowl; their terracing makes them humanly scaled, more intimate.

The project faced many challenges. First and foremost, a lot of water flows off that hillside. One of the deferred maintenance problems was the infiltration of water into the theater. There was also needed to stabilize the hillside. Acoustics was a significant issue, considering the proximity of the Hollywood Freeway.

Besides its design qualities, The Ford’s renovation stresses the importance of the relationship between a building and its setting on the land.

Jack Reads Pronto Professore 2000 to 2021: Poet Jack Grapes recorded soundtrack of his Pronto Professore poem

Jack Reads Pronto Professore from Rick Meghiddo on Vimeo.

January 2021. At the beginning of a new post-pandemic and post-Trump era, we are framed between the barbarian actions on January 6 and a new beginning on January 20. The world’s main agenda needs to focus on healing and growth. Furthermore, we need to reinvent the human condition.

While evaluating past achievements and failures, I rediscovered a long poem I wrote during May 2000, Pronto Professore. In November, the Italian Institute of Culture in Los Angeles sponsored a memorial to honor Professor Bruno Zevi. Since I was living in Tel Aviv and could not come to L.A. for that occasion, Jack Grapes volunteered to read the poem publicly in my stead. During the event, my friend Nathan Shapira recorded Jack’s reading and subsequently sent me a copy. It remained in a drawer for almost twenty years.

In 2018, while editing the documentary ZEVI, I inserted two segments of Jack’s reading and illustrated them. The video that accompanies this writing brings the public at large, for the first time, those two segments and the entire soundtrack. It seems to me that it remains actual.

Pronto, Professore

 

Pronto, Professore, can you hear me?

I can hear you well,

as if you were just around the corner,

as if it were yesterday

when we used to dissect on location

the interior space of the Pantheon,

the interrupted rhythm of Santa Maria in Cosmedin,

the central split of Santo Stefano Rotondo,

the link between the interior and the facade of San Carlino,

the ascendant spiral of Sant’Ivo alla Sapienza,

as if it were yesterday

when we listened to your lectures at the faculty’s auditorium,

the darkened room, the students occupying every available step,

lights and cigarettes’ smoke projected over three screens:

the Parthenon on the left, a drawing of young Le Corbusier on

the center, a photograph of Ville Savoye on the right,

you, walking up and down along the isles, a Muratti between your

fingers,

your other arm gesticulating,

arguing with history, arguing with yourself

like a Talmud student interpreting and reinterpreting

what does that choice mean rather than the other,

what is the relationship between form and content,

where does that space come from, is it ancient or modern,

how do we live a building, how do we possess light,

what does all this mean for us today,

what was the language of the time and its relationship to society,

how were matter, space-time and technology used,

why is that window there and not there,

why, why?

 

Pronto, Professore, can you hear me?

I can hear you well

We need your help, give us your hand,

we are drowning in ignorance,

we are drowning in the drunkenness of power,

we are drowning in the mud of mediocrity,

we are drowning in the blindness of bureaucracy;

You left us a surgeon’s knife to operate on a patient

that barely breathes;

We injected on him with shots of asymmetry and dissonance,

of antiperspective tridimensionality and of cantilevered

structures,

but he does not react,

he is intoxicated by television,

he is intoxicated by yellow newspapers,

he is intoxicated by technological gadgets,

he is intoxicated with hyper-sex

with hyper-tourism,

with junk food,

with junk-music

with junk-houses

 

the patient doesn’t read anymore, doesn’t write anymore,

he speaks with fifty words,

he escapes towards hedonism or Messianism,

he lost his site,

he lost his vision

he lost his trust in the future,

he lost his trust in humankind,

he lost his trust in himself.

 

Pronto Professore, can you hear me,

I can hear you well.

I turned to Michelangelo for help

but his urbanism is too complex for today’s planners;

I called Borromini, but the public doesn’t want tormented souls,

the public wants “happiness”;

I talked to Wright…are you kidding!

His language is incomprehensible; the universities

must produce graduates fast and at a reasonable price,

what is necessary is formulas, slogans,

“how to do this, how to do that”,

a page by Wright is too charged, makes you waste time,

it is much easier to copy from fashion magazines;

I called the poets – Gaudi, Scarpa, Bruce Goff, John Lautner;

I called the visionaries – Fuller, Soleri, Pellegrin…

 

You say that one must remain optimistic

in spite of the periodic regressions of history;

You think that after 1988 there is light at the end of the tunnel

in the rebellious adolescence of the Deconstructivists,

in the recycling of kitsch, banality and trash, but

what shall we do of the abyss that exists between

quantity and quality?

 

As we talk the world’s population continues to grow

one hundred and sixty six human beings per minute,

ten thousand per hour

two hundred and forty thousand per day;

 

We need,

more houses,

more schools,

more factories,

more sports centers,

more cultural centers,

more power plants,

more parking structures,

more freeways,

more airports,

more prisons,

more cemeteries.

 

What shall we do, Professore

shall we produce one hundred Guggenheims per hour?

shall we produce “readymade” pseudo Venice, clean, odorless,

like the one made in Las Vegas,

or shall we leave it all to the “do it yourself” suburbs, happily mediocre?

 

Who shall take care of the Leonardo’s subtleties that you quote:

the fog,

the mist

the rain

the ungrateful climate,

the heat,

the clouds,

the shadows and the transparencies,

the smells and the perfumes,

that is, the matter-less materials of architecture?

 

And then, let’s take a good look at this patient,

who is he, what does his face look like?

It is not an architect, Unknown Soldier of the existential battle;

Our patient is the captain of industry that produces nano-technologies,

our patient is the minister that makes decisions of billions with our money,

our patient is the real estate speculator that sells houses as merchandise,

is the bank director that lends money to old projects,

is the lawyer that knows how to convince us that black is white and

white is black,

is the general that considers a war plane more important

than four thousands apartments for the elderly,

is the mayor with a vision that doesn’t go beyond the next elections,

is the elite that proclaims itself as educated:

the judge,

the school director,

the accountant,

the physician,

the scientific researcher,

the fund-raising lady of the charity institution;

It is the public that flocks to concerts and to gallery-openings

and visits the world’s museums

but never heard of

the Johnson Wax Administration Building in Racine,

nor of the chapel of Notre Dame du Haut at Ronchamp,

nor of the Einstein Tower at Potsdam,

nor of Aalto’s church at Imatra,

nor of Michellucci’s church of the Autostrada,

nor of Johansen’s Mummer’s Theater in Oklahoma City,

nor of the Brion-Vega Cemetery at San Vito di Treviso;

 

May be our real patient still frequents the elementary school,

or may be, actually, probably, he is still not yet born.

 

So, Professore,

what shall we prescribe to this patient, vitamins?

 

Let’s try a dose of

 

vitamin H, for the history of architecture,

vitamine V for the vision of the future,

vitamin W for the works of Wright,

vitamin Z for the writings of Zevi;

 

Shall we prescribe him interactivity,

particularly with painters, sculptors, poets, scientists and inventors?

Shall we prescribe him the drawing of trees,

to learn from their variety lectures of democracy,

to understand what is the continuity that links

earth, roots, trunk, branches and leaves to our solar energy,

to understand what is a cantilevered structure,

to understand the space-time relationship

between the permanent and the temporary,

to understand the functional aesthetics of flowers?

Shall we prescribe him with green, aaah, plenty of green,

green in the working spaces,

green in the stations of transportation,

green in the schools of our future citizens,

green, green, the green that links everything, saves everything,

idiocies, ugliness, crimes, monstrosities?

 

Shall we prescribe him convalescence in Venice, to learn

how can pedestrians’ movement be separated from the means of

transportation,

how can the rainwater of the block be recycled,

how can the arts be integrated into architecture

in houses, in piazzas, in campi?

Shall we turn Verona’s Castelvecchio

into an intensive care center for buildings’ restorers

on how to infuse modernity into our historic heritage

with sensible and respectful imagination?

 

And what about prescribing intelligent structures

to last five hundred years

as an answer to a “sustainable architecture”

with less waste, better use of energy,

and better qualified spaces?

 

Our patient is in very serious condition,

simplicity is not simple.

 

Pronto, Professore, can you hear me

We can hear you well.

You opened an unfinished road

still to be explored,

still to be built,

still to navigate

towards the horizon,

towards the center of the Earth,

toward the expanding galaxies,

towards a new civilization where

science, vision and art,

space, matter and time,

and the spirit of man

become One, indivisible,

in the image of God.

 

Pronto, Professore,

we are listening

to you,

still.

 

 

Ricky Meghiddo

Tel Aviv, May 28, 2000

 

'>Vernissage at the Hammer The Opening of the Hammer Museum's "Winter Exhibitions Opening Celebration" Illustrates the Public's Attendance and the Works of Four Artists

The Hammer Museum’s latest vernissage, “Winter Exhibitions Opening Celebration,” was unexpected at various levels. The biggest surprise was seeing how many people of all ages attended. It was a welcomed abnormality, a good sign that there is life after Trump, climate change, and long wish-lists of We The People. The first impacting artwork was at […]

Anish Kapoor: Fluidity, Reflections, Space A spatial stainless-steel installation in Hollywood

Anish Kapoor is known as one of the world’s great living artists.  Since he won the Premio Duemila Prize at the 44th Venice Biennale back in 1990, his sculptural installations had a significant presence in many cities, including London, at the Tate Modern, Paris, at the Grand Palais, and Jerusalem, at the Israel Museum.

 

Anish Kapoor was born in Mumbai in 1954 to an Iraqi-Jewish daughter of a rabbi who immigrated to India from Baghdad with her family when she was an infant. His Punjabi Hindu father was a hydrographer for the Indian Navy.  This mixed and complex background had a powerful influence in his attraction to dualities: concave and convex, matter and void, light and darkness, negative and positive, earth and sky, mind and body.  The range of materials he uses and pushes to their limits is astonishing: stone, steel, concrete, fabrics. Many of his projects are at an architectural scale.  He collaborated with architects Frank Gehry in Chicago’s Millenial Park, Arata Isozaki in Japan, and engineer Cecil Balmond at the ArcelorMittal Orbit in London’s Olympic Park.

Although his reflective artworks in highly polished stainless steel are easily recognizable, it would be a mistake to pigeon-hole Kapoor into this style only.  His crude artworks in sculptural painting and amorphous concrete tell us of an artist in continuous research for new forms of expression.

The exhibit of Kapoor’s stainless-steel Double S-Curve at the Regen Projects gallery in Hollywood is good art news for Southern California.

12/12 in L.A. & 3 Pianists A link between long-term thinking and what is doable today through architecture and the arts

This short documentary tries to connect dots between three disparate experiences that happened in a single day, 12/12/2019. The dots are a brainstorming session with old friends, a visit to a new working environment in Hollywood, the discovery of an art studio by the Los Angeles River dedicated to environmental art, and three piano performers.

It all started with a scheduled breakfast at Coffee Cup, a reunion of four former members of a group known as “Rethinking Greater Long Beach.” At the table were Professors Alex Norman (UCLA Luskin School of Public Affairs,) Jack Humphrey (Demography) Bill Crampton (Education) and myself.

After ordering sunny side up eggs for breakfast – out of the ordinary for me – and updating ourselves – we had not seen each other several years – we started our brainstorming session. This time, instead of rethinking Long Beach, we posed several questions at a global level. China thinks and plans long term, why can’t the US? Is Singapore urbanity number one, as Jack thinks after his recent visit? How many people can planet Earth take sustainably? What revolution is needed in education to face the future’s challenges? What are the dangers generated by Trumpism beyond Trump? Summarizing the results of our discussion, we voted. “Optimistic vs. Pessimistic.” The result: 1 to 3, respectively.

In the afternoon, Ruth and I made an unplanned visit to Second Home Hollywood. I only knew that it had been designed by the same architects that designed the Serpentine Pavilion near LACMA, Jose Selgas, and Lucia Cano, from Madrid. They had recently completed this new kind of working environment in London and in Lisbon.

We found Second Home Hollywood’s design impressive. Built with low-cost materials, and making intensive use of planting, the place is full of light, spatially vibrant and stimulates socialization. It is out-of-the-box thinking. Its success with young people is evident.

In the evening, we went for a first visit to Metabolic Studio, by the Los Angeles River, close to downtown L.A. Once again, we were surprised to discover a stimulant space to produce arts and crafts within an existing industrial warehouse.

Inspired by these three events in a single day, I decided to produce a short documentary, included here. While watching the Kennedy Center Awards 2019, I discovered Yuja Wang. Immediately it triggered the idea of bringing into the film the piece that she performed, “You Come Here Often?” by Michael Tilson Thomas. While researching for another two piano pieces, I first discovered Marco Mezquida, from Barcelona. He has played in many international jazz festivals. Then I discovered Joanna MacGregor. She is a British concert pianist, conductor and composer, who is also Head of Piano at London’s Royal Academy of Music. I found her playing of a Piazzolla arrangement fantastic! I couldn’t resist connecting the dots through a film collage.

Doc Snippets Selected Documentary Segments

On a recent event at U.C.L.A., the 43rd Congress of the Romanian Academy of Arts and Science, I was invited by its Interim President, Prof. Ileana Costea, about what I do as an architect-filmmaker. I decided to edit “an extended trailer” of selected segments from my films. I called it “Doc Snippets.”

Beyond some short notes on my architectural practice and of my passion for film since I was a student, I saw the question “Why are architectural documentaries important?” as the most relevant. Why?

The transformation of the planet to accommodate 10 billion people by 2050 will demand the active input of all its inhabitants, which would include self-help. Architecture awareness is critical to confront planetary challenges such as climate change, sustainability, population growth, mobility, food production, conservation of natural spaces, visual pollution, and over-crowding.

My films, most of them on architecture-related subjects, try to inform the viewer about the relationship between quality-space and human scale, and about meaning in the configuration of spaces.

Serpentine L.A. and Beyond

The playful Serpentine L.A. Pavilion, erected in-between the La Brea Tar Pits and the Los Angeles County Museum of Art, brings a smile to an area characterized by an eclectic architectural mix.  Designed by Spanish architects José Selgas and Lucía Cano, a design partnership known as SelgasCano and based in Madrid, was initially commissioned by the Serpentine Galleries in London and installed at the Gallery’s site in London’s Hyde Park back in 2015. Thanks to a partnership between creative workspace Second Home and the Natural History Museum of Los Angeles, the 866-square-foot area in an X-shaped plan is wrapped with fluorine-based plastic in multiple colors.

Creating temporary pavillions a subject suitable for experimentation. Mies van der Rohe, Le Corbusier, Buckminster Fuller, Frei Otto, Carlo Scarpa and hundreds of architects designing for world fairs took their commissions as an opportunity to experiment. The SalgasCano team methodology echoes Gehry’s playful studies of space. And yet, unlike Gehry’s costly end-products, the Serpentine Pavilion gives the feeling that everyone could do it, even children. And why not?

What is this work’s main message? First and foremost, it is experimental. “Architecture as an isolated episode, a gesture, doesn’t interest us. We believe in total freedom to try and respond to concrete needs, which we express via play and the use of color,” says Salgas. “We have no set forms, styles, or concepts; our architecture is generated by reading the places and the lives of those who will live there. We have worked to free ourselves of all the clichés absorbed during our university education, dogmas that have blocked us without us knowing why. Designing is spontaneous and natural. Rejecting stereotypes allowed us to grow and become what we are today.”

'>Tangoing with Paul & Amigos A personal spinoff of Paul McCarthy's exhibition at the Hauser & Wirth Gallery in LA's downtown Art District

“Impacting” is what first comes to mind when visiting Paul McCarthy’s wood sculpture exhibition at the Hauser & Wirth Gallery in LA’s downtown Arts District.

The combination of crafted wood at a large scale and the integration of a Baroque language speaking a surrealistic critique of the contemporary world signals an art mutation
McCarthy titled his works “WS Spinoffs,” ”Wood Statues” and “Brown Rothkos.” The word “spinoff” is precise. In media, a spinoff is a radio or television program, film, or any narrative work, derived from one or more already existing works, that focuses in more detail on one aspect of an original work. In this case, the Snow White tale and Rothko’s paintings.
The gallery’s website includes a well-written description of McCarthy’s show, and also an 8-minute video presentation by Donatien Grau. See: https://www.hauserwirthlosangeles.com/exhibitions/paul-mccarthy-20170701
My reaction to the exhibition was more visceral than intellectual and so is my short documentary, “Tangoing with Paul & Amigos.” I made a sort of non-scripted “spinoff” that includes free association with like-minded artists and some memories from my Argentinean upbringing. The tango music is a metaphor of a dynamic nonlinear fluidity.
I tried to imagine the statues made out of white marble. The conflicts, sarcasms and subtleties they contain would become more evident, such as Bernini’s positioning the “Rio de la Plata River” sculpture in Piazza Navona as fearing that the facade of Borromini’s church of Sant’Agnese would crumble over him. Yet McCarthy’s choice of dark walnut wood is intentional. It makes harder to see the thematic at first sight. The eye is caught first by the craftsmanship and by the large scale as macro-layers of a complex composition.

Four Rivers Fountain, Piazza Navona, Rome

Bernini’s Four Rivers Fountain, Piazza Navona, Rome

The abstraction of the hanging Brown Rothkos, made of foam and sprayable polyurethane coating, resemble melting lava and brings a powerful contrast to the statues. They are both at an architectural scale.

Bown Rothkos

Brown Rothkos with Rothkos

Snow White Sculpture

Snow White Sculpture

Paul McCarthty

Paul McCarthy

From Architecture to Urban Farming

A Brief Story of a Vision

“While doing research on solutions for sustainable mixed-use urban corridors, I came to foresee the advantage of incorporating a food-growth area integrated to the common spaces of the habitat at arm length of people’s home.”

In a brief story of her vision, Ruth brings us the case of urban farming as a growing movement to tackle problems that the world faces in the 21st century. Her story is personal.  She tells us how her vision evolved from childhood experiences in the Romanian countryside, to her life in Rome, to the mentorships of Zevi and Pellegrin, to her fascination with Wright’s thinking and works, to her practice as an architect, to her discovery of Permaculture, to her new passion for urban farming and local edible gardens.

She posed to herself some critical questions:

  • How can urban farming contribute to make the world a better place?
  • What is the connection between architecture, planning and urban farming?
  • What can each of us do to become self-reliable on the food we put on our table?
  • How can edible gardens become a design component integrated to urban development?
  • How can urban farming provide a stage for social interaction?

 

Some facts may help to put a global problem into perspective:

  1. The First Agriculture Revolution started about 10,000 years ago. As nomads settled, cities were born. Until about a century ago, they were surrounded by farms, which supplied its population with fresh food.

    San Gimignano, Photo: Pablo Charin, Rick Meghiddo

    San Gimigniano surrounded by farms – Photo: Pablo Charin / Minube

  2. As the world’s population grew from 1.6 billion in 1900 to 7.5 billion today, the way we feed ourselves was transformed radically. Industrialized farming brought us ecological degradation, aggravated by the massive use of toxic chemicals. In addition, the path of food from the farm to the city became dependent on carbon-based fuel for transportation.
  3. As the temperatures will continue to raise, climate change is likely to expand the areas of drought hurricanes and floods, diminishing the existing cultivable areas.

    Nwesweek 10/30/2015

    Nwesweek 10/30/2015

    Milano EXPO 2015: Feeding the World, Rick Meghiddo

    Milano EXPO 2015: Feeding the World

  4. Today’s global growth is about 75 million a year. We are likely to reach ten billion around by 2050. Too far away? Not really! That is just “around the corner.” By 2050, children born today will be in their thirties.

    World Population-1800-2050

    World Population-1800-2050

  5. One acre of land is needed to feed one person for one year. By 2050 we will need additional not-yet-existing cultivable land of about 10 million km2, equal to the size of the United States.

How shall we continue to feed the planet? How shall we invent the future while we free cultivable land from the voracious appetite of urban sprawl?  If we want to create a decent living environment, action is needed NOW. Here are some possibilities:

  • Increase mixed-use urban density along urban corridors.
  • Create cultivable areas within residential multi-family buildings, office buildings, schools, factories, hotels, etc.
  • Design common edible gardens as places for social interaction.
  • Design workspaces that provide edible gardens to its tenants.
  • Plan neighborhoods that include collective cultivable areas.
  • Build multi-story farms.
  • Vertical Farming - Rendering: Blake Kurasek

    Vertical Farming – Rendering: Blake Kurasek

    Vertical Farming

    Vertical Farming

 

No single solution can fit all needs. The use of eco-friendly lightweight hydroponic systems that consume 90% less water than traditional farming can be incorporated into the built environment.

On the other hand, permaculture, first developed by Bill Mollison and David Holmgren, brings a holistic approach that combines agricultural and social design principles. By increasing our awareness of “thinking globally and acting locally,” each of us can contribute to make the world a better place to inhabit.

 

Jean Phillipe Pargade Technical and Scientific School, Paris. Photo: Sergio Grazia

Jean Phillipe Pargade Technical and Scientific School, Paris. Photo: Sergio Grazia