Maltzan's One Sante Fe: the Rome roots of an LA project

One Sante Fe, Los Angeles.  The cut-out is at center left, one of the parking ramps just beyond.  Note the angled, protuding windows on the upper level.  

He must have been there.  To Rome, that is.  RST ventured to the fringe of Los Angeles' downtown, due passi from the arts district, to see the nearly completed building known as One Sante Fe, after its street address.  We were attracted to the structure by architectural critic Christopher Hawthorne's lengthy and complex review in the LA Times.  While Hawthorne notes that some have seen the enormous building--435 apartments, office space for the staff of LA Metro, a quarter mile [.4 km] end-to-end--as a "kind of gentrification ocean liner, slowly drifting toward dock," his own take is more positive.  "What gives the...project its unusual symbolic power is that it takes the generic stuff of a typical L.A. apartment building--a wood frame slathered in white stucco and lifted above a concrete parking deck--and expands it dramatically to urban scale."

The cut-out, from inside

We loved the sheer size of the thing, the front cut-out/opening [right] that allows access to an interior space created by two wings, the fan-like protrusions for each of the windows, and the two delicious circular parking ramps, one at the end and one in the middle--destined to be painted Calder red, if the model in the sales office is accurate.

The parking ramp.  We hope it gets painted red.  

The architect is 55 year-old Michael Maltzan, once of Frank Gehry's office, and he's the guy we think may have been to Rome.  It's not just that Rome and Los Angeles are both low-rise cities, built close to the ground [LA's has skyscrapers, but they're located in defined districts], or that LA's latest

Architect Michael Maltzan

apartment buildings share the "mixed use" formula--commerce on the ground floor--that has shaped Rome's street ambience for centuries.

Beyond that, Rome has two structures that we couldn't help but think of as we walked the length of One Sante Fe and poked around in its courtyards.  .

Corviale

One is known as Corviale, a massive, horizontal housing complex located southwest of Rome's center, near via Portuense. Completed in the 1980s, the complex has a reputation as a failed experiment in dense public housing--1202 apartments, stretched out over a kilometer.  To be sure, it lacks the complexity of One Sante Fe--the two wings at its southern end, one straight, one bent, the charming urban space in between--and it suffers from a deadly uniformity of color--it's all grey concrete--and design [no cutout, no circular parking ramps]. One would never call it playful.

Even so, Corviale's linear monumentality, unique as far as we know, lends it credibility as a predecessor of One Sante Fe.

Morandi's Metronio Market, rear 

The other Rome building is Riccardo Morandi's Metronio Market, completed in 1957.  It has two features that link forward to Maltzan's structure. One is the angled windows on the long facade, not unlike the much more subtle protusions of the LA building.

Ramp's the key 

The other, more obvious, is its stunning circular parking garage: shades of Luigi Moretti's ex-GIL staircase in Rome--check it out on the blog--and of Frank Lloyd Wright's Guggenheim.  And now of Maltzan's One Sante Fe.

We can't confirm, yet, whether Maltzan has ever been to Rome, or even Italy.  Among his influences are Alvar Alto and Le Corbusier, neither Italian.  Yet Maltzan's firm has designed for a Milan project, and his work has appeared at the Venice Biennale.  More germane, he acknowledges deep familiarity with Palladio's 16th-century Italian villas and an especially strong affinity for the forms and spaces of Francesco Borromini's Baroque Roman church, San Carlo delle Quattro Fontane.  Of course, he may have just seen it in a book.   Bill

The One Santa Fe Fantasy

"Googie" architecture: in Rome

If you've spent time in Los Angeles, or Las Vegas, or even Seattle, you'll have some knowledge of "googie" architecture, even if you don't know the name.  Associated with the 1950s, the style features a futuristic feel, produced by sharp and odd angles, sweeping arches, boomerang and pallette

Gas station, Los Angeles

shapes, zig-zag lines, and atom motifs.  In Los Angeles, where it took its name from "Googies," a coffee shop designed by modernist architect John Lautner, it is usually found in gas stations, fast food restaurants, and coffee shops, though there's a superb example at LAX, the city's main airport, where the Theme Building, completed by Pereira and Luckman architects in 1961, greets visitors with its space-age glow.

Italy had its boom years, too, but it didn't participate with quite the same intensity in the catalysts of the googie moment--the space age and the era's car culture--and so outstanding examples of the style, especially in Rome, are few.  In fact, the word "few" may overestimate.  Still, googie enthusiasts might have some success in the San Giovanni area, easily accessed by the Metro, where a construction boom in the 1950s and 1960s yielded several buildings with some relationship to Googie.

Garage, Metronio Market

Back of Metronio Market

Two are on via Magna Grecia, a major thoroughfare running south from the San Giovanni Metro stop.  As you walk south, the first you'll come across is Ricardo Morrandi's Metronio Market.  Its outstanding feature is the playful circular garage, but the two long sides of the triangular facade are also of interest, with their accordion-like window treatments.  The market opened in 1957.

Piccadilly Hotel, once a movie theater

Another, a bit further along, is the lower facade of what is now the Piccadilly Hotel, and was once a movie theater: the googie is in the dark forms which bore the name of the cinema and in the multi-angled canopy below. (The closed cinemas are the protagonists in an Italian film, "Fantasmi Urbani: Inchiesta sui cinema chiusi da Roma" - "Urban ghosts - An investigation into Rome's closed cinemas". You can see a trailer on YouTube - look for hints of googie.)

Across the street, still on via Magna Grecia--perhaps across from the market--you'll see a 1960-vintage apartment building, sandwiched between two structures in the more-familiar neo-classical style.  The angled balconies participate in the "googie" mode.

Not the best photo for this purpose. The "pallette" ceiling
is upper left.  

Continuing south on via Magna Grecia, turn right on via Gallia.  In the second block, on the left side of the street, just past the church, is Bar Clementi.  It's a great place for a coffee--it was our regular coffee bar for two months--and one doesn't have to pay extra to sit down.  And while you're there, note the pallette-shaped ceiling, right out of a googie textbook.  Ceilings such as this one, which invoke the space age, are quite common in Rome bars.

Angled balconies, via Gallia

Exiting Bar Clementi and continuing west on via Gallia, you'll find another set of cleverly angled
balconies.  Another tribute to googie.

Bill

A hint of "googie" in the shape of the shields for the lettering
of a dancehall, "Stellarium," in Appio Latino, 2008

Rear of the Appio Latino dancehall, with its mushroom roof

Riccardo Morandi's Metronio Market

Over the past century, Rome has produced two generations of great architects.  One, serving Mussolini’s Fascist regime, or simply practicing in that era, applied the techniques and vision of rationalism or, somewhat later, monumentalism, to the public and private buildings of the period.  Among the rationalists one would have to include Luigi Moretti, author of the 1933 Casa del gioventú, in Trastevere, and Adalberto Libera and Mario De Renzi,collaborators on the Aventino post office (1933) on via Marmorata.  The monumentalists had their heyday at EUR, the massive development south of the city, where the chief architect was Marcello Piacentini. 

The second generation of great architects is the current one, composed of “starchitects” from Italy and elsewhere, who build one big project and then go on to do the same in some other city.  They include Richard Meier, out of the rationalist tradition, and his controversial housing for the Ara Pacis; Renzo Piano, who combined fantasy and functionalism in his Parco della Musica; Zaha Hadid, something of a monumental rationalist in herMAXXI art museum in the quartiere of Flaminio; and Massimiliano Fuksas and Santiago Calatrava, though neither has finished his Rome masterwork, and Calatrava’s swimming pool languishes in the weeds of Tor Vergata. (For more links to RST posts on these architects, see links at the end of this post.)

In between these generations there isn’t much, at least not much that stands out.  Although many buildings were constructed in Rome in the postwar “boom,” most of them were apartment buildings on the city’s outskirts, many of them handsome and some outstanding in a simple, functional way, but too much a part of the suburban fabric to stand out, or for their architects to be recognized for outstanding achievement. (And, Dianne chimes in, some of them not handsome or outstanding.)

There are exceptions, and we were reminded of one of them, a curious-looking market with an attached parking garage, when we read of plans—controversial plans, in turns out—to tear the complex down.  The structure is on via Magna Grecia on the northeast edge of the San Giovanni neighborhood, due passi from San Giovanni in Laterano, which is on the other side of the wall.  We stopped to have a look. 

The building is roughly triangular in shape, with the two longest sides adorned by protruding, fan-like windows. 

The stunning part, though, is the parking garage, or rather the access to it, up a prominent circular ramp—not so different, really, from what Frank Lloyd Wright accomplished on the interior of his Guggenheim gallery in New York City.  The Guggenheim opened in 1959, the Rome market in 1957. 

Inside, light from the window baffles suffuses the interior but is insufficient to overcome the forlorn atmosphere of the place.  A good portion at one end is unoccupied, and the vendors that do exist—selling meats, fish, vegetables, and housewares—have few customers. 

Faced with the possibility of demolition, the 25 remaining vendors have organized with a group called the “Urban experience” (the name is in English) to propose that the Metronio market, as it’s called, be adapted to some new uses, including shops that feature organic products and working artisans.   Among those trying to save the market, there is a sense that the building, and particularly the parking ramp, is of architectural significance.  There is disagreement, however, on whether saving it would require significant and expensive structural work to bring the edifice up to safety and hygienic standards, or only “conservative” restoration.

The man behind the Metronio market was Riccardo Morandi (1902-1989), a civil engineer (rather than architect) with a deep scholarly and practical knowledge of reinforced concrete (cement armato), an inexpensive building material with important structural qualities widely used in the post-1945 Italian reconstruction.  Morandi’s best known work is the General Rafael Urdaneta Bridge (above), an 8 km structure with 70 cable-stayed spans crossing Lake Maracaibo in Venezuela. He also participated in the postwar reconstruction of Florence, where he built a bridge over the Arno in the mid-1950s. 

Morandi's Cinema Maestoso, dear to our
 hearts becauser we saw the Whitney Houston/
Kevin Costner film "Guardia del Corpo" ("The
Bodyguard") in Italian, with our 2 sons, here
in 1993.  Who needed to understand the plot?
Houston's singing was the heart of the film.

Aside from the Metronio market, Morandi’s Rome projects include a Tevere bridge (known as “Il Grillo”)[1949/50]; a small palazzo on via Martelli (1950); the Cinema Maestoso (and the building above it) on via Appia Nuova (1954-57; a viaduct over a bend in the Tevere in Magliana ((1963-1967); a portion of the Fiumicino airport (perhaps the Alitalia terminal); and the Hotel Ergife (with B.M. Cesarano), on the via Aurelia (1975-1978).   Morandi also taught bridge design at the University of Florence and the University of Rome. 

Bill

Additional links to RST's posts on the architects mentioned in this post:

On Rome's new "bridge to nowhere":

http://romethesecondtime.blogspot.it/2011/09/ponte-della-musica-romes-new-bridge-to.html

On Hadid winning the Sterling Prize:

http://romethesecondtime.blogspot.it/2010/10/news-flash-hadid-wins-sterling-prize.html

On EUR buildings:

http://romethesecondtime.blogspot.it/2009/11/rst-top-40-35-gino-severini-mural-at.html

On Foro Italico, nee' Foro Mussolini:

http://romethesecondtime.blogspot.it/2011/05/rst-top-40-5-foro-mussoliniforo-italico.html

On more of De Renzi's work: in the Trionfale quarter, and public housing in the Mussolini era.

Generally on 21st century architecture in Rome: 

http://romethesecondtime.blogspot.it/2010/07/planning-romes-future-modern-art-or.html

Piano's work is mentioned in the "Starchitects" post, as well as the one on the "bridge to nowhere."

For Meier's work, see also the post on the tunnel under the Ara Pacis and his magnificent Tor Tre Teste church in the suburbs of Rome.