Walk to the Mosque and Villa Ada

Our regular readers will know that we (RST) are walkers.  Just give us a destination (or not) and we're off.  On a weekend in June, while living on via Salaria (in the Salario neighborhood), we struck out for Rome's signature mosque (co-designed by starchitect Paolo Portoghesi), which is tucked into  north Rome between Villa Ada--a huge park--and some sports facilities that line the banks of the Tevere.  Here are some of things we saw on our walk.

At piazza Santiago del Cile, on fashionable viale del Parioli, this very unusual traffic circle.  Unusual because the grass has actually been mowed and the bushes trimmed. That's what you get when you live in Parioli.

We took a bit of a side-trip east, up to Piazza delle Muse.  There's now an attractive bar up there on the bluff above the mosque, with good views.  And we saw this sign, which tells drivers of scooters and motorcycles that they have to walk their machines in this area.

Dropping down to via Ruggero, we hit a T at viale della Moschea ("mosque avenue").  Lanes have been closed because the road has so many potholes it's considered unsafe.

Bill liked this road sign--almost a work of art. Of course, drivers won't see it; it's in the trees.

That's the mosque on our left.  It's #24 on our RST Top 40 list; a fascinating building. When we wrote about it in 2010, it was Europe's largest mosque. It's open to visitors only certain times and days.

The only way to get to Villa Ada from here is this road: overgrown--not made for pedestrians--and a fair amount of traffic.

About a half mile ahead, a path leading into the recreational areas of Villa Ada.

Parts of Villa Ada have paths but are otherwise rather wild.  We like that.

In Villa Ada: graffiti, tree trimmings not removed.

Romans  playing and picnicking in the Villa

Around the lake at the northern end of the park.

Map of the park, now illegible.  I photographed this map because it comes close to what I understand and appreciate as "found art." 

History and archaeology of the park, now illegible.

A warning that the fenced-in area is off limits because of big holes and cave-ins.  At least you can read this.

Nice shaded area

Exercise equipment now unusable; ubiquitous yellow tape.

On our way home:  a small public playground with usable equipment.  But empty--they're all in Villa Ada.

Bill

Happy 4th Birthday RST - of Meier, Mosques and Kebabs

Richard Meier's suburban Tor Tre Teste church - Number 1 on the blog.  
That's Dianne at left. 

Having reached a couple milestones recently – 4 years of blogging as of today (Feb. 17) and more than 400 posts (the 400th went up November 20 – the rather esoteric Hamlet in the Weeds on sculptor Amleto Cataldi), it seems appropriate to look back and share some statistics with our loyal readers.

Amazingly enough (to us), several of the top 5 posts, and even the top 10, remain remarkably consistent from day to day, month to month, year to year.

And, you probably couldn’t guess the consistent posts in the top 5 – at least we couldn’t if Google Analytics didn’t tell us every day.

Coming in routinely in the top 5 are: Richard Meier’s Jubilee Church (Tor Tre Teste), the post on kebabs (Bill, you were right on that one),  Europe’s largest mosque.  Posts on Fascist architecture - which is the subject of dozens of posts - also regularly rank high  The post on Meier's church and the one on kebabs appeared 2-1/2 years ago, and the mosque 3-1/2.  But their popularity never seems to wane.  The church and the mosque are both on RST's Top 40 list, coming in at 17 and 24, respectively.

Inside Portoghesi's mosque

Architectural works by “starchitects” often appear in the top 10: E.g., besides Meier and Paolo Portoghesi (the mosque), Zaha Hadid and Massimiliano Fuksas.

The all-time top 10 includes three reasonably accessible tourist sites: Foro Mussolini/Foro Italico (#5 on the RST top 40), Piazza Augusto Imperatore (# 9), and Garbatella (#16).  And one suburb where tourists seldom venture: Centocelle. 

Readers have also been drawn to the rich and famous, like Elizabeth Taylor.

We learn from Google Analytics, not surprisingly, that the US is the top country, in terms of readers of the blog, with Italy second.  The third may be surprising, however, - it’s Russia (spammers, maybe?), followed by the English-speaking countries of the UK, Canada and Australia.  Of interest, perhaps only to computer wonks, our readers come in more through Safari than any other search engine, followed by Firefox, then Chrome, and only 4th, Explorer. But for operating systems, Windows is used twice as much as Mac.  Go figure.

Back to content: romethesecondtime is what is known as a “content blog” – we’d have to be that after 4 years of this!  We continue to be surprised at Meier’s staying power, along with the mosque and kebabs.

So next time you go to Rome, head for Portoghesi’s mosque, and be sure to pick up a kebab outside (if it’s market day).

Dianne

Rome's Starchitects: Meier, Piano, Hadid, Fuksas, Portoghesi

Our thoughtful daughter-in-law sent along an article from amNewYork on New York City's "Starchitects," the flashiest of the architects who have built in the city, those who design projects that "capture the imagination," as a fellow architect put it. 

The article divides the New York stars into three categories: Elder Statesmen (Frank Gehry and Henry Cobb, both in their early 80's); Europeans (Sir Norman Foster, 75; Santiago Calatrava, 59, who is building what promises to be a spectacular transit hub at ground zero; Renzo Piano, 73, whose New York Times Building and addition to the Morgan Library, both of which we took in last month; and Jean Nouvel, 65; and Gotham Stars (including Bruce Fowle, Bob Fox, and Richard Meier (for his Perry Street Towers).  The age info is in the article, though why it's important--or relevant--we're not sure. 

Rome has a magnificent architectural heritage dating to the Republic and the Empire, and includes major contributions in the Renaissance and, less well known, in the 19th and 20th centuries.  But the past decade or so, and especially under the liberal, arts-oriented former mayor, Walter Veltroni, Rome has been active again, hiring Starchitects to design major museums, performance spaces, and--most recently--a convention center.  As far as we know, there are currently five Starchitects who have built or are building in Rome: Richard Meier, Renzo Piano, Zaha Hadid, Massimiliano Fuksas, and Paolo Portoghesi.  Three are Italians.  (And, several - including Piano, Hadid and Fuksas - are featured in our new book: Modern Rome: 4 Great Walks for the Curious Traveler.  More information on the book is at the end of this post.)



Cleaning the paint of Dadaist vandals  from Meier's
box for the Ara Pacis, June 2009

Richard Meier, 76, was born in 1934 in Newark, New Jersey.  Like Piano and Hadid, he's a winner of one of architecture's most prestigious prizes, the Pritzker (1984).  His best-known project is the Getty Center in the hills of Los Angeles, a monumental if somewhat sterile complex that recalls the grandeur and splendor of ancient Rome as well as the Italian villas and gardens of the 16th century.  Other admired buildings include the tourist center in New Harmony, Indiana, the Hartford Seminary of Theology (late 1970s) and the High Museum of Art in Atlanta (early 1980s).   He's known for not caring much for architectural fashion and for sticking with the tried and true ideas of mid-century European and American modernism.  A purist, most of his buildings are rectilinear, box-like forms--not a bad description of his Rome container for the Ars Pacis, a building whose modernist ordinariness has infuriated the city's right wing politicians and even some of its residents, who can't believe it cost 25 million Euro.  He's a Rome starchitect NOT for his Ara Pacis box, but for his sublime Jubilee church (2000), a gem built out in the suburb of Tor Tre Teste--a building so unusual for Meier that it must have come from a dream state, from the architect's subconscious (see Dianne's post on the church, which is #17 in our Rome the Second Time Top 40).  Even so, his Ara Pacis effort produced a strong backlash--against modernism, the particular building and its relationship to the site, and the arts.  In a statement that may have relevance for Meier's experience with an irate Roman public over his Ars Pacis building (photo above right), fellow Starchitect Massimiliano Fuksas (see below) notes: "When people are prepared to damage your building, you have failed." 





Renzo Piano's Parco della Musica

Renzo Piano, 73, was born in 1937 in Genoa.  Piano acknowledges several architects that have influenced him, including Louis Kahn and Pier Luigi Nervi, a Rome Starchitect of an earlier era, and one of whose masterworks, the Palazetto dello Sport, is across the street from Piano's own contribution.  Piano made his name as a co-designer of  the Pompidou Centre in  Paris--intended, Piano says, "to be a joyful urban machine, a creature that might have come from a Jules Verne book."  Other well known buildings of his include the 1982 museum for the De Menil Collection in Houston, and a much-ballyhooed addition, recently opened, to the Los Angeles County Museum of Art (LACMA - where we've spent a lot of time).  The addition is highly functional but, like Meier's Ara Pacis container, essentially a nice box (and the same applies to Piano's Morgan addition in NYC).  Fortunately, Rome got the best out of Piano; his Parco della Musica complex in the quartiere of Flaminio is both functional (except for some maze-like approaches to upper-level seating) and, in the Pompidou Centre mode, playful, combining traditional modernism with shapely organic motifs.
__________________________________________________________________________________



Aerial View, MAXXI gallery (lower left)

Hadid's MAXXI, from the rear

Zaha Hadid, 60, was born in 1950 in Baghdad.  She practiced with Rem Koolhaas before opening her own shop.  As a child, she was influenced by a tour of ancient Sumerian cities in southern Iraq.  "The beauty of the landscape," she explains, "where sand, water, birds, buildings, and people all somehow flowed together--has never left me.  I'm trying to discover--invent, I suppose--an architecture, and forms of urban planning, that do something of the same kind in a contemporary way."  Hadid's first major success was the Center for Contemporary Art in Cincinnati (c. 2000).  Another was a museum adjoining Frank Lloyd Wright's Price Tower in Bartlesville, Oklahoma, a commission she was awarded because she is sometimes understood as Wright-like in her enthusiasm for futuristic designs and, according to one writer, her "visionary rethinking of the relationship between humans and buildings."  Her recently opened MAXXI gallery--a 10-minute walk from Piano's Parco della Musica--has made her a Rome Starchitect.  It's typical of Hadid's work in that it looks wonderfully inventive from the air (photo above left, lower left), a perspective available mostly to pigeons.  However, as our readers have heard more than once, we aren't fond of the way the building relates to its surroundings or to human beings seeking access to it.  From certain angles it looks sensational; from others it's a forbidding hunk of windowless cement.  Some nice spaces inside.  (BTW, one can do a nice architectural tour of Nervi, Piano and Hadid within a couple blocks of each other.)

  

Architectect's rendering of Fuksas' "Cloud" building,
 under construction in EUR

Proposed Italian Space Agency

 Massimiliano Fuksas, 66, was born in Rome in 1944, while the city was occupied by the German army, and he earned his degree in architecture from La Sapienza (Rome's historied university) in 1969.  Fuksas is the loner/rebel type.  "All my life," he has said, "I have fought against form, shape and style," and he denies any "evolution" to his work: "I use a different language each time."  He admits to being an admirer of Francesco Borromini.  Fuksas is well known for the Zenith Music Hall in Strasbourg, France (2008), a bold structure in orange, and  for the Milan Trade Fair complex (2005); we also like his modernistic renovcation of the former stables in Frascati, neaer Rome.  Fuksas is scheduled for Rome Starchitectdom when his EUR "Cloud" building--apparently a meeting and convention center--opens; it's currently under construction and, somewhat surprisingly, his first major building in Rome.  (See Bill's post on our exploration of the "Cloud".) Fuksas is also designing a new unhomelike home (above right)  for the Italian Space Agency (we didn't know the Italians had a Space Agency), to be built near the 1960 Olympic Village and Hadid's MAXXI.   

Paolo Portoghesi, 79, was born in 1931 in Rome, where he earned a degree in architecture at La Sapienza in 1957.  For much of his career he has been in private practice while teaching architectural theory at the University.  His inclusion among Rome's Starchitects is appropriately suspect; his deep interest in the history of architecture--in Borromini, the baroque, and Michelangelo, especially--has given his work strong links to tradition and history, as in his Casa Baldi (1957-62), a house built an hour from Rome in the village of Olevano Romano.  Nonetheless, he's earned the designation of Starchitect for his striking mosque, built 1974/75  in the north end of the city, near Acqua Acetosa, at the behest of King Fahd of Saudi Arabia (and it comes in at #24 on Rome the Second Time's Top 40).  It is said that the building strikes a balance between modernism, Roman forms, and the traditions of mosque architecture, which surely functioned here as a restraint on the architect's creativity and innovation.  Dianne believes the building rises to the Starchitect threshold and "captures the imagination,"  and the interior photo at left would seem to confirm her view.
  

Bill

Hadid's MAXXI and Piano's Parco della Musica are on the Flaminio itinerary; and Fuksas's Cloud is on the EUR itinerary in our new print AND eBook,  Modern Rome: 4 Great Walks for the Curious Traveler.  Modern Rome features tours of the "garden" suburb of Garbatella; the 20th-century suburb of EUR, designed by the Fascists; the 21st-century music and art center of Flaminio, along with Mussolini's Foro Italico, also the site of the 1960 summer Olympics; and a stairways walk in Trastevere.

This 4-walk book is available in all print and eBook formats The eBook is $1.99 through amazon.com and all other eBook sellers.  See the various formats at smashwords.com. 

Modern Rome: 4 Great Walks for the Curious Traveler now is also available in print, at amazon.com, Barnes and Noble, independent bookstores, and other retailers; retail price $5.99.

RST Top 40. #24: Rome's Signature and Europe's Largest Mosque

With some trepidation (but no doubt about its merits), we offer the Rome mosque, the largest mosque in Europe, as #24 in Rome the Second Time's Top 40. It's a magnificent structure, with some interesting controversy in its planning (why wouldn't there be, with an enormous Muslim landmark in the center of Catholicism's spiritual and administrative and, in every other way, home?).

I loved it instantly. I think Bill took some warming, including some high praise by Ingrid Rowland in a New York Review of Books article on Tiepolo where she devotes substantial coverage to the mosque's architect, Paolo Portoghesi (Bill wrote about this in his January 2 blog - here's the link to it: http://romethesecondtime.blogspot.com/2010/01/italy-on-surface.html).

Rather than repeat everything I said last June, I'll supply the link to the June 27, 2009 post below, and add a few new comments.

While our primary interest in the mosque is architectural, the religious issues are intriguing as well. One author claims the gorgeous, massive mosque is deserted, abandoned for other, smaller, more active mosques (http://www.islamonline.net/servlet/Satellite?c=Article_C&pagename=Zone-English-News/NWELayout&cid=1228244896427). But another argues that the imam at the main Rome mosque is preaching jihad (http://chiesa.espresso.repubblica.it/articolo/6953?eng=y). Both articles are linked here. You be the judge.

In any event, a visit is definitely in our Top 40. Just remember visiting hours for non-Muslims are limited - Wednesday and Saturday 9-11:30; women MUST wear head coverings. And, Fridays are the most active days, including the market outside the mosque gates - for everyone.

Here's the link to the earlier post: http://romethesecondtime.blogspot.com/2009/06/europes-largest-mosque-in-rome.html, which includes directions at the end and many more photos.

The trepidation I mentioned at the beginning derives from the traffic our blog gets from surfers who seem highly interested in "mosque", but not so much in Rome. We're not exactly anxious to set them off again! But we can't fail to put this wonderful 20th-century architectural statement in Rome the Second Time's Top 40.

Dianne

Italy, on the Surface

Ingrid Rowland's December 17 review of The Hand of Palladio in the New York Review of Books is as much about the book's author, architect Paolo Portoghesi, as it is about Palladio. We were intrigued by the focus, having written on this blogsite about Portoghesi's Roman mosque (designed 1975; see our June 17 post) and having admired his lobby for Rome's Hotel de la Minerve (above). Rowland labels these works "dream visions," then moves on to this remarkable paragraph:

"These works have a terrible poignancy now, reminders as they are of the optimistic Italy that pulled itself from postwar destitution by sheer force of imagination--Fellini was in many ways a maker of documentaries, not fantasies--and unrelenting work. The mosque of Rome, despite its modern materials, still revels in craftsmanship, as can be seen from the specially cast prefabricated columns, the intricate mosaics, the chandeliers and fountains. That same loving care of surface shines forth in every aspect of Italian life: in Fellini, Raphael, Titian, Vivaldi; in Marcello Mastroianni's swagger, Sophia Loren's vitality, La Dolce Vita--but then it was another Italian, the Roman sage Vitruvius, who declared that perfection can be achieved only by following through on every detail of ornament. Decoration in Italy is always more than superficial embellishment; it is the essence of true civility."

Reading this passage, we were reminded of the Italian insistence on la bella figura and, more concretely, of the pristine white tops favored by many Italian women, in seeming defiance of gurgling babies and life's inevitable spills; of the care with which Italians wrap anything and everything, from a piece of fish to a bottle of wine; of those lovely notebooks, with their silver corners and Florentine covers; of the glittering surfaces of any coffee bar, toweled clean and shined at the barrista's every opportunity; and even of Berlusconi, the politican as spectacle and surface, uninterested in the hard work and compromise that genuine political leadership requires.

We were reminded of Italian postwar leadership in fashion and modern design, fields that are all about wrapping people and things in cloth and plastic and metal, all about surface. The examples are many, but they surely include Marcello Nizzoli's 1950 Lettera 22 typewriter and Corradino D'Ascanio's 1955 Vespa. The Piergiorgio Branzi 1960 photo at left
is all about surface: not only the shell of the Vespa, but the self-consciously casual pose of the man in the foreground, observing even more surface: the filming of a story about ancient Rome, made on the steps of one of Rome's modern art museums.

Rowland made us think, too, of the playful creations of Ettore Sottsass, in whose hands household objects were transformed from useful things into games and sculptures. At right, Sottsass' Carlton Bookcase (1981). Consistent with Rowland's overview and chronology, the utopian Radical Design movement with which Sottsass was affiliated was launched in the 1960s and was in decline by 1980, as the ebulient optimism that sustained it was gradually undermined.

But we remain less than fully convinced of the truth of Rowland's compelling claim. To illustrate our lingering doubts, we offer these comments on La Dolce Vita, Fellini's 1960 masterpiece.
It is undeniably about the superficiality of postwar Italian bourgeoisie culture. But our observer of that culture, Mastroianni's Marcello, while attracted to the surfaces he finds, is also disturbed, alienated, and bored. Surfaces beguile, but they are not enough--and are hardly, in Vetruvius' words, "the essence of true civility."

Bill