Francesco Rutelli: on Building atop Rome's Ancient Heritage

Former Rome Mayor Francesco Rutelli was explaining why it was so difficult to build the Metro "C" line, which at one point was designed to run from Piazza Venezia to Piazza del Popolo, under via del Corso.  All the ground beneath that route, he said, to a depth of about 25 meters, was covered with

Oops!  Excavations for "C" line at Piazza Venezia reveal
extensive ancient ruins.  Better cover them up!

ancient ruins.  To avoid destroying the city's heritage, one had to go deeper--below 30 meters.  That could be done, he added, but one problem remained: "you could not get out"--that is, you couldn't get people out of that deeply buried Metro line, or for that matter into it, without doing untold damage. 









Rutelli, Mayor of Rome from 1993 to 2001, one-time cultural minister and now Senator, told several personal stories to underline his thesis at a recent talk at John Cabot University in Rome on "Contemporary Transformations in the Most Complex City in the World."  The interplay of

archaeology with contemporary building seems obvious, but it took on  new meaning for us with Rutelli's detailed and personal knowledge of Rome's archaeological layers. (Rutelli studied architecture at the University of Rome/La Sapienza.) 

Protesters at the opening of Meier's "box" for the Ara Pacis,
April 2006

Piazza Augusto Imperatore, which shows up on Rome the Second Time's Top 40 list at #9, sparked discussion from the audience after Rutelli presented slides of Richard Meier's "box" for the Ara Pacis and the discovery below of an ancient Roman harbor - that prevented putting the Lungotevere road underground  - at least for now.  We hadn't known that Rutelli alone made the decision to engage U.S. architect Richard Meier.  Why not a competition?  Or at least an Italian?  "If I had chosen an Italian," he said,
"the resulting squabbles would have been like those of a Sardinian village, lasting centuries."  As a result of his choice, however, Italian architects (left out of consideration) are irate; one said Meier's building belonged on the outskirts of Los Angeles; another likened it to McDonald's.   The right wing also detests the building.  We were there for the opening and their protests in April, 2006. 

And now a professor of architectural history asks Rutelli - why no interplay with the fascist architecture of the piazza?  With all the fascist writing on the buildings around Augustus' tomb?
Rutelli pointed out one reason he selected Meier was for his "rationalist" style, which naturally harmonized with the monumentalist Fascist architecture of the piazza. 

Parco della Musica, also known as the Auditorium, is Renzo Piano's very successful (in our opinion) set of music halls in the Flaminio quarter.  We also have seen the pre-Roman village partially unearthed during the building of the Parco della Musica structures.  What we didn't know, and Rutelli

Piano's Parco della Musica.  Handsome, but too many
stairs, not enough elevators, some think. 

relayed, was that his administration was absolutely certain there were no ruins in the area - that was one reason the location was selected.  And yet, there they were, the remains of a 2700 year-old rural village that no one had ever mentioned or knew about, according to the former Mayor.  Hence, Piano had to redesign his complex.  A cinema and hotel were left out to accommodate the display of the ruins.  And, added an audience member - is that the reason there are too many steps and not enough elevators?  Ah, said Rutelli, Piano loved his structure and there was considerable negotiation with him over elevators.  In other words, be glad you have the few you do.  He also relayed the story of a building in Pienza, a perfect design by an architect who left out kitchens and bathrooms - so that the architecture would be absolutely perfect. Parco della Musica is on one of the 4 tours in our new book, Modern Rome: 4 Great Walks for the Curious Traveler. See below for more information.

Palazetto Zuccari

Rutelli's practical side showed itself in two other projects.  One began with a 1994 competition to gut
and totally reconstruct the Bibliotheca Hertziana--that is, the interior of the 17th-century Mannerist Palazetto Zuccari (on via Gregoriana, near the Spanish steps).

The new library sits atop this matrix of steel beams.

In 2001, construction revealed the remains of the Horti Luculliani, gardens from the Republican era.  Architect Juan Navarro Baldeweg and engineers found a solution: above the ruins, they suspended
huge steel girders--essentially a floating, artificial basement.  On top of that, they put the new library. 

The new library.  The 17th century?  Gone. 

Rutelli had more to do with the 2nd project: an elevator for the Altare della Patria, also known as the

Rutelli's much-reviled elevator.  Great
views from the top!

Vittoriano.  Indeed, it was his idea.  Frankly acknowledging the criticism he's received for this intervention, Rutelli defended it, emphasizing that the elevator was close to the (back of) the structure, but not part of it, not attached to it.  "It could be removed in a day," he said.

After the talk, at a reception hosted by John Cabot, we gave Rutelli a copy of our book, Rome the Second Time: 15 Itineraries that Don't Go to the Coliseum."   A few minutes later, as we left the building a few steps behind the mayor, he turned, smiled, and said, "non vado al Coliseo" (I'm not going to the Coliseum!).

Dianne and Bill
 Modern Rome: 4 Great Walks for the Curious Traveler.  In addition to the tour of  the 21st-century music and art center of Flaminio (including Parco della Musica), along with Mussolini's Foro Italico, also the site of the 1960 summer Olympics, Modern Rome features three other walks: the "garden city" suburb of Garbatella, the 20th-century suburb of EUR, and a stairways walk in classic 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.

Pompidou Postmodernism--in Rome

Not Columbus, not 1972

Our introduction to postmodernism came, in of all places, Columbus Ohio--not, or not then, a pacesetter in architecture.  We were tourists, and we arranged to eat dinner in one of the city's trendy new restaurants.  The place occupied a long-narrow space several feet below street level, and everything was painted black.  To our surprise, the resturateur and his designer had made only the most minimal effort to cover up the "guts" of the place--the ductwork and electrical cables that made the place function, the old brick.  No lowered ceiling, no styrafoam ceiling panels, no wall paneling.  Painted black, yes, but hardly invisible; indeed, right in your face.  It was 1972 or 1973. 

Pompidou Center

Across the Atlantic, and doubtless unaware of Columbus's early lead in advanced architectural design, Renzo Piano and his colleagues were working on Paris's Pompidou Center.  It would open in 1977 to considerable acclaim and be understood thereafter as a seminal work in the postmodern vein. 

More Pompidou Center

Every pipe and conduit and strut was exposed; indeed, some may have been added for emphasis.  The architectect seemed determined to make a rather ordinary stairway a central feature of the design and "look" of the place. 

The modernists of the 1930s and 1940s had taken a very different approach.  While valuing the technological, machine aesthetic as much as the postmodernists, their interest in speed and movement led designers to give many of their creations rounded features, and to sheath the products they made in sleek skins of metal and plastic. 

Probably a film projector

In this "streamlined" universe, key ingredients of speed and movement--motors and wheels--were hidden away.  The pencil sharpener and the toaster appeared ready to take off. 

By this definition at least, Rome has come late, and barely, to the postmodern revolution.  Renzo Piano was no help.  Although Rome would be the site of one of his best buildings--the Parco della Musica--it shows not a hint of the architect's place in the postmodern pantheon.  Not a duct in sight. 

We've found two examples of what we'll call Pompidou Postmodernism in Rome: one in architecture, the other in product design. 

The beast unveiled

The product is the motorcycle.  Not all of them, by any means; some--perhaps most--have been designed and presented in the modernist mode, or in some combination.  But some, especially the big, muscular cycles with enormous engines--750 and even 1200cc's--could trace their heritage to that Columbus restaurant.  Their huge and complex engines could be covered with plates of steel, but instead they're exposed, letting us know just what it is we're riding, and what makes it go. 

Exposed girders at MACRO

The building we have in mind is one of our favorites: the MACRO gallery, in the Nomentana quartiere.  It's a lovely combination of sleek, curvilinear modernism and defiant Pomidou Postmodernism.

While the bathrooms are aggressively modern--whether they can actually be used, we can't say (oh, yes we can, says Dianne), but they sure look good--that and other modernist flourishes succeed in part because of the postmodern environment in which they're embedded: the exposed steel girders, with bolts and all, there to remind visitors of the brewery that once operated on the grounds.

Revealing glass elevator, Macro

The elevator, its innards in full view, challenging us to accept technology as the complex phenomenon it is; and a sturdy, unpretentious metal stairway that subtly suggests that our fanciful designs--those sleek skins and surfaces--are products of animals who learned to walk upright. 

Bill

For more pictures of MACRO, see an earlier post.

Postmodern muscle

Modern, streamlined muscle

Ponte della Musica: Rome's new Bridge to Nowhere

There's a new bridge in town.  Dianne says it's called the Ponte della Musica (music bridge), and I have no reason to doubt her, or hardly any.  The name makes sense because it was installed to link the new left-bank museum and music area of Flaminio-- consisting primarily of Zaha Hadid's monumental MAXXI (museum) and Renzo Piano's Parco della Musica (music park),  which looks downright humble next to Hadid's enormous concrete construction--with the right bank of the Tevere. 

Ponte della Musica, from the right bank.

We had never seen the bridge, but knew it to be controversial.  Some--not just "experts" but residents of the area--wonder why it was built at all, since it doesn't seem to connect to much of a neighborhood across the Tevere. Yet we found it worked in the Flaminio/Foro Italico itinerary of our new book, Modern Rome: 4 Great Walks for the Curious Traveler.  More on the book at the end of this post.

Looking toward Monte Mario.  The center
surface is asphalt, the sides wooden planks.

Yes, the northern portion of Prati is at the left when one crosses, but straight ahead is the uninhabited rise of Monte Mario, and to the right (north) Olympic Stadium (where the soccer teams play) and an enormous fascist sports complex, built in the 1930s.  On our visit, the bridge appeared to be populated mostly by joggers--who also use the right bank of the Tevere here--whose running range has no doubt been greatly expanded by the structure.  Although the bridge is capable of accepting automobile traffic--not clear how much--at the moment it is open only to pedestrians.

A private athletic club on the Flaminio side.
Looks like it lost a tennis court or two.

Others have criticized the bridge for having wooden walkways (sure to weather poorly, and difficult if not impossible to clean when the graffiti writers land).  It's likely, too, that the private atheletic clubs that populate the banks of the Tevere on this part of the river lost some land in the process or had their luxurious--and, until one could walk out on this bridge, hidden--lairs revealed for the ordinary public to see and envy.

Ship ahoy!  Note the handrails, inspired by the
Queen Mary.

Still, we like this bridge, with its sleek, rolling, boat-like, naval look.  It may be Italy's bridge to nowhere, but it's elegant and sea-worthy, and it's about time something was done for runners.  Perhaps they should call it Ponte delle Joggers.
Bill

p.s.  One of our readers was disappointed that we hadn't included information on the bridge's architect/designer.  So...the bridge had its origins in a partnership between Davood Liaghat, who was chief bridge engineer
at the Buro Happold firm, and London architect
Kit Powell-Williams, who was working in Rome with
the engineering firm C. Lottie e Associati.  Buro
Happold won a design competition for the structure in 2000.

You can cross the bridge, and see much more, in the Flaminio/Foro Italico 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.

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.

Planning Rome's Future: Modern Art? Or Domus Aurea?

Michael Kimmelman’s story, “As Rome Modernizes, Its Past Quietly Crumbles” (New York Times, July 7, 2010), is smart and full of ideas, from a critique of the new MAXXI gallery (“an air of already bygone taste”), the national modern art gallery, to the jurisdictional conflicts that have prevented concerted action on the restoration of Nero's Domus Aurea, where a gallery recently collapsed.


Note that MAXXI, Fuksas' Cloud (below) and other modern architecture are featured in our latest book, Modern Rome: 4 Great Walks for the Curious Traveler. More information on the book is at the end of this post.

The larger point for Kimmelman seems to be that Rome, lacking a thoughtful city plan, has thrown itself into questionable, arty modernizing projects (of which MAXXI--see photo above--is the best example and the addition to MACRO, the city’s modern art museum, another), while depriving its center of the money needed to maintain properly its historic heritage. The solutions that would seem to follow are for the city to cease playing around on its outskirts with designer projects, and for Rome to stop trying to be a center of modern art and architecture and focus on its past; get back to basics: shore up the Domus Aurea, fix the Coliseum, reveal the Tomb of Augustus.

But that isn’t where Kimmelman takes us. On the one hand, he is, to be sure, critical of an approach to Rome’s problems that features “a few big stars designing buildings,” and he calls architect Massimiliano Fuksas’ enormous and fanciful congress center, now going up in EUR (a suburban neighborhood and business center south of Rome’s historic district), a “giant bauble in what’s still the middle of nowhere.” (Under construction, right)

On the other hand, he seems much taken with Fuksas’ notion that Rome’s future lies in developing its periphery. “So the true city,” he quotes Fuksas, “is no longer the historic one but the one on the so-called periphery, and to become successful we need to accept a new concept of greater Rome.”

Beyond that, Kimmelman seems to believe that the congress center, along with new housing designed by Renzo Piano (two “big stars designing buildings”), may be keys to development in EUR and critical to Rome’s progress. That’s a long way from shoring up the city’s crumbling past. And at the end of his article, we’re a long way from understanding what it is that Rome needs.

The preceding by Bill; the following by Dianne -

I agree with Bill that Kimmelman's piece is on the whole "smart," but I also "smart" from his dissing of areas that are not in the historic center ("centro storico"). He calls EUR (which he never mentions by name) - "the middle of nowhere." Our guests we dragged there last month hopefully won't agree. This immense paean to monumental modernism, named for the World's Fair Mussolini hoped to have there in 1942 (Esposizione Universale di Roma; also called E42) is a fascinating suburb and in the middle of a whole lot, if one doesn't simply focus on ancient and Renaissance Rome.

To call Renzo Piano's Parco della Musica "inoffensive" also is "offensive" to me. It's a beautiful music complex, one that should be visited, and, unlike a lot of other artsy buildings, it works. To us, it's a definite visit when one is visiting MAXXI in the same neighborhood, and if you can fit in a concert at the same time, so much the better. And, they both are in the neighborhood of Flaminio, also unnamed in the NYT piece and disdained as an "obscure residential neighborhood," "outside the city center." Obscure? To Kimmelman maybe. Flaminio is full of apartments (and bars and restaurants) where Romans would die to live, along a road used even in pre-Roman times, and is very well located, beginning right outside Piazza del Popolo (where, among others, Fellini hung out and near to where he lived) and stretching to the famed Ponte Milvio. Okay so it's not in the historic city center; it's still very central.

My rant gives you some feel why we like Rome - the Second Time... because so many people treat anything that was built after 1700 as not worth looking at - unless it's a glitzy new art museum. Their loss.

Bill

As we noted above, for more on modern architecture, see 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. #30 Zaha Hadid's MAXXI

Only a few months ago we had Rialto Sant'Ambrogio, a hip and alternative cultural center, in this #30 spot on the Rome the Second Time Top 40. But it recently closed, perhaps a victim of Rome's ex-thug Mayor Gianni

Alemanno and his right-wing fear of creative and artistic endeavors. Whatever. Anyway, in its place we offer Zaha Hadid's new MAXXI gallery. Although spectacular inside and out, it's arguably already an anachronism: a symbol not only of the affluent 1990s, when the project was conceived, but of the liberal mayors who once governed Rome and cared about the arts. As you'll see below, our take on MAXXI is not usual one.

For more on MAXXI, ,as part of a walking itinerary of Flaminio, see our new book, Modern Rome: 4 Great Walks for the Curious Traveler.  Along with the tour of Flaminio and, across the river, Mussolini's Foro Italico (also site of the 1960 Olympics), Modern Rome features three other walks: the 20th-century "garden" suburb of Garbatella, the Mussolini-built suburb of EUR; and a stairways walk in classic Trastevere.  More on the book is at the end of this post.

A "Conversation" with Nicolai Ouroussoff
We have great admiration for Nicolai Ouroussoff, the architectural critic of the New York Times. His views of modern architecture have always seemed to us smart and judicious, based on knowledge leavened by common sense; we thought we were on the same page. And so we were surprised on a recent Sunday (12/20/09), in a story in the Times that discussed (among other structures) Zaha Hadid's recently completed MAXXI--Rome's national museum of 21st century art--to find Mr. Ouroussoff expressing opinions with which we didn't agree. It's not Mr. Ouroussoff's opinion of the building that we don't share, but rather his understanding of the area--the Flaminio district--in which the building is located, and his view of the building's relationship to its surroundings.

"The museum's sinuous concrete forms," he writes, "which seem to draw energy from the surrounding streets, play a game of hide and seek with the neighborhood. [See photo at right, for the "hide-and-seek effect Mr. Ouroussoff describes.] Tucked mid-block between rows of nondescript buildings, it is less about the hard sell than the slow seduction." (In November he had written something similar: "Its sensual lines seem to draw the energy of the city right up into its belly, making everything about it look timid.") Later in this Sunday's piece he writes about MAXXI's "ability to infuse a drab, lifeless neighborhood," "a derelict postwar area at the far edge of Rome's historic center," "with a sense of joy." In his November comments, he said this about the neighborhood:. "The museum stands in a drowsy neighborhood of early 20th-century apartment buildings and former army barracks called Flaminio."

There's much of interest in these remarks, and we will try to simplify things. Mr. Ouroussoff thinks Ms. Hadad's MAXXI is a very powerful and sensual building, and that it is located in a miserable neighborhood--"drab," "lifeless," "derelict" (except that the neighborhood, despite its lifelessness, seems to have energy on which the building can draw, bringing the city "right up into its belly"). Is the building good for the neighborhood? Here Mr. Ouroussoff is not clear. On the one hand, MAXXI "makes everything around it look timid," which doesn't sound good. On the other hand, it infuses the neighborhood with "a sense of joy," which does sound good.

Our differences with Mr. Ouroussoff start with the neighborhood.
(See the aerial photo at right, looking south). The immediate neighborhood--the streets immediately surrounding the new museum, are not the most lively or fascinating in Rome; several schools and state installations are located nearby. But Flaminio is not Detroit or Newark or Cleveland or Dayton. We lived in Flaminio for 3 months in 2008. Only a few hundred feet west from MAXXI on via Guido Reni is a thriving indoor market, a crowded bakery, and many other shops and coffee bars. Less than three blocks south and southwest from the new museum is the active commercial and residential corridor of viale del Vignola and, just beyond, a humming via Fracassini. On the northeast side of the museum, Piazza dei Caracci is home to one of our favorite wine bars (photo at left) and a large, well-appointed coffee bar that's busy all day.





But Mr. Ouroussoff makes it seem as if MAXXI is coming to the rescue of a sleepy, even "derelict" neighborhood with little going on. Nothing could be further from the truth. Without or without MAXXI, the area is a hub of cultural offerings and impressive modern architecture. A quarter mile to the east, across the trolley tracks of via Flaminia, stands a playful complex of buildings known as Parco della Musica (photo below). Designed by Renzo Piano, it is to Rome as the Kennedy Center is to Washington, D.C--except more inviting and accessible. Nearby are the buildings designed for the 1960 Olympic games, including a multi-building housing complex of considerable architectural merit, and Pier Luigi Nervi's famous Palazetto dello Sport. To the east down via Guido Reni, and just across the Tevere (just off the right/west edge of the aerial photo), is one of Fascism's monumental works of architectural modernism: the Foro Italico, designated the Foro Mussolini when it was unveiled in 1927. Ms. Hadad's MAXXI joins these works; it confirms Flaminio's claim to be (along with EUR) the heart of Rome modernism.


We are left with the building's impact on the neighborhood, on the streets around it. As I understand Mr. Ouroussoff, he isn't sure whether the building provides energy to the surrounding streets (infusing them with a "sense of joy"), or sucks the life out of them ("makes everything look timid"). The second alternative gets my vote. The back of the building is just an enormous concrete wall (note that one never sees photos of it), shunning neighbors and pedestrians. The front opens on an enormous, empty, lifeless, pedestrian-only plaza of the sort we've seen before and that never work (think the Albany Mall, although it's not quite that bad). People don't eat lunch in these plazas, or walk in them (and why should they? the bars are cosier, and the city streets more entertaining). Maybe some kids will use it to kick a ball around. Like most modern, concrete plazas, the function of this one is to display the building, to make a spectacle of it--and it does that well.

But to spectacularize MAXXI, worthy as that goal may be, the neighborhood and its residents must be held at arm's length, as in the photo at right. Jane Jacobs, who understood how cities function--and how they don't--would understand.

Bill

As noted above, MAXXI  - both its front and back - are featured in the Flaminio walk 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.