Contemporary Artisanship in Rome: Trompe L'Oeil

Artisanship is alive and well in Rome. We've found it in odd places (a luthier, a watch-band store, a glove shop - though some of those did not survive Covid). And, most recently, in our landlady for our San Lorenzo Airbnb. 

Licia Rossi (aka the landlady) is a wonderful artist, and also, with her partner, a purveyor of trompe l'oeil. We visited her San Giovanni studio and watched her at work.

Licia Rossi in her San Giovanni studio.

Her painting, which is her passion, has been exhibited widely. The trompe l'oeil, which we had not seen so pervasively in contemporary interiors, was equally intriguing.

Right, a design for a bedroom wall - and the painting for the wall design to the left of the photo of the bedroom.

Left, Licia's partner, Antonio Malleo, working on one of their wall paintings.

 

And here, a true tromp l'oeil from their Facebook site:

Another work we liked that shows off their "chromatic" approach (their Facebook and Instagram pages bear the word "cromaticamente"):

You can see more of their art - and Licia and Antonio at work - on their Facebook page, which will lead you into more photos on Instagram.

https://www.facebook.com/malleorossi/

Below this post, a few more photos, including the unassuming "street" in San Giovanni where Licia's studio is located.

Dianne

Licia with her sketches.

Visiting the studio.

Extension of Rome's "C" line: Change, Disruption, and Ugliness

We lived just off Via Gallia about 5 years ago, and while there we became familiar with ongoing construction of the new "C" line of Rome's Metro system. The work currently being done will extend the C line from the existing San Giovanni Metro stop, near the basilica San Giovanni in Laterano, to the Coliseum. The new line will be beneath an area bounded on one side by the Servian wall, and on the other by via Sannio (and its street-side market) and, further down, by apartment buildings. 

It's no doubt worth doing, but as the work goes on, the impact on the immediate neighborhood is enormous. 

Progress has been made at the eastern end of the project--enough so that a nice, popular park has been carved out above the new line.  That's the Servian wall, with San Giovanni in Laterano in the distance. 

At the end of the park is one of the entrances to the soon-to-be modernized market. 

Shabby in its way, the un-modernized market is also mysterious, captivating, and souk-like.  Plans to redo the space, to make it more orderly and geometric, and less vulnerable to the elements, are posted in the market. 

The market as it is 

A rendering of the new market 

Further to the west, more or less paralleling via Amba Aradam as it works its way downhill toward Porta Metronia, the neighborhood is captive to massive red and yellow construction barriers, which were, of course, immediately covered with graffiti. Some of these barriers are within 10 or 12 feet of apartment buildings--and have been for years. 

Construction barrier at right, graffiti everywhere

Dianne, in still another place where Bill has dragged her.

The Servian wall, of ancient vintage, runs nearby, and parts of it have been braced with metal stanchions to prevent collapse, as construction shakes and rattles existing structures. 

Porta Metronia, left. At upper right, note braces to keep the Servian wall from falling down

A tennis club still exists in the path of the subway, but one imagines that will succumb as more "progress" is made. 

Tennis club. Survival in doubt.

A lovely view. Wine on the balcony?

Bill 

Eating and Drinking on Rome's Sidewalks and Streets: Changes to Come

 

Pompi is a fancy coffee bar in the Piazza Re di Roma area, known for its tiramisu. Here is its enormous
in-the-street addition. The coffee is lousy, the staff too busy to be friendly. Get your coffee at Antica 
Caffetteria, a family-run place, on nearby via Pinerolo. 

Complaints about restaurants and bars that put tables on the sidewalk and into the street are nothing new in Rome. But the story is a bit different this time. In May, Rome's city government passed some new regulations, designed to restrict the amount of public space that restaurants can occupy. 

The city is grappling with a substantial increase in the amount of appropriated public space that came about two years ago, when Covid-19 drove the clients of restaurants and bars into the open air. Because of the Covid emergency, the city allowed establishments to appropriate space without paying extra fees and to self-certify the additional space, rather than go through a more complex, more bureaucratic procedure that would involve hiring professionals to measure and perhaps design the exterior extensions. The new rules will require paying fees and hiring either an architect or a "geometra"--which might be translated as a project engineer--and submitting requests to the Superintendent in charge of such matters.

The new regulations are scheduled to go into effect on July 1 of this year (2022), though there's some interest in delaying the regulations so that the requirements for "furnishings" (tables, chairs, etc.) can be made uniform in the area. 

Via dei Falischi, in the San Lorenzo quarter.
The street closure and most of these street tables are new since 2019, before Covid

The concern is primarily focused on the Centro Storico, the historical center of Rome, where tourists congregate and the streets are generally narrower. Somewhat less restrictive measures would be applied to other parts of the city as well, allowing those outside the Centro Storico to appropriate more public space than those in the Center. Residents in every locale are upset at the loss of parking spaces, although they also enjoy the expanded outdoor eating and drinking opportunities.

"Off License," a wine bar in the San Giovanni neighborhood. Sidewalk tables
and an in-the-street area, taking up parking spaces. Good wine
list, and quite hip, but crowded.

Restaurateurs and bar owners--at least 3,000 of them--took advantage of the lack of fees and Covid self-certification process. Some added tables to the sidewalk area, others built onto city streets, sometimes constructing large platforms so that patrons didn't have to step down to enter. Often the new spaces were quite elaborate, with umbrellas or awnings, metal railings, plants, and light fixtures. 

An elaborate, in-the-street Japanese restaurant on via Taranto. 
Lots of money went into building this addition. 

Another large, expensive, in-the-street platform

Owners of these establishments are now concerned that the new fees and regulations will be costly and will reduce their business and their profits, already hammered by Covid and an increase in prices due to the war in Ukraine. Some proprietors, they say, have gone into debt during the Covid crunch and the new rules will make it more difficult to pay off these debts. Another argument they make is that Covid, and the de-regulation that took place two years ago, has changed the social life of the city, allowing tourists and residents to rediscover city streets, to see Rome in a new way. They also think that the July 1 date--coinciding with a substantial increase in tourism--is simply bad timing. And they argue that Covid not only remains a problem, but that the pandemic has changed dining habits, so that patrons now want to drink and dine in the open air.

The municipal government is considering delaying implementation until the end of September. 

More photos below.

Bill 

Young people's bar, sidewalk and street, San Lorenzo. Good--and economical--drinks and food in this area populated by many university students.

Appropriating space, next to Porta San Pancrazio, on the Gianicolo

The "Doctors" of San Giovanni in Laterano: a Neighborhood Treat

This year we lived in the area generally known as San Giovanni, after the basilica at its northern end, San Giovanni in Laterano.  Our apartment was on via Olbia, and the commercial center of our particular neighborhood--and in Rome all neighborhoods are "particular"--was via Gallia.

The neighborhood has many virtues, including quick access to some of Rome's biggest attractions--the Coliseum is just a mile away. And one of them involves the basilica, though we seldom go inside.

The building is rightly famous for the 12 statues of the doctors of the church--teachers, intellectuals, popes and saints--those involved in religious and moral instruction--that, along with Christ and the two Saint Johns, grace the top of the facade.

Because the building is so large--with the statues adding additional height--and because the basilica is located on a bluff overlooking the community to its south, the "doctors" become one of the neighborhood's now-and-then pleasures, poking up here and there, sometimes surprisingly, sometimes comfortingly, reminders of the area's storied past.

Bill

"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

Reading Rome's Walls: the Tragedy of Vincenzo Paparelli

Except for the occasional bit of wall writing--we found "Paparelli Vive!" on a wall in the neighborhood to the south of via Gallia in San Giovanni--the name Vincenzo Paparelli is now all but forgotten, his tragic story all but unknown.

At 33, Paparelli was a dedicated fan of the Lazio soccer team, and on the last Sunday in October, he took his seat with other Lazio "tifosi" on the Curva Nord--the North Curve--at Stadio Olimpico
for the annual "derby," the inner-city competition with arch-rival AS Roma.  He was enjoying the game, and eating a panino, when a flare launched by a Roma fan from the Curva Sud--the South Curve at the opposite end of the stadium--hit him in the eye.  He was DOA at Santo Spirito Hospital.  He left behind a wife and two children.

The death was the first Italian soccer fatality due to violence.  In 2001, his memory was honored with a plaque placed under the Curva Nord.

Bill     

Luca Maleonte: Rome Street Artist does Francesco Totti

By Alice, on via Casilina Vecchia

RST follows, recognizes, and appreciates the work of a small group of serious street artists, Roman and otherwise, whose work has appeared in the city.  Among them are C215, Hogre, Alice and, most recently--a discovery of only weeks ago--Luca Maleonte.

Maleonte's Vespe, in Quadraro

Maleonte recently made a big splash in Quadraro--a suburb on both sides of via Tuscolana--where he drew a series of wasps/"vespe" to commemorate the efforts of the area's people to harass, irritate, and disrupt the German occupation of the city in 1943/1944. Romans have long memories for that occupation, and many continue to dislike Germany, things German, and Germans for acts committed 70 years ago.


Our favorite Maleonte is just two blocks from our apartment in via Olbia, not far from San Giovanni in Laterano and within a few blocks of where Totti grew up.  It's a 3-story drawing of AS Roma soccer legend Francesco Totti, accomplished on a school building at the corner of via Aquila and via Farsalo.  Totti may have attended school there, or the location may have been chosen because it's across the street from an athletic field where the blossoming star learned his trade.  Despite its simplicity, it's instantly recognizable as Totti. The artist's name is at left, rendered here as Luca/Male/Onte and often written as one word: Lucamaleonte.  He was born in 1983.

Maleonte's "Vecchio a Chi?", in San Giovanni

The Totti is the first part of a Maleonte cycle, "Contemporary Mythology," carried out under the auspices of 999CONTEMPORARY--which provided all the funds--and the local government of the area, Rome's 7th muncipio.  The title of the work--"Vecchio a Chi?"--"Old to Whom?"--was Totti's response when, at age 37, critics called him "old."  Maleonte intends the work to engage the idea of aging in contemporary society.  The artist works in a stencil style that combines contemporary street art with touches of 15th-century medieval.

The Totti work, tagged.  

Unfortunately, the original work has been "tagged"--that is, written over, in this case in a limited way, the tagging occurring only at the bottom of the portrait.  Even so, the original work is a significant one and, from one we have learned of the ethical traditions of street art, should have been left alone.

For photos of Maleonte accomplishing the Totti work, see http://www.999gallery.com/?p=12192

Luca Maleonte's contribution to a Macro Testaccio exhibit on street art.  It has an Adam-and-Eve look,and is
titled "Allegory: The Future Flees the Present and Takes Refuge in the Past".  The
exhibit is in La Pelanda and is free.  

Rome Posters: Lines of Excess

A mobile poster, in Piazza dei Rei di Roma.

Rome is the poster child for....posters!  They're in every neighborhood, often long lines of them, often long lines of the same poster, usually framed in iron racks that line the sidewalks, holes having been driven in the asphalt.  At the height of political campaigns, huge posters are driven around the city on trucks.  Most of the posters are political in one way or another, featuring a candidate, a party, and/or a position on some crucial issue of the day, such as immigration, waste disposal, or Italy's relationship with the European Union. 

The poster at top is for a party on the right (destra); it calls for the "immediate expulsion of undocumented immigrants," as well as for the re-election of the right-wing Mayor, Gianni Alemanno (he lost). 

Poster line along a Metro construction site.

We enjoy reading the posters and gathering from them information about the city's elections, politicians, and shared concerns.  That much is good.  What isn't good is that the poster lines are too often a blight on the urban landscape.  They're tolerable when the landscape is itself a mess, so that a poster line placed on an already disruptive Metro construction site doesn't make much difference. 








But this sort of modest restraint, if one could call if that, is seldom practiced.  One line in Prati runs down the middle of what would otherwise be an elegant, treed median/parkway. 

Those that cleave to the sidewalks leave little room for pedestrians and bring clutter--and often refuse--to nice residential areas (see the poster at end). 

Messy.  And badly positioned between a park and a church.

This line borders a park in the Marconi area and is directly across the street from Santo Volto, a lovely and important new church designed by Rome architects Piero Sartogo and Nathalie Grenon. 

Blocking the view of Acqua Paola (visible at upper left) and
the city below

And now and then, a poster line is placed especially ineptly.  On one side of this line (in back of the photographer) is a comely park on the Gianicolo.  On the other side (if the poster line were miraculously removed, it would be right in front  of you) is one of Rome's treasures: the enormous, elaborate fountain known as Acqua Paola (no. 19 on RST's Top 40). 

Bill

Neighborhood blight, this time in San Giovanni