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Showing posts with label toilets. Show all posts
Showing posts with label toilets. Show all posts

Thursday, November 15, 2018

How Romans Peed - Celebrating World Toilet Day

In celebration of World Toilet Day, November 19, we offer some thoughts on Roman toilets. To be clear, we aren't being flip about World Toilet Day.  Its goal is worthy - to make sure everyone has a safe toilet by 2030.

The Romans were masters at building and plumbing, as we all know.  It seems obvious that expertise would extend to toilets, and so it did.  The amount of research on Roman toilets is enormous.  We offer only a few examples and thoughts here.

The old Roman seaport city of Ostia, now Ostia Antica, is on a Top Ten list for most Rome visitors. And one can't go there without seeing its common latrine, or sitting on it (hopefully they still let you do that!). RST guest blogger, Martha Bakerjian, featured this photo in her March 6 post this year:


Gemma Jansen, a Dutch historian who may have the distinction of being the world's expert on Roman toilets, published an exceedingly thorough catalog and description of all the toilets at Hadrian's Villa (Villa Adriana, near Tivoli, just outside of Rome).  She says the multi-seaters, which the above photo illustrates,
 "are easy to detect by the remnants of seats above a deep gutter, in front of which was a small gutter in which the toilet sponge could be rinsed. This small gutter is not sunk in the floor, but normally placed on the floor so that it doubles as a foot-rest. The gutter was generally built of bricks or roughly cut into travertine blocks; only a few toilets had sponge gutters of marble. In most cases the toilet seats were made of wood, but in some cases they are of travertine or marble."

I don't want to think too hard about it, but apparently the "sponge stick" is not a universally accepted historical artifact. The above quotation is from an article by Jansen titled "Social Distinctions and Issues of Privacy in the Toilets of Hadrian's Villa."  She also notes the multi-user toilets did not offer much privacy inside, but offered a great deal of privacy from the outside.

The private, single toilet is sometimes hard to distinguish from a nymphaeum, since they both have running water and a drain.  There are at least 19 single toilets, and several small nymphaeums in Hadrian's Villa. Jansen says, 

This is the Caracalla toilet, pilfered from the Baths of 
Caracalla around 1800. The British Museum's description
is as follows: "An ancient Bath-chair of the Pavonazzo
 marble, so called by the Italians. In the centre of the seat
is a hollow space in the form of an extended horseshoe,
 thro which the steam was received [sounds like a fancy
 Toto brand]. On each side a wheel is worked in relief,
 in imitation no doubt, of such  wheel-chairs, as were
 at that time executed in wood, resembling in some 
 degree the chairs of this day, placed on wheels for the 
 use of lame persons."
"The single toilets of the emperor and his high-ranking guests offered much more privacy. A striking discovery is the single-seat toilets for guests. From ancient sources it is clear that even high officials might use multi-seaters, and those found at the baths of Hadrian's Villa confirm this, but the provision of single-seaters specially for guests shows that, when space and money were no object, they preferred single toilets."



The toilets' size and shape, the fact that there apparently are no urinals, and the reading of some statues have raised the question of how Roman males held their penises when they peed.  Jansen is trying to determine if they simply sat when they peed, and then that they held their penises to hide them. Showing a statue (from the British Museum) of a boy peeing, she states, "the penis shows a completely different way of thinking, because the Romans and Greeks wanted their penises to be small. Because that was beautiful."

At a recent small group tour of The Los Angeles County Museum of Art's exhibition, "To Rome and Back: Individualism and Authority in Art, 1500-1800" (on until March 17), we had a lengthy discussion on penis size while viewing The Bateman Mercury (below). 


Our guide, an expert in Greek and Roman statues, talked about the research of one of her fellow graduate students into penis size in ancient Greece and Rome.  That researcher came to the same conclusion as Jansen, that a smaller penis was more desirable.  The larger penis, she said, was associated with satyrs, who could not control their libidos, and control was a virtue in the ancient world.

For more on Roman styles of peeing and Roman toilets, including those found throughout the world:

Caroline Lawrence is an indefatigable, if hippy-dippy, source. I quoted above from a sit-down interview she had with Jansen, which is reported in excruciating detail on The History Girls blogspot. Here she speculates on 10 things Romans used for toilet paper (including the pine cone - ouch! worse than my Italian grandmother's Sears catalog pages). And here she writes about the sewers of Herculaneum.  She also writes kids' Roman mystery books.

The latrines in the Baths of the Laberii at
 Uthina  (Tunisia) (from Carole's "Following
Hadrian" blog).
On her English language blog, Following HadrianFrench blogger, Carole, has an amazing collection of her own photos of Roman toilets throughout the Western - and North African - world. These include several more photos of the Ostia Antica latrines, as well as the Tunisian one at left.










There's a nice post by Stephanie Pappas on Pompeians having upstairs toilets on the Live Science blog. (Photo from her blog below.)


Barry Hobson's 2009 book is Latrinae Et Foricae: Toilets in the Roman World. 

Jansen has published widely on Roman toilets. She edited a 2011 book, "Roman Toilets, Their Archaeology and Cultural History."  (Okay, at $58, no, I didn't get it.)


Dianne

Wednesday, May 15, 2013

How not to run an art museum: a few lessons for Rome

This artwork at MACRO last year may be a subtle message from
the employees to the patrons... read on
Okay, I know I shouldn't whine, and we try to restrain ourselves and not publish whiny pieces.  There's enough of that to go around in Rome without our piling on.  But several recent art museum experiences have forced my hand.  Here are four current beefs:

1) rude employees
2) explanations only in Italian
3) placards designed not to be read easily:  too small, too high, too low - in just one day, we saw them all
4) anti-social and force-fed audio guides

I'll start with the rude employees, since they disrupt the art-going experience the most.  And I'll pick on the employees at MACRO, the city's contemporary art gallery that we had (perhaps) the bad sense to rate above MAXXI, the state's contemporary art gallery.  They are just consistently rude and, as a result, cast a pall over my entire MACRO experience.

We have always had a soft spot for MACRO, the runner-up in most people's eyes, to the bigger, glitzier, starchitect-driven MAXXI.  But it seems when MACRO tried to imitate its bigger sister, it decided it should get chippier as well.  We loved the MACRO evening when they handed out Campari sodas and let people don hard hats and go down into what would become the main entrance/new addition by Odile Decq.  We've done more than half a dozen posts that highlight this gallery.

No money back... one of these signs - now which one? - warns
you the main building isn't open, tho' it just had its grand
opening.

So when the addition finally opened, we were excited to see it.  We trooped over to MACRO, handed out our then 9 Euros each (quite a price rise from the former 2 Euro entrance fee, but admittedly less than the now 11 Euro fee), only to be told as we walked to the new addition that - even though it had just had its grand opening a few days before - it wasn't really open.  And, no, we couldn't get our money back.  Couldn't we see the sign, said the unrelenting ticket seller.  In the photo here you can see that there isn't exactly one sign that stands out.  I guess that sign about the new addition not being open is here somewhere!

That was 2010.  Oh, well, we'll come next year, we said.  And we did, in 2011.  Then the new entrance was open - so open they wouldn't even let you in the former entrance.  One of those, okay, now just to get in, you get to walk all the way around the block (MAXXI pulled this stunt too - and the blocks aren't exactly short) from what you thought was the entrance.  And once you enter, you are treated to the opportunity to watch 6 employees while no one even acknowledges you're at the counter (photo).  Nonetheless, we swallowed our temptation to say "screw you" and walk out, and enjoyed the new building and exhibits - enough, as I noted above, that we rated MACRO above MAXXI in our post, even while taking note of the less-than-helpful employees.

Everyone except the woman in jeans is an employee...count 'em,
and no one is even greeting her.
So now we're at 2013 (I guess we survived 2012 without getting torqued).  And now there was only 1 employee at the counter and one patron - me.  Nonetheless, the woman at the counter managed to be snarly and unpleasant, even though we had combo tickets already purchased for 7 days of MACRO Testaccio and the basic MACRO.  Maybe she was disappointed she didn't get a sale.  We had to keep showing our tickets at each exhibit hall, and they were scrutinized.  "You know, these are good only for 7 days..."  Yes, we know, and it's within the 7 days!   Add to that less than stellar exhibitions (walls of flat work talking about galleries going back decades, but giving up in 2001 and not talking about the current decade, e.g.), and maybe we'll have to revise our 1-2 order for MACRO and MAXXI (MAXXI 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).

Sink as art: white when the water is cold.
Turns red when the hot water is on.
I should note these comments are limited to the main MACRO gallery, not MACRO Testaccio.

And we still like the toilets. 


More than all this, it just bugs me that a nasty employee can make me not even want to walk through the exhibit, and affect my attitude towards the art.

Now to those placards only in Italian.  The State's immense modern art gallery, Galleria Nazionale dell'Arte Moderna, just north of the Villa Borghese, has an interesting show on Italian still life in the 20th century, including dozens of unframed paintings (wonder what the artists think of that!), "lesser known works," they acknowledge.  But all of the placards and explanations are in Italian.  Fine for us, but what about the other thousands of tourists who might want to know something about Italian art? We commend the CITY's modern art gallery (Galleria dell'Arte Moderna di Roma Capitale on via F. Crispi - a post will come later) for its excellent dual-language placards.  And the State can't bother?  In this show too, some of the placards were too high to read, and some you had to kneel to read.  Really?  Of course, that's not as bad as the placement of some of the art works - still lifes at 10 feet aren't exactly hung to be viewed.  Get a grip, GNAM!

And, finally, those dang audioguides.  Our last experience with those was at the comprehensive Brueghel family (don't be fooled and think you're going to see a lot of the Brueghel master himself - but you do get Heironymous Bosch's Seven Deadly Sins thrown in - and that's worth it) exhibition at Chiostro Bramante, just off Piazza Navona.  I generally don't like audioguides.  Some tell you what you're looking at ("there's a woman in a red hat" - okay, I can figure that out); some are excruciatingly long and off-point.  And they make the crowds cluster around the paintings they cover.  The text of this audioguide was in fact quite good.  Each piece was under 2 minutes and pointed out things one might not have seen or known.  Still, we were forced to buy the audioguides, because there was virtually no printed text accompanying the exhibit.  If you went in without the audioguide, as we first did, you were completely without context.  And, audioguides make museum going such a solitary experience.  How does one talk to one's companion, when you are always tuned into something, and not necessarily the same thing?  It seems so un-social, compared to reading a placard together and discussing a piece.  Sometimes solitary museum going is what one wants, but one shouldn't be forced into it.

End of diatribe.  Get over it, Dianne!

 Modern Rome: 4 Great Walks for the Curious Traveler  features the 21st-century music and art center of Flaminio, highlighted by MAXXI, along with Mussolini's Foro Italico, also the site of the 1960 summer Olympics, and 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.


Saturday, September 8, 2012

The Building Wars: MAXXI vs MACRO - Rome's Contemporary Art Blockbusters


MAXXI looking good - summer night art work lights up the courtyard,
 and the jutting out window is always captivating
Is Rome's MAXXI – the State’s 21st century (get the “XXI” in the name?) contemporary art museum all it’s cracked up to be?  Did Starchitect Zaha Hadid do her best work here?
(We thought enough of it to highlight it in one of the ours in our new book, Modern Rome: 4 Great Walks for the Curious Traveler; see below for more information.)
Can MACRO – the City’s contemporary art museum with its dramatic new addition by Odile Decq compete?
What makes a good modern art museum in the 21st century? 

RST has pondered these questions for some time, esp. since – when we lived in the neighborhood in 2009 and saw it being built - we were initially turned off by Hadid’s monumental concrete bunker.   With a heavy dose of humility (we are not professionals in the art world), we’ve come up with a list of criteria to apply to these two critical museums that opened/reopened in 2010.  After evaluating those criteria and performing a totally unrepresentative sampling of friends and neighbors, [drum roll] the Conclusion: – we still prefer MACRO to MAXXI, but it’s a closer call than we first thought.
Odile Decq's MACRO addition shows off best with this colorful artwork replacing
 a dysfunctional fountain on the roof and shining through to the main floor
Here are our criteria for a new – or newly refashioned with a new addition – modern public art gallery:

Is the building an architectural statement in itself?
     Does it work in its environment – physically is it a good fit? And does it invite the local public?
       Does it provide good and sufficient, logical and exciting space for the art, or is it just about itself?
Is the collection good enough to support the building?
        Are the temporary shows interesting and provocative?
Is the programming embracing?

MAXXI

MAXXI at its worst - concrete bunker and no entrance from the side
 where most people live
MAXXI looking to the back, a year later, opened up and looking better
The building.  No question Hadid’s MAXXI in the Flaminio neighborhood just north of Piazza del Popolo is a blockbuster building with an international draw.  But it’s no Bilbao or Disney Hall (Los Angeles).  We think the internationalistas will not find it interesting for long. It’s just too much concrete; too uninviting – even tho’ it made RST’s Top 40.  And it does not at all fit the neighborhood, in RST’s opinion.  It sits like a colossus without any feeling of the lines of the neighborhood (and no, this wasn’t just a wasteland pre-Hadid).   And it has blocked out the neighbors from access to it much of the time (it’s possible that has changed/is changing).  It IS fun to prance up and down its stairs and ramps and look out the big projecting window.  But it’s also confusing to find any particular gallery or exhibit.  Even many of the employees have no idea where shows are or how to get from point A to point B.  In fact, many times you cannot get from point A to point B without going to ground and starting over (witness the architectural archive area).
It seems to provide good art space, if by that one means big rooms that one can refashion any way one wants, the current trend in art museums, it appears.
Stairways and ramps are seductive, but don't enhance the art much at MAXXI
The collection.  The collection is extraordinary weak; clearly the money ran out.  The temporary shows CAN be good – last year’s focus on art from India (“Indian Highway”), or just ordinary – this year’s homage, from MAXXI’s thin collection, to Marisa Merz (apologies to all feminists), which runs through May 2013.  The architectural shows can be more promising – an initial one on one of our favorites, Luigi Moretti, and last year’s “Verso est [Towards the East]. Chinese Architectural Landscape.”  Or just paltry – a show of the models of the competing plans for the museum itself (on into February 2013); although here one can get a sense of how the board came to pick Hadid’s design – it looks a lot better from a bird’s eye view, smaller, and not in concrete plus you can see the complex would have been another 50% larger (hmmm, would that have been better?).  Another show this summer was of 4 finalists for a competition – how to put on a show for nothing, it appears (closed this past June).  This may be in part because the president of the MAXXI foundation was forced to resign and it has only an acting president at this time.  So nothing new in 2012, it appears.  You can see for yourself on the MAXXI website (there’s an English button too); current and past (archive) shows are described.  MAXXI, btw, stands for Museo Nazionale delle Arti del XXI Secolo (“National Museum of 21st Century Arts”), i.e., more contemporary than “modern” and run by the State.

One can't argue with success.  Crowds line up for an evening program at MAXXI
The programming.  Programming gets a higher grade even now – perhaps this was all scheduled before the president departed, but it clearly shows potential.  The pamphlets in each room are excellent.  There are many talks, films, videos, and, of course, parties (you can compare the toilets to MACRO's).  Using the outdoor space in the summer, with some connection to MOMA’s PS 1, has brought in some of the neighborhood.  And, it seems the back side of the museum may actually be open some of the time (and that’s where people live; the front side fronts on a military installation).

Via Guido Reni 4. Open 11-7 Tuesday-Sunday, later (to 10 p.m.) Saturday; Euro 11; buy tickets up to 1 hour before closing; closed May 1, Dec. 25.

MACRO
MACRO's unabashedly postmodern interior
The walkway at MACRO gives great sight lines onto the exhibition below
The building.  We’ve always had a soft spot for MACRO (Museo d’Arte Contemporaneo di Roma, i.e., the City’s (not the State’s) contemporary art museum) because it is a) not too big, b) in a repurposed Peroni beer factory, c) nestled in a real neighborhood, d) adventurous in programming, e) used to be friendly and cheap – 2 Euros (then about $3).  The new addition by Odile Decq definitely entranced us.  Perhaps that’s because we had a hard hat tour, complete with free Campari soda, when it was under construction. But we think it’s more than that.  The addition has an in-your-face postmodern interior.  The suspended walkway in the new main gallery gives onto wonderful views of the artwork in that space (this year, the Neon, on through November 4), much more art-friendly than any of MAXXI’s ramps and stairways.  The addition is playful, it encourages art in interesting spaces (lit up on the high walls, streaming in from the skylight, on top of the auditorium “roof” and on top of its own roof (including a Sten/Lex peel-away graffiti mural), and adds a distinctly modern flavor to the somewhat staid Peroni buildings.  And, did we say the rooftop cafe and bar are great, and well used by the young professionals of Rome?  The view from the bar down the city street is captivating.  MACRO’s location near Porta Pia and Piazza Fiume facilitates its integration with real people and a real neighborhood.  But, one opinion we solicited called Decq’s addition a failure, adding – she said - almost no gallery space for all the money and design.

Exhibit A, the toilet wars: MAXXI's toilet
And, can we add (if we needed a tie-breaker), the restrooms beat MAXXI’s – and we’ve posted on both!
Exhibit B, the toilet wars: MACRO's sinks


The collection.  The shows this summer featured excellent retrospectives of lesser known Rome artists (easier work to come by) Claudio Cintoli (closed Sept. 2) and Vettor Pisani (on through Sept. 23), Open Studios (thank you Dana Prescott for starting this at the American Academy in Rome) with the current slate of artists on through May 2013, and an okay, but not particularly blockbuster show on neon art (again, more retrospective).  So MACRO too suffers from a limited collection. Again, the directorship has been something of a revolving door, esp. with the party of the Mayor changing from left- to right-wing.  (Thanks to Temple professor and Rome art curator (one of the best - go to anything she curates) Shara Wasserman for filling us in on some of these political details.)  We also almost had a fight with a ticket seller here a year ago when he sold us our tickets and THEN told us the new wing, which had been billed as having had its grand opening, was not in fact open and wouldn’t refund our money.  And, this year, the tickets are up to Euro 11 (about $14+), and the ticket sellers are just as unfriendly and unhelpful.   The web site is not too user friendly.  You have to hit the “Menu” button at the bottom to get any categories, and it’s not clear how to get the site in English.)  On a website tiebreaker, MAXXI would win.

Sten/Lex on MACRO's roofop (the face was revealed as the outer layer
 wore off, or was picked off by visitors (including me)
The programming.  Appears weaker than in prior years.  Not much in the way of talks, special showings, events.
Via Nizza 138, open 11-7 Tuesday-Sunday, and until 10 on Saturday (again, get there an hour before closing); closed Jan. 1, May 1, Dec. 25.


AND THE WINNER IS?  For us, MACRO, but we know we’re in the minority and welcome other opinions!
One of MACRO's Open Studios, and one of our favorites
We should point out that, in addition to the revolving directorships, these government-run institutions are suffering like all others in Italy from extreme budget cutbacks.  MACRO may have a better group of wealthy patrons behind it.  In any event, we hope better times are coming.  Perhaps we should just be grateful there is this much contemporary art in publicly-run galleries in Rome.

Dianne

P.S.  2.5 more.   Rome also hosts the State’s “modern” art gallery, GNAM (Galleria Nazionale d’Arte Moderna – “National Gallery of Modern Art”).  Modern is used as older than contemporary, in European parlance.  GNAM has the best collection of any of the 3, esp. of 20th century Italian art.  Its building, constructed in 1911 to host Italy’s first state modern art gallery, is serviceable, but not something to write home about.  It’s situated in “Academy Gulch” – Valle Giulia, behind the Villa Borghese.  Definitely worth a visit. Don’t skip too quickly through the atrium space right behind the ticket counter; it often has the best exhibit.  A fourth public modern art gallery is the City’s modern (as opposed to contemporary – i.e. MACRO) gallery not too far from the Spanish Steps and the Gagosian: Galleria d’Arte Moderna.   Recently reopened after an extensive multi-year remodeling, the current show (through September) is a great showcase of (mainly) 20th Century Italian art.  And one last note – MACRO also hosts MACRO Testaccio in the quarter of that name, in the ex-slaughterhouse, about which we’ve posted several times; though now relegated to special shows (i.e., not open all the time) and events – what there are, however, are excellent, if pricier than in the past.


And for more on MAXXI and the 21st art and cultural quarter of Flaminio, see our new print AND eBook,  Modern Rome: 4 Great Walks for the Curious Traveler.  Along with the tour of Flaminia, that includes Mussolini's Foro Italico, also the site of the 1960 summer OlympicsModern Rome features three other walks: the "garden" suburb of Garbatella; the 20th-century suburb of EUR, designed by the Fascists; 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.

Monday, March 12, 2012

An Evening at MAXXI


A few months ago we spent a pleasant evening at MAXXI, the new modern art gallery designed by Zaha Hadid.  The tickets were free that night, and that helps, but we've also come to appreciate certain aspects of Hadid's design.  Some of the interior sightlines are pretty cool, especially from up high on the catwalks that cross the large lobby.  MAXXI is on the Flaminio tour in our new book, Modern Rome: 4 Great Walks for the Curious Traveler.  See details on the book at the end of this post.

Hadid may have had nothing to do with the casual, modernist pod-like seating that lines a portion of the lobby, but people find it irresistible.   It's still hard to find a particular exhibit or exhibit space; even the guards/assistants don't know where things are, and the directions they (sometimes) provide are usually wrong. 

We were able to locate the restrooms--restroom design is a recent interest of ours--and found them worthy in an unexpected way.  The interiors were fashionably modern and high tech in appearance: white marble and stainless steel in abundance. 








But what impressed us the most was the subtle signage.  The general sign, designed to lead one to the toilets (assuming you can't read the word "Toilet"), used a symbol we've never seen before; we're still not sure why the icon is leaning over backwards. 




The signs delineating the men's and women's restrooms were discrete to a fault.  We wondered if the legs/skirt motif would be decipherable to, say, a 9-year-old. 



Self-portrait.  See photo at end for "context." 
Later, we found ourselves inside the massive piece of the museum that juts out from the core (see last photo).  The reflecting glass offered the opportunity for a self-portrait. 





Outside, the mass of the all-concrete-all-the-time courtyard was leavened somewhat by the encroaching darkness, the broad line of people waiting to get their free tickets (photo at top), our peeks through the glass at the fashionistas (left). 




At the north end, by the grassy berms with giant artificial flowers, couples with young children were enjoying an unusual and magical play space.  We wish this part of the gallery were permanent, but we understand it was a temporary "exhibit," soon to be taken down.  
Bill

As noted above, MAXXI is on the Flaminio tour 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.

Sunday, February 5, 2012

MACRO: the Toilets


We were having a rather ordinary glass of white wine in the new and extra-ordinary bar in the striking new addition to MACRO, Rome's municipal gallery of modern art. 




Touring the men's room at MACRO
A group of "suits" walked in, well-dressed visitors, anyway, with briefcases and the like.  There to inspect, or to learn.  Important people, obviously, on a mission.  They were touring the gallery, we surmised, for the first time.  The bar was nice, and they looked around, approvingly, before focusing their attention on THE TOILETS, poking their heads in, and poking around, the men's room (right).  In all earnestness, of course.

And why not?  MACRO's bathrooms are high tech if not high art--or high narcissism.  All radiant color (e.g. red when the hand-dryer goes on) and mirrors and high-modern design, with the gleaming wash-basins--nearly dysfunctional in their shallowness, but cool--in the middle of each room. 




Only the shiny stainless steel "trough" in the men's room, reminiscent of the head at Ralph Wilson Stadium, home of the Buffalo Bills football team, seemed out of character. 



We liked the signs for "Men" and "Women," too. 

So have a large Coke, check out MACRO, and head straight for the toilets.  
Bill

PS from Dianne - we've taken delight in MACRO at other times; for example when the new wing opened.  And we promise a more thorough post on just MACRO in the future - and presentation of some arguments as to which is the better modern art gallery - MACRO or MAXXI (the latter, by Zaha Hadid, gets much more press).

Monday, October 11, 2010

Favorite Toilets Series: Trajan's Market

William Klein photo
One of the best ways to create excitement is to have a "series"--here, our Favorite Toilets Series--even if you don't have one.  But if we don't have a series, we do have a starter entry.  It's located in Trajan's Market, on the back (southeast) side, and to get  access you'll have to pay the regular fee for admission to the market.  So no matter how much you fancy toilets, we recommend you hold off seeing this one until you've got a reason to be there--say, an exhibition (we were there for the William Klein photo show--left), or just to see a really old market. 




The entrance to the men's toilet is in the photo at right; the men's facility is left, and the women's (if I recall) is right.  Watch the first step after you enter; it's a doozy, and you can easily end up admiring the restroom from floor level.  








Once inside you'll know why we like these toilets: for the magnificent contrast between the ancient structure and high modern Italian design, between the rough brick surfaces of a once-functioning market and the gleaming, stainless steel fixtures of a bathroom for tourists. 







Mosaic tile walls, nifty fluorescent look.  You just want to spend some time in here.
 
Apparently the architect decided that tourists don't use or need a toilet seat, but in Italy that's not exactly man bites dog. 

Bill