Valencia, Saturday 14th May-Foster, then the Beach

14th May 2011

Our intrepid guide, Malek, then led us onwards and upwards. A must-see is Norman Foster's Palacio de Congresos, a couple of kilometres away in the Benimamet district, an infertile area northwest of the Ciutat Vella.

Foster's design is bold and expressive. But, as we all know, the gods are in the details and this building certainly provides ample evidence of that; ironmongery and glazing impeccably fitted with the stainless fixings also beautifully rendered.

The glass fins to the side of the 'break-out- space are very nicely done, too. And the cooling, gently lapping pools of water add a touch of the sea to the venue.

Shame about the surrounding hotels slightly overpowering the centre itself, but, to be fair, they are certainly reflective of the 'plasticity-genre' of Valencia's heritage. I rather liked the beautiful white marble (75mm thick) slabs, which I've been assured were sourced from near the Rioja region in the north of Spain. Perfectly plausible, given the limestone sub-base throughout most of Spain, but these could easily have been Cararra marble.

The landscape architecture is also appropriate with plenty of trees and geraniums in evidence around the bases of the buildings and in the surrounding-though 'weenie'- parkspaces.

No question that Valencia is taking its public spaces and parks seriously. On one of the more crowded roundabouts is a spectacular sculpture of the Dama Iberica by emigre-to-New York Manolo Valdes, depicting two heads, all in cobalt blue, large-scale 'trencadis', so completely fitting alongside Valencia's cobalt domes.

Inter alia Malek showed us a building for a kindergarten, with which he was involved.

Admittedly the purposefully rusted mild-steel is a little bit unusual, but there is plenty of greenery and we managed to glimpse some colourful walls inside and out.

What would a visit to Valencia be without a view of the football grounds? Located right next to the sculpture pictured above is the new Valencia CF stadium. Started in 2007 by Reid Fenwick and Partners, construction has been halted because the money has stopped flowing. There are hopes that the stadium will not become another carbuncle. Valencia-the 3rd 'biggest' football side in Spain after Barca and Real-need the additional seats, 70K here with private boxes, top-quality catering, integral carparking and irrigation under the natural grass pitch. Perhaps Wembley could take note, rather then replace its grass for an 'umpteenth' time? Mind you, €30 billion makes most of us squeal rather a lot!

We also had to take in a view of the rather decrepit current stadium, too, just to keep our perspective.

Levante (definitely the 'second club of Valencia') didn't get a look-in this time, although we heard tickets for Sunday evening were available?

Valencia's Port, only a few kilometres from the city, has long existed, since the time of the Romans at least. But, it wasn't really developed as a 'modern' working port without the sandy beaches until the 19th century.

Nonetheless, the Gothic arches of the warehouses are still around, as are the 19th century buildings, like the Clock Building and the (by British standards) late Victorian grand hotels.

Despite being a port, much of the food is a little like Eastbourne...a bit boring, although jamon iberico along the large and very flat beach was acceptable and went just fine with a couple of San Miguel cervezas and a few marinated anchoas.

Far more interesting is some of the recent architecture. Valencia is truly excited about the Veles e Vents by David Chipperfield, and we are, too. Clean lines, bright white concrete and blue glass, it looks as if it might take sails and ship out, in fact. Beautifully detailed and very nicely executed. Symbolic of America's Cup.

Sexy stuff, actually.

So, who's next on our afternoon agenda? Renzo Piano, of course!

Another little gem by dear Renzo; this for the Italian America's Cup team. Red-and-grey, not precisely the Italian flag, but-hey! With the wonderfully etched and subtle-coloured grey, lemon, rose and beige glass, what's not to love?

What an excellent loft conversion!

copyright Patricia Stefanowicz 2011

Valencia Visit, Saturday 14th May-Calatrava's Bridges and a few other bits

14th May 2011

With our superb guide Malek, the intrepid architects commenced an ambitious day of architectural sites. First up was a quick view of the Estacion del Norte, the north railway station, designed by architect Demetrio Ribes and engineer Enrique Gasset in 19o6, according to Viennese 'Secession' principles. The facade is a tribute to Valencian oranges; the ceramic tile mosaics are railway and travel motifs of the era, memories of the ceramic history. In the entry lobby are mosaics wishing travellers, 'Bueno viaje,' in multiple languages.

Just across the road is the Plaza de Toros, the bullring. When completed in 1860, it was the largest in Spain. Made entirely of red brick, including the arches, apart from the wooden balustrades, painted bright white. Impressively large and a lovely contrast to the railway station.

Whizzing past many of the city's memorable architectural masterpieces, including the City Hall, Post Office and Telephone Exchange in the Plaza del Ayuntamiento, all eclectic in style, as predominates in 'official' architecture, according to Malek. Tall red domes and a vertigo-inducing central clock tower are-to say the least-'inspiring.'

Many of us are now assured that Valencia is Calatrava's city, much as Barcelona is Gaudi's. Maybe?

So, with our impeccable guide, Malek, we are on a trek to the 'head of the River'...well, perhaps not precisely, but the point at which the northern course of the Turis river was diverted to the south on its way to the Mediterranean. What's there?

For a start there is the Parque de Cabecera, about 150K square metres of waterways, artificial hills and plenty of greenery...and a few dodgy buildings serving as the official entrance to the Zoo. Since the entrance to the Zoo is on the opposite side of the waterway from the parking, needed was a footbridge-'part of the experience', perhaps. What's the other part? Getting bit by a snake?

Needless to say, the Parque designers (Arantxa Munoz, Eduardo de Miguel and Vicente Corell) weren't best pleased about the bright white form detracting from their perfectly conceived parque, but actually I think it's fair. If only we could destroy those buildings...

The furthest up-stream bridge, Calatrava's Puente del 9 d'Octubre-named after the date when Jaime I rescued Valencia from the Moors in 1238-isn't very impressive above ground, although some of the details are extremely well-done.

Underneath, the bridge shows the genius of Calatrava: one side open with exposed steel columns; the other with plastic concrete supports, reminiscent of Brancusi, actually.

The concrete 'bridge', exposed concrete on this under-belly, shows formwork marks and a softer, un-bleached hue.

Then there are the very sexy-if unmaintained-railings on the ramp and the plastic side walls, so obviously derived from Gaudi's forms at Casa Batllo or Casa Mila and the Parc Guell.

A couple of 'interesting' details here: one of the light-covers above the steel-supported side of the bridge and the other of the drainage 'drops'. Not sure the latter work very well as rainwater doesn't seem to hit the 'splash-blocks' below, so water is gradually eroding the concrete. The iconography? No comment.

Another of Calatrava's bridges, la Puente y estacion de metro de la Exposicion, known as 'La Peineta' to the Valencians. Quintessential Calatrava, all bright-white blasted-and-bleached concrete.

Some interesting details, too, including the pyramidal shapes for the air-extracts. Promise, the kiddos on skateboards love whizzing around them!

The metro station has an interesting set of skylights, although perhaps a little too dark for my preference, like the Washington DC equivalent.

But the geometry in the plaza above is really rather attractive and certainly evocative of the ceramic 'trencadis', which covers most of the walls in the metro station and quite a lot outside.

Interesting anecdote that Calatrava had to add extra supports for the glass because the kiddos' skateboards and bicycles were breaking the larger pieces of glass on a far too regular basis! Perhaps not as elegant as originally planned?

Next stop Foster... at the Palacio de Congresos.

copyright Patricia Stefanowicz 2011

Over Your Cities Grass Will Grow-'almost new' cinema

30 may 2011

Over Your Cities Grass Will Grow (Artificial Eye 2010) is directed (and mostly shot) by Sophie Fiennes. The film is a documentary of the German artist Anselm Kiefer and his alchemical creative processes. It's a cinematic journey rendering in film the personal/sculptural universe Kiefer created at La Ribaute, his remote hillside studio at Barjac in the northern Gard, barely in the Languedoc, nearly the Ardeche.

The themes and images in this film are haunting: symbolism, mysticism and the occult. The music from Jorg Widmann and Gyorgy Ligeti is perfectly matched. Fiennes accurately portrays the unusual artistic practices and personal expression of Kiefer and his colleagues in the atelier in a completely 'fitting' way. Think Wilkie Collins or Carson McCullough?

Commencing with almost Gothic footage of the labyrinth of cellars and corridors of the old silk factory Kiefer inhabits, the film moves onto the manufacturing of large-and often bizarre-sculptural pieces, mainly of buildings...or building materials. Plenty of lead, concrete, re-bar (not always set properly!), straw, dirt and broken glass. Portions of the film are grissaille, which only increases the surreal character of the film. What is most fascinating for me, the architect, is the 'building' of a miniature City in ruins (or well on-the-way) with toppling towers, and stacks of battered lead 'books'.

Fiennes certainly provides an intimate portrait of an architectural artist at work: creation and destruction as motivating forces in his world. My only quibble is that some of Fiennes' cinematography looks a bit 'home-film 1960s' and the post-production is a little squiffy, too, but, in fairness, perhaps these are designed and part of the film's seductiveness.

Coda: Not long after 'completing' his amazing ruined City high above the Rhone and Ardeche rivers, Kiefer moved his entire body of paintings and smaller works to an abandoned warehouse on the Peripherique in Paris, leaving La Ribaute to the wind, rain and grass.

Not a lot of action and, indeed few words, so this is a film perfectly suited to visually articulate architects. Art film at its best?

'Riveting.' **** out of 5 stars.

P.S. Proper film critics have rated it c. 7/10. My friend, who's part of the modern crowd of BFI and Cannes and LA critics, agrees. So perhaps worth viewing?

Copyright Patricia Stefanowicz 2011

New City Architecture Award for 2010

 The winner of the Company's  New City Architecture Award given for the building or structure which, complete and free of plannng conditions in the qualifying year, makes he most significent contribution to the stretscape and skyscape of the City of London was Broadgate Tower and 201 Broadgate. Designed by SOM for British Land. The judges felt that this made the biggest contribution to provision of new public space in the City, partly because it had the greatest opportunity. The opportunity has been taken with relish.  

The development comprises a tower and horizontal block, with a glazed roof connecting them, providing a through route which links seamlessly to the rest of the Broadgate / Liverpool Street Station area.

The drama of the space between the buildings stems partly from volume, but in particular from a series of huge buttress structural elements which take load from the tower. In terms of scale this was the most powerful design the judges saw, but at the smaller scale of public realm, attention to detail was evident in the paving, seating, and lighting installation. Last but not least, the inclusion of  a raised lawn element, and a hanging garden wall now growing, was a welcome complement to the hard landscaping of a development well worth visiting.

This year’s judges - Paul Finch OBE (Chairman), Edward King (Master),  Dr Mervyn Miller (Renter Warden), Howard Copping, Michael Bailey were assisted by the Clerk, David Cole-Adams in making their inspecton and deliberations.

A high commendation was awarded to the redevelopment of the site known as The Walbrook bounded by Walbrook, Cannon Street and St Swithin’s Lane. The architect was Foster and Partners, the client Minerva. The judges regarded this as an impressive contribution to the City’s streetscape, partly because of the way louvres have been deployed to blur the junction between elevation and roof in a pleasing way. This is particularly evident from the restored public courtyard garden next to the building, where the geometry of the roof is most impressive. The large (visible) foyer on Walbrook was admired, as was the neat turning of corners. The judges looked forward to occupation of the retail space.

 

Judges wished to mention the retail and residential project at 12-18 Artillery Lane E1 and 120 Middlesex Street, admired for its brise soleil in the attractive shared courtyard space. A positive addition to the area. The Architects was ORMS, and the client Artillery Lane Ltd.

A commendation was awarded for a pair of projects by the City Corporation’s Street Scene Team. 

 The first ( pictured left), carried out in conjunction with Architects Freeland Rees Roberts is the relocation of the St Lawrence Jewry drinking fountain to the south of St Paul’s Cathedral, by Carter Lane Gardens. The juxtaposition of High Victorian with Wren was enjoyed.

 

 The second (right) is the improvements to Bow Churchyard, an oasis of relative tranquillity off busy Cheapside – the collaborating architects are Burns and Nice.

Students and Mentors Gathering at St Mary Woolnoth

St Mary Woolnoth - Nicholas Hawksmoor's City masterpiece - the setting for the Students and Mentors Reception - May 2011. Built between 1716 and 1727 the church is a magnificent example of English Baroque.

Following the recent meeting of the Court those of the Company's students and thier mentors joined members of the Court for the chance to have a detailed inspection of this building including trips to the top of the tower courtesy of Alex Scott-Whitby who has, by dint of a piece of work he was doing as a university project been given use of the space in the belfrey as a studio.

There was also the chance for both some social interaction over a glass or two of wine and to hear talks from both Alex and Past Master Roger France. The first provided some background on the church (it boasts a memorial to John Newton whose preaching on the evils of slavery had a major influence on William Wilberforce and the anti-slavery legislation and who wrote that block gbuster entry in Hymns Ancient and Modern - Amazing Grace.  There are other memorials to the founders of both the Leadenhall Market and Lloyds Coffee House.

Roger France gave an impromptu talk of the work and influence of Hawksmoor. Those in need of CPD certificates may apply to the Clerk who will, if bribed by a suitable fee, be prepared to oblige.

Photographs of the event appear below.

 

Valencia Visit, Friday 13th-Caltrava's 'Ciutat des artes y las Ciencas'

13th May 2011

The afternoon was planned for a personalised tour of Santiago Calatrava's new (opened 2006) Opera House and some of his other buildings in the City of Arts and Sciences.

The 'sommelier' (a.k.a. husband) and I decided to walk along the 'linear park' created in the riverbed of the former river Turis. Variable, from un-

reconstructed to plenty of football pitches and lawn tennis courts (not red clay, sadly!) to lush gardens with mature trees of many species. This time of year, plenty of colour including late spring flowers, too. The cypresses, not yet mature are just a little odd, though.

The Opera House is impressive. The geometrics, including interlocking hyperbolic paraboloids, express Calatrava's engineering background and are evocative of Nervi's earlier work in Italy, but even more daring. The front is pure Calatrava, looks like the prow of a ship! Not totally like the images of Ysios in Rioja, but the structural design here is far more exciting. A couple of pin-pointed joints!

Raw concrete, blasted and then bleached to a bright white-fitting in this Mediterranean climate-suggests a huge seagull landing on the ground. We only saw a few of those around, though, despite being fewer than 3 km from the sea.

The water features are also Calatrava-designed and very good, although the lines of trees are almost French rather than Valencian?

Onwards and upwards...since our intimate tour with excellent guides Elena and Frederique started at top entry level to the main opera theatre. Fantastically romantic, actually, with its lovely palms and flowering plants and imaginative glass-encased elevator. ('Lift' seems a minor word for Calatrava's beautiful box!)

What else? Calatrava considers himself a sculptor, as well as engineer and architect, so every detail had to pass his judgement. A few of the clever, but not necessarily savoury, details include the door handles (female and male visages and male and female torsos, although the latter seem more androgynous than obvious.) Does this seem just a little weird to anyone apart from me?

That aside, the bright cobalt blue colour is evocative of the Mediterranean and of Calatrava's well-known love of sailing.

Calatrava extensively uses 'trencadis', a mosiac technique using broken ceramic tile shards grouted together, perhaps as a tribute to his favourite Spanish architect, Gaudi. Mostly bright white, but cobalt blue also features as an accent. Note the roof garden wall below with its reflections of sunlight off the trencadis.

Calatrava is obviously a bit of a control-freak, which sometimes works. The internal stair handrails are pretty slick, if a tad complicated.

Ultimately, it's the external formality and geometry of not just the Opera Palace of the Arts , but also those of the Hemisheric (IMAX Theatre), the Umbracle (botanical garden overlooking the complex), the Agora (in the shape of a winged helmet, used for amoung other activities the Tennis Open 500) and the Aquarium that are the most impressive. Plenty of complex interplay with views of the linear park, the sky and the land/water features.

Below: clockwise from top left: the Hemisphere, a view from the Opera towards the linear park, the Umbacle, the Science Museum and Calatravs's geometry at play (or opera!) with the unattached movement joint!

Enough, already! We're off to the fantastic Tapeteria de Borja, just off the Carrer de Caballeros, for jamon serrano con almendras (roasted almonds sprinkled across the top), pimientos de padron, alcachofas (artichokes with garlic), calamares a la plancha (grilled squid), pan (bread) and a delicious bottle of 2009 Ribero del Duero. Clearly a local-ish haunt, because we were the only English-speakers in the place! Then a walk up to see the Torres Quart (the other of the two surviving Old City gates) with a section of the old Roman wall attached. Beautifully lit at night.

Tomorrow, beyond the Ciutat Vella and the Ciudad de las Artes y las Cienas, followed by the Seafront...

copyright Patricia Stefanowicz BArch MArch RIBA AIA PE MW 2011

Valencia - the impressions of Patricia Stephanowicz - 1

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