Patrick Marini

luglio 18, 2006

Manhattan

Filed under: Formazione, New York, Urbanistica, Viaggi — π@3κ @ 1:08 pm

Manhattan1982
Manhattan 1979
Woody Allen, Marshall Brickman

“Chapter one. ”

“He adored New York City.
He idolised it all out of proportion. ”

Uh, no. Make that “He romanticised it
all out of proportion. ”

“To him,
no matter what the season was,

this was still a town
that existed in black and white

and pulsated to the great tunes
of George Gershwin. ”

Uh… no. Let me start this over.

“Chapter one. ”

“He was too romantic about Manhattan,
as he was about everything else. ”

 “He thrived on the hustle, bustle
of the crowds and the traffic. ”

“To him, New York
meant beautiful women

and street-smart guys
who seemed to know all the angles. ”

Ah, corny. Too corny
for a man of my taste.

Let me… try and make it more profound.

“Chapter one. He adored New York City. ”

“To him, it was a metaphor
for the decay of contemporary culture. ”

“The same lack of integrity to cause so
many people to take the easy way out…

… was rapidly turning the town
of his dreams…”

No, it’s gonna be too preachy. I mean,
face it, I wanna sell some books here.

“Chapter one. He adored New York City,

although to him it was a metaphor
for the decay of contemporary culture. ”

“How hard it was to exist in a society
desensitised by drugs, loud music,

television, crime, garbage…”

Too angry. I don’t wanna be angry.

“Chapter one. ”

“He was as tough and romantic
as the city he loved. ”

“Behind his black-rimmed glasses was
the coiled sexual power of a jungle cat. ”

I love this.

“New York was his town
and it always would be. “

Coney Island

Filed under: New York — π@3κ @ 12:52 pm

Coney Island1982
Annie Hall – 1977
Woody Allen & Marshall Brickman

ALVY 
(His head still down) 
The universe is expanding.DOCTOR 
The universe is expanding?

ALVY 
(Looking up at the doctor) 
Well, the universe is everything, and if 
it’s expanding, someday it will break apart 
and that would be the end of everything!

Disgusted, his mother looks at him.

MOTHER 
(shouting) 
What is that your business? 
(she turns back to the doctor) 
He stopped doing his homework.

ALVY 
What’s the point?

MOTHER 
(Excited, gesturing with her hands) 
What has the universe got to do with it?  
You’re here in Brooklyn!  Brooklyn is not 
expanding!

DOCTOR 
(Heartily, looking down at Alvy) 
It won’t be expanding for billions of years 
yet, Alvy.  And we’ve gotta try to enjoy 
ourselves while we’re here.  Uh?

He laughs.

The Plaza – 1907

Filed under: New York — π@3κ @ 12:20 pm

Henry J. Hardenbergh, Architect
The Plaza1982
Blessed by its charming site, graced by its harmonious facade, the grandest dame of New York’s Edwardian Age is still as grand as ever. Built for the staggering sum of $12 1/2 million in 1907, the Plaza opened to the huzzahs of millionaires, many of whom instantly rented whole suites of apartments for themselves.

U.S. Custom House – 1907

Filed under: New York — π@3κ @ 12:13 pm

Cass Gilbert, Architect
US Custom House1982
New York’s second great public Beaux Arts building, this one with all its sculptural faculties intact. If the ideal Beaux Arts building is a marriage of sculpture and architecture in a French neoclassical motif, then this building was made in heaven. Gallic neoclassicism is ram-pant, as is the statuary. Like the classical ideal, the Custom House has a beginning, middle, and end, clearly delineated in its horizontal-vertical-horizontal theme, which begins in the rustication of the first floor, continues in the engaged, colossal Corinthian columns, and culminates in the two top stories.

Central Park – 1873

Filed under: New York — π@3κ @ 10:08 am

Frederick Law Olmsted and Calvert Vaux, Landscape Architects;
Jacob Wrey Mould, Associate Architect

Central Park1982
America’s first major urban park in a Romantic setting was a break from the monotony of New York’s right-angled streets and a breakthrough in urban design. The Street Commissioners of 1807 stamped Manhattan with a pattern of right-angled streets and avenues, a plan that ignored the island’s natural topography and that they admitted left few vacant spaces for parks and squares. The commissioners believed, however, that with New York’s abundant waterfront, New Yorkers could receive ample fresh air and exercise. By the 1840s the city was experiencing its first heavy influx of immigrants, and its first serious overcrowding. The few parks that did exist were small and inadequate, and access to the waterfront in the built-up sections was already denied by commerce. Reformers began crying out for a great park to act as lungs for the city, and in 1858 a competition was held for the Central Park—central not to the population, most of whom lived south of Forty-second Street, but to the island itself.
The winning design was “The Greensward,” submitted by a writer, Frederick Law Olmsted, and an architect, Calvert Vaux. Theirs was the first major urban park design to break away from the classical plans of eighteenth-century gardens and initiate the Romantic tradition.
Central Park in 19821982

luglio 17, 2006

General Electric Building 1929-1931

Filed under: New York — π@3κ @ 7:42 pm

Cross & Cross
General Electric Building1982
The undoubtedly most striking feature of this 195 m tall building is its, indeed, flamboyant top, a curious mixture of Gothic spires in limestone and brickwork with wavy, filigree style decoration and lightning bolt motifs, depicting the electricity of radio transmission waves sent by the Radio Corporation of America.
General Electric1982

Three Wings, 1971

Filed under: Arte, New York — π@3κ @ 7:30 pm

Alexander Calder (Pennsylvania 1898, New York 1976)
Attorno le torri gemelle
WTC Stabile (Bent Propeller) era davanti al World Trade Center

Consolidated Edisons steam pipes

Filed under: New York — π@3κ @ 7:18 pm

Vapori 1982Last year alone, Manhattan used 29,566,747,000 pounds of steam through Consolidated Edisons steam pipes. Of the five major pipes that wind beneath the streets of Manhattan—gas, electric, sewer, steam, and water—one hundred eight miles of pipes belong to the steam system. Manhattanites seem to take this phenomenon of curling whirls, of hissing blasts of steam for granted; its the tourists who are startled and amazed by the eerie impressions sometimes created above the ground.

The first steam customer in Manhattan was a bank on Wall Street and Broadway which in 1882 ran its two elevators with steam. This was years before the multitude of small gas and electric systems merged to form the company known to most New Yorkers as Con Ed. What actually causes the steam-flows that wind their way around the citys streets? The steam that Consolidated Edison sells to office buildings for heating and air conditioning is delivered through underground pipes; the pieces of piping, although tightly connected, can at times leak. Its these leaks, along with the leaks from the citys water and sewer mains, that create a vapor of water which escapes out of the many cracks and crevices in Manhattan’s streets and pavements.

Manhattan – Abrams, Chris Casson Madden – 1981

Water tanks

Filed under: New York — π@3κ @ 7:13 pm

watertank2 1982

To most New Yorkers, water tanks appear to be anachronisms-quaint towers settled among the citys cubes and slick structures. They are certainly a reminder of a more gentle architectural period in our environs, but even today these towers still serve some necessary and life-saving purposes. In case of a burning building, they feed water into the sprinkler and standpipe systems, allowing firemen safe exit from the building; they can also supply drinking and washing water.
Usually made of redwood, a natural insulator, or occasionally of metal, these 5,000 to 25,000 gallon towers have been a visible part of the Manhattan skyline since the 1900s. In fact, when Francis Ford Coppola was shooting the movie Godfather II on East 6th Street, he had his stagehands construct a false tank of masonite atop one of the streets tenements to give it a more realistic New York feeling.
Because water pressure can only rise so high in most buildings and apartment houses, the water from the city main is pumped into the water tank by means of a pump activated by a float switch whenever the water is down one-third of its total supply.
Tanks are found on almost all buildings over seven stories (some have pumps and pressure tanks built in the basement or on various floors) and if they’re not always visible to the naked eye, its only because of the elaborate boxes and battlements that architects sometimes construct around them in a losing effort to disguise them.

Manhattan – Abrams, Chris Casson Madden – 1981

Citicorp Center – 1977

Filed under: New York — π@3κ @ 7:08 pm

Hugh Stubbins and Emery Roth  & Sons, Architects
The city’s most dramatic new skyscraper its the first grat soaring thing since RCA building. The tower hardly begins until it is 127 feet up and doesn’t stop until its trapezoidal roff pierces the sky 915 feet in the air.
Citicorp 1982
Paul Goldberger, architecture cr-tic for the New York Times, has written. Indeed, Citicorp’s sloping roofline was unprecedented in New York, where the flat roof syndrome was unchallenged for over 40 years. The roof was first planned for terraced condominiums, later for a solar collector, but now exists simply as a decorative shape.
The Citicorp Center also contains a technical novelty, the “Tuned Mass Damper”: a 365 ton concrete block floating on oil above the 59th floor. The damper is put in motion by a computer to counteract the movements of the tower in strong winds.
The tower shares some elements with modern design of the 1930’s and 1940’s -strip windows, aluminum panel facades, and an aerodynamic, wedge-shaped sil-houette, but its silky, silvery coolness firmly places it in the 1970’s.
Citicorp1982

Chrysler Building – 1930

Filed under: New York — π@3κ @ 5:51 pm

William Van Alen, Architect
Its Art Deco spire, the ultimate architectural statement of yhe Jazz Age, made the Chrysler Building the first structure to top the Eiffel Tower
Chrysler

Whitney Museum – 1966

Filed under: New York — π@3κ @ 5:44 pm

Marcel Breuer and Hamilton Smith, Architects
An upside-down ziggurat
NY Whitney

9 West 57th Street – 1972

Filed under: New York — π@3κ @ 5:39 pm

Skidmore, Owings  & Merrill, Architects
New York’s first sloping-front office building is a variation on a travertine Parsons table
 n9
n9

Building

Filed under: New York — π@3κ @ 2:27 pm

Building1982

Brooklyn Bridge – 1883

Filed under: New York — π@3κ @ 2:24 pm

John Augustus Roebling (Muhlhausen, Thuringia 1806 – New York 1869)
Brooklyn Bridge
2 torri gotiche in granito sorreggono il ponte tramite 4 cavi d’acciao così descritto da McCullough:

The towers would dwarf everything in view… On the New York skyline only the slim spire of Trinity Church at the head of Wall Street reached higher.

The towers were to serve two very fundamental purposes. They would bear the weight of four enormous cables, and they would hold both the cables and the roadway of the bridge high enough so they would not interfere with traffic on the river. Were the two cities at higher elevations, were they set on cliffs, or palisades such as those along the New Jersey side of the Hudson, for example, such lofty steelwork would not be necessary. As it was, however, only very tall towers could make up for what nature had failed to provide, if there was to be the desired clearance for sailing ships. And as the mass of the anchorages had to be sufficient to offset the pull of the cables, where they were secured on land, so the mass of the towers, whatever their height, had to be sufficient to withstand the colossal downward pressure of the cables as they passed over the tops of the towers.

The suspended roadway’s great “river span” was to be held between the towers by the four immense cables, two outer ones and two near the middle of the bridge floor. These cables would be as much as fifteen inches in diameter, and each would hang over the river in what is known as a catenary curve, that perfect natural form taken by any rope or cable suspended from two points, which in this case were the summits of the two stone towers. At the bottom of the curve each cable would join with the river span, at the center of the span. But along all the cables, vertical “suspenders,” wire ropes about as thick as a pick handle, would be strung like harp strings down to the bridge floor. And across those would run a pattern of diagonal stays, hundreds of heavy wire ropes that would radiate down from the towers and secure at various points along the bridge floor, both in the direction of the land and toward the center of the river span.

The wire rope for the suspenders and stays was to be of the kind manufactured by Roebling at his Trenton (wire) works. It was to be made in the same way as ordinary hemp wire rope, that is, with hundreds of fine wires twisted to form a rope. The cables, however, would be made of wire about as thick as a lead pencil, with thousands of wires to a cable, all “laid up” straight, parallel to one another, and then wrapped with an outer skin of soft wire, the way the base strings of a piano are wrapped.

Void and Walls

Filed under: New York — π@3κ @ 2:05 pm

Void1982Wall1982

Trinity and U.S. Realty Buildings – 1906

Filed under: New York — π@3κ @ 1:53 pm

Francis H. Kimball, Architect
Realty Building1982

Fire stairs

Filed under: New York — π@3κ @ 1:46 pm

NY Fire stairs1982NY Fire stairs1982NY Fire stairs

Hamptons

Filed under: New York — π@3κ @ 1:22 pm

South Hampton1982
Annie Hall – 1977
Woody Allen & Marshall Brickman

Alvy’s and Annie’s voices are heard over the wind-browned exterior of a beach house in the Hamptons. As they continue to talk, the camera moves inside the house. Alvy is picking up chairs, trying to get at the group of lobsters crawling on the floor.  Dishes are stacked up in a drying rack, and bags of groceries sit on the counter.  There’s a table and chairs near the refrigerator. 

ANNIE 
Alvy, now don’t panic.  Please.

ALVY 
Look, I told you it was a … mistake 
to ever bring a live thing in the house.

ANNIE
Stop it!  Don’t … don’t do that!  There.
 
The lobsters continue to crawl on the floor.  Annie, bolding out a wooden paddle, tries to shove them onto it

ALVY 
Well, maybe we should just call the police.  
Dial nine-one-one, it’s the lobster squad.

ANNIE 
Come on, Alvy, they’re only baby ones, for 
God’s sake.

ALVY 
If they’re only babies, then you pick 
‘em up.

ANNIE 
Oh, all right.  All right!  It’s all 
right.  Here.

She drops the paddle and picks up one of the lobsters by the tail.  Laughing, she shoves it at Alvy who jerks backward, squeamishly.

ALVY 
Don’t give it to me.  Don’t!

ANNIE 
(Hysterically) 
Oooh!  Here!  Here!

ALVY 
(Pointing) 
Look!  Look, one crawled behind the 
refrigerator.  It’ll turn up in our bed 
at night. 
(They move over to the refrigerator; 
Alvy moves as close to the wall as 
possible as Annie, covering her mouth 
and laughing hysterically, teasingly 
dangles a lobster in front of him) 
Will you get outta here with that thing?  
Jesus!

ANNIE 
(Laughing, to the lobster) 
Get him!

ALVY 
(Laughing) 
Talk to him.  You speak shellfish! 
(He moves over to the stove and 
takes the lid of a large steamer 
filled with boiling water) 
Hey, look … put it in the pot.

ANNIE 
(Laughing) 
I can’t!  I can’t put him in the pot.  I 
can’t put a live thing in hot water.

ALVY 
(Overlapping) 
Gimme!  Gimme!  Let me do it!  What-what’s 
he think we’re gonna do, take him to the 
movies?

Annie hands the lobster to Alvy as he takes it very carefully and drops it gingerly into the pot and puts the cover back on.

Brooklyn esplanade

Filed under: New York — π@3κ @ 1:21 pm

Brooklyn esplanade1982

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