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narrativa e di portafoglio

narrative and portfolio of Ian Siegel

Posting tonight from what we’re calling a blog party in the breakfast room of the hotel because a lot of us have lost power in our room.

Blog party!

I have yet to take a shower; I’m still proudly wearing the damp of my sweat (as well as its stink). Soon as the power comes back…

I cannot believe I left Dead Man’s Goose out of last night’s post.

On the bus yesterday on the way to the countryside, Chris suggested we play a game of Dead Man’s Goose—a game with a title worthy of being described as epic—which is a word I reserve for situations that only truly, deserve such an adjective. The rules of the game are simple, one person draws seventeen dots on a piece of paper and passes it along to a second player, who must find a way to connect the dots in a way that resembles a goose.

Sample drawing from a round of Dead Man's Goose

It sounds funny, but among a group of architecture students, it yields some pretty interesting results, and it’s perfect to play in the back pages of a sketchbook. Lately the concept started to get a little out of hand; jokes have been made about playing Dead Man’s Goose using the stars in the sky or mosquito bites on Joann’s leg.

Now for today

The goal of the morning was to make it out to the Maxxi National Museum of 21st Century Art in northern Rome designed by Zaha Hadid. While we were only required to see the Maxxi, we also were also informed of two other well-known buildings within close proximity to the museum: a pretty awesome auditorium/amphitheater complex (Parco della Musica) designed by Renzo Piano and a sports arena in the 1960s Olympic Village with a unique diagrid concrete structural frame.

Sidebar a few of the guys in our group are playing Scrabble behind me and one of them just tried to play off “OFK” as a word. coughcoughBradcough

Anyway, we wanted to see these three buildings, all supposedly close together. We never located their specific locations on a map prior to setting out to find them—oops—we just knew their general vicinity. It got frustrating at times and we were about to give up, but at that moment I caught a refreshing glimpse of the Renzo auditorium complex’s curving lead roof form peeking out above the treetops. Shawntel and Neil will tell you—I almost started dancing in the street.

Renzo Piano’s Parco della Musica resembles three large, metal scarab beetles or computer mice (see the images below; you be the judge), each housing its own indoor auditorium, fanned around the amphitheater. It  is a project that has always somewhat intrigued me; I like the project but I can’t quite put my finger on why. I tend to enjoy Renzo Piano’s material choices and his joint details, and this project is no different. While I haven’t done my homework on this project, I am confused regarding how he arrives at the form for the three auditoriums. Why the beetle shape? I don’t have a problem with them, I just want to understand why. I suppose I’ll post any developments if I do the research.

Along the way we did pass the concrete sports arena—at that point though, we were too turned on by the Renzo auditoriums to pay much more attention to the arena than a fly-by camera snap. We ascended a ramp that took us up to the top level of the amphitheater and the entry level of the auditoriums, which offered great views of the entire complex. And even better—we were lucky enough to find an open door into one of the auditorium buildings. We snuck into a Renzo Piano building! Anybody we ran into inside the building knew we probably should not have been there; we looked out of place with our backpacks, sunglasses, and cameras that stayed in front of our faces as if we needed them to see where we were going. But nobody said anything to us, nobody kicked us out.

We spent so much time there that when we left, we decided we didn’t have time to find the Maxxi if we wanted to pick up watercolor supplies for our session tomorrow morning at the Baths of Caracalla. We would later find out that the Maxxi was basically just across the street from the Renzo auditorium.

So our priorities were a little out of line, never having made it to the one building we were required to see. But once again, I find myself admitting that our alternate adventure was quite possibly much more rewarding as staying on track.

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