New York: Spiral to heaven

Thanks to movies and popular fiction (and perhaps the Empire State), New York is one of the most popular places to visit in the US. Not that I’ve run any statistics to check numbers – but the city does show up on everyone’s list of places they’ve been to in the US. I had my own list of must do things when I visited the city last year. Prioritized based on order of excitement, I’m going to focus on the day I visited Solomon R. Guggenheim Museum.

I stayed close to the Public Library when I visited New York and was very sure that I wanted to walk up and not drive to the museum, to ensure the perfect ‘Guggenheim’ experience. So I walked all the way from 42^nd street on Fifth Avenue to the 88^th street, getting more excited with every block I crossed, giving live telephonic commentary to my sleepy husband, located in another time zone.

The 2.5 mile walk from the New York Public Library to Guggenheim Museum on a sunny April day with mild drizzles

That may sound a bit crazy and far fetched, but you’ll really need to know a bit about the architect who designed the building – Frank Lloyd Wright or FLW to know why it was important. A renowned modern architect, it’s hard to say what made him so popular – stunning modern architectural designs inspired by nature, sensational personal life choices (he had three wives and eight children; he even got arrested for running away with another man’s wife) or inspiration to one of the most controversial and loved authors at the time – Ayn Rand. FLW was known to come up with building concepts on the fly, just before meeting clients, because he was already late or had not managed to put something together within the time agreed with clients. The Guggenheim Museum is especially unique from that perspective – FLW produced over 700 sketches and several sets of working drawings over a 13-year span before finalizing the design for this building.

Frank Lloyd Wright; Source: https://karsh.org/photographs/frank-lloyd-wright/

The Guggenheim Museum was commissioned by Solomon Guggenheim in 1943, to house his collection of non-objective paintings – some of my favorites are popularly referenced as Modern and Impressionist art. Non-objective artworks, paintings and sculptures depict abstract concepts, thoughts or ‘impressions’, rather than real images of people or objects. Given most people struggle to understand what they depict, here’s my two cents on what makes this style of art special – You can look at them for days, weeks and years without getting bored. The ‘abstractness’ or ‘impressionism’, allows each piece of art to be interpreted in personalized and unique ways depending on the individual looking at them. My favorite example to depict this is ‘Starry Night’ by Vincent van Gogh. I have heard several versions of what people thought when they look at this picture – be it hallucinations of an alcoholic artist, blurry visuals from a dream, experiments in mixing paints, energy radiations from stars in the sky, to some sorcery seen on a star-lit night sky!

The 'Starry Night' by Vincent van Gogh is one of the most iconic and popular paintings from the Impressionist era

Back to the building now. With post war inflation and the death of Solomon Guggenheim in 1949, construction of the museum was delayed by about 13 years. Finally completed in 1959, the museum was opened six months after FLW’s death. An embodiment of Solomon and FLW’s vision on art and architecture, neither man lived to see the museum opening. Even today, it is hard to say if the museum is more popular for being an architectural memorial to FLW, or because it houses art that continue to inspire controversy and debate.

As I walked up to 88^th street, the petite white ‘cylindrical’ building looked like an organic structure standing on Fifth Avenue across Central Park, in complete contrast to the rest of the Manhattan skyline. Satisfied after looking around from across the street, I walked in to take a tour of the museum.

Solomon R. Guggenheim Museum from across Fifth Avenue, New York; © Janani Rajagopalan

Walking into Guggenheim Museum; © Janani Rajagopalan

The interior of the museum opens into a massive glass-roofed atrium, that is surrounded angular, spiraling walkways that display art. Standing in the middle of the atrium, you can see people milling around the walkways, admiring art that is neatly arranged along them.

View of the atrium and spiralling corridors; © Janani Rajagopalan 

The spiralling corridors provide slightly tilted surfaces that mirror the aesel of an artist; © Janani Rajagopalan  

Prominent pieces from Solomon’s art collection includes modern paintings by Marc Chagall, Pablo Picasso, Piet Mondrian and Wassily Kandinsky. Later in the 1970’s, impressionist paintings by Vincent van Gogh, Paul Gaugin and Édouard Manet were also introduced. I was lucky enough to see an original Jackson Pollock, restored and displayed as part of on-going exhibition.

Looking at my first ever original van Gogh painting "Mountains At Saint Rémy"; © Janani Rajagopalan 

Admiring a Mondrian painting "Tableau No. 2/Composition No. VII"; © Janani Rajagopalan 

The "Alchemy" by Jackson Pollock was one of the most intricately detailed painting I've ever seen. The colors and the way they come together on this painting never stop to amaze

Right below the atrium, the top-most walkway provides a lovely view of the Red Lily Pads by Alexander Calder, suspended below the atrium. Tempted to lean over and click pictures of the atrium, I had security folks glare and caution me about falling overboard into the atrium. While warning me for the third time, the lady guard pointed out that she was more concerned that I might hurt the ‘nice’ people walking below, if I fell overboard due to my ‘silliness’ while trying to click a picture.

This shot with the Red Lily Pads turned out just the way I had imagined Guggenheim since I first saw pictures. This was the last click before I decided security might throw me out of the museum; © Janani Rajagopalan

Content, I wallowed around Central Park for the rest of the day, waiting to see the sun’s last rays on the museum building. Though I didn’t manage any evening pictures thanks to a wet camera, that day was probably the happiest day I spent travelling in the US J

Santorini: Greek whites and blues

How many times have you spotted little white box-like buildings against the blue sea as the 'perfect' backdrop to a cheery honeymoon couple? Chances are, all of us know at least one friend who went on their honeymoon to one of these small towns around Southern Europe, especially the Cycladic islands in Greece. My husband and I were no exception - from the day we knew our wedding date, we read and breathed stories about Santorini's white buildings, perfectly set against the gorgeous blue sea that we came to love as the 'caldera'.

I had often wondered why these buildings look that way - Its hard to imagine that ever person on those islands wanted their houses and buildings to look white. Some of the stories we heard, were rather interesting.

A common reason was that white paint was not manufactured up to the start of the 20th century. So most of these islanders used asbestos to paint their buildings (mainly due to lack of options). Now that did not quite add up, since older paintings of Santorini do have vibrant colors and hues. One story suggests that in the 19th century, Greek people painted their buildings white and blue in defiance of the Ottoman emperor banning them from flying their flag. Another story suggests that Santorini was under a military ruler in the mid-20th century, who mandated all houses to be painted white by law. The church domes that were already blue-colored were allowed to be the only exceptions. Hence the blue and white.

Blues and whites, © Janani Rajagopalan

A local handbook on Greek history had a different theory to this - Greek men of note were known to spend much of their time outdoor in public spaces. So they preferred massive public structures, temples and outdoor facilities. This is easy to understand, looking at the Acropolis of Athens or the numerous temples that dot the Peloponnese. But the same men lived very private and secluded family lives. Women from "good" homes were virtual prisoners and barely left their homes. This division was embodied in the windowless blank houses the Greeks built. So the white facades were not only important in protecting the inmates from the harsh weather but also symbolic of the sanctity, purity and honor of the family within. Its hard to say if the same rule applies to the public structures - Some historians argue that the public structures that we see in white today were indeed colored in red, golds and blues at some point.

The entire town looks like a white and blue canvas, be it the structures, sky or the Caldera, © Janani Rajagopalan

Its easier to understand the reason in recent times. White and blue are colors of the Greek flag and these islands have become popular 'picture-perfect' tourist destinations mainly due to their architectural beauty. So tourism and fashion have become dominant reasons for the colors of these towns today.

Japan: Concrete and Light

Le Corbsuier's Chapel of Notre Dame-du-haut is one of the finest examples of the dramatic use of concrete in architecture. A few decades later, Tadao Ando brought the concept back in style. His most famous include The Church of Light and the Church on the Water, both in Japan. 

The Church of Light by Tadao Ando, Image: http://www.flickr.com/

Japanese architecture is well-known for its minimalism and simplicity. It has been crucial to the evolution of the International Style and the Art & Craft Movements which later led to the evolution of Modern Architecture. 

The Church of Light in Ibaraki, 25 km outside of Osaka in Japan (1989) is a stunning example bringing together nature and architecture to recreate a spiritual power without usage of any symbolic decoration or art. The building structure is simple, composed of rectangular concrete panels cut through with a free-standing wall. 

The Cross, cut out on the Eastern Facade, Image: © Antje Verena

Behind the altar on the eastern facade, a cross is cut out in the free standing panel to let in light. Originally, Tadao Ando intended the cross to stay open to let in the elements. But owing to the freezing conditions in the winter months, it was closed with glazing. 

Image Source: www.buamai.com

A closer look at the glazing within the cross, Image: http://www.archdaily.com/

The light shining through casts reflections on the concrete roof and the blackened cedar floor, creating a meditative place of worship. The powerful effect created eliminates any need of ornamentation or religious art in the interiors. 

The dramatic play on shadows and light, Image: www.milamoo.co.uk

The austere interior comes alive with the ever-changing dramatic play of light and shadow, evoking a sense of spiritual presence.

Every detail in the Church has been laid out with utmost precision. The grooves on the concrete panels, the seams of the concrete form-work, all align perfectly with the cross. Tadao Ando worked with the finest Japanese craftsmen to bring the project to life. The planks and scaffolding used during construction of the building have been re-used in the interiors of the Church.

The Black Cedar Flooring; wood used for the scaffolding has been reused to make the benches
Image: http://architecturalmoleskine.blogspot.in/

Japanese architecture is known for its continuity between interior and exterior spaces; A simple cross resting on grass in the exterior. Image: http://architecturalmoleskine.blogspot.in/

Netherlands: A House in the Air

Source: http://www.mvrdv.nl/

Like they say, architectural design evolves better when built around constraints. The WoZoCo Housing Estate in Amsterdam, Netherlands by MVRDV is an awesome example of innovation driven by constraints. The project was commissioned to create 100 housing units for elderly people (over 55 years of age). 

WoZoCo Housing Estate for the elderly in Amsterdam, Source: http://www.mvrdv.nl/

Source: http://www.mvrdv.nl/

The cantilevered projections in the Northern Facade and staggered windows and balconies
give the otherwise simple housing block its unique character 

Its hard to believe that complete housing units lie within the projecting blocks!

The Challenge

Rapid development in the area since the 1950's has increasingly put the green cover in the region under pressure. Also, Urban development planning regulations in Amsterdam restricts the maximum number of units in a block to 87. Hence to address building height regulations and norms without compromising on the green cover around the block and at the same time, to provide the number of units required by the client, 13 housing units were cantilevered from the North facade. 

An inside view of the projected units, Source: http://www.mvrdv.nl/

The cantilevered housing units, Source: http://www.sukiscoop.com/

Meeting the challenge of providing all 100 houses would have inevitably taken the budget beyond initial estimates. But amazingly, built between between 1994 and 1997, construction cost for this project was among the lowest in the housing segment at the time. To stay within budget, the plans and materials used were kept simple. Using a collage of simple elements like colored glass, doors and windows, the building has been transformed into a landmark project.

The balconies highlighted by colored glass, Source: http://curious-places.blogspot.in/

A View of the Southern Facade, Image Credit: Dirk Verwoerd

The southern facade looks like a wooden sheathed dresser with staggered open colored glass drawers. 

The staggered colored balconies, Image Credit: Helioscribe at Flickr

Source: http://www.corbisimages.com/

The structural support for the cantilevered portions is carefully concealed within the timber cladding and main body of the housing block

Source: © Samuel Ludwig www.samueltludwig.com

Source: © Samuel Ludwig www.samueltludwig.com

France: Concrete Poetry

Built completely in concrete and stone, the Notre Dame du Haut in Ronchamp (France), completed in 1954 is one of the most celebrated works of Le Corbusier, the Franco-Swiss architect known for his Modern designs.

The Notre Dame du Haut designed by Le Corbusier
Source:http://www.bluffton.edu/

The Outdoor altar set against the Eastern Facade,
Picture by: Fransesco Di Capua

The North Facade, Source: http://the189.com/

The chapel, as it looked in 1965, source: http://architecturalmoleskine.blogspot.in/

The chapel stands in a little town on a hill with lush greenery and uninterrupted views of neighboring villages. The building's powerful presence in the landscape, the dark dramatic Gothic interiors lit by diffused light, the raw, textured and austere finishes in stone and concrete, conjure up a powerful, yet humbling experience.The design invokes a feeling of awe while keeping alive the stories and history of the place. 

Hidden light sources and unique angular cutouts in the walls soften all the light entering the chapel, creating different shadows and hues throughout the day. Source: http://www.speirsandmajor.com/

The location was occupied by the Romans, then a Celtic shrine, followed by a chapel dedicated to the Virgin Mary in the 15th century which was destroyed by a fire in 1913. After being rebuilt in the Gothic style, it was again destroyed during the second World War. When Le Corbusier designed the new chapel in 1950, he built the structure around the ruins of the burnt Church. 

A pyramid erected using remnants of the original Church,
Source:  http://content.lib.washington.edu/

The eastern facade with the altar and the cross set against it, Source: http://www.waymarking.com/

The eastern facade has been designed with an altar both on the outside for an open congregation and the inside. The thick, white, roughcast concrete wall act as a frame for outdoor masses and worship, while the shell-like overhanging roof acts as a surrounding board for the hymns sung and the sermons given outside. 

The convex looking eastern facade which provides the perfect backdrop for the outdoor congregations, Source: http://www.arthitectural.com/

The pedestal provides for large outdoor congregations

Both areas are complete with the lectern, the man-sized Christian cross, the choir tribune and a rotatable statue of the virgin, an 18th century colored statue in a glass covered niche visible from both inside and outside. 

The little cut outs in the walls with the light shining through, look like stars from inside the chapel as we look upon the altar.

The staircase leading up to one of the smaller chapels, Source: http://www.bdonline.co.uk/

The glass niche with the statue of the virgin surrounded by tiny fenestrations in the wall
which let in just enough light to make them shine like stars behind the altar, Picture: Richard Anderson

The altar, the cross and the glass enclosure, Source: http://farm3.staticflickr.com/

The northern facade has the second entrance and the stairs. There are three smaller chapels within the interiors, each housed within one of the semi-cylindrical structures. The door is spectacularly framed between two semi circular cylinders which house the two of the chapels placed symmetrically along the axis of the door.

The three semi cylindrical structures housing the minor chapels, Source:http://www.dailyicon.net/

Source: http://www.bluffton.edu/

The south facade contains the main door, which is a colorful composition in red, yellow and blue by Le Corbusier himself.

The south facade, Source: http://www.flickr.com/

The entry is framed by grey concrete panels,
Source: http://www.bluffton.edu/

The main entrance door, source: http://architecturalmoleskine.blogspot.in/

This facade bears all the interesting cut outs which not only emphasize the thickness of the walls and the grainy texture on the walls, but are also used to create the mystical lighting effect in the interiors of the building. The angular depressions in the windows diffuse and soften the light entering the building to create an ethereal effect.

The colored glass within the openings, Source: Ed Tyler

The colors and shadows create a dramatic effect in the interior
Source: http://www.speirsandmajor.com/

Adding to the mystique, is a thin gap left between the walls and the roof. They not only allow thin strips of light, but also make the concrete roof look lighter. The walls are not load bearing. The roof is upheld by columns concealed within the walls!

The gap between the walls and roof gives a floating effect

The pews are also arranged at an angle further emphasizing the position of the altar.

The curved roof seems to float above the building, Source: http://archidialog.com/

The divine nature of the building, owing to its restrained, austere look and the dramatic play of light and shadows can be seen in many later projects like the Church of Light designed by Tadao Ando.

The Church of Light by Tadao Ando
Copyright © 2011 // Milamoo Creative Studio / Eden / 10-12 Woolpack Yard / Stricklandgate / Kendal / LA9 4NG