Thursday, March 31, 2011
Service Hours In Chicago
Kinz Presents: "Reychesta in Bolivia" Rapublika
Kinz Urban Productions Presents: "Reychesta in Bolivia"
LA PAZ, APRIL 7
Kapital Discoteca ( July 16th Avenue in front of the cinema Monje Campero)
From 19:00 hrs for the first 100 people last Reychesta disk.
4 posters also will be drawn and prizes autographed Tigo
HIGH: APRIL 9
Salon de Fiestas Master 5 stars (Avenida Alfonso Ugarte Street Rene Vargas)
From 19:00 hrs for the first 100 people last Reychesta disk.
4 posters also will be drawn and prizes autographed Tigo
* Area SUPERVIP to 50 bs only 50 people comfortably seated
COCHABAMBA: APRIL 16
Organized by OLD SKOOL:
Disco Demon (General Acha and Suipacha) with guests from Peru, Colombia, Cape Verde, Bolivia : La Paz, Cochabamba and Santa Cruz
Time: 18:00
SANTA CRUZ: APRIL 17
Organized by many styles:
GARAGE (261 Bolivar Street between Murillo and Aroma)
Tuesday, March 29, 2011
What Does It Mean To Tighten A Sew In
Bambata - March 31 (La Paz)
Rapublika Bambata
Fiesta Hip-Hop / Dance Hall Music / Reggae Ragga and
Rap Live:
-FM11 - Pacha Lingo
- The Real Kalle
- Locos
rhymers also:
- DJ MITAS
- Breakdance Live
Coordinates: Ojo de Agua (Illampu, and Sagárnaga)
21:00 Hrs Cover: 10Bs
Sunday, March 27, 2011
Trane Xe80 Filter Location
Area Hip-Hop - April 7 (La Paz)
EVERY THURSDAY ENTERS THE HIP HOP ZONE
Grand Opening this Thursday 17 April at 18:00
Location: Disco Tronka's (Ex privilege near Canal PAT) Calle Pinilla # 1561 Zona Miraflores
Info: 77522177
Quotes For Sick Family Members
Salidos of Silence - April 2 (Sucre)
UNITED
: SILENCE hatched
in Stage Presenting:
- MSK
- Boca Seca
- Threat Capital
- Lleca
- Double C
- Area 111
- NP
Crew - Moykanos
- Nacho
- Alex
Guests:
Cochabamba: The Great Llajta
Santa Cruz: Patch
Location: Champagne Disco (Aniceto Arce)
Time: 17:00
Cover: 7BS
Saturday, March 26, 2011
Where Can Genital Warts Appear
Proa the unconscious
the bathroom with four women, mine and my three daughters, and fought with the remnants of his profuse hair, which every so clogged the bathtub drain. Take them out is a task that falls to me and always surprises me that despite these heads from love, I must overcome an initial reluctance. The surprise is that the hair is clearly not leading to rejection, but the fact that you are away from their natural position. The break is a reliable source of horror.
"So far no one has determined what the power of a body, what else can this do or not do without being determined by the Mind." This affirmation of Spinoza repeatedly came to my attention while visiting the exhibition of Louise Bourgeois in Proa. His sculptures push the limit further doubts of the philosopher. How far a body can still be called "body."
this artist's work, beyond their obvious resonances dream, seems to lead to limit the possibilities of the body as expressive material. First from the various materials that were presented, ranging from the soft cloth filled up the most perfect and polished brass. The pieces seem to bend to what each material offers a possibility. The extreme and surprising accuracy of hysteria Arco, a golden arched headless body was going to spring silence another head, crying drowned in foam.
The exhibition is a journey between pieces of bodies, many of them hanging from the ceiling, and in slaughterhouses around the childhood home of the artist. Bodies that appear to have been subjected to all kinds of operations, which include amputation, repetition, cannibalism and scaling. Often these become unrecognizable and the parties must rise to the whole difficulty, others must resort to theft or abrupt reduction.
Anyway, never appealed to deformation, just isolated parts or organs such as polyps multiply out of control. No son cuerpos deformados, sino faltantes o sobrantes. Están desprovistos de identidad, bien sea porque se les ha suprimido la cabeza o porque esta permanece indefinida en los rasgos anónimos que provee el modelado de la tela. Su falta de rostro no hace más que acentuar su condición exclusivamente material. Se trata de cuerpos, no de personas.
Resulta que Louise Bourgeois extrae sus esculturas de su propio inconsciente. Esas imágenes mutiladas provienen de las profundidades oscuras del trauma de una infancia infeliz. No encarnan denuncias de tipo social ni reflejan el mundo exterior, sino el de su propia mente, lo cual hace que todo resulte aún más inquietante. Sus fantasmas puede que agiten los nuestros.
The show begins with the vast Spider , escaped from a super Saturday action, guarding the entrance. A tribute to the mother's protective under which it is possible shelter. Thus the investment is completed, the reassuring human body is disturbing, and the spider, close and maternal. Perhaps
still unanswered is the question of what a body can, but it is clearer what can a mind. Especially if that evil is subject to discipline called psychoanalysis. Of course, unless one finds, to save the shortcut magnificent art. 
"Rescue me and deliver me from you babe
. Seeking
that light today.
Just save me from all the dreams of gray
(Luis Alberto Spinetta Song night in Pan ).
the bathroom with four women, mine and my three daughters, and fought with the remnants of his profuse hair, which every so clogged the bathtub drain. Take them out is a task that falls to me and always surprises me that despite these heads from love, I must overcome an initial reluctance. The surprise is that the hair is clearly not leading to rejection, but the fact that you are away from their natural position. The break is a reliable source of horror.
"So far no one has determined what the power of a body, what else can this do or not do without being determined by the Mind." This affirmation of Spinoza repeatedly came to my attention while visiting the exhibition of Louise Bourgeois in Proa. His sculptures push the limit further doubts of the philosopher. How far a body can still be called "body."
this artist's work, beyond their obvious resonances dream, seems to lead to limit the possibilities of the body as expressive material. First from the various materials that were presented, ranging from the soft cloth filled up the most perfect and polished brass. The pieces seem to bend to what each material offers a possibility. The extreme and surprising accuracy of hysteria Arco, a golden arched headless body was going to spring silence another head, crying drowned in foam.
The exhibition is a journey between pieces of bodies, many of them hanging from the ceiling, and in slaughterhouses around the childhood home of the artist. Bodies that appear to have been subjected to all kinds of operations, which include amputation, repetition, cannibalism and scaling. Often these become unrecognizable and the parties must rise to the whole difficulty, others must resort to theft or abrupt reduction.
Anyway, never appealed to deformation, just isolated parts or organs such as polyps multiply out of control. No son cuerpos deformados, sino faltantes o sobrantes. Están desprovistos de identidad, bien sea porque se les ha suprimido la cabeza o porque esta permanece indefinida en los rasgos anónimos que provee el modelado de la tela. Su falta de rostro no hace más que acentuar su condición exclusivamente material. Se trata de cuerpos, no de personas.
Resulta que Louise Bourgeois extrae sus esculturas de su propio inconsciente. Esas imágenes mutiladas provienen de las profundidades oscuras del trauma de una infancia infeliz. No encarnan denuncias de tipo social ni reflejan el mundo exterior, sino el de su propia mente, lo cual hace que todo resulte aún más inquietante. Sus fantasmas puede que agiten los nuestros.
The show begins with the vast Spider , escaped from a super Saturday action, guarding the entrance. A tribute to the mother's protective under which it is possible shelter. Thus the investment is completed, the reassuring human body is disturbing, and the spider, close and maternal. Perhaps
still unanswered is the question of what a body can, but it is clearer what can a mind. Especially if that evil is subject to discipline called psychoanalysis. Of course, unless one finds, to save the shortcut magnificent art.
Friday, March 25, 2011
Scabies Get Worse When Mites Die
Desahogo (2011) -
Tracks:
01.
Intro 02.
enough 03. Lie (with Angel)
04.
relief 05. Apologies
06. Code 2550
07. My Song
08. Rimando Ando
09. My Dream
10. That lie
11. Say Oh! (Bi, Shock Verso, Angel)
12. Imigrante Ajayu
13. Three Feelings
14. Forgetting
pass: factor2h
"Sufficiency" is the title of the third disc Dayka, a Bolivian Mc residing in Buenos Aires. This album has 14 tracks and features collaboration Angel and Bi, Shock Verso. This album was recorded and mastered in Faith Records.
videoclip:
Can You Get Infection Getting Fingered
Dayka THUGS (2009) - Party Dayka
Tracks:
01. From
Kubil 02. History
03. I had no option
04. For you mother
05. Stories
06. November 28
07. Dime tu (with White sox)
08. Hip Hop is my life
09. My letter to Dad
10.Sabes without you
11. Sorry love
12. For you my love
13. Tonight
14. Health for you and they
15.
know 16. Is to go
17.
Freestyle 18. Life Dreams
19. Song for my death
20.
Beatifull 21. Tears Fall
pass: factor2h
Mc Dayka is a Bolivian living in Buenos Aires - Argentina and brings his material called "Thugs" which features 21 track collaboration with the White Sox in the "Dime You. " It was recorded and mastered in Faith Records.
clips:
Life Dreams (live):
Wednesday, March 23, 2011
Lorena Herrera Was A Man
Hip-Hop - March 25 (La Paz)
INKASOUL.INC Presents :
HIP HOP PARTY
Featuring on stage:
La Paz: The Fifth Essence, An Andean Pact, Esencia Urbana, Aresman, Breeding Ravens, Adonis Clan, The Cronick, ENIEX, SMII, Two Pairs, Resistance, Dynasty, RP33, Bolivia Dance, Alberto Café.
El Alto: GKR Crew, WaynaRap, Graff, Separate, Mc Kalabra.
Cochabamba: The Great Llajta , Poets of the Valley of Rhyme, Mafia Bolivian Boliviano Heaven, Sentimiento Latino, Urban Music.
Oruro: The 8th Note, Challenge, Rap Huannuni
Sucre: Yogi
13 with the presentation of the sound Dj Santy
presentation by High Stylo Breakdance Crew
Location: Andes Disco Club (Av. America Kenedy and Viacha Street between Manco and Pza Kapak Eguido)
Info: 65605066 - encaladteran@hotmail.com
Sunday, March 20, 2011
Stomach Sitting Squashing Stories
Day 02 (Saturday): SOHO / CHELSEA / (Guggenheim)
The day begins with a visit to the Cathedral of St. Patrick for hours of Mass the following day. Gothic A good level and better size. Formal work and recharged in the vaults gives it a late, with a not very successful addition of a "wall" flower motif between the ribs. The exterior is covered by restoration, but also perceived air of strangeness that acquires its presence among the modern towers.
For practical reasons we Times Square before boarding the schedule for the day. There there complete information office where we provide good maps, tourist irreplaceable colleagues. There are also Internet access for 10 ', which we use. One of the things to consider is the total absence of shops and very difficult to make Internet access in this city for the man walking, where it is assumed that the "laptop" is widespread. They also tell us that access is possible in public libraries and from and at universities, but do not know what requirements must be met to achieve.
Times Square, which will return in more than one occasion, it seems a truly unwelcoming. A kind of Corrientes Avenue with a lot of technology, which is evident especially in the giant screens that take on the role of the old neon signs, which in some sense are more suggestive, in that it denotes a retro aesthetic. It is seen that there have been interventions in an attempt to tame this space, but none of them seem to work. There is a building whose roof is formed with a species of bleachers to watch the "show" and under sold tickets for Broadway theaters. The result is decidedly unhappy. So are some measures that try to pedestrianise the place.
We took a bus to the SoHo , moving as all public transport in general, in a straight line, in this case by the 7th Ave This peculiarity is without doubt a great convenience, since in a city that in itself is very easy to locate, the straight-line motion facilitates matters further. The distinction between streets and avenues, with the adoption of the strongly rectangular grid blocks, was undoubtedly one of the greatest successes of the Commissioners' Plan of 1811 that shaped the city. The constant possibility of differentiation of space makes it possible that one is always located, which also joins the island situation and the presence axial Central Park to which we now refer. In
way we passed the Madison Square Garden and distracted us from our destination we passed, so we got almost Tribeca. Backed off a bit and then recognized the SoHo because it appears the distinctive architecture of the place that was fashionable in the '80s. This is typical spacious buildings and generous floor heights that accompanied the building boom of lofts and type of life that this proposal offered. High and undivided environments in search of an assessment of space, even at the expense of comfort that always gives privacy.
Living in a loft was during those years a symbol of a way of understanding life freer shedding of old structures and the rigors that intimacy requires. Like all fashion, was passing, did much to enhance certain properties taking its toll on the clouds, but also brought a new kind of taste for the quality of space and aesthetics stripped, which still exists but under other assumptions.
Beyond these considerations, the building stands as the great classic elements that are repeated on each floor. These elements act as a species of "umbrellas classics, giving the facades a very definite character and a remarkable depth. Some buildings are really very characteristic and its language is an excellent level. We note that there are many signs for rent or sale, which indicates that the last crisis severely hit the market this band surely depleting its source of funding. We
accompanied by a persistent drizzle, anyway not prevent the large crowd that takes advantage of Saturday morning to finalize purchases. There are some spaces on the decor, but overall the level of business seems to have no defined style too. Art galleries, which were a little salt instead, have long since migrated to Chelsea, looking for more space and cheaper rents.
Soho actually corresponds to a few blocks, crossing Broadway we head to Nolita , north of Little Italy, a neighborhood that lost surface at the expense of the unstoppable growth of China Town. On Broadway is an important commercial sector between Houston and Canal St. for which he had passed yesterday, but now we do further south. We walked through an area full of restaurants and boys crowded, busy, dominated the mix of races and styles. We finally arrive at our destination recommended "Bread" at 20 Spring St. A place with a menu of sandwiches and salads, very accessible and a good example of what is noted above: waiters and diners of all nationalities and a great atmosphere . We eat at the bar and chatted amiably with the bartender, a native of Pisa, which I remind my origins livornese.
On leaving the rain got stronger so we stopped at "Forever 21" on Broadway to take refuge. I enjoy watching the different behaviors of the buyers, where Asians excel in attitude and, by way of being dressed, are similar to our teenagers. Many look, but few are buying, as elsewhere. No women is full of bags and I suppose that is the crisis.
After another short walk through Soho, and when the rain subsides a bit, we took the Metro to go to Chelsea , to visit some galleries llevaba anotadas. Para llegar vamos por la 10th St. por una zona de monoblocks de ladrillo de vivienda popular, pero de buena inserción urbana, con parques muy cuidados entre los edificios. Más adelante hay cuadras de edificios de ladrillo de muy buena factura y otras con casas de dos y tres pisos, más del estilo del Greenwich Village. En fin, es un barrio que cambia mucho de una cuadra a la siguiente, sin un estilo muy definido, pero no por eso desprovisto de interés.
Cruzando la W 23rd St. se entra en el Gallery District , donde una vez más cambia el aspecto de las construcciones. Ahora el área esta ocupada por antiguos galpones cuidadosamente refaccionados de dos pisos de altura, en donde se encuentran las galerías, next to each other. Everything takes place in a few apples and a matter of opening the door and enter, rarely works out in the windows. We started timidly walked up to realize that the entry is completely free and we were cheering for a bit.
is difficult to make a lengthy journey, as the succession of visits and the number of artists, famous and unknown, was too much to let the memories be sorted. In this case I prefer to try more of the overall vision to salvage something from the environment. Starting
the continent, ie the space of the galleries themselves. All retain a similar tone, beginning with the logical predominantly white, following the amplitude of the different rooms of double or triple height and generously lit, and ending with the care and taste in the details of that rescue, pointing to the recent industrial past of the buildings. The air of "factory" kept me as a message that although this is not where art is "done", is at least where "build" their value. And this beyond the obvious references to Warhol.
Another element to note, in addition to the exhibition venues, is the office, carefully in the light, and most provided perfect design furniture and library crammed with books. Another clear message: the value of art is not the result of chance or caprice, is backed by a "know." Libraries are always clear signal merit. Even women who take cover behind high reception desks seem chosen with a definite purpose. Never under 30, dressed in minimalist elegance, absolutely immaculate and beautiful but not too spectacular. The art does not use certain advertising strategies, but is a product of the market, we like to show different.
Galleries are happening and we are plunging alternating moods ranging from admiration and utter bewilderment.
In Mike Weiss Gallery surprising sample Ozuri Yigal, a young Israeli artist. We look at the works of regular size and square format, more or less than one square meter. Not concern us too much until after a while we realize that these are paintings, not photographs. One of the bases of hyper-realism is to provoke disbelief of the viewer, but the peculiarity in this case is given because it is not small, inanimate objects, but bare in motion and in a natural grassland and trees. Another case
Nicolai Howalt to that found in the Bruce Silverstein Gallery . There are photos in giant piece of car crash, which is the name of the show "Car Crash Studies. The result is monochromatic abstract paintings made by the fatal impact of cars. The picture is in this case which mimics the abstract painting in his side. The artist chooses a piece of what has been produced by chance and violence and create a diagram with amazing "touches" and flat color. Photography, art painting he stole his power as to duplicate reality, now mimics the way that she was forced to take part, the abstract art.
Later in Kraeutler Hasted Hunt, this time we ran into each other with pictures that do not try to hide what they are. They usually develop themes and issues that are related to industrial processes, high-impact in nature. In this case, the theme chosen is the one that bears the name of the sample and the subsequent book, "Oil", and refers, of course, oil. There are other relating to mining. This panoramic landscape in some cases tend to abstraction. A claim of environmental damage caused by such activities, but expressed from the beauty of the images, which is a disturbing paradox. It is the work of photographer Edward Burtynsky .
The Gagosian Gallery is considered by many the world's largest, but its appearance does not seem to take into account this consideration, because in little difference from its neighbors. Here we have a chance to see a hipercotizado work of Japanese artist Takashi Murakami , of \u200b\u200benormous size and often their works and a cold and somewhat menacing appearance. Condition is even more strange if we think that Murakami's paintings are based on the Japanese cartoon. Also in this place we are interested in the work of Anselm Reyle , German artist. Above all the tables formed by debris of all kinds and bathed in a uniform layer of a thick monochromatic gloss enamel. A kind of metal and soft blanket under which all sorts guess objects and textures. The
Stricoff Fine Art have a new encounter with the always amazing hyper-realistic art, this time from the hand of Paul Beliveau and perfect imitations of pieces of library, where volumes drawn with infinite precision, I guess I imagined editions, but guess who is left containing lush images. The chosen books generally refer to famous artists and architects, and are drawn extreme detail. The library thus becomes a sort of intellectual landscape suggest the books through their backs. Also in this gallery we see the very evocative cityscapes Catherine Mackey, we agree enough to make the artist Karin Godnic Argentina. Of note were Tony's journey, consisting of a series of images in a format of successive square.
Finally, we also very famous in the Pace Wildenstein Gallery , where we saw the example of the holograms James Turrell. No doubt the proposal to make art with something as intangible as the light is not without interest at least from the conceptual, but I confess that the works can not attract. I may be more materialistic than I'm willing to admit. Anyway, thinking about materiality in art is always interesting and the proposed light as a materiality that could be called ground zero has its appeal.
went into some other galleries, including the Luhring Augustine Gallery (film installation with a giant eye to music) and Andrea Rosen Gallery (color studies on images of skyscrapers of Mies) and some others which do not I left a written record. The memory becomes less effective at the number of works seen. We were eager more and with intent to make a return visit, which in the end we could not achieve. Anyway, I think we had a good example of the potential of contemporary art and the chance to see a bit of where is its debut.
The time is over and we had to get to the opening of the Guggenheim Museum to take advantage of visiting hours "pay us you wish" (ie, pay what you want). We took the Metro one of the lines of West Side and got off at the height of the museum with the idea of \u200b\u200bcrossing the park. With the last light of day and the vapors of the recent rain we had our first meeting with Central Park, bathed in a light and a very particular melancholy. A walk with many stops for photos and also some loss of orientation that delayed us and made us a bit late arriving at our destination, another emblematic points of the trip.
so often seen in pictures and studied with care, vision can not but produce a chilling impact. Primarily by their relationship with the context which remains overwhelming. Impossible to imagine the impression it will have caused the fall of this "meteorite" produced in 1959, the year of its inauguration. Then there is the kinetic effect occurs and the building from outside, and in some way is the prelude to what will happen inside when we see people moving through the spiral.
But perhaps what most called my attention is the decision by the rigorous use of a single material and is held with an admirable stubbornness. This confidence in the way clear reflection of the role and the belief that only this way will be the bearer of meaning of the building is what moves me. What ultimately faith is always excited.
This choice recognizes no distinctions or categories is carried to its instances both outside and inside the building. No hay barandas, ni marquesinas, ni siquiera soleas, no hay nada, nada más que un solo elemento que se despliega siempre tomando la forma necesaria y sin ceder jamás al capricho. El material elegido para realizar esta proeza es el más pobre de todos, el humilde revoque blanco, decisión que lo acerca a las obras de Brunelleschi. Pero se sabe que no basta, para ser un arquitecto, tomar decisiones coherentes, por más acertadas y geniales que puedan ser, lo que realmente importa es lo que a partir de ellas se construye.
La maestría de Frank Lloyd Wright se destaca sobre todo en la resolución del acceso, en el que desprende una de las cintas del cilindro to conform. A natural and extremely effective solution that requires no preparation or previous interruption of any item or accessory. Is the same element that becomes something else, its relative position in the building, but without ever ceasing to be the same. Above it are stamped letters sober and demure name him without solemnity.
Anyone who thinks that this book emerges from the automatic application of modern principle which states that "form follows function" is at least naive. In this building there is so much formal resolution in the more complex, moreover, is that very simplicity which he denounces the effort needed to carry it out successfully.
Anyway, there are some things in the project which seemed not entirely resolved, such as the relationship between the roundabout and the small square volume of the left that does not seem entirely happy in a building almost perfect. Neither is, in my view, the way the connecting element that comes into contact with the roundabout. But it is very satisfactory and small modern building of the museum expansion, which comes naturally in connection with this, serving as background, isolating it from the context and accentuating her figure.
Inside, note the bitter struggle waged the structure of the building, which at some point fails to not allow the continued movement of the ramp in its entirety. This is disrupted, coinciding with the vertical cylinders (containing the few bathrooms), a reversed bracket that holds the parapet beam inside the spiral.
circular ramp, far from being a mechanical and repetitive pulses with an asymmetric onset of an interruption convex sides of the same curve. The circle loses its status as infinite and the break allows for a reference in it. In this game asymmetries, allowing the building away from the monotony, add the resolution Ground floor with small elliptical source and articulated wooden desk in entry (do not know if it meets the original project).
The rotunda is shown in all its glory, with people flowing in one continuous motion. The effect produces some surprise since from the ground floor is impossible to see the pictures, too "deep" in the depth of the wall. With all that movement which appears meaningless. The elevator, another technical problem is not resolved, does not reach the highest level, which the supposed idea of \u200b\u200bWright tour, climb to the top level and down to see the paintings, is somewhat weakened. Anyway, the way in which the show works is unbeatable by illumination, and also by the space and it allows one to stop and "get" the flow of traffic passing from behind, so that one can detach and enter into an intimate contact with the work.
correspondence is such that the building closed down between the exterior and interior of alleged defects identified from the outside is repeated inside. That is, the relationship between the sample on display in the rotunda with some difficulty communicating with the works exhibited in the surrounding areas. In this case, the central space is entirely devoted to a monumental retrospective of Kandinsky, while the permanent collection and some small presents disordered in the other places visited in a mess a little uncomfortable, because communication between one space and another is through the spiral.
not have much time to view the contents of the museum, just 45 ', which we traveled and promised a quick return to calmer next Saturday. Then leave for that time my appreciation of what there seen, both reduced the permanent collection of comprehensive retrospective of the father of abstraction.
Sunday, March 13, 2011
Star Wars The Clone Wars Henti
Chronicles II Chronicles NYC NYC
Introduction
These are the notes of a dream fulfilled after many years. Finally awaited day arrived and after multiple finishes and endless recommendations to our children got into remis bound Ezeiza. We started about three o'clock in the afternoon of Thursday, 1 October 2009.
is not my intention to make a neat phone, but simply to record my impressions were taken and recorded in three blocks of white sheets to be dumped after the higher order always brings digital. My little memory is supported in these notes, in the countless photos you took my wife and of course the prodigious technical means now assist us to try to recover, and often enlarge the experience.
I doubt that this effort reconstruction will not know how, have some utility, but I consider this a good way to expand and deepen the experience. I also hope to bear fruit in terms of set and clear the memories so that they can become for me a learning material. If after someone serves in general or in some specific areas, is welcome, but said that this is not the purpose of these columns. This is not a guide.
After a smooth trip and some delays we arrived at JFK airport early in the morning and crossed the dreaded stop migration without any problems. After a brief investigation, we decided to take a bus that dropped us off at the Grand Station, near Diplomat 210, at 47th St. between 3rd and 2nd Avenue, what would be our home for the next eleven days.
We take a few minutes to accommodate prisoners of anxiety we capitalize on our first traveled. Map, camera, guides, notebook, wallet, cap, coat just in case. Here we go.
Day 01 (Friday): GREENWICH VILLAGE / Morgan Library
The first stop was the Chrysler Building, the 42nd St., which initially seemed consistent. Enter the triangular-shaped hall, filled with art deco details, especially the excellent wall lamps. Also the detail of the walls with cuts to 45 degrees, indirectly illuminated. The hall is a dark environment where the predominant red marble very rich opaque it takes. Art Deco is always severe.
Chrysler
The hall is a building that celebrates itself. Frescoed ceilings and walls tell their own story. In the ceiling draws the facade, whose epic boom coincides with the axis of the hall and ends just in coincidence with the gateway. The axes are always evocative power. The access bay has a characteristic shape, which is like a Gothic simplified. The art deco is like a will that is imposed on other styles, a sort of rigor that subjects the romance, which the Gothic is here a representative outdated.
The exterior of the building, at least in the basement floor is clad in what looks like gray bricks. Are prepared without accusing the interlock as a skin after you lose every vestige of structure. In the middle of the panels are drawings of plaster with the edge. Brick is, at least for me, an unexpected guest.
are also the mythical gargoyles which emulates a gothic made of silver and more automakers are reminiscent of that architecture. The Gargoyles do not seem to match very well with the body of the building. In fact, establishing a distant and rather weak connection to the prodigious shot, without a doubt one of the most famous in the world.
The force of the shot is always present in the city, which appears unexpectedly in a while, their iconic power to "eat" the rest of the building. The effect that the building is in our memory a more metal than it actually is. Or at least what I had imagined.
After a long journey, which crossed the district of "Little India" dominated the turbans, arrived at the Gramercy intimate Park. It's a strange private park, an urban truly contradictory in a city where what prevails is precisely the public. A fenced park like many others but closed with keys that only have the owners of buildings that surround it. An experiment which I think has the charm of the weird, but that does not occur to me to propose as a model.
The vegetation is maintained and more natural style. Is almost empty, only a few people pass by quiet trails. Here we see with sympathy the first squirrels, which then eventually become a pest. The space is clearly a square surrounded by public streets. The streets are called all Gramercy with the addition of the cardinal point on which they are located. Nothing but the locks, the news gives you privacy.
buildings surrounding the park are a variety that anyway do not lose consistency in the set. There on the east side of a building in a very ornate Gothic is striking. Also at the corner of Lexington Avenue and the north side of a hotel, most famous for its illustrious guests for its architecture. The whole atmosphere highlights the great tranquility, as if the city had taken a break. Oasis, they say.
Somewhat later we find ourselves in a real change with vital node of the city, Union Square . It is very populated and is on the southern edge that gives a dry place opposite a major shopping area. The building closed "Virgin" displays to the time of the recording industry. It's like seeing the ruins of an ancient temple of the soon to be forgotten its purpose.
I
high while Mary goes to investigate the local huge "Forever 21". I accompanied a nice jazz band (piano, bass, sax, drums) which is excellent and gives me courage to do my first entries. It is for me impossible to know if someone touches it jazz or not, because fully know the basic lines of this style, elusive to my ears. On the east side of the square stands a brick building that vaguely remind me Quartier Demaria (my "first towers", which I somehow being here today). They have some shots in a pyramid, but purely formal. Modestly, I prefer ours.
After the brief rest followed by the 4th Ave, to Astor Place, space rather bland, but a memorial of some fairly insignificant event as protests of hippies and homosexuals in the '60s. On the south side is the Cooper House, the historic building where Lincoln delivered his famous antislavery speech that led to the Civil War. The coated building in a beautiful pale red stone is severe and classical forms but flat. In the middle of the square is a sculpture called "The Alamo", a cube resting on one corner you can turn with little effort. On the plaza
agree with the likely departure of a school for high society. The situation creates chaos that is identical to what occurs in our latitudes. The school is called Grace Church and corresponds to the same complex of the same name and important church in the same block to the west. This I found out later from a distance and the church was for visiting us.
The output of the school shows a feature not surprising known. I mean the racial diversity that prevails particularly in the area. Is evident primarily among the children who live with natural sound that is beyond his years. Not bad as an evolution of a society that had problems with racism until relatively recently.
A first impression that will only be confirmed with the passage of days is that this is a city that while there is majority Asian, which seems destined to be soon. A destination that may touch the world. Not only prevail in the amount for the assessment of which plays into the fact that we put in the same category to all Asians of different origin, Korea, Japan, China, Vietnam, etc. Also remarkable for their natural elegance that sets out a cultural level that stands out. This becomes most evident among young people and in areas close to universities like this where we are.
Another side of the square, east, is dominated by the giant Kmart, which is an important building to be built on a foundation with good detail and a classic cornice reminiscent of the first Italian Renaissance palaces.
we turn right to the west in the direction of Washington Square , as we see the large number of buildings dedicated to housing the New York University (NYU) and also crossed waves of students who give the neighborhood the particular profile, from which it draws its fame, a mixture of youth and bohemia.
The park which is entered through one of its sides is wide and shaded landscaped areas with tables and places to be, among those that stand chess boards. It was recently renovated in 2007 and many disputes and work not yet completed. The center is occupied by a dry place where the massive power and round on the north side, on axis with the 5 th Avenue, appears very neoclassical arch in memory of George Washington. It is solemn, but is graceless and also large enough to impose their presence.
emphasizes intensive use is made of green spaces. There are some modern banks around the fountain to allow a wide application beyond sitting, and there are other more classic alongside the trails. In one of them sat down to lunch (chicken burger and fries) and observe the environment for other moved, especially by young people and some school children to visit the place. Many couples of different races well and others that seem boldly assembled. In the famous "movida" based on users and homosexuals do not see anything.
not resist the temptation to enter a strange building located on the side NYU SO across the square. Is externally coated with a reddish stone treated rustica (fiamatado type, but very thin) and has an imposing appearance of a closed block. Inside is a central courtyard covered over 12 floors, with a very unique resolution of stairs. Then I learned that this is the main library known as the NYU Bobst Library , work no less than Phillip Johnson. Unfortunately I could not pass the entrance hall, but that was enough to give me an idea of \u200b\u200bthe place. The drawing of the flat is quite baroque and reminds me that of S. Ivo alla Sapienza in Borromini (Roma).
After this we headed to our surprise next point of interest, the Silver Towers of another giant, in this case IM Pei. Before arriving we went through a series of highly significant buildings. Plates of about 8 / 10 stories high and 200 meters long. Monoblocks species, clad in white brick with some interesting touches of color that break the monotony. They become bridges to pass under the streets and under the same resolve with simple access. In the middle, well-kept gardens.
The complex of three buildings that make up the Silver Towers stands out for its forcefulness. Several elements characterize and give monumental appearance. First, the location in the plane where the three identical volumes are placed slightly off resulting in the central plaza containing a sculpture no less than Picasso . Also emphasizes the use of virtually a single material and a single color, which distinguishes dry place with respect to the green areas that surround it. An extensive bank-monolithic wall closes the square on the north side.
The depth of the windows gives the building an appearance of remarkable and at the same time detracts. Excellent ratio of the opening with a ledge that divides the same thickness. There is no foreign element outside the concrete or iron railings or anything. The window panels are combined with other blind slightly removed with the building has its moments of calm. These are located asymmetrically with respect to the grid which gives the set some momentum, without losing her natural forcefulness.
The descent to earth is simple because all its elements vertical drop to the floor, forming a frame, no marquee or any other element that emphasizes access. Only the columns are gently contoured to a point, to give more elegance to the support, preventing it from being a mechanic. He found are of a simple absolute, determined with the same simplicity of the building. There is much to learn from the Chinese giant is not afraid of the monotony and is confident and precise measured the effect of its resources.
The rest of the day we left to tour the Greenwich Village, one of the most typical of the city. We wanted to intentionally fail to start with the city of giant scale and vertigo. So we decided to try this district for controlled residential style and its renowned bohemian. For it to boot from the major shopping area that occurs at the intersection of Houston Avenue and West Broadway. Unfortunately we went without seeing the famous local Prada Rem Koolhaas, but at least we saw the Adidas commercial design prodigy Studios. The exterior resolves in a gentle curve with a stylish remote plane that emerges from it.
From there we began the walk through the Bleecker St., one of the emblematic streets of the neighborhood, and we were getting into some side full of character. The atmosphere changes very abruptly from the high density commercial to low and purely residential blocks with a calmness and outstanding quality.
The importance of the English garden city solution that provides additional value to the pedestrian level, which, moreover, is repeated throughout the city but in this part is particularly effective. Is a solution that gives poise and a "landing" Soft to the building in relation to the street. Excellence in high-access, reminiscent of "Palladian" flavored "piano nobile", and softness in the rail yard. A set of levels that also allows the passage from public to private is complex and therefore have greater wealth. A portent of one of the most important issues proposed by this city, which is perhaps its formulation here first.
There is a persistent presence of water tanks in the shape of small silos, so typical of Hooper's paintings, which seem of a material are notoriously uncertain and poetic.
The district maintains a character homogeneous and maintains a climate that fails to be tourist in front of everything. There are subtle variations in the architecture that will bring diversity, as people, usually young and disparate provenance, which form the characteristic weather that comes your reputation.
The walk continues to surprise us in a totally different neighborhood, who promptly discovered how the highly publicized Meatpacking District. Still read the traces of development pressure to create a new pole of attraction, no doubt, is on the right track.
His property, in contrast to previously visited the neighborhood, is that the premises are enormous. These take advantage of the old warehouses of refrigerators that operated until recently and remain high on the road verges, which gives everything a unique appearance. There is a profusion of restaurants of many covered and prices of our chances away. There is care in the facades facing uncertain material and worked well outdoors but rather cold, where the design can not hide its desire to effect change.
cutting the Village is also felt in the wide, cobbled streets, and the distant presence of the Hudson, with a final shining light in the background. The atmosphere blurs the edges, as if to escape the weather, could not be completely shut, especially when approaching the 9th Ave and 14 st. There is a very interesting building remodeled by the study rightly Cook + Fox. A black volume, with vertical slits outdated (which seems to be the "motive" of the moment) arises retired on an old yellow brick volume, but re-emerged boldly edged in one of the side walls.
walked again for the 15 St. to Union Square to take the metro. They perform the complicated operation to remove the MTA (single card for bus and subway transport) on a machine that fortunately "speak" English. With fear of being devoured our dollars, finally get the passes, which would be so helpful throughout our stay and undertake the path toward the ultimate destination of the day, the Morgan Library .
arrived late at night to income from Madison Avenue and 35th st. More than these buildings contain one of the most important collection of ancient books in the world, we are interested in remodeling undertaken by Renzo Piano and inaugurated in 2005. The quality of the intervention is indeed magnificent, and on the other hand was expected of one who is in my humble opinion the greatest architect of today.
intervention consisted Piano inserting your building, a luxury box of glass and white aluminum between the two old buildings, original works of McKim, Mead & White . What stands out is the way in which this operation is carried out with exquisite precision, not making any kind of tolerance between new and old. That is, the new building is an exact shoe from those available volumes, without saying any kind including Buna, or retreat, built-as if it were a precise piece of machinery. The amazing thing about all this is that, despite this decision might seem aggressive, such is the subtlety of the part made by the architect Genoese respect for what exists is still up.
The composition of the work is based on extremely rigorous in the details that are repeated and reflected in the different parts, and an economy in the use of material and color as well, always strictly white, except the warm appearances pieces of natural wood beauty. The building also uses the action of the overlying skin of different materials, but formally unified by color and by the resolutions of elaborate details of exemplary simplicity.
Within the large room where there are other children evidenced a sensitivity finished, such as the elevator that appears to be part the same building and not an adjunct, as often happens, the suspended staircase reminiscent "Laurentian", by the way bursts in space, the bold and ethereal glass railings and parapets, and many other solutions.
The main space, which is reached after a rich wood hall, combines several different heights to give a grace that is far from mechanical and which articulate the different situations and establishing relationships with existing and the garden fund that is evident. Deserves a chapter of the small auditorium, with thick wooden plates unpublished but slightly curved in the manner of the famous shells of Rome halls designed by the same Piano, whose motive seems to take but in miniature.
Interestingly, in a review of the project is done in the same building, known as the Piano intervention changed the access to the historic building, moving on Madison Avenue, where now, and first had to overcome resistance This match, which went against what was already an established usage. Viewing the work done, I think no one can doubt its wisdom.
In the middle of the central space, a trio plays classical works. I recognize with joy a Mozart melody. Stroll through the old buildings and spaces, which are examples of a power and wealth of overwhelming strength. Upholstered Library volumes and tables to celebrate the family Morgan, creator of one of the financial empires, I do not know if now can be described as indestructible, but at least that was his fame for more than a century.
close with a sample of manuscripts, telegrams, cards, original drawings and sketches related to the works of Puccini, a good way to end our first day. When you find a Puccini, always feels a little like home. 
Introduction
These are the notes of a dream fulfilled after many years. Finally awaited day arrived and after multiple finishes and endless recommendations to our children got into remis bound Ezeiza. We started about three o'clock in the afternoon of Thursday, 1 October 2009.
is not my intention to make a neat phone, but simply to record my impressions were taken and recorded in three blocks of white sheets to be dumped after the higher order always brings digital. My little memory is supported in these notes, in the countless photos you took my wife and of course the prodigious technical means now assist us to try to recover, and often enlarge the experience.
I doubt that this effort reconstruction will not know how, have some utility, but I consider this a good way to expand and deepen the experience. I also hope to bear fruit in terms of set and clear the memories so that they can become for me a learning material. If after someone serves in general or in some specific areas, is welcome, but said that this is not the purpose of these columns. This is not a guide.
After a smooth trip and some delays we arrived at JFK airport early in the morning and crossed the dreaded stop migration without any problems. After a brief investigation, we decided to take a bus that dropped us off at the Grand Station, near Diplomat 210, at 47th St. between 3rd and 2nd Avenue, what would be our home for the next eleven days.
We take a few minutes to accommodate prisoners of anxiety we capitalize on our first traveled. Map, camera, guides, notebook, wallet, cap, coat just in case. Here we go.
Day 01 (Friday): GREENWICH VILLAGE / Morgan Library
The first stop was the Chrysler Building, the 42nd St., which initially seemed consistent. Enter the triangular-shaped hall, filled with art deco details, especially the excellent wall lamps. Also the detail of the walls with cuts to 45 degrees, indirectly illuminated. The hall is a dark environment where the predominant red marble very rich opaque it takes. Art Deco is always severe.
Chrysler
The hall is a building that celebrates itself. Frescoed ceilings and walls tell their own story. In the ceiling draws the facade, whose epic boom coincides with the axis of the hall and ends just in coincidence with the gateway. The axes are always evocative power. The access bay has a characteristic shape, which is like a Gothic simplified. The art deco is like a will that is imposed on other styles, a sort of rigor that subjects the romance, which the Gothic is here a representative outdated.
The exterior of the building, at least in the basement floor is clad in what looks like gray bricks. Are prepared without accusing the interlock as a skin after you lose every vestige of structure. In the middle of the panels are drawings of plaster with the edge. Brick is, at least for me, an unexpected guest.
are also the mythical gargoyles which emulates a gothic made of silver and more automakers are reminiscent of that architecture. The Gargoyles do not seem to match very well with the body of the building. In fact, establishing a distant and rather weak connection to the prodigious shot, without a doubt one of the most famous in the world.
The force of the shot is always present in the city, which appears unexpectedly in a while, their iconic power to "eat" the rest of the building. The effect that the building is in our memory a more metal than it actually is. Or at least what I had imagined.
After a long journey, which crossed the district of "Little India" dominated the turbans, arrived at the Gramercy intimate Park. It's a strange private park, an urban truly contradictory in a city where what prevails is precisely the public. A fenced park like many others but closed with keys that only have the owners of buildings that surround it. An experiment which I think has the charm of the weird, but that does not occur to me to propose as a model.
The vegetation is maintained and more natural style. Is almost empty, only a few people pass by quiet trails. Here we see with sympathy the first squirrels, which then eventually become a pest. The space is clearly a square surrounded by public streets. The streets are called all Gramercy with the addition of the cardinal point on which they are located. Nothing but the locks, the news gives you privacy.
buildings surrounding the park are a variety that anyway do not lose consistency in the set. There on the east side of a building in a very ornate Gothic is striking. Also at the corner of Lexington Avenue and the north side of a hotel, most famous for its illustrious guests for its architecture. The whole atmosphere highlights the great tranquility, as if the city had taken a break. Oasis, they say.
Somewhat later we find ourselves in a real change with vital node of the city, Union Square . It is very populated and is on the southern edge that gives a dry place opposite a major shopping area. The building closed "Virgin" displays to the time of the recording industry. It's like seeing the ruins of an ancient temple of the soon to be forgotten its purpose.
I high while Mary goes to investigate the local huge "Forever 21". I accompanied a nice jazz band (piano, bass, sax, drums) which is excellent and gives me courage to do my first entries. It is for me impossible to know if someone touches it jazz or not, because fully know the basic lines of this style, elusive to my ears. On the east side of the square stands a brick building that vaguely remind me Quartier Demaria (my "first towers", which I somehow being here today). They have some shots in a pyramid, but purely formal. Modestly, I prefer ours.
After the brief rest followed by the 4th Ave, to Astor Place, space rather bland, but a memorial of some fairly insignificant event as protests of hippies and homosexuals in the '60s. On the south side is the Cooper House, the historic building where Lincoln delivered his famous antislavery speech that led to the Civil War. The coated building in a beautiful pale red stone is severe and classical forms but flat. In the middle of the square is a sculpture called "The Alamo", a cube resting on one corner you can turn with little effort. On the plaza
agree with the likely departure of a school for high society. The situation creates chaos that is identical to what occurs in our latitudes. The school is called Grace Church and corresponds to the same complex of the same name and important church in the same block to the west. This I found out later from a distance and the church was for visiting us.
The output of the school shows a feature not surprising known. I mean the racial diversity that prevails particularly in the area. Is evident primarily among the children who live with natural sound that is beyond his years. Not bad as an evolution of a society that had problems with racism until relatively recently.
A first impression that will only be confirmed with the passage of days is that this is a city that while there is majority Asian, which seems destined to be soon. A destination that may touch the world. Not only prevail in the amount for the assessment of which plays into the fact that we put in the same category to all Asians of different origin, Korea, Japan, China, Vietnam, etc. Also remarkable for their natural elegance that sets out a cultural level that stands out. This becomes most evident among young people and in areas close to universities like this where we are.
Another side of the square, east, is dominated by the giant Kmart, which is an important building to be built on a foundation with good detail and a classic cornice reminiscent of the first Italian Renaissance palaces.
we turn right to the west in the direction of Washington Square , as we see the large number of buildings dedicated to housing the New York University (NYU) and also crossed waves of students who give the neighborhood the particular profile, from which it draws its fame, a mixture of youth and bohemia.
The park which is entered through one of its sides is wide and shaded landscaped areas with tables and places to be, among those that stand chess boards. It was recently renovated in 2007 and many disputes and work not yet completed. The center is occupied by a dry place where the massive power and round on the north side, on axis with the 5 th Avenue, appears very neoclassical arch in memory of George Washington. It is solemn, but is graceless and also large enough to impose their presence.
emphasizes intensive use is made of green spaces. There are some modern banks around the fountain to allow a wide application beyond sitting, and there are other more classic alongside the trails. In one of them sat down to lunch (chicken burger and fries) and observe the environment for other moved, especially by young people and some school children to visit the place. Many couples of different races well and others that seem boldly assembled. In the famous "movida" based on users and homosexuals do not see anything.
not resist the temptation to enter a strange building located on the side NYU SO across the square. Is externally coated with a reddish stone treated rustica (fiamatado type, but very thin) and has an imposing appearance of a closed block. Inside is a central courtyard covered over 12 floors, with a very unique resolution of stairs. Then I learned that this is the main library known as the NYU Bobst Library , work no less than Phillip Johnson. Unfortunately I could not pass the entrance hall, but that was enough to give me an idea of \u200b\u200bthe place. The drawing of the flat is quite baroque and reminds me that of S. Ivo alla Sapienza in Borromini (Roma).
After this we headed to our surprise next point of interest, the Silver Towers of another giant, in this case IM Pei. Before arriving we went through a series of highly significant buildings. Plates of about 8 / 10 stories high and 200 meters long. Monoblocks species, clad in white brick with some interesting touches of color that break the monotony. They become bridges to pass under the streets and under the same resolve with simple access. In the middle, well-kept gardens.
The complex of three buildings that make up the Silver Towers stands out for its forcefulness. Several elements characterize and give monumental appearance. First, the location in the plane where the three identical volumes are placed slightly off resulting in the central plaza containing a sculpture no less than Picasso . Also emphasizes the use of virtually a single material and a single color, which distinguishes dry place with respect to the green areas that surround it. An extensive bank-monolithic wall closes the square on the north side.
The depth of the windows gives the building an appearance of remarkable and at the same time detracts. Excellent ratio of the opening with a ledge that divides the same thickness. There is no foreign element outside the concrete or iron railings or anything. The window panels are combined with other blind slightly removed with the building has its moments of calm. These are located asymmetrically with respect to the grid which gives the set some momentum, without losing her natural forcefulness.
The descent to earth is simple because all its elements vertical drop to the floor, forming a frame, no marquee or any other element that emphasizes access. Only the columns are gently contoured to a point, to give more elegance to the support, preventing it from being a mechanic. He found are of a simple absolute, determined with the same simplicity of the building. There is much to learn from the Chinese giant is not afraid of the monotony and is confident and precise measured the effect of its resources.
The rest of the day we left to tour the Greenwich Village, one of the most typical of the city. We wanted to intentionally fail to start with the city of giant scale and vertigo. So we decided to try this district for controlled residential style and its renowned bohemian. For it to boot from the major shopping area that occurs at the intersection of Houston Avenue and West Broadway. Unfortunately we went without seeing the famous local Prada Rem Koolhaas, but at least we saw the Adidas commercial design prodigy Studios. The exterior resolves in a gentle curve with a stylish remote plane that emerges from it.
From there we began the walk through the Bleecker St., one of the emblematic streets of the neighborhood, and we were getting into some side full of character. The atmosphere changes very abruptly from the high density commercial to low and purely residential blocks with a calmness and outstanding quality.
The importance of the English garden city solution that provides additional value to the pedestrian level, which, moreover, is repeated throughout the city but in this part is particularly effective. Is a solution that gives poise and a "landing" Soft to the building in relation to the street. Excellence in high-access, reminiscent of "Palladian" flavored "piano nobile", and softness in the rail yard. A set of levels that also allows the passage from public to private is complex and therefore have greater wealth. A portent of one of the most important issues proposed by this city, which is perhaps its formulation here first.
There is a persistent presence of water tanks in the shape of small silos, so typical of Hooper's paintings, which seem of a material are notoriously uncertain and poetic.
The district maintains a character homogeneous and maintains a climate that fails to be tourist in front of everything. There are subtle variations in the architecture that will bring diversity, as people, usually young and disparate provenance, which form the characteristic weather that comes your reputation.
The walk continues to surprise us in a totally different neighborhood, who promptly discovered how the highly publicized Meatpacking District. Still read the traces of development pressure to create a new pole of attraction, no doubt, is on the right track.
His property, in contrast to previously visited the neighborhood, is that the premises are enormous. These take advantage of the old warehouses of refrigerators that operated until recently and remain high on the road verges, which gives everything a unique appearance. There is a profusion of restaurants of many covered and prices of our chances away. There is care in the facades facing uncertain material and worked well outdoors but rather cold, where the design can not hide its desire to effect change.
cutting the Village is also felt in the wide, cobbled streets, and the distant presence of the Hudson, with a final shining light in the background. The atmosphere blurs the edges, as if to escape the weather, could not be completely shut, especially when approaching the 9th Ave and 14 st. There is a very interesting building remodeled by the study rightly Cook + Fox. A black volume, with vertical slits outdated (which seems to be the "motive" of the moment) arises retired on an old yellow brick volume, but re-emerged boldly edged in one of the side walls.
walked again for the 15 St. to Union Square to take the metro. They perform the complicated operation to remove the MTA (single card for bus and subway transport) on a machine that fortunately "speak" English. With fear of being devoured our dollars, finally get the passes, which would be so helpful throughout our stay and undertake the path toward the ultimate destination of the day, the Morgan Library .
arrived late at night to income from Madison Avenue and 35th st. More than these buildings contain one of the most important collection of ancient books in the world, we are interested in remodeling undertaken by Renzo Piano and inaugurated in 2005. The quality of the intervention is indeed magnificent, and on the other hand was expected of one who is in my humble opinion the greatest architect of today.
intervention consisted Piano inserting your building, a luxury box of glass and white aluminum between the two old buildings, original works of McKim, Mead & White . What stands out is the way in which this operation is carried out with exquisite precision, not making any kind of tolerance between new and old. That is, the new building is an exact shoe from those available volumes, without saying any kind including Buna, or retreat, built-as if it were a precise piece of machinery. The amazing thing about all this is that, despite this decision might seem aggressive, such is the subtlety of the part made by the architect Genoese respect for what exists is still up.
The composition of the work is based on extremely rigorous in the details that are repeated and reflected in the different parts, and an economy in the use of material and color as well, always strictly white, except the warm appearances pieces of natural wood beauty. The building also uses the action of the overlying skin of different materials, but formally unified by color and by the resolutions of elaborate details of exemplary simplicity.
Within the large room where there are other children evidenced a sensitivity finished, such as the elevator that appears to be part the same building and not an adjunct, as often happens, the suspended staircase reminiscent "Laurentian", by the way bursts in space, the bold and ethereal glass railings and parapets, and many other solutions.
The main space, which is reached after a rich wood hall, combines several different heights to give a grace that is far from mechanical and which articulate the different situations and establishing relationships with existing and the garden fund that is evident. Deserves a chapter of the small auditorium, with thick wooden plates unpublished but slightly curved in the manner of the famous shells of Rome halls designed by the same Piano, whose motive seems to take but in miniature.
Interestingly, in a review of the project is done in the same building, known as the Piano intervention changed the access to the historic building, moving on Madison Avenue, where now, and first had to overcome resistance This match, which went against what was already an established usage. Viewing the work done, I think no one can doubt its wisdom.
In the middle of the central space, a trio plays classical works. I recognize with joy a Mozart melody. Stroll through the old buildings and spaces, which are examples of a power and wealth of overwhelming strength. Upholstered Library volumes and tables to celebrate the family Morgan, creator of one of the financial empires, I do not know if now can be described as indestructible, but at least that was his fame for more than a century.
close with a sample of manuscripts, telegrams, cards, original drawings and sketches related to the works of Puccini, a good way to end our first day. When you find a Puccini, always feels a little like home.
Thursday, March 10, 2011
Wednesday, March 9, 2011
Brent Corriga Free Vid
as an Action - La Paz
16:00
Art, ideology, actually an essential part of Hip-Hop and we want to share and socialize with you this Thursday March 10 .
FORUMS: Guest Speakers from Spain, Peru "The art of serving and fighting for an ideal"
POETRY SLAM WORKSHOP 18:00: New trends in poetry slam by DYSO (Spain)
HIP HOP CONCERT 21:00: Guests of Bolivia, Dyso (Spain), Legs (Peru)
ALSO:
Tattos -Making-Trueke
CDs.
- Open Mic
ADDRESS: GARAGE PUB (Saavedra Avenue almost to the plaza Uyuni)
ORGANIZER: O-KRU
Sunday, March 6, 2011
Motherhood 2009 Stream
10
of cyclical People from different from those which are provided as well as those who once stood. share with us a road trip, but dissimilar circumstances disappear, to suddenly loom later and followed by another stretch of existence, as if they never left. Syncopated presences that make their inconstancy a link. This is the case with my old and new, regarding the 10. A line well marked by the discontinuity of the flow, which requires long absences to drown in despair after a riot of green cars.
I have of my childhood memories of several trips to Avellaneda, on Sundays from noon desert and fate of "Double visor." The journey that started empty the Plaza Las Heras was populated by red flags went over the course of the stops, to make the group in an unexpected branch of hell. A tin Hades, who crossed the unmistakable perfume of a creek that the bridge was too wide invisible.
Later in my high school years, a sudden change my habits changed. I left the path and back seats, which was my route dogged for more than a decade, and there was the 10 waiting to start a new coming and going in the opposite direction. When I was down in a city crowded with office workers crowded briefcase hurried. A hectic city that I knew existed, but, I realized I barely knew. During the later years el 10 fue la balsa con la que cruzaba la 9 de julio, ese río desmesurado que separa la ciudad en márgenes distantes.
También en esos años me aproveché de los servicios de un pariente cercano suyo, el 17. Lo esperaba enamorado y de noche, para cubrir la corta distancia que separaba la casa de mi ahora mujer, de la mía, mientras miraba la eterna vidriera de una librería, cuyos libros nunca se cambiaban. La hermandad de estos colectivos se remonta hasta un lejano ancestro tranvía y su actualidad se desarrolla en recorridos prácticamente paralelos, dignos de ser relatados por Plutarco. Sin embargo, algunas diferencias lo separan más allá de su aspecto idéntico. Cómo esos gemelos que se van distinguiendo over the years, both lines express their differences in details, at first imperceptible.
The apparent greater prestige of 17 gives it the start full of future lawyers, to be certified in addition to the name appearing presumptuous on the windshield: Recoleta. On 10, however, begins with the vague description of Palermo, but I think that years ago his forehead reading "Zoo", which gave him an exotic profile life. They stopped the car on Avenida Sarmiento, while behind the gate giraffes indiscreet conversations listened to the drivers. You could then dream on the green from his side ever stays on the blade of a lion's mane of dark hair or a happy chimp. A tiny reminder of Africa then missed shooting in Buenos Aires. However, both lines, 10 and that of 17, have a wild finish in the south of Wilde. Metaphor for the relentless life saved for every one the same fate, with little regard to the origin. Today
removals and other erratic movement changes our way again I have come to the banks where it passes the 10. Again I take it as one who takes a relationship that has forgotten why it was suspended. I hope so long as ever and his number on giant embroidered on one side seems to declaim ironic perfection. But at this stage of the tour and we both know that this is unattainable. 
of cyclical People from different from those which are provided as well as those who once stood. share with us a road trip, but dissimilar circumstances disappear, to suddenly loom later and followed by another stretch of existence, as if they never left. Syncopated presences that make their inconstancy a link. This is the case with my old and new, regarding the 10. A line well marked by the discontinuity of the flow, which requires long absences to drown in despair after a riot of green cars.
I have of my childhood memories of several trips to Avellaneda, on Sundays from noon desert and fate of "Double visor." The journey that started empty the Plaza Las Heras was populated by red flags went over the course of the stops, to make the group in an unexpected branch of hell. A tin Hades, who crossed the unmistakable perfume of a creek that the bridge was too wide invisible.
Later in my high school years, a sudden change my habits changed. I left the path and back seats, which was my route dogged for more than a decade, and there was the 10 waiting to start a new coming and going in the opposite direction. When I was down in a city crowded with office workers crowded briefcase hurried. A hectic city that I knew existed, but, I realized I barely knew. During the later years el 10 fue la balsa con la que cruzaba la 9 de julio, ese río desmesurado que separa la ciudad en márgenes distantes.
También en esos años me aproveché de los servicios de un pariente cercano suyo, el 17. Lo esperaba enamorado y de noche, para cubrir la corta distancia que separaba la casa de mi ahora mujer, de la mía, mientras miraba la eterna vidriera de una librería, cuyos libros nunca se cambiaban. La hermandad de estos colectivos se remonta hasta un lejano ancestro tranvía y su actualidad se desarrolla en recorridos prácticamente paralelos, dignos de ser relatados por Plutarco. Sin embargo, algunas diferencias lo separan más allá de su aspecto idéntico. Cómo esos gemelos que se van distinguiendo over the years, both lines express their differences in details, at first imperceptible.
The apparent greater prestige of 17 gives it the start full of future lawyers, to be certified in addition to the name appearing presumptuous on the windshield: Recoleta. On 10, however, begins with the vague description of Palermo, but I think that years ago his forehead reading "Zoo", which gave him an exotic profile life. They stopped the car on Avenida Sarmiento, while behind the gate giraffes indiscreet conversations listened to the drivers. You could then dream on the green from his side ever stays on the blade of a lion's mane of dark hair or a happy chimp. A tiny reminder of Africa then missed shooting in Buenos Aires. However, both lines, 10 and that of 17, have a wild finish in the south of Wilde. Metaphor for the relentless life saved for every one the same fate, with little regard to the origin. Today
removals and other erratic movement changes our way again I have come to the banks where it passes the 10. Again I take it as one who takes a relationship that has forgotten why it was suspended. I hope so long as ever and his number on giant embroidered on one side seems to declaim ironic perfection. But at this stage of the tour and we both know that this is unattainable.
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