Piazz d'Italia.pptx

7/25/2019 Piazz d'Italia.pptx

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CHARLES MOORE -

PIAZZA D ITALIA , NEWORLEANS.


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CHARLES WILLARD MOORE

The secret to originality is

carefully concealing onessources! # Charles Moore$%&'()%&&*+ A,ericanarchitect- e.ucator- /riter


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A0out the ArchitectCHARLES MOORE

Born-October 31, 1!" Benton H#rbor, M%c&%'#n

Die.)Dece,0er %1- %&&*(aged 68)

A()t%n, Te*#)

H%'&er E+(c#t%on - n%er)%t o/ M%c&%'#nB.Arch,Hon.D.Arch -Pr%nceton n%er)%tM.Arch, Ph.D

De)%'n Motto - Moorewanted architecture to recapture a lost )en)e

o/ 0#ce each coission was an opportunit! to highlight what the ancientscalled 'en%() oc% ,or special attri"utes o# a site.


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WOR2S:$he in#luential %ea &anch ('6) planned counit! in %onoa *ount!,*ali#ornia .(with landscape architect +awrence Halprin)$he acult! *lu" at niersit! o# *ali#ornia, %anta Bar"ara, ('68) with /illia

$urn"ull.0resge *ollege ('1') at niersit! o# *ali#ornia %anta *ru2.

T&e e*(ber#nt, 0o)to+ern #rc&et0e P%#44# +5It#%# 61789, #n(rb#n 0(b%c 0#4# %n Ne: Ore#n), Lo(%)%#n#.

$he Beerl! Hills *iic *enter ('3) in Beerl! Hills, *ali#ornia.4ational Dong Hwa niersit!, Hualien, $aiwan ('3)

$he *ali#ornia *enter #or the Arts, 5scondido in 5scondido, *ali#ornia (').

$he Haas %chool o# Business (') at the niersit! o# *ali#ornia, Ber7ele!.

+urie $ower at the niersit! o# Michigan (')$he Preiew *enter (now a Ban7 o# Aerica "ranch) in *ele"ration, lorida ('6).$he /illias *ollege Museu o# Art addition in /illiastown, Massachusetts.

His last wor7, the /ashington %tate Histor! Museu in $acoa, /ashington.


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A0out the Architect

Cre) Moore: Another Post Modern architect

who was a conteporar! o#enturi

A##ected "! +ouis 0ahn9s #eelings#or the architectural past

Ma:or structures

Doritor! *ople;, 0resge*ollege, *A

P%#44# +It#%#, Ne:Ore#n), LA


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A0out the Architect

Charles Moore) Early Life 2

*harles /illard Moore was "orn in '3 in Benton Har"or, Michigan. A #orerschool teacher, Moore>, Moore spent those !ears as an student o#architecture at the niersit! o# Michigan. $here he cae under the wing o# Dean&oger Baile!, who would e;pand his cultural hori2ons.

pon graduation in '?1, Moore went to %an rancisco, attracted "! the 5uropean=ualities o# the cit!, and the legac! o# the Ba! &egion ernacular. He apprenticed #orseeral o##ices@ Mario *or"ett, oseph Allen %tein, and *lar7 Beuttler. Moore wasregistered as an architect "! his 3'st "irthda!.

Hoping to teach, "ut not haing "een to 5urope, Moore applied #or and was awarded*ran"roo7 Acade!


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A0out the Architect

Cre) Moore ;E#r L%/e n the hopes o# adancing his own studies, Moore, with the aid o# the > Bill, enrolled atPrinceton niersit! upon discharge. He arried there in '? where he iediatel! #orediportant relationships with #ellow students who would reain li#elong #riends andcolla"orators, including /illia $urn"ull, r., Donl!n +!ndon, &ichard Peters, and HughHard!. Moore


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A0out the Architect

Cre) Moore taught at si; uniersities while siultaneousl! aintaining hisarchitectural practice and writing. He "egan his teaching career at the niersit! o#tah in 'C, when the architecture progra was in its #ounding stages.

He le#t in '? to enter the PhD progra in architecture at Princeton. A#ter hisgraduation in '1, Moore spent a !ear there as a teaching assistant "e#ore oing tothe niersit! o# *ali#ornia, Ber7ele!, where he was appointed Associate Pro#essor. He

sered as Architecture Departent *hairan at niersit! o# *ali#ornia, Ber7ele! #ro'63 until his departure in '6.

ro '6 to '1C, Moore sered as *hairan, and then Dean, o# the ArchitectureDepartent at Eale niersit!. >n '61, he created the Eale Building Pro:ect, anethicall!-inded construction pro:ect #or #irst-!ear graduate students.

He sta!ed on as a pro#essor once his ter as Dean ended, until '1, when he accepted

a #acult! position at the niersit! o# *ali#ornia, +os Angeles that included :oiningr"an >nnoations roup (>), a teaching practice at the *+A Departent o#Architecture and r"an Planning. >n '8, Moore too7 on his #inal teaching position asthe FG4eil ord *hair o# Architecture, at the niersit! o# $e;as at Austin.


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A0out the Architect

/riting was a signi#icant part o# Moore


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PIAZZA D ITALIA


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PIAZZA D ITALIA

$he P%#44# +It#%# was designed "! Cre) Moore in con:unction with 4ewFrleans "ased Pere2 Architects.

$he pla2a was coissioned to recogni2e the contri"utions o# >talian culture in4ew Frleans.

$he pla2a was part o# a larger plan to re:uenate part o# the warehouse district.

Pere2 Architects created in#ill "uildings along $choupitoulas %treet, assisting withthe reha"ilitation o# historic "uildings on the "loc7.

Built from 1975 1979, the Pia22a d9>talia #ell alost iediatel! into disuseand disrepair. Partial renoations were done in 3CC? in con:unction with theopening o# the ad:acent +oews Hotel.

>n design, the Pia22a d9>talia and *harles Moore are #irl! associated with

Postodernis.At least into the 'Cs, the Modern oeent was the doinant theor! in design.

Architects such as &o"ert enturi and *harles Moore pushed against Modernis,#eeling that it de#ined what design should "e and e;cluding eer!thing that did not#all within that de#inition.


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PIAZZA D ITALIA

POST)MODERNISM INGLENCE : Postodernis re:ected a"solute distinctions, strict de#initions, and restrictie rules.

Moore in particular was concerned a"out what was e;cluded "! Modernis. Hepre#erred to consider what could "e included "! design, not e;cluded. >n this light,Postodernis e"raced the ornaent and historical architecture that had "eene;plicitl! re:ected "! Modernis.

Moore stood out with designs that ranged #ro whisical to #la"o!ant, includingpro:ects such as %ea &anch, the *%B acult! *lu", and 0resge *ollege at *%*. $hePia22a d9>talia does not represent the initiating pro:ect in Postodernis, "ut rather itis one o# the proinent de#ining oents in the re:ection o# Modernis.

Much o# preious Postodern wor7, een Moore9s pro:ects, had inoled addingarious eleents to "uildings to create an architecture o# inclusion. $he Pia22a d9>talia

could "e regarded as the endpoint o# that process, re:ecting all eleents o# Modernis. $he Pia22a d9>talia was "oth acclaied and reiled "! critics.

Howeer, no one oeent has secured the doinant position preiousl! held "!Modernis


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PIAZZA D ITALIA

T&e P%#44# +5It#%# %) #n (rb#n 0(b%c 0#4# oc#te+ #tL#/#ette #n+ Coerce Street) %n +o:nto:n Ne: Ore#n),Lo(%)%#n#

>t is controlled "! the Pia22a dtalia Deelopent *orporation, a su"diision o#4ew Frleans cit! goernent. *opleted in '18 according to a design "!

noted post-odernist *harles Moore and Pere2 Architects

o# 4ew Frleans, thePia22a dtalia de"uted to widespread acclai on the part o# artists andarchitects.

Deeed an architectural asterpiece een prior to its copletion, the Pia22ain #act "egan to rapidl! deteriorate as the deelopent surrounding it wasneer reali2ed.

B! the turn o# the new illenniu, the Pia22a dtalia was largel! un#re=uented"! and un7nown to 4ew Frleanians, and was soeties re#erred to as the #irstpostodern ruin.

$he conersion o# the ad:acent +!7es *enter to the +oews Hotel, 4ew Frleans,copleted in 3CC, was accopanied "! the #ull restoration o# the Pia22adtalia (accoplished "! 3CC?).


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PIAZZA D ITALIA

Most of Moore) b(%+%n') e # t&e#tr%c# #%r. $he! are whisicalpla!#ul Iipish as Moore hisel#. $he structure that "est shows this#la"o!ance is the Pia22a dJ>talia ('1-'18) in 4ew Frleans.

Brightl! colored super#icial as a Holl!wood stage set, the coposition o#arcades, #ountains, and osaics has all the e;u"erance o# this carnial cit!,

where +aisse2 les "ons teps rouler (let the good ties roll) is the otto. Moore stressed the need #or K:o!L in architecture. An oniorous usurper o#

historical #ors, he considered hisel# soewhere "etween Klitus paper anda piranha #ish in his relation to high and low culture.

C%#te O/ Ne: Ore#n)talian counit!, anda set o# surrounding "uildings that occupied a redeelopent "loc7 in

4ew Frleans9 *entral Business District. %ited "eneath a generic '6Cs tower "loc7, the #orer +!7es Building

('68), the Pia22a was planned as a hidden court!ard glipsed througha neon-tried capanile and classical teple pergola on Po!dras%treet, the +a#a!ette Archwa!, and narrow openings "etween

coercial "uildings that were neer deeloped. F# the originalschee, onl! %t oseph9s ountain was constructed.


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PIAZZA D ITALIA

*+(-) F+A'/+ : $heed on >talian geograph! and culture in honour o# its clients, the space consists

o# concentr%c r%n') o/ 0#e 'r#n%te #n+ +#r )#te 0#%n', 0#rt%#coonn#+e) %n )%* c#))%c# or+er) (Doric, >onic, *orinthian, $uscan,*oposite and Moore9s own Deli Frder), a 04m(8C#t) #0 o/ It# :%t&S%c% #t %t) centre, #n+ t&ree r%er) (the Arno, Po and $i"er) o:%n'

%nto 0oo) re0re)ent%n' t&e Trr&en%#n #n+ A+r%#t%c Se#). /ater, one o# Moore9s o"sessions, #eatures throughout the ountain and #ors the

coluns and the Jwetopes9 on the $uscan order, the acanthus leaes o# the*orinthian capitals, and the egg-and-dart oulding o# the >onic order. Dou"lecartouches o# Moore9s siling #ace spout water #ro the $uscan colonnade, are#erence to +oren2o hi"erti9s sel#-portrait on the Baptister! doors in lorence.Con)tr(cte+ o/ )#te, #rbe, cobbe)tone), %rrore+ t%e),br%'&t coo(re+ )t(cco, )t#%ne)) )tee #n+ neon, the Pia22acontraenes standards o# architectural decoru and taste, and #launts its gli"silliness, tawdr! aterials and e;cessie, whisical connotations.


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*apitals consist o# water :etsshaping *orinthian leaes.%tainless-steel >onic olutes and

streas o# water #lowing downcoluns to suggest #luting are aischieous ta7eo## on *lassicalst!le. >n a high-cap parod!,edallions shaped li7e MooreJshead spout water.


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MooreJs structures wereo#ten ade o# epheeral

aterialsIpl!wood andstuccoI"ecause the! werecheaper and lighter. As thato# P%#44# +It#%#.

or Moore, peranence wasnot attaina"le. He laentedthe presence o# a"sence Ithe loss o# identit! in ourincreasingl! hoogeni2edculture, which he tried torecti#!.


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In)cr%0t%on

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Piazz d'Italia.pptx