PALAZZO DELLA CIVILITA DEL LAVORO

Palazzo della Civilita del Lavoro as captured by Architectural Photographer Claudio Olivia.

Palazzo della Civilita del Lavoro as captured by Architectural Photographer Claudio Olivia.

Planned for the 1942 World Exhibition as a celebration of the Colloseum, the iconic pallazo was Mussolini’s architectural symbol of his Fascist world. In simplified neo-classical style, the superimposed loggias of the travertine-marble clad building make it as distinctive as it is mesmerising.

This year, fashion giants Fendi took over space as their headquarters, and will inhabit it for the next 15 years at least. Fendi intend on opening the ground floor up to house exhibitions celebrating Italian craftsmanship.

Palazzo della Civilita del Lavoro as captured by Architectural Photographer Claudio Olivia.

Palazzo della Civilita del Lavoro as captured by Architectural Photographer Claudio Olivia.

GUILD

Architectural beauty brand Aesop invite viewers into their complex, beautiful interior design and construction process in their stunning film "The Guild of Artisans". It's not often that the act of making is understood with as much delicacy as the final product - but here, Aesop pay perfect homage. The close-ups, lighting, and sequencing of the film are testament to the brand's  approach to design as a multi-sensual task. 

 

DESCENT INTO LIMBO

Anish Kapoor, Descent into Limbo, 1992

Anish Kapoor, Descent into Limbo, 1992

...the void manifests itself as a force field in which materiality becomes immaterial, the solidity of objects is negated by recessive and vanishing spaces, and the finite is punctured with apertures indicating the infinite. Once inside the event horizon of each work, the viewer is invited to reflect closely on the micro-physics of viewing: this yields up a disturbingly intense self-awareness. Kapoor’s works oblige the viewer to become sensitive to the continuous processes of cognition and imagination, instinct and dream, sensation and inference, by which the mind constructs the world. Indeed in such an act of aesthetic response, the mind has a sudden and uncanny experience of looking at itself. 

- Nancy Adajania, The Mind Viewing Itself

CELLO IN THE CHARRED CHAPEL

Sometimes you come across someone doing something that makes you sigh. 

German-Korean musician Isang Enders' rendition of Bach’s Cello Suite No. 1 within the sacred, charred interior of Peter Zumthor’s Bruder Klaus Field Chapel is one of those moments you can't help but wish was quietly, selfishly your own. 

It's been a long time since I list picked up a bow and drew it across the strings of my cello. Re-establishing my love for playing that deep, aching instrument has been on my list for quite a while now. But the things that make cellos so human - their size, weight, and equal parts fragility and strength, also make them cumbersome additions to the life of a 25-year old who rents her home and doesn't know where she may move to next.

So in the cello-less meantime, playing the piano in some of my most revered architectural spaces seems like a bucket list worth pursuing. The trick is just going to be getting myself, and the piano, there. 

After that, those encompassing forever moments will come easy.

MEMORY TRAPS

Paris, l'Opera. 2010.

It doesn’t take much. A deserted street at dusk, with the summer sunlight lingering on the upper floors of a row of buildings and the sidewalks down below already deep in shadow, may get some old movie in our heads rolling again. Since we are ordinarily better at forgetting than remembering, it is often a mystery why some such sight has stamped itself on our memory, when countless others that ought to have far greater meaning can hardly be said to exist for us anymore. It makes me suspect that a richer and less predictable account of our lives would eschew chronology and any attempt to fit a lifetime into a coherent narrative and instead be made up of a series of fragments, spur-of-the-moment reminiscences occasioned by whatever gets our imagination working.
 - Memory Traps, Charles Simic.NYRB Blog, November 2012.

Paris is, and will likely forever be, my memory trap.

I think it was that way before I had even been there the first time. But it was our second time, although our first together, which hangs in my mind most often these days.

After stashing our bags at the hostel mid-morning, we snuck out and wound our way through the tightly cobbled lanes of the Marais. The air was crisp, with a cool blueness settling over the rooflines. I can't seem to remember anyone else being out. In my mind, the streets were impossibly ours.

Each with a white-specked brioche tucked into a brown paper bags at a quiet boulangerie, we found a place to sit by the canal. The cobbles were warm, and the roughness didn't bother us. Our teenage knees and travel-worn legs dangled. We couldn't help ourselves but to grin.

We were here.

Thanks to the Paris Travel Guide over at A Minute Away from Snowing for bringing it all flooding back.