For centuries, architects sketched their work and recorded their impressions of the places they visited, and the Beaux Arts curriculum was based on a mastery of drawing. Software and digital cameras have eroded that tradition, but a few architects (Frank Gehry and Steven Holl are notable examples) still prefer pen and brush as tools to express their ideas. Andrea Ponsi is a Florentine architect whose watercolors of his native city are on display at the Italian Cultural Institute in Westwood through October 31. The exhibition, Andrea Ponsi: Florence, A Map of Perceptions, was organized by IIC Director Michela Magri, and it provides an insider's perspective on the cradle of Renaissance architecture.
Entries in Italy (3)
Florence: A Map of Perceptions
by Andrea Ponsi
(University of Virginia Press, $22.95)
For anyone who loves architecture and Italy (and who doesn’t) this is the perfect small gift. Ponsi is an architect who works in Florence and engages it as an artist. His sketches and watercolors enrich a personal account that addresses the historic monuments but, still more, the topography and textures of the city, its labyrinthine streets and Platonic geometries. You could use this pocket book as a guide, walking from one piazza to the next, climbing to a high terrace for a view over the city, and savoring the text on the same stone bench that Ponsi has frequented over the years. Or you could stay home, play a CD of Francesco Landini’s Renaissance ballads, and weave yourself into the fabric that the author describes with such intimate attention to detail. It’s a candid account of a city that has been repeatedly assaulted--by the devastation of war and the destructive flood of 1966, a ceaseless tide of tourists and traffic, and the plague of graffiti. But Ponsi convinces you to return and view the city anew through his eyes.
I’ve just returned from a symposium in Rome, “Whatever Happened to Italian Architecture?” co-sponsored by the Depart Foundation and the Swiss Institute. A dozen architects grappled with this question, and the answers were far from reassuring. American architects are having a hard time finding work; imagine what it must be like in Italy, where 150,000 registered practitioners compete for the few projects that win approval from a corrupt and scelerotic bureaucracy. Competitions are rigged, jobs are handed off to political cronies, and the reactionary mayor of Rome has blocked almost all the projects initiated by his predecessor.