The he could set stage for new

The
design for The Piazza d’Italia
is influenced by diverse architectural styles, which demonstrate Charles Moore’s
interest in the influence of history on architecture. By using everyday objects
he believed that he could set stage for new architectural performance.  The Piazza is located on the downtown port of New Orleans and occupies 2
acres of land.  It was created as part of
the modernization plan and as a memorial to the past and present contributions
of the Italian Community. (Cultural Landscape Foundation)

The open-air pedestrian access is aligned on the
northern axis. Defined by colonnades, the cobbled walk lead the visitor along
patterns of alternate cobblestone and granite bands of pavers radiating towards
the centre and reminiscent of an Italian piazza. The design reflects
the iconic style of the Italian baroque. To the east, vibrant stuccoed and coloured colonnades in yellow,
ochre, and red derived from the Classical architectural orders, (Corinthian,
Doric, Ionic…). Open arched doorway lead
to a recessed stage with Latin inscribed walls as well as Moore’s
face. The piazza was completed in 1978 and was envisioned as an inclusive urban
development. The use of arches, colonnades including the bell tower arranged in
a semi circular format around a central fountain in the shape of Italy is
symbolic. The use of bright colours, metallic and ornamentations depicting the
classical order, embellished and textured floor finishes create a play of light
across the piazza, while the views across various openings and the use of neon
lights provide the visitors with a magical special experience of shadow and
light.  He approach is playful homage to
the Italian culture and the country’s architecture style and topography. The design
challenges the restraints set by the architectural In his 1993 obituary for
Moore New York Times critic Herbert Muschamp called the project a “festive
agglomeration of semi-circular colonnades, neon arches and fountains”. (Alan
G Brake, 21 August 2015, Dezeen)

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While
Allen Freeman in his article in Landscape Architecture magazine in 2004
described it as “like one of those fruity, rummy Hurricane cocktails that
you sip through a straw from a curvy glass garnished with an orange slice and
maraschino cherry: colourful, over the top, and made of questionable
ingredients”. (Alan G Brake, 21 August 2015, Dezeen)

Despite
the divided opinions Moore’s vision is of an inclusive and a democratic
architecture for the postmodern era. Aldo Rossi buildings resonate  with memory, while Robert
Venturi and Denise Brown foresee their buildings as communicative tool, Moore buildings
reflect his desire for his building to instill joy and reach out to everyday
people.

In November 2010, 1964 Lichtenstein painting “Ohhh
Alright” was
sold for $42.6 million dollars, at christies New York. Derived from the June 1963 edition of Secret
Hearts #88 by Arleigh Publishing Corp, (now part of D.C. Comics, Ohhh…Alright image is
one of the many work created by , Lichtenstein’s After 1963 using comics images
of women often distressed and stylish in appearance, painted in the 3 primary colours.
This particular example is iconic and one of several that are cropped so
closely that the hair flows beyond the edges of the canvas.   The
image portray an anxious beautiful woman with a uneven brow grabbing the
telephone in both hands as she says “Ohhh…Alright…” What I like about it is the way she’s holding
the phone,” says National Gallery curator Harry Cooper. “She’s
caressing the phone, and I think in a way she would rather have a relationship
with the receiver than with whoever is on the other end of the line. (Stamburg
2012). Lichtenstein painted using, cropped and magnified dots of the original comic
image. One might think that each dot was hand painted but the technique he
applies involves the use of a variety of stencils ..With such precision, he transformed
commercial images into art. Ohhh…Alright…is
suggestive, sensual and possibly reflective of the view of women at the time. She
looks vulnerable, almost tearful but at the same time composed, and in control
of her emotions. An image, with its precision and simplicity
evokes emotions and fire the imagination. Abstracts artists would have possibly
founded it upsetting as they saw their whole world of anguish vanish with this
work of irony and witty yet beautifully executed. The use of comics appealed to
Lichtenstein although he was not a fan and he could never go back to the
previous form of art of his early career. However the influence of Picasso was
highly evident in his work so as Matisse and Monet.

” His approach to work was joyful and
playful, and by 1964 he was internationally known artist although there was
still great controversy about pop art. He treated his work more as marks than a
subject and viewed it upside down and reflected in mirrors, almost to eliminate
any excess or doubling of. He thrived on contradiction and transformed his
original sources of inspiration. He believed that the position of lines is
important rather than the character of it.   

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