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<title> New Works by Rafael Vi�oly</title>
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<p class=MsoNormal align=center style='text-align:center'><b style='mso-bidi-font-weight:
normal'><span style='font-size:20.0pt;font-family:Arial;mso-bidi-font-family:
"Times New Roman"'>Two New Works by Rafael <span class=SpellE>Vi�oly</span><o:p></o:p></span></b></p>
<p class=MsoNormal><o:p> </o:p></p>
<p class=MsoNormal>Nancy and I have recently been at the opening/dedication of
two fabulous new works by Rafael <span class=SpellE>Vi�oly</span>: the
new Hyde Park campus of the University of Chicago Graduate School of Business
(in Chicago, of course), and the new home for Jazz at Lincoln Center in the new
Time Warner Building in New York. These are venues well worth visiting,
and a brief description of each follows (including a suggestion for what I'm
proposing as my current #1 fun thing to do in NYC: have dinner and
take in the 7:30 set at <span class=SpellE>Dizzy's</span> Club in JALC, see
below).</p>
<p class=MsoNormal> </p>
<p class=MsoNormal><strong>1) <u>Jazz at Lincoln Center</u></strong>
[Time Warner Building, 10 Columbus Circle, 60th and Broadway]</p>
<p class=MsoNormal><o:p> </o:p></p>
<p class=MsoNormal style='margin-left:.5in'>Rafael <span class=SpellE>Vi�oly</span>
has designed three <em>spectacular</em> venues in which to hear jazz at the
Frederick P. Rose Hall, which is a 100,000 square foot complex billed as "<span
style='font-family:ArialMT'>the world�s first performing arts facility designed
specifically for jazz education, performance and broadcast":</span></p>
<p class=MsoNormal style='margin-left:.5in'> </p>
<p class=MsoNormal style='margin-left:.5in'>The <strong>Rose Theater</strong>
is a multi-tiered, 1,200 seat, oval space that has been designed not only
to have astoundingly good acoustics but also to feel warm and intimate--no
small achievement for an auditorium of this size. In its main
configuration, the ovoid rings of boxes continue around behind the performers;
but the theater can also be configured with a more traditional proscenium
stage for other types of performances.</p>
<p class=MsoNormal style='margin-left:.5in'> </p>
<p class=MsoNormal style='margin-left:.5in'>The <strong>Allen Room</strong> is
the visual gem of the triad. It is an amphitheater arrangement (which can
be used, via its adjustable risers, as seven levels of theatrical
style seating or as four levels of cabaret or banquet
seating, accommodating between 300-550 people) which focuses visual
attention on a stage which is positioned in front of a 50 x 90 foot glass
wall. The quiet modernity of the room's architecture takes full advantage
of the achingly beautiful vista that unfolds behind the performers: one
is looking straight east down 59th Street from a 5-7 story elevation above
street level, ablaze with the lights from the cars moving along its length,
with the splendor of Central Park spreading out to the left and
the majesty of the Manhattan skyline looming to the right. If there is a
more beautiful venue in this City to hear music, I simply do not know what it
is.</p>
<p class=MsoNormal style='margin-left:.5in'> </p>
<p class=MsoNormal style='margin-left:.5in'>For listening to jazz, however, it
is the intimate, 140 seat, <span class=SpellE><strong>Dizzy's</strong></span><strong>
Club</strong> that wins hands down. This is a beautifully crafted,
curvilinear space, with warm bamboo woodwork, and undulating forms that
actually themselves feel musical.<span style='mso-spacerun:yes'>� </span><span
class=SpellE>Dizzy�s</span> Club is truly a <em>real</em> jazz club!
It has table seating, a bar...and serves food and beverages. In fact, it
may be my number one suggestion for a great new thing to do in NYC: </p>
<p class=MsoNormal style='margin-left:1.0in'><o:p> </o:p></p>
<p class=MsoNormal style='margin-left:1.0in'>Get a reservation for the 7:30 set
(<span class=text><!--StartFragment -->212.258.9595, or online at <a
href="http://www.jazzatlincolncenter.org/dccc/c_calendar.html">http://www.jazzatlincolncenter.org/dccc/c_calendar.html</a>,
where you can also view the calendar of performers), show up right at 6:00 when
the doors open (while you need a reservation in advance, tables are assigned on
a first-come first-served basis, so being early pays), and have a leisurely
dinner before the music actually starts (and, believe it or not, the food--like
steak, lamb chops, etc.--is actually passably good: and some things, like
the chopped barbeque appetizer, are downright delicious), and then--the best
part--listen to some rather traditionally enjoyable jazz in the ultimately
perfected version of a traditional jazz club. There are also sets at 9:30
and 11:30, and a lighter, quicker menu is served at those times--but obviously
one ends up eating during the set, which I thinks of as a real disadvantage.</span></p>
<p class=MsoNormal style='margin-left:.5in'> </p>
<p class=MsoNormal style='margin-left:.5in'><span class=text>This,
unfortunately brings me to the only </span><em>real</em><span class=text>
problem with the entire place: it is run by <span class=SpellE>Wynton</span>
Marsalis. If this doesn't bother you, terrific; if, like me, this makes
you cringe, you already understand the problem. The larger rooms, and the
Rose Theater in particular, are </span><em>completely</em><span class=text>
under the sway (rather than the swing) of this man and his taste--which, among
other things, means that some of those we'd most like to perform here never
will. Nevertheless, the small groups that have been playing at <span
class=SpellE>Dizzy's</span> Club seem to be the least "<span class=SpellE>Marsalisized</span>"
of all--and to date have been quite good: the opening night group there
was Bill <span class=SpellE>Charlap's</span> Trio (with Peter Washington on
bass and Kenny Washington on drums; and joined by Frank <span class=SpellE>Wess</span>(!)
on tenor and flute and a very good trumpeter and flugelhorn player, Jeremy
Pelt, whom we didn't know but thoroughly enjoyed); and more recently we took in
the 7:30 set (in the format described above) and heard Monty Alexander on
piano, with a bass player I really liked, <span class=SpellE>Hassan</span>
<span class=SpellE>Shakur</span>, and Leon Joyce on drums, joined for half the
set by two tenor players--Red Holloway (always fun) and <span
class=SpellE>Plas</span> Johnson (very good). <span
style='mso-spacerun:yes'>� </span>On a later evening, we heard <span
style='mso-bidi-font-weight:bold'>The Eric Reed Trio with the fabulous Buster
Williams (who has played with virtually every jazz great) on bass and Al Foster
(who played with Miles after Jack <span class=SpellE>DeJohnette</span> left) on
drums.<span style='mso-spacerun:yes'>� </span></span>So, if this is any
indication of things to come, this will be a great place to go to hear some
good jazz.</span></p>
<p class=MsoNormal style='margin-left:.5in'> </p>
<p class=MsoNormal style='margin-left:.5in'><span class=text>[Also within the
Frederick P. Rose Hall: The </span><span class=SpellE><strong>Ertegun</strong></span><strong>
Jazz Hall of Fame</strong><span class=text>. This interesting space which
was designed by the multi-talented David Rockwell (who has also designed the
sets for our friend David <span class=SpellE>Yazbek's</span> new musical, </span><em><span
style='font-style:normal;mso-bidi-font-style:italic'><a
href="http://www.rlrubens.com/DRS.html"><i style='mso-bidi-font-style:normal'>Dirty
Rotten Scoundrels</i></a></span></em><span class=text>, opening on Broadway
early in 2005) is the new home for the Jazz Hall of Fame. It contains,
among other things, several totally entrancing multimedia visual displays of
the already-inducted giants of the jazz world.<span style='mso-spacerun:yes'>�
</span>Check it out after the gig.]</span></p>
<p class=MsoNormal> </p>
<p class=MsoNormal><strong>2) <u>University of Chicago Graduate School of
Business</u></strong> <!--StartFragment --> [58<sup>th</sup> St. and
S. Woodlawn Ave.]</p>
<p class=MsoNormal> </p>
<p class=MsoNormal style='margin-left:.5in'>This quite simply is an <em>extraordinary</em>
building, a true masterpiece of architecture, worth a special journey to see
(which I guess means I'm awarding it three Michelin stars?).</p>
<p class=MsoNormal style='margin-left:.5in'> </p>
<p class=MsoNormal style='margin-left:.5in'>The site of this building, located
between Frank Lloyd Wright's Prairie Style masterpiece, the <a
href="http://www.wrightplus.org/robiehouse/robiehouse.html"><span class=SpellE>Robie</span>
House</a>, to its north and the College Gothic of the Rockefeller Chapel
to its West (not to mention the College Gothic of the rest of the
University of Chicago campus), was a crucial factor in its conception and
plan. Although the size and nature of the GSB is radically different from
that of the <span class=SpellE>Robie</span> house, <span class=SpellE>Vi�oly</span> respects
its scale, materials, and horizontality in a way that makes his building seem
to work with the <span class=SpellE>Robie</span> House, rather than to struggle
against it; the monumental cantilever of the Dean's office overhanging
the main entrance of the GSB harmonizes with the cantilevered end of the <span
class=SpellE>Robie</span> House. On the other hand, the structural
elements used to create the Winter Garden--ribbed groin vaults springing from
the tops of engaged columns and forming point arches--are specific connections
to the defining elements of Gothic architecture that evoke in the most
emotional of ways memories of Gothic cathedrals. Nevertheless, the
building itself is totally modern in its feel and conception, and
represents a creation that is a unique statement of its own.<br>
<br>
To begin with, the GSB is a fantastic form: the shapes and
volumes are powerful yet gentle, individually assertive yet harmonious. And the
mix of materials is a true tour de force: the progression from
Chicago limestone to metracast to metal and glass is <em>so</em> effective,
and so architectural: everything works to express the nuances of the
spaces and functions--and the way the materials are drawn from the exterior
into the interior is incredibly effective in a way that Frank Lloyd Wright
would have appreciated.<br>
<br>
The interior simply works perfectly. It is a space with grandeur and
majesty, but one that is warm and completely livable. It is so
characteristic of <span class=SpellE>Vi�oly</span> to pay such
attention to creating spaces that will nurture human interaction and enhance
the humanity of the work that will be done in it. There are intimate
sitting areas at the landings of <span class=SpellE>skylit</span> stairways
between office floors that practically beckon to people to pause to have
conversations. Movement within the building is shaped to encourage
interaction. And the way light is drawn into the building--even down to
the floor below grade--makes the entirety of the building quintessentially
livable and vital. And the views of the surrounding buildings and spaces
are drawn inward through the brilliantly placed windows and masterfully planned
sight lines. The colors that <span class=SpellE>Vi�oly</span> has
chosen for the office floors are astoundingly beautiful--effective and
daring in ways that are nevertheless understated and subtle.</p>
<p class=MsoNormal style='margin-left:.5in'><br>
The interactive social heart of the building, the Winter Garden,
is simply one of the finest spaces I've seen anywhere. Even the taper of
the ribs increasing the incredible sense of the spring of the vaults adds to
the sense of their height and movement. (Move over Abbot <span
class=SpellE>Suger</span>! At times the GSB really does give the feeling of a
Gothic cathedral--especially when the columns and vaults are repeated in
their reflection in the glass behind). But this is <em>not</em>
Gothic architecture: while these elements are borrowed directly from
the principles of Gothic structure, they are used here to a radically
novel end. The vaults, their enclosed areas filled in completely
with glass, form the ceiling itself, and the wonderful, funnel-shaped volumes
that are created within their springing are actually open to the sky and
the elements: rain washes down into each of the four funnels and is
carried down through the centers of the engaged columns. And the
Winter Garden is totally fascinating viewed from every level of the
GSB: each vantage point provides a different and effective interaction
with this central core. And the entirety of the building is
totally wonderful viewed from outside. And then there is the way it looks
after dark...</p>
<p class=MsoNormal style='margin-left:.5in'> </p>
<p class=MsoNormal style='margin-left:.5in'>It is impossibly inadequate to
attempt to describe this marvel in words...you'll just have to go visit
it. In the meantime, you can view some of the drawing for it on the
University of Chicago's website <a
href="http://www.uchicago.edu/docs/mp-site/construction/gsb/gsb-draws.html">http://www.uchicago.edu/docs/mp-site/construction/gsb/gsb-draws.html</a>;
and you can check out some photographs on the Rafael <span class=SpellE>Vi�oly</span> Associates
site at <a href="http://www.rvapc.com/flashindex.html">http://www.rvapc.com/flashindex.html</a>,
and then going to "Projects/Works" and finding the University of
Chicago Graduate School of Business.</p>
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