To nie na W\u0142\u00f3kienniczej. To, jako \u017cywo, jest globalna wersja wsp\u00f3lnej pami\u0119ci. Dziwicie si\u0119, bo jest radosna, tw\u00f3rcza, pe\u0142na inwencji, tryskaj\u0105ca \u015bwie\u017co\u015bci\u0105 skojarze\u0144.<\/p>\n\n\n\n
\u201eW latach siedemdziesi\u0105tych Nowy Orlean stara\u0142 si\u0119 pobudzi\u0107 inwestycje w co\u015b, co p\u00f3\u017aniej sta\u0142o si\u0119 znane jako Warehouse District. Oczekiwano, \u017ce Piazza d’Italia<\/em> wywo\u0142a fal\u0119 inwestycji w Warehouse District i w ca\u0142ym \u015br\u00f3dmie\u015bciu Nowego Orleanu, wzbudzi zainteresowanie \u015br\u00f3dmie\u015bciem.\u201d(\u2026)<\/p>\n\n\n\n \u201eIn 1974, Charles Moore, a prominent contemporary architect, former dean of the Yale School of Architecture and a proponent of a witty, exuberant design language later termed postmodern architecture was approached to help realize the vision of New Orleans’ Italian-American community. In close collaboration with three young architects then practicing with the Perez firm in New Orleans \u2013 Malcolm Heard, Ronald Filson and Allen Eskew \u2013 Moore conceived of a public fountain in the shape of the Italian peninsula, surrounded by multiple hemicyclical colonnades, a clock tower, and a campanile and Roman temple \u2013 the latter two expressed in abstract, minimalist, space frame fashion. The central fountain, located in the middle of a city block, was accessed in two directions: via a tapering passage extending from Poydras Street, or through an arched opening in the clock tower sited where Commerce Street terminates at Lafayette Street. The fountain and its surrounding colonnades playfully appropriated classical forms and orders, executing them in modern materials (e.g. stainless steel, neon) or kinetically (e.g. suggesting the acanthus leaves of traditional Corinthian capitals through the use of water jets).\u201d<\/p>\n\n\n\n