The Real Rio
December 3, 2013
Michael Kimmelman has proven again that he will not bend to current fashion when writing about architecture and urbanism. Instead of heaping praise on Brazil’s efforts to outspend Athens and out-hype London as it prepares for the next Olympics, he visited Rio to look beneath the thin skein of high design that now seems de rigeur for international sporting events. His trenchant critique of a new cultural center, The City of Music, designed by French starchitect Christian de Pozzamparc in the suburb of Barra, puts things into perspective:
A concrete complex of theaters, raised sky high on giant piers, the center may be the most absurd new building in years. It can bring to mind that famous Stonehenge gag from the film “This Is Spinal Tap,” in which a design for a rock concert stage-set mislabeled feet as inches — except the proportions here are reversed. People in charge complained to me about whole sections of unusable seats without views, ineptly designed stages, halls without dressing rooms, windswept plazas and staircases going nowhere.
Had any “professional” journal published this pathetic building, nothing negative would appear in print, yet Kimmelman merely tours the building and listens to its users in order to assess its real worth–a net zero in every meaningful category. Meanwhile, favelas continue to be cultural incubators desipite their poverty and deplorable living conditions. Could there be a sharper dividing line between the cultural and economic elites who control international development and the struggling residents of a major world capital? Why can’t the architectural establishment, and its media, address this social divide instead of touting its expensive mega-projects for the rich? If I see another Zaha Hadid opera house or museum I am going to vomit.