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Vetro 1925
Vetro 1925
Fayetteville, AR, United States
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Other Projects by deMx architecture
Vetro 1925
Fayetteville, AR, United States
Firm
YEAR
2012
Photos
In Albert Lamorisse's 1956 film The Red Balloon (1956), a reticent boy, Pascal, discovers a bright red balloon on the streets of Menilmontant, a neighborhood of Paris. Pascal’s spherical balloon contrasts with the grey-blue cobblestone streets and colorless plaster walls of Menilmontant. As the short film progresses, the mute balloon oscillates between object and subject; it seems to develop a mind and will of its own. As an object, it is tossed by the wind and stands out starkly against the city; as a subject, it shows personality by following and disobeying Pascal. As Pascal’s friend bounces off stone walls and gathers the attention of Parisians, a gang of boys wielding slingshots targets it. Menilmontant is a stage for a scene of tragedy as the red globe bleeds helium after a barrage of rocks and a sharp boot heel.
In the Arkansas Ozarks, a glass ribbon with alternating colored lights animates the storefront of Vetro 1925, a small Italian restaurant in the Craven’s building (1925) on the Fayetteville Square. This glass ribbon, like Pascal’s red sphere, relates to the city by contrasting with it at several scales. At the scale of the city, a diagonal line following true north inscribes the ribbon, which is rotated three degrees from the orientation of the street grid; at the scale of the building, this ribbon forms the bar, and is one part of a composition of overlapping folded planes that extends the space of the bar into the street. Fortunately, in buoyant revelry, the balloons of Menilmontant assemble in a cluster to carry Pascal away. The space of Vetro 1925 is composed of folded unfixed parts that produce spatial overlap, rather than delineating urban space through an absolute spatial solution, and, like Pascal’s cluster of balloons, form a whole within the city.
In the Arkansas Ozarks, a glass ribbon with alternating colored lights animates the storefront of Vetro 1925, a small Italian restaurant in the Craven’s building (1925) on the Fayetteville Square. This glass ribbon, like Pascal’s red sphere, relates to the city by contrasting with it at several scales. At the scale of the city, a diagonal line following true north inscribes the ribbon, which is rotated three degrees from the orientation of the street grid; at the scale of the building, this ribbon forms the bar, and is one part of a composition of overlapping folded planes that extends the space of the bar into the street. Fortunately, in buoyant revelry, the balloons of Menilmontant assemble in a cluster to carry Pascal away. The space of Vetro 1925 is composed of folded unfixed parts that produce spatial overlap, rather than delineating urban space through an absolute spatial solution, and, like Pascal’s cluster of balloons, form a whole within the city.
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