The party at Sam's for Vittorio. Mar 19, 2010 Thanks to everyone for their stories about Vittorio. Maybe we should do this once every year!
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celebrating a great man, a great architect, a great teacher
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Monier and I spent countless hours at Vittorio's studio working on the Rivercrane model. Every time we rang his buzzer the window above would open. Vittorio would peek his head out, and down would come the keys to his loft wrapped in yellow tracing paper to cushion the fall. As with most mundane things in life, Vittorio made it a challenge. I remember riding on the subway with him once and gesturing to him to take an open seat. He said, "No, thank you Jesse. I want to stand and practice my windsurfing skills." Sure enough, he stood with feet shoulder-width apart and proceed to "surf" the A-train, only grabbing the pole if he lost his balance. I myself took up this sport and still "surf" trains to this day (NOTE: Chicago trains are VERY hard compared to NYC). Catching the keys was no different. He always watched intently above from the window at who and how one caught the keys. Your first test before you even walked in the door. Over the months, we began to dread the "catch." Hiding in the doorway, so the other person would have to catch. God forbid you dropped the keys! I remember once when I stood silent (probably hung-over from last night) and reached out with one hand at the last possible moment and somehow caught the keys. I was greeted with the ever-ego-boosting, "Bravo, Jesse!" Tomorrow was another day; the opportunity to catch or miss what Vittorio dropped to us.
Composite of sketches Vittorio made while working with me on this project. The program of a cultural center was to revitalize a once empty site across from Cooper Union and adjacent to Astor Place. The main elongated building (octet-frame forming an inverted tetrahedron) was lifted above the site and supported by a massive concrete frame. Part quad-pod and buttress the frame touched the ground at two points and braced itself against the neighboring building altering the existing construction and rejuvenating the spaces within. A ground-scape replete with octa-frame extended over the streets and connected to pedestrian activity and the subway.

Monier Barakat and Jesse Robinson visit the studio after the completion of Rivercrane and we both have "real" jobs. I had moved to Chicago and Monier was still in NYC. I remember Vittorio complaining about his eyesight, but he was still teaching at Pratt. So, I guess these where taking around summer '95.
When my wife and I decided to get married in Italy, immediately I picked Florence. Not only for the art and architecture, but for Vittorio. Finally, my soon-to-be wife would meet the man who had such an impact in my life. It was the 2nd of May in 2002, and we were married in the Palazza Vecchio. Walking to my wedding--down the Via dei Calzaioli--alone in my tuxedo to the smiles and cheers of Italians passing by was a thrill of a lifetime. After the ceremony, Vittorio remarked to me, "Jesse... I want you to know that I must like you a lot to come to this ceremony, well, yes it's not in a church, but still I do not feel very comfortable." I was honored indeed. What a day!