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 Concha Acústica.

El arquitecto norteamericano Glen Small,  es el creador de esta obra,   la gigantesca Concha Acústica que se levanta de espaldas al Lago Xolotlán y que cuesta 850 mil dólares. 

Galeria de Monumentos y Fuentes

http://www.myfatherthegenius.com/film_arch_gallery.html
As a young man, his early promise while in the University of Oregon's undergraduate architecture program was immediately recognized. Upon graduation, Small received the prestigious Eliel Sarrinen Scholarship for graduate study at The Cranbrook Academy of Art in Michigan. While at Cranbrook and after receiving his Masters, he worked within a variety of notable and influential architectural firms: John Lautner, Los Angeles; Smith & Williams, Pasadena; Anshen & Allen, San Francisco; and Charles Blessing with Detroit City Planning. On the West Coast, Small began his years as an educator, starting as an Assistant Professor at California State Polytechnic University in 1969. After leaving Cal Poly in 1972, he and a group of fellow architects founded The Southern California Institute of Architecture (SCI-Arc), where he taught as a professor from 1972-1990, inspiring countless numbers of architectural students to meaningfully question their role within the field. While at SCI-Arc, many of his most impassioned projects took shape, including: The Biomorphic Biosphere Megastructure(BBM), the Green Machine and Turf Town. For further information on Glen Howard Small, please visit his website at http://presys.com/~glensmall or call him directly at 1-800-331-4848.
 

Milagros Sánchez Pinell

Hoy jueves por la noche llega al país Hernaldo Zúñiga y dos técnicos del grupo Kumbia Kings para participar en el concierto de inauguración de la concha acústica, ubicada frente a la Plaza de la Fe, el sábado a partir de las 6:00 p.m. 

Los que llegan mañana viernes son los músicos de Kumbia Kings a las 6:56 p.m. y Francisca Viveros Barradas conocida como Paquita “La del Barrio” a las 8:30 p.m., procedentes de México. 

Armando Zúñiga, coordinador de la parte artística del evento, indicó que los visitantes se hospedarán en el Hotel Intercontinental Metrocentro. 

Con los artistas llega un séquito de personas entre ingenieros de sonidos, luces, manager, etc. El equipo de Kumbia Kings está compuesto por 24 personas, el de Hernaldo de 12 y con Paquita “La del Barrio” vienen 10 personas más. 

Aunque no se conoció el costo por artista, Zúñiga dijo que éstos cobraron menos de su tarifa normal por ser un evento gratuito. 

“Yo les expliqué que era gratuito, que no hay lucro de por medio. Paquita nos hizo un descuento, Hernaldo cobró sólo para los músicos que le acompañan y Kumbia Kings nos cobró menos de su valor”, dijo. 

SIN EXIGENCIAS 

Agregó que en esta ocasión los artistas no hicieron exigencias exóticas. “Nos dieron bateo libre, lo único que pidieron es agua embotellada de cualquier marca”. 

El promotor artístico comentó que todo el día sábado los invitados de lujo descansarán para estar listos por la noche y ofrecer un sensacional espectáculo. 

ARTISTAS NACIONALES 

El desfile de estrellas iniciará a las seis de la tarde con la participación de artistas nacionales. 

Los invitados son: Lya Barrioz, Otto de la Rocha, Keyla Rodríguez, Dimensión Costeña, Macolla, La Nueva Compañía y los hermanos Mejía Godoy. 

Aproximadamente a las 8:30 p.m. saldrá al escenario Paquita “La del Barrio”, quien interpretará sus mejores temas como Tres veces te engañé y Rata de dos patas. 

A ella le sigue Hernaldo Zúñiga, y para cerrar con broche de oro los Kumbia Kings. 

“Calculamos que cada artista tendrá un espacio de hora y media. Será un evento muy lindo para los nicaragüenses”, dijo el coordinador. 

Los personajes de la música abandonarán el país el domingo y sólo una parte de técnicos se quedará hasta el lunes por motivo de espacio en las aerolíneas. 
 
 
 

¡Nos vemos en La concha acústica!
* El primer concierto es este sábado 8 de enero, con Hernaldo Zúñiga, Paquita la del Barrio y los Kumbia Kings
El sábado es el día. La concha acústica de Managua sólo espera a los miles de fanáticos que acudirán al concierto de Paquita la del Barrio, Hernaldo Zúñiga y los Kumbia Kings. Lo mejor de la noche: ¡Es gratis!. El Malecón de Managua estará full de gente.   

Sobre La concha acústica 

Creada por el norteamericano Glen Howard Small, La concha acústica no fue diseñada sólo para que la admiren, sino que pretende convertirse en un espacio cultural. 

La concha, de 75 pies, ubicada entre el lago Xolotlán y la Plaza Juan Pablo II, servirá para que los nicaragüenses desarrollen las actividades que deseen: conciertos de rock, discursos, reuniones, festivales, etc. 

Howard Small aseguró que se inspiró en la belleza tropical para diseñarla. “Me gustan las formas sensuales del trópico y Nicaragua me cautivó y decidí diseñar la concha inspirado en las ondas y el movimiento del trópico”. 

La construcción de La Concha acústica empezó en noviembre de 2003 y se terminó a finales de 2004. 

La corriente estilística de arquitectura que marca los trabajos de Small es la orgánico-expresionista; a parte de utilizar los movimientos de la naturaleza como forma del objeto, les agrega un valor de utilidad. 

En el proyecto de La concha acústica participaron poco más de 300 trabajadores y el costo fue de 850 mil dólares, dijo a VARIEDADES Glen Howard Small.
 
Al respecto, González respondió que “se trata de un monumento moderno, lo que pasa es que cada cabeza es un mundo, y la Alcaldía no puede quedar bien con toda la gente, tal vez muchos de nosotros estamos acostumbrados a ver otro tipo de monumentos que es la imagen que representa algo en particular, pero los extranjeros lo valoran”, dijo. 

El arquitecto norteamericano Glen Small, declarado amigo de Lewites, es el creador de esta obra, y también es quien dirige la construcción de la gigantesca Concha Acústica que se levanta de espaldas al Lago Xolotlán y que cuesta más de medio millón de dólares. 
Monumento al 
  Periodismo 

                Fundación «William Ramírez» en acción 
                * Rotonda para exaltar a periodistas 
                ilustres 
                * Descollará monumento a Gottel y Carnevalini 
                * Toda la Rotonda del Periodista y el boulevard será un memorial  para destacados hombres de prensa 
                * Acogida entusiasta en la Comuna de Managua 

                Un monumento a don  Enrique Gottel,  fundador del  periodismo moderno  nicaragüense, se  levantará en el centro de la Rotonda del  Periodista según el proyecto presentado  por la Fundación Periodismo y Cultura «William Ramírez»  (FPC), ante la Comuna de  Managua. 
                Acogido con   entusiasmo por el  alcalde Herty Lewites, el proyecto tiene la finalidad de construir en   la Rotonda un Memorial donde se honre a los periodistas que a  través de la historia enaltecieron nuestra Patria y la comunicación  social nacional. 

                Junto al monumento del señor Gottel, fundador en 1864 de «El  Porvenir de Nicaragua», figurará don Fabio Carnevalini, quien a la muerte de don Enrique, en 1875, continuó su obra para hacer de ese periódico el más estable, duradero y de más amplia circulación en el país. 

                A mediano plazo se colocarán alrededor de la Rotonda bustos o placas que honren la memoria de nuestros más preclaros periodistas, recordatorios que se prolongarán por el futuro Boulevard de los Periodistas que unirá la Rotonda con la Pista Suburbana. 

                Para la realización del monumento a Gottel y Carnevalini, además del apoyo decidido de la Alcaldía, la Fundación «FPC William Ramírez» visitó recientemente al Embajador de Alemania, doctor Hans Petersmann que se mostró muy receptivo al conocer que un  alemán como el señor Gottel era el fundador del moderno periodismo nicaragüense. 

                La primera piedra del monumento, y por ende del Memorial, será  colocada el 8 de septiembre, Día Internacional del Periodista. Los primeros memoriales estarán dedicados a los periodistas Juan Ramón Avilés, fundador del diario «La Noticia» (1916) y Pedro  Joaquín Chamorro Zelaya, de «La Prensa»1926). 22 de Agosto de 2003 |  El Nuevo Diario,
 
 
 
 
 
 
 


 

Nicaragua: 1999. Recently, Small returned to Nicaragua to embark on another series of government and indepently financed projects, including hotels, monuments, and an amphitheater. 

1985; Small's work in Nicaragua began when Nicaragua's Minister of Tourism offered him the enormous opportunity to design a hotel addition to the Hotel Intercontinental as well as a convention center. Small moved down to Nicaragua to tackle the capital's architectural disarray. Though originally had more environmentally-conscious designs in mind for the earthquake-riddled city, he designed a terraced addition to the hotel with ponds and landscapes. He described it as "rhythmic sweeping drama", because of the undulating transition of the building into Lake Managua. The actualization of all these projects was halted due to political upheaval in the country. 

,
Nicaragua: 1999. Recently, Small returned to Nicaragua to embark on another series of government and indepently financed projects, including hotels, monuments, and an amphitheater. 

1985; Small's work in Nicaragua began when Nicaragua's Minister of Tourism offered him the enormous opportunity to design a hotel addition to the Hotel Intercontinental as well as a convention center. Small moved down to Nicaragua to tackle the capital's architectural disarray. Though originally had more environmentally-conscious designs in mind for the earthquake-riddled city, he designed a terraced addition to the hotel with ponds and landscapes. He described it as "rhythmic sweeping drama", because of the undulating transition of the building into Lake Managua. The actualization of all these projects was halted due to political upheaval in the country.
 


 
 

Nicaragua: 1999. Recently, Small returned to Nicaragua to embark on another series of government and indepently financed projects, including hotels, monuments, and an amphitheater. 

1985; Small's work in Nicaragua began when Nicaragua's Minister of Tourism offered him the enormous opportunity to design a hotel addition to the Hotel Intercontinental as well as a convention center. Small moved down to Nicaragua to tackle the capital's architectural disarray. Though originally had more environmentally-conscious designs in mind for the earthquake-riddled city, he designed a terraced addition to the hotel with ponds and landscapes. He described it as "rhythmic sweeping drama", because of the undulating transition of the building into Lake Managua. The actualization of all these projects was halted due to political upheaval in the country.

When long-estranged father, dreamer and visionary architect, Glen Small bequeaths his daughter the task of writing his biography, she answers instead with an irreverent film about his unstable career and rocky private life - while he is still alive. 
 

Her father has always called himself a genius; Lucia Small wonders if he isn't just suffering from an overblown ego. My Father, The Genius explores the precarious framework on which a career and family are built. How does a man dedicate his entire life to "saving the world through architecture," yet cause so much damage at home? 
 

Interviews with the brash, outrageous, Glen Howard Small are juxtaposed with comments from his peers and former students, his clients, daughters, ex-wives and girlfriends. Framed by startling models of his work, the film provides an insight into the largely abandoned ideals of the 70's, the birthplace of the gender wars, and the generation that emerged. 
 

At 31, Glen Small was a rising star. At 61, he barely escapes financial ruin. The current drama is revealed: what happens toward the end of a dreamer's life when his dreams are still unfulfilled? Where and when will his statement of architectural genius finally be made - now or never? 
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Director's Statement 
 

When my long estranged father called to tell me: "Lucia, I've written you into my will," I was not sure how to respond. For as long as I can remember, Glen Howard Small, futuristic architect, has never planned for his future. He has always been broke or on the verge of it. He says it is because he is "true to his vision - a vision the world isn't ready for." He continued, "I'm leaving you all my drawings and models - the Biomorphic Biosphere, Turf Town, the Green Machine. If I can't do it before I die, I want you to write a book about my work." 
 

Quickly, I tried to assess whether this was an honor or a curse. I questioned whether or not I could live up to the challenge. Did I even want to? I naively offered to make a film instead - while he was still alive. Only after the conversation ended did I realize the implications of what I had suggested. I wondered how I could make a movie about a little-known visionary architect and, more importantly, why I would choose to venture down the treacherous path of examining my father's l ife - hadn't I already spent enough on therapy? 
 

I immediately realized that the film I wanted to make differed from that which my father had envisioned. Did he really expect me to be objective? Dad wanted a retrospective of his professional achievements, while I wanted to focus on all aspects of his life, including those that affected my family, his second family, and the girlfriends that followed. He ultimately agreed, as long as I "got the work down." 
 

I have struggled to remain true to my own vision, battling the notion of what my father deems "important" for the film. Ten years later, older and a bit wiser, I see that I've been able to stand my ground, and Dad seems to like the film. But that didn't prevent him from recently rewriting his will, bequeathing the biographer's job to all of his children. 
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Documentary 
 

My Father, The Genius is told in a personal voice, through the filmmaker's point of view. Over the course of four years, Lucia Small travels from her East Coast home to her father's various West Coast dwellings in order to track the course of his present-day professional and personal struggles. During this time, she probes him about his past and a life of which she barely knows. As the filmmaker sets out on this deeply personal journey, three main stories emerge. 
 

First is the story of the eccentric architect, the outsider. At thirty years old, Glen Howard Small was a rising star. His designs decorated the covers of magazines; he was a guest on radio and television; he was teaching at the Southern California Institute of Architecture (SCI-Arc), a prestigious architectural school that he helped found. His trademark and most impassioned design, the Biomorphic Biosphere Megastructure (BBM), the mile-high, self-sustaining city that he envisioned transforming the Los Angeles basin into an ecological paradise, was all part of his crusade to save the world through architecture. In an effort to understand this work, the filmmaker studies the designs and models that have consumed her father his entire life. How would his designs change our world? Are they viable? Architect John Johansen comments: "He's embracing growing things and the forms that they propose. That’s the important value of his work...his investigations and his research and his visions in biomorphic architecture." By the mid '80s, however, Glen Small's career trajectory had flattened out and he and his ecological concerns had faded into obscurity. Lucia Small follows her father throughout his day, speaks with architectural peers, and pours through past articles and archival footage in an effort to find out what went wrong. Why, if her father's ideas were so celebrated then, are they now so easily dismissed? 
 

True, only a select group of architects have gained any recognition for their innovative reimagining of urban systems - Paolo Soleri and his Arcology, Peter Cook and the several architects of Archigram, and Buckminster Fuller. Glen Small's designs, such as the BBM, the Green Machine, and Turf Town, all had similar societal, ethical, and environmental concerns as the basis for their design, yet they remain only as drafts in his studio, and small blips within the media radar screen. Even in comparison to those ecological designs that did receive world-wide acclaim and recognition - for example, Soleri's idealistic urban vision of Arcosanti - Small's designs addressed more systematic problems. In the film, Jan Mardian, interior designer and former student of Small's, describes the Biomorphic Biosphere: "It's an ecosystem. There's not an ecosystem in Soleri's work. I mean, there is solar (power) ... [ but Soleri] doesn’t take everything into account, and [the BBM] is a much more sophisticated work." 
 

The story takes a dramatic turn when the filmmaker stumbles upon footage from a 1976 panel on "the future of architecture" at which Small accuses all the panelists, including Charles Moore and such present-day luminaries as Frank Gehry, of not being concerned or qualified to speak about the future. Was Small justified? Milica Dedijer, architect and former SCI-Arc Faculty member remarks: "I always felt that Glen was a messenger of something profound." Was he a misunderstood herald or was he simply blind to the professional consequences of his behavior? In 1990, after seventeen years of teaching architecture at SCI-Arc, Glen Small is fired, follows with a law-suit against the school, and ultimately loses. Was his demise a result of political infighting or just his brash, outspoken nature? Or was he simply out of step with the times? As Lucia tries to get to the bottom of what happened with her father's career, she starts to realize that his rocky personal life had an even greater impact on his professional path than she initially suspected. 
 

As these pieces begin to fall into place, painting the portrait of a man who is as conflicted in his professional life as he is with his family, the filmmaker must also face the facts about her father - an "only-on-Sundays, late-with-the-$50-child support, can't-really-be-bothered-with-family Dad." Glen Small's life parallels the story of many men who left their families in search of free love in the '70s; this is a story of the consequences of such a search. No one, not Lucia's father, her mother, nor any of their children, was prepared for the long-term emotional fallout that would follow the couple's divorce. 
 

Lucia Small finally has the courage to ask her father some tough questions. These questions test both father and daughter, forcing Lucia to look at her relationship with her father in a new light and address his problematic attitude toward woman and relationships. She must face up to his ego as it relates to women, and ultimately, herself. Can she do it? This is a man who has been surrounded by women all his life - a loving mother, a sister, two wives, four daughters, a number of girlfriends - and he managed to let many of them down in some vital way. Should the filmmaker expect anything different from her father when they explore the pattern of missed opportunities and scarred psyches? What is to keep her father from dismissing such a discussion, running away yet again in the face of responsibility? 
 

Her father does not run, and faces his daughter's questions. What made him leave? Does he think he was irresponsible? Does he recognize how his negative attitudes toward women effect his four daughters, trickle down to his only son, and renew the cycle of lost relationships? How could he design and dedicate his life to building an environmental paradise, yet fall so short in his home environment? As Glen Small chased these architectural dreams, his two families were left reeling in his wake. As his oldest daughter, Christine, sums up her father: "He's got a good heart with the inability to focus on people that are important." With each question, the filmmaker fine-tunes the focus for her father, her family, and the audience; each new question opens up avenues of discussion within her family that had been closed for years, revealing a strange mixture of pain, anger, and admiration for Glen Howard Small. Through this process, the daughter's artistic vision ultimately finds its place. 
 

Finally, the story of the current drama is revealed: What happens toward the end of a dreamer's life when his dreams are still unfulfilled? What happens to those he loves? Glen Small has recently turned sixty-three, and his career has been stalled for fifteen years. Surviving financially on what he refers to as "yuppie projects", he feels wasted in the "real world". After a series of mismanaged projects, and several failed attempts at finding a teaching position, he finds himself needing to stay with his eldest daughter, Christine. At the end of his rope, he decides his last hope is to sell his final piece of property in Los Angeles and set a new course. Determined to construct his "billboard to the world" on a parcel of land he purchased in Oregon, Small is sidetracked when he is commissioned to design multiple projects for a developer in Nicaragua. Is this the opportunity Small needs to spotlight his creativity, a chance to save face? Where and when will his statement of architectural genius finally be made — Oregon or Nicaragua; now or never? How does the filmmaker's new understanding of her father, their family, and the merit of his work, play out? Only time will tell, as Lucia Small follows her father in his last ditch efforts to realize his dreams. 
 

My Father, The Genius is the story of a father and daughter who hardly know each other. It is a look at what drives them apart and may eventually bring them back together again. It explores what happens when you suddenly start seeing yourself in your parents, and, finally, are called to task to examine what you see. 


 
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