L'Italo-Americano

L'Italo-Americano THURSDAY, OCTOBER 31, 2024 www.italoamericano.org 6 NEWS & FEATURES TOP STORIES PEOPLE EVENTS o n t h e s o u t h s i d e o f t h e fence, which, from the out- side, is the most intricate part of the entire structure. This section is likely one of the earliest pieces he created, which he returned to and m o d i f i e d m a n y t i m e s . H e expanded and embellished i t , r a i s e d i t s h e i g h t , a n d worked on the interior, even relocating gates meant to f r a m e t h e e n t r a n c e s . F o r him, it was a continual work in progress. Interestingly, if he were still alive, we'd prob- a b l y f i n d h i m h e r e , f u l l y immersed in refining it even further. This constant evolu- tion has become a con- t i n u o u s d i s c o v e r y f o r y o u . W h a t p a r t o f t h e restoration are you most passionate about? T h r o u g h o u t m y c a r e e r , e s p e c i a l l y w i t h a n c i e n t works, one of my primary tasks has been to identify modifications made to the o r i g i n a l p i e c e a n d a s s e s s which changes can be "his- t o r i c i z e d " — e s s e n t i a l l y becoming a recognized part of the work itself. Compared to Italy, where much of my experience lies, the Watts Towers are relatively recent and have a shorter history, so one might assume fewer interventions or restorations o v e r t i m e . H o w e v e r , I ' v e encountered an unexpected- ly complex mix of overlap- ping alterations from past restorations. This makes it challenging to distinguish which parts are Rodia's orig- inal contributions—already l a y e r e d f r o m h i s o n g o i n g a d j u s t m e n t s — f r o m t h o s e a d d e d l a t e r . A t L A C M A , we're working to untangle this layering to ensure we h o n o r R o d i a ' s a u t h e n t i c vision while preserving the site's historical integrity. W h a t m a t e r i a l s d i d Rodia use, and which do y o u f i n d t h e m o s t unique? Rodia used a wide range of materials, including bottle bottoms, stones, marbles, glass fragments, and various types of ceramics. For the c e r a m i c s , w e ' r e a c t u a l l y working to trace their ori- g i n s , a s m a n y a p p e a r t o come from well-known local pottery factories of the time. These ceramics serve as his- torical artifacts that Rodia t r a n s f o r m e d i n t o a r t . H e also incorporated shells into his designs, and we've iden- tified different species, espe- cially in the earlier stages of his work. What would you say is t h e m o s t d i s t i n c t i v e aspect of his work? In my opinion, the most remarkable feature is his innovative use of reinforced concrete as the core materi- al. Typically seen as heavy a n d r i g i d , c o n c r e t e i s n ' t k n o w n f o r f l e x i b i l i t y , y e t Rodia somehow achieved a lightness and fluidity in his designs that's truly unique. H e c o n s t r u c t e d m a s s i v e structures that still manage to feel delicate, as though he removed everything unnec- e s s a r y , l e a v i n g o n l y t h e essence. The towers, gazebo, and other sculptures resem- ble spider webs spun from concrete, with the towers rising gracefully, giving an unexpectedly airy feel to the entire site. As an Italian, do you see any elements of Ital- ian craftsmanship in the Towers? I'd say there's definitely a touch of Italian craftsman- ship, particularly in his use of techniques reminiscent of ancient mosaics. Rodia was a tiler—a true craftsman. His work reflects a meticulous attention to detail, step by step, that aligns closely with Italian artisanal traditions. This piece wasn't impulsive or spontaneous like much of the contemporary art of his time. Each phase required technical precision and spe- cific timing; the mortar had to be fresh for embedding d e c o r a t i v e e l e m e n t s a n d then left to harden before he could continue. This slow, methodical process extended over decades. We Italians often draw on ancient craft traditions, where techniques are structured and follow defined timelines, linking the art of creation deeply to the skill of the craft. Could an earthquake destroy the Towers? The Towers are incredibly flexible and can withstand significant stress. There are, of course, fragile spots that we monitor closely, but over- all, the structures are very stable. It's also a work that requires ongoing mainte- nance and care. This site is a c o n t i n u o u s w o r k - i n - progress, exactly as Rodia envisioned—a living labora- tory. Here's a great example: in the 1970s, an attempt was made to test the Towers' sta- bility by attaching them to trucks and applying mechan- ical stress. The Towers held so firm that, in the end, the trucks actually began to lift off the ground. That was the end of the test! What kind of relation- s h i p d o n e i g h b o r h o o d residents have with the Rodia site? The towers hold a special place in the hearts of neigh- borhood residents, and we feel it when we're on-site working. Many locals, when they see us working, ask for updates and thank us for our efforts. Watts isn't an easy neighborhood, but people come here to find peace—the towers offer a place of tran- q u i l i t y . T h e r e i s a s t r o n g sense of respect and identifi- cation with this area. Rodia left this neighborhood the legacy of his towers, which have become its emblem. We call them the Watts Towers but it is a much larger and more complex site. This work includes architecture, sculpture, decoration, mosaic, and many colors and materials. Rodia built a place in which he poured all his imagination CONTINUED FROM PAGE 4 The towers are more than a building, they include a variety of creative endeavors, such as mosaics. Photo courtesy courtesy of Ermanno Carbonara

• Cover