Question: What does Mr. Venable recommend to prevent this?

Answer: planning upfront for how home repairs, insurance and other expenses would be managed in a detailed co-ownership agreement

Co-buyers should be aware that the mortgage underwriter will base their eligibility on the lower of their credit scores, just as with married couples jointly applying for a loan. They should carefully consider the stability of each other’s income, and how long one buyer could cover the mortgage if the other fell short. Mr. Venable noted that if one buyer loses a job and cannot pay, resulting in a delinquency or default, both buyers’ credit would suffer. (The same principles apply if more than two friends are buying together.) <hl> Mr. Venable also recommends planning upfront for how home repairs, insurance and other expenses would be managed in a detailed co-ownership agreement . <hl>

Co-buyers should be aware that the mortgage underwriter will base their eligibility on the lower of their credit scores, just as with married couples jointly applying for a loan. They should carefully consider the stability of each other’s income, and how long one buyer could cover the mortgage if the other fell short. Mr. Venable noted that if one buyer loses a job and cannot pay, resulting in a delinquency or default, both buyers’ credit would suffer. (The same principles apply if more than two friends are buying together.) Mr. Venable also recommends <hl> planning upfront for how home repairs, insurance and other expenses would be managed in a detailed co-ownership agreement <hl>.

Mr. Venable also recommends <hl> planning upfront for how home repairs, insurance and other expenses would be managed in a detailed co-ownership agreement <hl> .


Question: What equipment was working at the time of the crash?

At the briefing, Mr. Sumwalt said that investigators reviewing the workings of the rail crossing found that the warning lights, the alarm and the gate arms were all functioning at the time of the crash. In an interview with investigators on Thursday, the engineer operating the train said he saw the S.U.V. moving onto the tracks as the northbound train approached the crossing at Commerce Street. The engineer’s account of the car’s moving into the path of the train was consistent with the account of a man who said he was in the car behind Ms. Brody’s, and who was interviewed by reporters after the crash and by investigators for the federal safety board on Thursday.

Answer: the warning lights, the alarm and the gate arms were all functioning

<hl> At the briefing, Mr. Sumwalt said that investigators reviewing the workings of the rail crossing found that the warning lights, the alarm and the gate arms were all functioning at the time of the crash. <hl> In an interview with investigators on Thursday, the engineer operating the train said he saw the S.U.V. moving onto the tracks as the northbound train approached the crossing at Commerce Street. The engineer’s account of the car’s moving into the path of the train was consistent with the account of a man who said he was in the car behind Ms. Brody’s, and who was interviewed by reporters after the crash and by investigators for the federal safety board on Thursday.

At the briefing, Mr. Sumwalt said that investigators reviewing the workings of the rail crossing found that <hl> the warning lights, the alarm and the gate arms were all functioning <hl> at the time of the crash. In an interview with investigators on Thursday, the engineer operating the train said he saw the S.U.V. moving onto the tracks as the northbound train approached the crossing at Commerce Street. The engineer’s account of the car’s moving into the path of the train was consistent with the account of a man who said he was in the car behind Ms. Brody’s, and who was interviewed by reporters after the crash and by investigators for the federal safety board on Thursday.


Question: Who saw the SUV move onto the tracks?

Answer: engineer operating the train

At the briefing, Mr. Sumwalt said that investigators reviewing the workings of the rail crossing found that the warning lights, the alarm and the gate arms were all functioning at the time of the crash. <hl> In an interview with investigators on Thursday, the engineer operating the train said he saw the S.U.V. moving onto the tracks as the northbound train approached the crossing at Commerce Street. <hl> The engineer’s account of the car’s moving into the path of the train was consistent with the account of a man who said he was in the car behind Ms. Brody’s, and who was interviewed by reporters after the crash and by investigators for the federal safety board on Thursday.

At the briefing, Mr. Sumwalt said that investigators reviewing the workings of the rail crossing found that the warning lights, the alarm and the gate arms were all functioning at the time of the crash. In an interview with investigators on Thursday, the <hl> engineer operating the train <hl> said he saw the S.U.V. moving onto the tracks as the northbound train approached the crossing at Commerce Street. The engineer’s account of the car’s moving into the path of the train was consistent with the account of a man who said he was in the car behind Ms. Brody’s, and who was interviewed by reporters after the crash and by investigators for the federal safety board on Thursday.


Question: What street did the railroad tracks cross?

Answer: Commerce Street

At the briefing, Mr. Sumwalt said that investigators reviewing the workings of the rail crossing found that the warning lights, the alarm and the gate arms were all functioning at the time of the crash. <hl> In an interview with investigators on Thursday, the engineer operating the train said he saw the S.U.V. moving onto the tracks as the northbound train approached the crossing at Commerce Street . <hl> The engineer’s account of the car’s moving into the path of the train was consistent with the account of a man who said he was in the car behind Ms. Brody’s, and who was interviewed by reporters after the crash and by investigators for the federal safety board on Thursday.

At the briefing, Mr. Sumwalt said that investigators reviewing the workings of the rail crossing found that the warning lights, the alarm and the gate arms were all functioning at the time of the crash. In an interview with investigators on Thursday, the engineer operating the train said he saw the S.U.V. moving onto the tracks as the northbound train approached the crossing at <hl> Commerce Street <hl>. The engineer’s account of the car’s moving into the path of the train was consistent with the account of a man who said he was in the car behind Ms. Brody’s, and who was interviewed by reporters after the crash and by investigators for the federal safety board on Thursday.

In an interview with investigators on Thursday, the engineer operating the train said he saw the S.U.V. moving onto the tracks as the northbound train approached the crossing at <hl> Commerce Street <hl> .


Question: Who briefed the reporters?

Answer: Mr. Sumwalt

<hl> At the briefing, Mr. Sumwalt said that investigators reviewing the workings of the rail crossing found that the warning lights, the alarm and the gate arms were all functioning at the time of the crash. <hl> In an interview with investigators on Thursday, the engineer operating the train said he saw the S.U.V. moving onto the tracks as the northbound train approached the crossing at Commerce Street. The engineer’s account of the car’s moving into the path of the train was consistent with the account of a man who said he was in the car behind Ms. Brody’s, and who was interviewed by reporters after the crash and by investigators for the federal safety board on Thursday.

At the briefing, <hl> Mr. Sumwalt <hl> said that investigators reviewing the workings of the rail crossing found that the warning lights, the alarm and the gate arms were all functioning at the time of the crash. In an interview with investigators on Thursday, the engineer operating the train said he saw the S.U.V. moving onto the tracks as the northbound train approached the crossing at Commerce Street. The engineer’s account of the car’s moving into the path of the train was consistent with the account of a man who said he was in the car behind Ms. Brody’s, and who was interviewed by reporters after the crash and by investigators for the federal safety board on Thursday.


Question: What appropriate warning did the approaching train give?

The witness told investigators that a crossing arm closed onto Ms. Brody’s car, prompting her to walk outside and touch the gate shortly before getting back into the car and moving the vehicle forward, into the train’s path. Thirty-nine seconds before the crash, Mr. Sumwalt said, warning lights at the crossing had illuminated — brightly enough to have been seen by drivers. Then the arms closed. Meanwhile, the approaching train sounded the proper warning cadence — two long blasts, followed by a short blast and a long blast. It was going 2 miles per hour under the speed limit, at 58 m.p.h., Mr. Sumwalt said.

Answer: two long blasts, followed by a short blast and a long blast

The witness told investigators that a crossing arm closed onto Ms. Brody’s car, prompting her to walk outside and touch the gate shortly before getting back into the car and moving the vehicle forward, into the train’s path. Thirty-nine seconds before the crash, Mr. Sumwalt said, warning lights at the crossing had illuminated — brightly enough to have been seen by drivers. Then the arms closed. <hl> Meanwhile, the approaching train sounded the proper warning cadence — two long blasts, followed by a short blast and a long blast . <hl> It was going 2 miles per hour under the speed limit, at 58 m.p.h. , Mr. Sumwalt said.

The witness told investigators that a crossing arm closed onto Ms. Brody’s car, prompting her to walk outside and touch the gate shortly before getting back into the car and moving the vehicle forward, into the train’s path. Thirty-nine seconds before the crash, Mr. Sumwalt said, warning lights at the crossing had illuminated — brightly enough to have been seen by drivers. Then the arms closed. Meanwhile, the approaching train sounded the proper warning cadence — <hl> two long blasts, followed by a short blast and a long blast <hl>. It was going 2 miles per hour under the speed limit, at 58 m.p.h., Mr. Sumwalt said.

Meanwhile, the approaching train sounded the proper warning cadence — <hl> two long blasts, followed by a short blast and a long blast <hl> .


Question: How fast was the train going?

Answer: 2 miles per hour under the speed limit, at 58 m.p.h.

The witness told investigators that a crossing arm closed onto Ms. Brody’s car, prompting her to walk outside and touch the gate shortly before getting back into the car and moving the vehicle forward, into the train’s path. Thirty-nine seconds before the crash, Mr. Sumwalt said, warning lights at the crossing had illuminated — brightly enough to have been seen by drivers. Then the arms closed. Meanwhile, the approaching train sounded the proper warning cadence — two long blasts, followed by a short blast and a long blast. <hl> It was going 2 miles per hour under the speed limit, at 58 m.p.h. , Mr. Sumwalt said. <hl>

The witness told investigators that a crossing arm closed onto Ms. Brody’s car, prompting her to walk outside and touch the gate shortly before getting back into the car and moving the vehicle forward, into the train’s path. Thirty-nine seconds before the crash, Mr. Sumwalt said, warning lights at the crossing had illuminated — brightly enough to have been seen by drivers. Then the arms closed. Meanwhile, the approaching train sounded the proper warning cadence — two long blasts, followed by a short blast and a long blast. It was going <hl> 2 miles per hour under the speed limit, at 58 m.p.h. <hl>, Mr. Sumwalt said.

It was going <hl> 2 miles per hour under the speed limit, at 58 m.p.h. <hl> , Mr. Sumwalt said.


Question: What closed onto Ms. Brody's car?

Answer: a crossing arm

<hl> The witness told investigators that a crossing arm closed onto Ms. Brody’s car, prompting her to walk outside and touch the gate shortly before getting back into the car and moving the vehicle forward, into the train’s path. <hl> Thirty-nine seconds before the crash, Mr. Sumwalt said, warning lights at the crossing had illuminated — brightly enough to have been seen by drivers. Then the arms closed. Meanwhile, the approaching train sounded the proper warning cadence — two long blasts, followed by a short blast and a long blast. It was going 2 miles per hour under the speed limit, at 58 m.p.h. , Mr. Sumwalt said.

The witness told investigators that <hl> a crossing arm <hl> closed onto Ms. Brody’s car, prompting her to walk outside and touch the gate shortly before getting back into the car and moving the vehicle forward, into the train’s path. Thirty-nine seconds before the crash, Mr. Sumwalt said, warning lights at the crossing had illuminated — brightly enough to have been seen by drivers. Then the arms closed. Meanwhile, the approaching train sounded the proper warning cadence — two long blasts, followed by a short blast and a long blast. It was going 2 miles per hour under the speed limit, at 58 m.p.h., Mr. Sumwalt said.


Question: What did Ms. Brody do after the crossing arm closed onto her car?

Answer: walk outside and touch the gate shortly before getting back into the car and moving the vehicle forward, into the train’s path

<hl> The witness told investigators that a crossing arm closed onto Ms. Brody’s car, prompting her to walk outside and touch the gate shortly before getting back into the car and moving the vehicle forward, into the train’s path . <hl> Thirty-nine seconds before the crash, Mr. Sumwalt said, warning lights at the crossing had illuminated — brightly enough to have been seen by drivers. Then the arms closed. Meanwhile, the approaching train sounded the proper warning cadence — two long blasts, followed by a short blast and a long blast. It was going 2 miles per hour under the speed limit, at 58 m.p.h. , Mr. Sumwalt said.

The witness told investigators that a crossing arm closed onto Ms. Brody’s car, prompting her to <hl> walk outside and touch the gate shortly before getting back into the car and moving the vehicle forward, into the train’s path <hl>. Thirty-nine seconds before the crash, Mr. Sumwalt said, warning lights at the crossing had illuminated — brightly enough to have been seen by drivers. Then the arms closed. Meanwhile, the approaching train sounded the proper warning cadence — two long blasts, followed by a short blast and a long blast. It was going 2 miles per hour under the speed limit, at 58 m.p.h., Mr. Sumwalt said.

The witness told investigators that a crossing arm closed onto Ms. Brody’s car, prompting her to <hl> walk outside and touch the gate shortly before getting back into the car and moving the vehicle forward, into the train’s path <hl> .


Question: How long did it take for the train to come to a complete stop?

The train engineer applied the emergency brake, but the train did not come to a stop until almost 1,000 feet down the track, the car still pinned to its nose. Investigators’ findings on Thursday about track safety did little to illuminate the question of why a train-on-car collision put train passengers into such peril. Cars are struck by trains regularly across the country, according to Federal Railroad Administration records. Since 2006, there has been an average of 2,261 rail crossing accidents a year and an average of 273 deaths a year.

Answer: almost 1,000 feet down the track

<hl> The train engineer applied the emergency brake, but the train did not come to a stop until almost 1,000 feet down the track , the car still pinned to its nose. <hl> Investigators’ findings on Thursday about track safety did little to illuminate the question of why a train-on-car collision put train passengers into such peril. Cars are struck by trains regularly across the country, according to Federal Railroad Administration records. Since 2006, there has been an average of 2,261 rail crossing accidents a year and an average of 273 deaths a year.

The train engineer applied the emergency brake, but the train did not come to a stop until <hl> almost 1,000 feet down the track <hl>, the car still pinned to its nose. Investigators’ findings on Thursday about track safety did little to illuminate the question of why a train-on-car collision put train passengers into such peril. Cars are struck by trains regularly across the country, according to Federal Railroad Administration records. Since 2006, there has been an average of 2,261 rail crossing accidents a year and an average of 273 deaths a year.

The train engineer applied the emergency brake, but the train did not come to a stop until <hl> almost 1,000 feet down the track <hl> , the car still pinned to its nose.


Question: Since 2006, on average, how many rail crossing accidents per year?

Answer: 2,261

The train engineer applied the emergency brake, but the train did not come to a stop until almost 1,000 feet down the track, the car still pinned to its nose. Investigators’ findings on Thursday about track safety did little to illuminate the question of why a train-on-car collision put train passengers into such peril. Cars are struck by trains regularly across the country, according to Federal Railroad Administration records. <hl> Since 2006, there has been an average of 2,261 rail crossing accidents a year and an average of 273 deaths a year. <hl>

The train engineer applied the emergency brake, but the train did not come to a stop until almost 1,000 feet down the track, the car still pinned to its nose. Investigators’ findings on Thursday about track safety did little to illuminate the question of why a train-on-car collision put train passengers into such peril. Cars are struck by trains regularly across the country, according to Federal Railroad Administration records. Since 2006, there has been an average of <hl> 2,261 <hl> rail crossing accidents a year and an average of 273 deaths a year.


Question: How many deaths a year are caused by rail crossing accidents?

Answer: 273

The train engineer applied the emergency brake, but the train did not come to a stop until almost 1,000 feet down the track, the car still pinned to its nose. Investigators’ findings on Thursday about track safety did little to illuminate the question of why a train-on-car collision put train passengers into such peril. Cars are struck by trains regularly across the country, according to Federal Railroad Administration records. <hl> Since 2006, there has been an average of 2,261 rail crossing accidents a year and an average of 273 deaths a year. <hl>

The train engineer applied the emergency brake, but the train did not come to a stop until almost 1,000 feet down the track, the car still pinned to its nose. Investigators’ findings on Thursday about track safety did little to illuminate the question of why a train-on-car collision put train passengers into such peril. Cars are struck by trains regularly across the country, according to Federal Railroad Administration records. Since 2006, there has been an average of 2,261 rail crossing accidents a year and an average of <hl> 273 <hl> deaths a year.


Question: What agency keeps records of railroad accidents?

Answer: Federal Railroad Administration

The train engineer applied the emergency brake, but the train did not come to a stop until almost 1,000 feet down the track, the car still pinned to its nose. Investigators’ findings on Thursday about track safety did little to illuminate the question of why a train-on-car collision put train passengers into such peril. <hl> Cars are struck by trains regularly across the country, according to Federal Railroad Administration records. <hl> Since 2006, there has been an average of 2,261 rail crossing accidents a year and an average of 273 deaths a year.

The train engineer applied the emergency brake, but the train did not come to a stop until almost 1,000 feet down the track, the car still pinned to its nose. Investigators’ findings on Thursday about track safety did little to illuminate the question of why a train-on-car collision put train passengers into such peril. Cars are struck by trains regularly across the country, according to <hl> Federal Railroad Administration <hl> records. Since 2006, there has been an average of 2,261 rail crossing accidents a year and an average of 273 deaths a year.


Question: When did the crossing reopen?

Instead, investigators, commuters and even people close to her were left to try to make sense of her puzzling actions. Friends and family members of the passengers who died grappled on Thursday with the question of why her car never moved off the tracks, and why the third rail tore through the first passenger car. The crossing was reopened to cars and trains on Thursday, but people remained wary. Drivers paused after they ascended the slight hill toward the crossing, taking a second look down the tracks before they passed.

Answer: on Thursday

Instead, investigators, commuters and even people close to her were left to try to make sense of her puzzling actions. <hl> Friends and family members of the passengers who died grappled on Thursday with the question of why her car never moved off the tracks, and why the third rail tore through the first passenger car. <hl> The crossing was reopened to cars and trains on Thursday, but people remained wary. Drivers paused after they ascended the slight hill toward the crossing, taking a second look down the tracks before they passed.

Instead, investigators, commuters and even people close to her were left to try to make sense of her puzzling actions. Friends and family members of the passengers who died grappled <hl> on Thursday <hl> with the question of why her car never moved off the tracks, and why the third rail tore through the first passenger car. The crossing was reopened to cars and trains on Thursday, but people remained wary. Drivers paused after they ascended the slight hill toward the crossing, taking a second look down the tracks before they passed.


Question: Who were left by her puzzling action?

Answer: investigators, commuters and even people close to her

<hl> Instead, investigators, commuters and even people close to her were left to try to make sense of her puzzling actions. <hl> Friends and family members of the passengers who died grappled on Thursday with the question of why her car never moved off the tracks, and why the third rail tore through the first passenger car. The crossing was reopened to cars and trains on Thursday, but people remained wary. Drivers paused after they ascended the slight hill toward the crossing, taking a second look down the tracks before they passed.

Instead, <hl> investigators, commuters and even people close to her <hl> were left to try to make sense of her puzzling actions. Friends and family members of the passengers who died grappled on Thursday with the question of why her car never moved off the tracks, and why the third rail tore through the first passenger car. The crossing was reopened to cars and trains on Thursday, but people remained wary. Drivers paused after they ascended the slight hill toward the crossing, taking a second look down the tracks before they passed.


Question: What did drivers do because they were weary of the accident?

Answer: Drivers paused after they ascended the slight hill toward the crossing, taking a second look down the tracks before they passed.

Instead, investigators, commuters and even people close to her were left to try to make sense of her puzzling actions. Friends and family members of the passengers who died grappled on Thursday with the question of why her car never moved off the tracks, and why the third rail tore through the first passenger car. The crossing was reopened to cars and trains on Thursday, but people remained wary. <hl> Drivers paused after they ascended the slight hill toward the crossing, taking a second look down the tracks before they passed. <hl>


Question: Which rail tore through the first passenger car?

Answer: the third rail

Instead, investigators, commuters and even people close to her were left to try to make sense of her puzzling actions. <hl> Friends and family members of the passengers who died grappled on Thursday with the question of why her car never moved off the tracks, and why the third rail tore through the first passenger car. <hl> The crossing was reopened to cars and trains on Thursday, but people remained wary. Drivers paused after they ascended the slight hill toward the crossing, taking a second look down the tracks before they passed.

Instead, investigators, commuters and even people close to her were left to try to make sense of her puzzling actions. Friends and family members of the passengers who died grappled on Thursday with the question of why her car never moved off the tracks, and why <hl> the third rail <hl> tore through the first passenger car. The crossing was reopened to cars and trains on Thursday, but people remained wary. Drivers paused after they ascended the slight hill toward the crossing, taking a second look down the tracks before they passed.


Question: What hangs ov er the staircase?

The restaurant is just as dramatic on the inside. A Swarovski crystal chandelier with 96 bulbs hangs above the circular staircase, separating the lounge and bar from the white-hued dining room, where there are floor-to-ceiling windows. The dining experience, however, wasn’t quite as grandiose. The service was pleasant but sloppy, and the pricey menu, while dotted with winners, also had a fair share of disappointments. This could be because Orama lost its original executive chef, John Piliouras, in September. Two chefs, Dongmin Lyu and Nazario Anselmo, both of whom had been working in the kitchen, took over for him. Orama, which opened last New Year’s Eve, is owned by Simeon Maximiadis, a former emergency room psychologist who went into managing steakhouses, and Stacey Christakos, his partner in both business and life. They spent millions renovating what had been a Japanese restaurant.

Answer: A Swarovski crystal chandelier

The restaurant is just as dramatic on the inside. <hl> A Swarovski crystal chandelier with 96 bulbs hangs above the circular staircase, separating the lounge and bar from the white-hued dining room, where there are floor-to-ceiling windows. <hl> The dining experience, however, wasn’t quite as grandiose. The service was pleasant but sloppy, and the pricey menu, while dotted with winners, also had a fair share of disappointments. This could be because Orama lost its original executive chef, John Piliouras, in September. Two chefs, Dongmin Lyu and Nazario Anselmo, both of whom had been working in the kitchen, took over for him. Orama, which opened last New Year’s Eve, is owned by Simeon Maximiadis, a former emergency room psychologist who went into managing steakhouses, and Stacey Christakos, his partner in both business and life. They spent millions renovating what had been a Japanese restaurant.

The restaurant is just as dramatic on the inside. <hl> A Swarovski crystal chandelier <hl> with 96 bulbs hangs above the circular staircase, separating the lounge and bar from the white-hued dining room, where there are floor-to-ceiling windows. The dining experience, however, wasn’t quite as grandiose. The service was pleasant but sloppy, and the pricey menu, while dotted with winners, also had a fair share of disappointments. This could be because Orama lost its original executive chef, John Piliouras, in September. Two chefs, Dongmin Lyu and Nazario Anselmo, both of whom had been working in the kitchen, took over for him. Orama, which opened last New Year’s Eve, is owned by Simeon Maximiadis, a former emergency room psychologist who went into managing steakhouses, and Stacey Christakos, his partner in both business and life. They spent millions renovating what had been a Japanese restaurant.


Question: What shape is the staircase?

Answer: circular

The restaurant is just as dramatic on the inside. <hl> A Swarovski crystal chandelier with 96 bulbs hangs above the circular staircase, separating the lounge and bar from the white-hued dining room, where there are floor-to-ceiling windows. <hl> The dining experience, however, wasn’t quite as grandiose. The service was pleasant but sloppy, and the pricey menu, while dotted with winners, also had a fair share of disappointments. This could be because Orama lost its original executive chef, John Piliouras, in September. Two chefs, Dongmin Lyu and Nazario Anselmo, both of whom had been working in the kitchen, took over for him. Orama, which opened last New Year’s Eve, is owned by Simeon Maximiadis, a former emergency room psychologist who went into managing steakhouses, and Stacey Christakos, his partner in both business and life. They spent millions renovating what had been a Japanese restaurant.

The restaurant is just as dramatic on the inside. A Swarovski crystal chandelier with 96 bulbs hangs above the <hl> circular <hl> staircase, separating the lounge and bar from the white-hued dining room, where there are floor-to-ceiling windows. The dining experience, however, wasn’t quite as grandiose. The service was pleasant but sloppy, and the pricey menu, while dotted with winners, also had a fair share of disappointments. This could be because Orama lost its original executive chef, John Piliouras, in September. Two chefs, Dongmin Lyu and Nazario Anselmo, both of whom had been working in the kitchen, took over for him. Orama, which opened last New Year’s Eve, is owned by Simeon Maximiadis, a former emergency room psychologist who went into managing steakhouses, and Stacey Christakos, his partner in both business and life. They spent millions renovating what had been a Japanese restaurant.


Question: How many bulbs does the chandelier have?

Answer: 96

The restaurant is just as dramatic on the inside. <hl> A Swarovski crystal chandelier with 96 bulbs hangs above the circular staircase, separating the lounge and bar from the white-hued dining room, where there are floor-to-ceiling windows. <hl> The dining experience, however, wasn’t quite as grandiose. The service was pleasant but sloppy, and the pricey menu, while dotted with winners, also had a fair share of disappointments. This could be because Orama lost its original executive chef, John Piliouras, in September. Two chefs, Dongmin Lyu and Nazario Anselmo, both of whom had been working in the kitchen, took over for him. Orama, which opened last New Year’s Eve, is owned by Simeon Maximiadis, a former emergency room psychologist who went into managing steakhouses, and Stacey Christakos, his partner in both business and life. They spent millions renovating what had been a Japanese restaurant.

The restaurant is just as dramatic on the inside. A Swarovski crystal chandelier with <hl> 96 <hl> bulbs hangs above the circular staircase, separating the lounge and bar from the white-hued dining room, where there are floor-to-ceiling windows. The dining experience, however, wasn’t quite as grandiose. The service was pleasant but sloppy, and the pricey menu, while dotted with winners, also had a fair share of disappointments. This could be because Orama lost its original executive chef, John Piliouras, in September. Two chefs, Dongmin Lyu and Nazario Anselmo, both of whom had been working in the kitchen, took over for him. Orama, which opened last New Year’s Eve, is owned by Simeon Maximiadis, a former emergency room psychologist who went into managing steakhouses, and Stacey Christakos, his partner in both business and life. They spent millions renovating what had been a Japanese restaurant.


Question: How was the service at the restaurant?

Answer: pleasant but sloppy

The restaurant is just as dramatic on the inside. A Swarovski crystal chandelier with 96 bulbs hangs above the circular staircase, separating the lounge and bar from the white-hued dining room, where there are floor-to-ceiling windows. The dining experience, however, wasn’t quite as grandiose. <hl> The service was pleasant but sloppy , and the pricey menu, while dotted with winners, also had a fair share of disappointments. <hl> This could be because Orama lost its original executive chef, John Piliouras, in September. Two chefs, Dongmin Lyu and Nazario Anselmo, both of whom had been working in the kitchen, took over for him. Orama, which opened last New Year’s Eve, is owned by Simeon Maximiadis, a former emergency room psychologist who went into managing steakhouses, and Stacey Christakos, his partner in both business and life. They spent millions renovating what had been a Japanese restaurant.

The restaurant is just as dramatic on the inside. A Swarovski crystal chandelier with 96 bulbs hangs above the circular staircase, separating the lounge and bar from the white-hued dining room, where there are floor-to-ceiling windows. The dining experience, however, wasn’t quite as grandiose. The service was <hl> pleasant but sloppy <hl>, and the pricey menu, while dotted with winners, also had a fair share of disappointments. This could be because Orama lost its original executive chef, John Piliouras, in September. Two chefs, Dongmin Lyu and Nazario Anselmo, both of whom had been working in the kitchen, took over for him. Orama, which opened last New Year’s Eve, is owned by Simeon Maximiadis, a former emergency room psychologist who went into managing steakhouses, and Stacey Christakos, his partner in both business and life. They spent millions renovating what had been a Japanese restaurant.

The service was <hl> pleasant but sloppy <hl> , and the pricey menu, while dotted with winners, also had a fair share of disappointments.


Question: Who was the original chef to Orama?

Answer: John Piliouras

The restaurant is just as dramatic on the inside. A Swarovski crystal chandelier with 96 bulbs hangs above the circular staircase, separating the lounge and bar from the white-hued dining room, where there are floor-to-ceiling windows. The dining experience, however, wasn’t quite as grandiose. The service was pleasant but sloppy, and the pricey menu, while dotted with winners, also had a fair share of disappointments. <hl> This could be because Orama lost its original executive chef, John Piliouras , in September. <hl> Two chefs, Dongmin Lyu and Nazario Anselmo, both of whom had been working in the kitchen, took over for him. Orama, which opened last New Year’s Eve, is owned by Simeon Maximiadis, a former emergency room psychologist who went into managing steakhouses, and Stacey Christakos, his partner in both business and life. They spent millions renovating what had been a Japanese restaurant.

The restaurant is just as dramatic on the inside. A Swarovski crystal chandelier with 96 bulbs hangs above the circular staircase, separating the lounge and bar from the white-hued dining room, where there are floor-to-ceiling windows. The dining experience, however, wasn’t quite as grandiose. The service was pleasant but sloppy, and the pricey menu, while dotted with winners, also had a fair share of disappointments. This could be because Orama lost its original executive chef, <hl> John Piliouras <hl>, in September. Two chefs, Dongmin Lyu and Nazario Anselmo, both of whom had been working in the kitchen, took over for him. Orama, which opened last New Year’s Eve, is owned by Simeon Maximiadis, a former emergency room psychologist who went into managing steakhouses, and Stacey Christakos, his partner in both business and life. They spent millions renovating what had been a Japanese restaurant.

This could be because Orama lost its original executive chef, <hl> John Piliouras <hl> , in September.


Question: What is Orama's best prepared food?

This appetizer aside, seafood is Orama’s strength. The high-quality shrimp and lobster cocktail gained zip with a chunky sauce of diced tomatoes, olive oil and Fresno chiles. The grilled octopus, another appetizer, was meaty and tender and presented on a bed of fennel, red onions, capers and roasted tomatoes, all caramelized with a balsamic vinegar. The winning crab cake, gently held together with Dijon mustard and mayonnaise and coated in crunchy Panko breadcrumbs, was laden with jumbo lump meat pieces. The shrimp Santorini — jumbo shrimp in a smooth and garlicky tomato sauce, with pieces of feta — was hearty and comforting. But we fawned over the crispy sea bass the most. The entire fish is first grilled, then given a quick fry before being glazed with a spicy sweet-and-sour sauce and topped with a stir-fry of Napa cabbage, sliced bell peppers and button and enoki mushrooms. The tasty and crisp exterior revealed a moist fish inside.

Answer: seafood

<hl> This appetizer aside, seafood is Orama’s strength. <hl> The high-quality shrimp and lobster cocktail gained zip with a chunky sauce of diced tomatoes, olive oil and Fresno chiles. The grilled octopus, another appetizer, was meaty and tender and presented on a bed of fennel, red onions, capers and roasted tomatoes, all caramelized with a balsamic vinegar. The winning crab cake, gently held together with Dijon mustard and mayonnaise and coated in crunchy Panko breadcrumbs, was laden with jumbo lump meat pieces. The shrimp Santorini — jumbo shrimp in a smooth and garlicky tomato sauce, with pieces of feta — was hearty and comforting. But we fawned over the crispy sea bass the most. The entire fish is first grilled, then given a quick fry before being glazed with a spicy sweet-and-sour sauce and topped with a stir-fry of Napa cabbage, sliced bell peppers and button and enoki mushrooms. The tasty and crisp exterior revealed a moist fish inside.

This appetizer aside, <hl> seafood <hl> is Orama’s strength. The high-quality shrimp and lobster cocktail gained zip with a chunky sauce of diced tomatoes, olive oil and Fresno chiles. The grilled octopus, another appetizer, was meaty and tender and presented on a bed of fennel, red onions, capers and roasted tomatoes, all caramelized with a balsamic vinegar. The winning crab cake, gently held together with Dijon mustard and mayonnaise and coated in crunchy Panko breadcrumbs, was laden with jumbo lump meat pieces. The shrimp Santorini — jumbo shrimp in a smooth and garlicky tomato sauce, with pieces of feta — was hearty and comforting. But we fawned over the crispy sea bass the most. The entire fish is first grilled, then given a quick fry before being glazed with a spicy sweet-and-sour sauce and topped with a stir-fry of Napa cabbage, sliced bell peppers and button and enoki mushrooms. The tasty and crisp exterior revealed a moist fish inside.


Question: What food was meaty and tender?

Answer: grilled octopus

This appetizer aside, seafood is Orama’s strength. The high-quality shrimp and lobster cocktail gained zip with a chunky sauce of diced tomatoes, olive oil and Fresno chiles. <hl> The grilled octopus , another appetizer, was meaty and tender and presented on a bed of fennel, red onions, capers and roasted tomatoes, all caramelized with a balsamic vinegar. <hl> The winning crab cake, gently held together with Dijon mustard and mayonnaise and coated in crunchy Panko breadcrumbs, was laden with jumbo lump meat pieces. The shrimp Santorini — jumbo shrimp in a smooth and garlicky tomato sauce, with pieces of feta — was hearty and comforting. But we fawned over the crispy sea bass the most. The entire fish is first grilled, then given a quick fry before being glazed with a spicy sweet-and-sour sauce and topped with a stir-fry of Napa cabbage, sliced bell peppers and button and enoki mushrooms. The tasty and crisp exterior revealed a moist fish inside.

This appetizer aside, seafood is Orama’s strength. The high-quality shrimp and lobster cocktail gained zip with a chunky sauce of diced tomatoes, olive oil and Fresno chiles. The <hl> grilled octopus <hl>, another appetizer, was meaty and tender and presented on a bed of fennel, red onions, capers and roasted tomatoes, all caramelized with a balsamic vinegar. The winning crab cake, gently held together with Dijon mustard and mayonnaise and coated in crunchy Panko breadcrumbs, was laden with jumbo lump meat pieces. The shrimp Santorini — jumbo shrimp in a smooth and garlicky tomato sauce, with pieces of feta — was hearty and comforting. But we fawned over the crispy sea bass the most. The entire fish is first grilled, then given a quick fry before being glazed with a spicy sweet-and-sour sauce and topped with a stir-fry of Napa cabbage, sliced bell peppers and button and enoki mushrooms. The tasty and crisp exterior revealed a moist fish inside.

The <hl> grilled octopus <hl> , another appetizer, was meaty and tender and presented on a bed of fennel, red onions, capers and roasted tomatoes, all caramelized with a balsamic vinegar.


Question: What kind of shrimp is served?

Answer: Santorini

This appetizer aside, seafood is Orama’s strength. The high-quality shrimp and lobster cocktail gained zip with a chunky sauce of diced tomatoes, olive oil and Fresno chiles. The grilled octopus, another appetizer, was meaty and tender and presented on a bed of fennel, red onions, capers and roasted tomatoes, all caramelized with a balsamic vinegar. The winning crab cake, gently held together with Dijon mustard and mayonnaise and coated in crunchy Panko breadcrumbs, was laden with jumbo lump meat pieces. <hl> The shrimp Santorini — jumbo shrimp in a smooth and garlicky tomato sauce, with pieces of feta — was hearty and comforting. <hl> But we fawned over the crispy sea bass the most. The entire fish is first grilled, then given a quick fry before being glazed with a spicy sweet-and-sour sauce and topped with a stir-fry of Napa cabbage, sliced bell peppers and button and enoki mushrooms. The tasty and crisp exterior revealed a moist fish inside.

This appetizer aside, seafood is Orama’s strength. The high-quality shrimp and lobster cocktail gained zip with a chunky sauce of diced tomatoes, olive oil and Fresno chiles. The grilled octopus, another appetizer, was meaty and tender and presented on a bed of fennel, red onions, capers and roasted tomatoes, all caramelized with a balsamic vinegar. The winning crab cake, gently held together with Dijon mustard and mayonnaise and coated in crunchy Panko breadcrumbs, was laden with jumbo lump meat pieces. The shrimp <hl> Santorini <hl> — jumbo shrimp in a smooth and garlicky tomato sauce, with pieces of feta — was hearty and comforting. But we fawned over the crispy sea bass the most. The entire fish is first grilled, then given a quick fry before being glazed with a spicy sweet-and-sour sauce and topped with a stir-fry of Napa cabbage, sliced bell peppers and button and enoki mushrooms. The tasty and crisp exterior revealed a moist fish inside.


Question: In what kind of sauce is the lobster cocktail set in?

Answer: diced tomatoes

This appetizer aside, seafood is Orama’s strength. <hl> The high-quality shrimp and lobster cocktail gained zip with a chunky sauce of diced tomatoes , olive oil and Fresno chiles. <hl> The grilled octopus, another appetizer, was meaty and tender and presented on a bed of fennel, red onions, capers and roasted tomatoes, all caramelized with a balsamic vinegar. The winning crab cake, gently held together with Dijon mustard and mayonnaise and coated in crunchy Panko breadcrumbs, was laden with jumbo lump meat pieces. The shrimp Santorini — jumbo shrimp in a smooth and garlicky tomato sauce, with pieces of feta — was hearty and comforting. But we fawned over the crispy sea bass the most. The entire fish is first grilled, then given a quick fry before being glazed with a spicy sweet-and-sour sauce and topped with a stir-fry of Napa cabbage, sliced bell peppers and button and enoki mushrooms. The tasty and crisp exterior revealed a moist fish inside.

This appetizer aside, seafood is Orama’s strength. The high-quality shrimp and lobster cocktail gained zip with a chunky sauce of <hl> diced tomatoes <hl>, olive oil and Fresno chiles. The grilled octopus, another appetizer, was meaty and tender and presented on a bed of fennel, red onions, capers and roasted tomatoes, all caramelized with a balsamic vinegar. The winning crab cake, gently held together with Dijon mustard and mayonnaise and coated in crunchy Panko breadcrumbs, was laden with jumbo lump meat pieces. The shrimp Santorini — jumbo shrimp in a smooth and garlicky tomato sauce, with pieces of feta — was hearty and comforting. But we fawned over the crispy sea bass the most. The entire fish is first grilled, then given a quick fry before being glazed with a spicy sweet-and-sour sauce and topped with a stir-fry of Napa cabbage, sliced bell peppers and button and enoki mushrooms. The tasty and crisp exterior revealed a moist fish inside.

The high-quality shrimp and lobster cocktail gained zip with a chunky sauce of <hl> diced tomatoes <hl> , olive oil and Fresno chiles.


Question: How much did the Lobster Maxime cost?

Our server pushed the $56 Lobster Maxime, calling it a signature entree and promising meat out of the shell from a one-and-a-half-pound lobster. What arrived, however — four morsels on a mound of sautéed spinach — was minuscule at best. To Orama’s credit, when I inquired about the skimpy portion, the manager offered to send us another dish with her compliments. The sea bass turned out to be the only worthwhile entree that evening. A 16-ounce bone-in filet mignon, one of Orama’s specialties, had too much visible fat to justify the $64 cost, and the rack of lamb special, while tender, lacked flavor.

Answer: $56

<hl> Our server pushed the $56 Lobster Maxime, calling it a signature entree and promising meat out of the shell from a one-and-a-half-pound lobster. <hl> What arrived, however — four morsels on a mound of sautéed spinach — was minuscule at best. To Orama’s credit, when I inquired about the skimpy portion, the manager offered to send us another dish with her compliments. The sea bass turned out to be the only worthwhile entree that evening. A 16-ounce bone-in filet mignon, one of Orama’s specialties, had too much visible fat to justify the $64 cost, and the rack of lamb special, while tender, lacked flavor.

Our server pushed the <hl> $56 <hl> Lobster Maxime, calling it a signature entree and promising meat out of the shell from a one-and-a-half-pound lobster. What arrived, however — four morsels on a mound of sautéed spinach — was minuscule at best. To Orama’s credit, when I inquired about the skimpy portion, the manager offered to send us another dish with her compliments. The sea bass turned out to be the only worthwhile entree that evening. A 16-ounce bone-in filet mignon, one of Orama’s specialties, had too much visible fat to justify the $64 cost, and the rack of lamb special, while tender, lacked flavor.


Question: What was the signature entree?

Answer: Lobster Maxime

<hl> Our server pushed the $56 Lobster Maxime , calling it a signature entree and promising meat out of the shell from a one-and-a-half-pound lobster. <hl> What arrived, however — four morsels on a mound of sautéed spinach — was minuscule at best. To Orama’s credit, when I inquired about the skimpy portion, the manager offered to send us another dish with her compliments. The sea bass turned out to be the only worthwhile entree that evening. A 16-ounce bone-in filet mignon, one of Orama’s specialties, had too much visible fat to justify the $64 cost, and the rack of lamb special, while tender, lacked flavor.

Our server pushed the $56 <hl> Lobster Maxime <hl>, calling it a signature entree and promising meat out of the shell from a one-and-a-half-pound lobster. What arrived, however — four morsels on a mound of sautéed spinach — was minuscule at best. To Orama’s credit, when I inquired about the skimpy portion, the manager offered to send us another dish with her compliments. The sea bass turned out to be the only worthwhile entree that evening. A 16-ounce bone-in filet mignon, one of Orama’s specialties, had too much visible fat to justify the $64 cost, and the rack of lamb special, while tender, lacked flavor.

Our server pushed the $56 <hl> Lobster Maxime <hl> , calling it a signature entree and promising meat out of the shell from a one-and-a-half-pound lobster.


Question: How large was the promised lobster?

Answer: one-and-a-half-pound

<hl> Our server pushed the $56 Lobster Maxime, calling it a signature entree and promising meat out of the shell from a one-and-a-half-pound lobster. <hl> What arrived, however — four morsels on a mound of sautéed spinach — was minuscule at best. To Orama’s credit, when I inquired about the skimpy portion, the manager offered to send us another dish with her compliments. The sea bass turned out to be the only worthwhile entree that evening. A 16-ounce bone-in filet mignon, one of Orama’s specialties, had too much visible fat to justify the $64 cost, and the rack of lamb special, while tender, lacked flavor.

Our server pushed the $56 Lobster Maxime, calling it a signature entree and promising meat out of the shell from a <hl> one-and-a-half-pound <hl> lobster. What arrived, however — four morsels on a mound of sautéed spinach — was minuscule at best. To Orama’s credit, when I inquired about the skimpy portion, the manager offered to send us another dish with her compliments. The sea bass turned out to be the only worthwhile entree that evening. A 16-ounce bone-in filet mignon, one of Orama’s specialties, had too much visible fat to justify the $64 cost, and the rack of lamb special, while tender, lacked flavor.


Question: Which entree was the best that night?

Answer: sea bass

Our server pushed the $56 Lobster Maxime, calling it a signature entree and promising meat out of the shell from a one-and-a-half-pound lobster. What arrived, however — four morsels on a mound of sautéed spinach — was minuscule at best. To Orama’s credit, when I inquired about the skimpy portion, the manager offered to send us another dish with her compliments. <hl> The sea bass turned out to be the only worthwhile entree that evening. <hl> A 16-ounce bone-in filet mignon, one of Orama’s specialties, had too much visible fat to justify the $64 cost, and the rack of lamb special, while tender, lacked flavor.

Our server pushed the $56 Lobster Maxime, calling it a signature entree and promising meat out of the shell from a one-and-a-half-pound lobster. What arrived, however — four morsels on a mound of sautéed spinach — was minuscule at best. To Orama’s credit, when I inquired about the skimpy portion, the manager offered to send us another dish with her compliments. The <hl> sea bass <hl> turned out to be the only worthwhile entree that evening. A 16-ounce bone-in filet mignon, one of Orama’s specialties, had too much visible fat to justify the $64 cost, and the rack of lamb special, while tender, lacked flavor.


Question: What did the manager off to send them?

Answer: another dish

Our server pushed the $56 Lobster Maxime, calling it a signature entree and promising meat out of the shell from a one-and-a-half-pound lobster. What arrived, however — four morsels on a mound of sautéed spinach — was minuscule at best. <hl> To Orama’s credit, when I inquired about the skimpy portion, the manager offered to send us another dish with her compliments. <hl> The sea bass turned out to be the only worthwhile entree that evening. A 16-ounce bone-in filet mignon, one of Orama’s specialties, had too much visible fat to justify the $64 cost, and the rack of lamb special, while tender, lacked flavor.

Our server pushed the $56 Lobster Maxime, calling it a signature entree and promising meat out of the shell from a one-and-a-half-pound lobster. What arrived, however — four morsels on a mound of sautéed spinach — was minuscule at best. To Orama’s credit, when I inquired about the skimpy portion, the manager offered to send us <hl> another dish <hl> with her compliments. The sea bass turned out to be the only worthwhile entree that evening. A 16-ounce bone-in filet mignon, one of Orama’s specialties, had too much visible fat to justify the $64 cost, and the rack of lamb special, while tender, lacked flavor.


Question: Who was the pastry chef?

We fared better with desserts. The pastry chef, Krista Guiwo, was trained at the French Culinary Institute in New York City and usually has eight frequently changing choices on her menu. While the frozen lemon mousse had an icy, not-so-lemony taste, the crème brûlée trio in classic, coffee and passion fruit flavors, as well as the triple chocolate mousse cake, were incredibly velvety. Better still was the warm honey pine nut tart, with a filling of caramelized nuts and chestnut honey and a dollop of crème fraîche. It was a sweet ending, but the nits picked throughout the night went beyond the food: some of our plates were chipped, and the waitstaff didn’t replace a dropped knife or clean up our visibly dirty table before bringing out desserts. These faults wouldn’t matter as much if the prices were lower, but Orama is an expensive night out, so our expectations were high. Still, there are those views and that gorgeous villa. Until the kitchen and the service catch up to the visuals, it might be preferable to savor the skyline and décor from the bar.

Answer: Krista Guiwo

We fared better with desserts. <hl> The pastry chef, Krista Guiwo , was trained at the French Culinary Institute in New York City and usually has eight frequently changing choices on her menu. <hl> While the frozen lemon mousse had an icy, not-so-lemony taste, the crème brûlée trio in classic, coffee and passion fruit flavors, as well as the triple chocolate mousse cake, were incredibly velvety. Better still was the warm honey pine nut tart, with a filling of caramelized nuts and chestnut honey and a dollop of crème fraîche. It was a sweet ending, but the nits picked throughout the night went beyond the food: some of our plates were chipped, and the waitstaff didn’t replace a dropped knife or clean up our visibly dirty table before bringing out desserts. These faults wouldn’t matter as much if the prices were lower, but Orama is an expensive night out, so our expectations were high. Still, there are those views and that gorgeous villa. Until the kitchen and the service catch up to the visuals, it might be preferable to savor the skyline and décor from the bar.

We fared better with desserts. The pastry chef, <hl> Krista Guiwo <hl>, was trained at the French Culinary Institute in New York City and usually has eight frequently changing choices on her menu. While the frozen lemon mousse had an icy, not-so-lemony taste, the crème brûlée trio in classic, coffee and passion fruit flavors, as well as the triple chocolate mousse cake, were incredibly velvety. Better still was the warm honey pine nut tart, with a filling of caramelized nuts and chestnut honey and a dollop of crème fraîche. It was a sweet ending, but the nits picked throughout the night went beyond the food: some of our plates were chipped, and the waitstaff didn’t replace a dropped knife or clean up our visibly dirty table before bringing out desserts. These faults wouldn’t matter as much if the prices were lower, but Orama is an expensive night out, so our expectations were high. Still, there are those views and that gorgeous villa. Until the kitchen and the service catch up to the visuals, it might be preferable to savor the skyline and décor from the bar.

The pastry chef, <hl> Krista Guiwo <hl> , was trained at the French Culinary Institute in New York City and usually has eight frequently changing choices on her menu.


Question: Where was Krista Guiwo trained?

Answer: New York City

We fared better with desserts. <hl> The pastry chef, Krista Guiwo, was trained at the French Culinary Institute in New York City and usually has eight frequently changing choices on her menu. <hl> While the frozen lemon mousse had an icy, not-so-lemony taste, the crème brûlée trio in classic, coffee and passion fruit flavors, as well as the triple chocolate mousse cake, were incredibly velvety. Better still was the warm honey pine nut tart, with a filling of caramelized nuts and chestnut honey and a dollop of crème fraîche. It was a sweet ending, but the nits picked throughout the night went beyond the food: some of our plates were chipped, and the waitstaff didn’t replace a dropped knife or clean up our visibly dirty table before bringing out desserts. These faults wouldn’t matter as much if the prices were lower, but Orama is an expensive night out, so our expectations were high. Still, there are those views and that gorgeous villa. Until the kitchen and the service catch up to the visuals, it might be preferable to savor the skyline and décor from the bar.

We fared better with desserts. The pastry chef, Krista Guiwo, was trained at the French Culinary Institute in <hl> New York City <hl> and usually has eight frequently changing choices on her menu. While the frozen lemon mousse had an icy, not-so-lemony taste, the crème brûlée trio in classic, coffee and passion fruit flavors, as well as the triple chocolate mousse cake, were incredibly velvety. Better still was the warm honey pine nut tart, with a filling of caramelized nuts and chestnut honey and a dollop of crème fraîche. It was a sweet ending, but the nits picked throughout the night went beyond the food: some of our plates were chipped, and the waitstaff didn’t replace a dropped knife or clean up our visibly dirty table before bringing out desserts. These faults wouldn’t matter as much if the prices were lower, but Orama is an expensive night out, so our expectations were high. Still, there are those views and that gorgeous villa. Until the kitchen and the service catch up to the visuals, it might be preferable to savor the skyline and décor from the bar.


Question: How many choices are usually on the dessert menu?

Answer: eight

We fared better with desserts. <hl> The pastry chef, Krista Guiwo, was trained at the French Culinary Institute in New York City and usually has eight frequently changing choices on her menu. <hl> While the frozen lemon mousse had an icy, not-so-lemony taste, the crème brûlée trio in classic, coffee and passion fruit flavors, as well as the triple chocolate mousse cake, were incredibly velvety. Better still was the warm honey pine nut tart, with a filling of caramelized nuts and chestnut honey and a dollop of crème fraîche. It was a sweet ending, but the nits picked throughout the night went beyond the food: some of our plates were chipped, and the waitstaff didn’t replace a dropped knife or clean up our visibly dirty table before bringing out desserts. These faults wouldn’t matter as much if the prices were lower, but Orama is an expensive night out, so our expectations were high. Still, there are those views and that gorgeous villa. Until the kitchen and the service catch up to the visuals, it might be preferable to savor the skyline and décor from the bar.

We fared better with desserts. The pastry chef, Krista Guiwo, was trained at the French Culinary Institute in New York City and usually has <hl> eight <hl> frequently changing choices on her menu. While the frozen lemon mousse had an icy, not-so-lemony taste, the crème brûlée trio in classic, coffee and passion fruit flavors, as well as the triple chocolate mousse cake, were incredibly velvety. Better still was the warm honey pine nut tart, with a filling of caramelized nuts and chestnut honey and a dollop of crème fraîche. It was a sweet ending, but the nits picked throughout the night went beyond the food: some of our plates were chipped, and the waitstaff didn’t replace a dropped knife or clean up our visibly dirty table before bringing out desserts. These faults wouldn’t matter as much if the prices were lower, but Orama is an expensive night out, so our expectations were high. Still, there are those views and that gorgeous villa. Until the kitchen and the service catch up to the visuals, it might be preferable to savor the skyline and décor from the bar.


Question: How often did the dessert menu change?

Answer: frequently

We fared better with desserts. <hl> The pastry chef, Krista Guiwo, was trained at the French Culinary Institute in New York City and usually has eight frequently changing choices on her menu. <hl> While the frozen lemon mousse had an icy, not-so-lemony taste, the crème brûlée trio in classic, coffee and passion fruit flavors, as well as the triple chocolate mousse cake, were incredibly velvety. Better still was the warm honey pine nut tart, with a filling of caramelized nuts and chestnut honey and a dollop of crème fraîche. It was a sweet ending, but the nits picked throughout the night went beyond the food: some of our plates were chipped, and the waitstaff didn’t replace a dropped knife or clean up our visibly dirty table before bringing out desserts. These faults wouldn’t matter as much if the prices were lower, but Orama is an expensive night out, so our expectations were high. Still, there are those views and that gorgeous villa. Until the kitchen and the service catch up to the visuals, it might be preferable to savor the skyline and décor from the bar.

We fared better with desserts. The pastry chef, Krista Guiwo, was trained at the French Culinary Institute in New York City and usually has eight <hl> frequently <hl> changing choices on her menu. While the frozen lemon mousse had an icy, not-so-lemony taste, the crème brûlée trio in classic, coffee and passion fruit flavors, as well as the triple chocolate mousse cake, were incredibly velvety. Better still was the warm honey pine nut tart, with a filling of caramelized nuts and chestnut honey and a dollop of crème fraîche. It was a sweet ending, but the nits picked throughout the night went beyond the food: some of our plates were chipped, and the waitstaff didn’t replace a dropped knife or clean up our visibly dirty table before bringing out desserts. These faults wouldn’t matter as much if the prices were lower, but Orama is an expensive night out, so our expectations were high. Still, there are those views and that gorgeous villa. Until the kitchen and the service catch up to the visuals, it might be preferable to savor the skyline and décor from the bar.


Question: What were the expectations for the night?

Answer: high

We fared better with desserts. The pastry chef, Krista Guiwo, was trained at the French Culinary Institute in New York City and usually has eight frequently changing choices on her menu. While the frozen lemon mousse had an icy, not-so-lemony taste, the crème brûlée trio in classic, coffee and passion fruit flavors, as well as the triple chocolate mousse cake, were incredibly velvety. Better still was the warm honey pine nut tart, with a filling of caramelized nuts and chestnut honey and a dollop of crème fraîche. It was a sweet ending, but the nits picked throughout the night went beyond the food: some of our plates were chipped, and the waitstaff didn’t replace a dropped knife or clean up our visibly dirty table before bringing out desserts. <hl> These faults wouldn’t matter as much if the prices were lower, but Orama is an expensive night out, so our expectations were high . <hl> Still, there are those views and that gorgeous villa. Until the kitchen and the service catch up to the visuals, it might be preferable to savor the skyline and décor from the bar.

We fared better with desserts. The pastry chef, Krista Guiwo, was trained at the French Culinary Institute in New York City and usually has eight frequently changing choices on her menu. While the frozen lemon mousse had an icy, not-so-lemony taste, the crème brûlée trio in classic, coffee and passion fruit flavors, as well as the triple chocolate mousse cake, were incredibly velvety. Better still was the warm honey pine nut tart, with a filling of caramelized nuts and chestnut honey and a dollop of crème fraîche. It was a sweet ending, but the nits picked throughout the night went beyond the food: some of our plates were chipped, and the waitstaff didn’t replace a dropped knife or clean up our visibly dirty table before bringing out desserts. These faults wouldn’t matter as much if the prices were lower, but Orama is an expensive night out, so our expectations were <hl> high <hl>. Still, there are those views and that gorgeous villa. Until the kitchen and the service catch up to the visuals, it might be preferable to savor the skyline and décor from the bar.

These faults wouldn’t matter as much if the prices were lower, but Orama is an expensive night out, so our expectations were <hl> high <hl> .


Question: How much does it cost to visit the musuem?

Aficionados of lowbrow aesthetics are also heading to Glòries, thanks to the arresting Encants Barcelona, the new home for the area’s historic flea market — a ramped space, open on the sides, with slender columns supporting an angular reflective metal canopy. Since the market moved here in 2013, it’s been drawing 120,000 antiques- and junk-seekers a week to early morning auctions and the stalls that open directly after the last lot has sold. Ironically, the building housing the Barcelona Design Museum — a squat, zinc-clad structure with front and rear cantilevers — hasn’t exactly been celebrated for its exterior form. Some have taken to calling it “the Stapler.” The museum, which unites collections of Catalan decorative arts, graphics, ceramics, textiles and fashion that previously had been scattered throughout the city, was originally to be the building’s sole occupant. But in an effort to make use of its vast interior spaces — and lure people to what is still considered an off-the-beaten-path area — municipal leaders also moved the city’s major design organizations here and named the whole enterprise Design Hub Barcelona, or DHUB, hoping it truly would become a hotbed of design activity. Today, while design professionals show up for events in the building, museum-goers make their way through exhibits that sprawl on four floors, displaying everything from corsets to cruets. The museum, which charges a 5-euro ($5.35) general admission fee, has already drawn about 204,000 visitors. While its holdings may never achieve the popularity of the offerings at the flea market next door, the institution is already helping attract traffic — foot traffic — to the Glòries area. “In the future Glòries will be a place not for cars, but for people,” said Isabel Roig, executive director of Barcelona Design Center, a trade group and one of DHUB’s new tenants.

Answer: 5-euro ($5.35)

Aficionados of lowbrow aesthetics are also heading to Glòries, thanks to the arresting Encants Barcelona, the new home for the area’s historic flea market — a ramped space, open on the sides, with slender columns supporting an angular reflective metal canopy. Since the market moved here in 2013, it’s been drawing 120,000 antiques- and junk-seekers a week to early morning auctions and the stalls that open directly after the last lot has sold. Ironically, the building housing the Barcelona Design Museum — a squat, zinc-clad structure with front and rear cantilevers — hasn’t exactly been celebrated for its exterior form. Some have taken to calling it “the Stapler.” The museum, which unites collections of Catalan decorative arts, graphics, ceramics, textiles and fashion that previously had been scattered throughout the city, was originally to be the building’s sole occupant. But in an effort to make use of its vast interior spaces — and lure people to what is still considered an off-the-beaten-path area — municipal leaders also moved the city’s major design organizations here and named the whole enterprise Design Hub Barcelona, or DHUB, hoping it truly would become a hotbed of design activity. Today, while design professionals show up for events in the building, museum-goers make their way through exhibits that sprawl on four floors, displaying everything from corsets to cruets. <hl> The museum, which charges a 5-euro ($5.35) general admission fee, has already drawn about 204,000 visitors. <hl> While its holdings may never achieve the popularity of the offerings at the flea market next door, the institution is already helping attract traffic — foot traffic — to the Glòries area. “In the future Glòries will be a place not for cars, but for people,” said Isabel Roig, executive director of Barcelona Design Center, a trade group and one of DHUB’s new tenants.

Aficionados of lowbrow aesthetics are also heading to Glòries, thanks to the arresting Encants Barcelona, the new home for the area’s historic flea market — a ramped space, open on the sides, with slender columns supporting an angular reflective metal canopy. Since the market moved here in 2013, it’s been drawing 120,000 antiques- and junk-seekers a week to early morning auctions and the stalls that open directly after the last lot has sold. Ironically, the building housing the Barcelona Design Museum — a squat, zinc-clad structure with front and rear cantilevers — hasn’t exactly been celebrated for its exterior form. Some have taken to calling it “the Stapler.” The museum, which unites collections of Catalan decorative arts, graphics, ceramics, textiles and fashion that previously had been scattered throughout the city, was originally to be the building’s sole occupant. But in an effort to make use of its vast interior spaces — and lure people to what is still considered an off-the-beaten-path area — municipal leaders also moved the city’s major design organizations here and named the whole enterprise Design Hub Barcelona, or DHUB, hoping it truly would become a hotbed of design activity. Today, while design professionals show up for events in the building, museum-goers make their way through exhibits that sprawl on four floors, displaying everything from corsets to cruets. The museum, which charges a <hl> 5-euro ($5.35) <hl> general admission fee, has already drawn about 204,000 visitors. While its holdings may never achieve the popularity of the offerings at the flea market next door, the institution is already helping attract traffic — foot traffic — to the Glòries area. “In the future Glòries will be a place not for cars, but for people,” said Isabel Roig, executive director of Barcelona Design Center, a trade group and one of DHUB’s new tenants.


Question: What did the municipal leaders name the new city organizations?

Answer: Design Hub Barcelona

Aficionados of lowbrow aesthetics are also heading to Glòries, thanks to the arresting Encants Barcelona, the new home for the area’s historic flea market — a ramped space, open on the sides, with slender columns supporting an angular reflective metal canopy. Since the market moved here in 2013, it’s been drawing 120,000 antiques- and junk-seekers a week to early morning auctions and the stalls that open directly after the last lot has sold. Ironically, the building housing the Barcelona Design Museum — a squat, zinc-clad structure with front and rear cantilevers — hasn’t exactly been celebrated for its exterior form. Some have taken to calling it “the Stapler.” The museum, which unites collections of Catalan decorative arts, graphics, ceramics, textiles and fashion that previously had been scattered throughout the city, was originally to be the building’s sole occupant. <hl> But in an effort to make use of its vast interior spaces — and lure people to what is still considered an off-the-beaten-path area — municipal leaders also moved the city’s major design organizations here and named the whole enterprise Design Hub Barcelona , or DHUB, hoping it truly would become a hotbed of design activity. <hl> Today, while design professionals show up for events in the building, museum-goers make their way through exhibits that sprawl on four floors, displaying everything from corsets to cruets. The museum, which charges a 5-euro ($5.35) general admission fee, has already drawn about 204,000 visitors. While its holdings may never achieve the popularity of the offerings at the flea market next door, the institution is already helping attract traffic — foot traffic — to the Glòries area. “In the future Glòries will be a place not for cars, but for people,” said Isabel Roig, executive director of Barcelona Design Center, a trade group and one of DHUB’s new tenants.

Aficionados of lowbrow aesthetics are also heading to Glòries, thanks to the arresting Encants Barcelona, the new home for the area’s historic flea market — a ramped space, open on the sides, with slender columns supporting an angular reflective metal canopy. Since the market moved here in 2013, it’s been drawing 120,000 antiques- and junk-seekers a week to early morning auctions and the stalls that open directly after the last lot has sold. Ironically, the building housing the Barcelona Design Museum — a squat, zinc-clad structure with front and rear cantilevers — hasn’t exactly been celebrated for its exterior form. Some have taken to calling it “the Stapler.” The museum, which unites collections of Catalan decorative arts, graphics, ceramics, textiles and fashion that previously had been scattered throughout the city, was originally to be the building’s sole occupant. But in an effort to make use of its vast interior spaces — and lure people to what is still considered an off-the-beaten-path area — municipal leaders also moved the city’s major design organizations here and named the whole enterprise <hl> Design Hub Barcelona <hl>, or DHUB, hoping it truly would become a hotbed of design activity. Today, while design professionals show up for events in the building, museum-goers make their way through exhibits that sprawl on four floors, displaying everything from corsets to cruets. The museum, which charges a 5-euro ($5.35) general admission fee, has already drawn about 204,000 visitors. While its holdings may never achieve the popularity of the offerings at the flea market next door, the institution is already helping attract traffic — foot traffic — to the Glòries area. “In the future Glòries will be a place not for cars, but for people,” said Isabel Roig, executive director of Barcelona Design Center, a trade group and one of DHUB’s new tenants.

But in an effort to make use of its vast interior spaces — and lure people to what is still considered an off-the-beaten-path area — municipal leaders also moved the city’s major design organizations here and named the whole enterprise <hl> Design Hub Barcelona <hl> , or DHUB, hoping it truly would become a hotbed of design activity.


Question: About how many visitors has the musuem had already?

Answer: 204,000

Aficionados of lowbrow aesthetics are also heading to Glòries, thanks to the arresting Encants Barcelona, the new home for the area’s historic flea market — a ramped space, open on the sides, with slender columns supporting an angular reflective metal canopy. Since the market moved here in 2013, it’s been drawing 120,000 antiques- and junk-seekers a week to early morning auctions and the stalls that open directly after the last lot has sold. Ironically, the building housing the Barcelona Design Museum — a squat, zinc-clad structure with front and rear cantilevers — hasn’t exactly been celebrated for its exterior form. Some have taken to calling it “the Stapler.” The museum, which unites collections of Catalan decorative arts, graphics, ceramics, textiles and fashion that previously had been scattered throughout the city, was originally to be the building’s sole occupant. But in an effort to make use of its vast interior spaces — and lure people to what is still considered an off-the-beaten-path area — municipal leaders also moved the city’s major design organizations here and named the whole enterprise Design Hub Barcelona, or DHUB, hoping it truly would become a hotbed of design activity. Today, while design professionals show up for events in the building, museum-goers make their way through exhibits that sprawl on four floors, displaying everything from corsets to cruets. <hl> The museum, which charges a 5-euro ($5.35) general admission fee, has already drawn about 204,000 visitors. <hl> While its holdings may never achieve the popularity of the offerings at the flea market next door, the institution is already helping attract traffic — foot traffic — to the Glòries area. “In the future Glòries will be a place not for cars, but for people,” said Isabel Roig, executive director of Barcelona Design Center, a trade group and one of DHUB’s new tenants.

Aficionados of lowbrow aesthetics are also heading to Glòries, thanks to the arresting Encants Barcelona, the new home for the area’s historic flea market — a ramped space, open on the sides, with slender columns supporting an angular reflective metal canopy. Since the market moved here in 2013, it’s been drawing 120,000 antiques- and junk-seekers a week to early morning auctions and the stalls that open directly after the last lot has sold. Ironically, the building housing the Barcelona Design Museum — a squat, zinc-clad structure with front and rear cantilevers — hasn’t exactly been celebrated for its exterior form. Some have taken to calling it “the Stapler.” The museum, which unites collections of Catalan decorative arts, graphics, ceramics, textiles and fashion that previously had been scattered throughout the city, was originally to be the building’s sole occupant. But in an effort to make use of its vast interior spaces — and lure people to what is still considered an off-the-beaten-path area — municipal leaders also moved the city’s major design organizations here and named the whole enterprise Design Hub Barcelona, or DHUB, hoping it truly would become a hotbed of design activity. Today, while design professionals show up for events in the building, museum-goers make their way through exhibits that sprawl on four floors, displaying everything from corsets to cruets. The museum, which charges a 5-euro ($5.35) general admission fee, has already drawn about <hl> 204,000 <hl> visitors. While its holdings may never achieve the popularity of the offerings at the flea market next door, the institution is already helping attract traffic — foot traffic — to the Glòries area. “In the future Glòries will be a place not for cars, but for people,” said Isabel Roig, executive director of Barcelona Design Center, a trade group and one of DHUB’s new tenants.


Question: The Barcelona Design Musuem has what in both the front and back?

Answer: front and rear cantilevers

Aficionados of lowbrow aesthetics are also heading to Glòries, thanks to the arresting Encants Barcelona, the new home for the area’s historic flea market — a ramped space, open on the sides, with slender columns supporting an angular reflective metal canopy. Since the market moved here in 2013, it’s been drawing 120,000 antiques- and junk-seekers a week to early morning auctions and the stalls that open directly after the last lot has sold. <hl> Ironically, the building housing the Barcelona Design Museum — a squat, zinc-clad structure with front and rear cantilevers — hasn’t exactly been celebrated for its exterior form. <hl> Some have taken to calling it “the Stapler.” The museum, which unites collections of Catalan decorative arts, graphics, ceramics, textiles and fashion that previously had been scattered throughout the city, was originally to be the building’s sole occupant. But in an effort to make use of its vast interior spaces — and lure people to what is still considered an off-the-beaten-path area — municipal leaders also moved the city’s major design organizations here and named the whole enterprise Design Hub Barcelona, or DHUB, hoping it truly would become a hotbed of design activity. Today, while design professionals show up for events in the building, museum-goers make their way through exhibits that sprawl on four floors, displaying everything from corsets to cruets. The museum, which charges a 5-euro ($5.35) general admission fee, has already drawn about 204,000 visitors. While its holdings may never achieve the popularity of the offerings at the flea market next door, the institution is already helping attract traffic — foot traffic — to the Glòries area. “In the future Glòries will be a place not for cars, but for people,” said Isabel Roig, executive director of Barcelona Design Center, a trade group and one of DHUB’s new tenants.

Aficionados of lowbrow aesthetics are also heading to Glòries, thanks to the arresting Encants Barcelona, the new home for the area’s historic flea market — a ramped space, open on the sides, with slender columns supporting an angular reflective metal canopy. Since the market moved here in 2013, it’s been drawing 120,000 antiques- and junk-seekers a week to early morning auctions and the stalls that open directly after the last lot has sold. Ironically, the building housing the Barcelona Design Museum — a squat, zinc-clad structure with <hl> front and rear cantilevers <hl> — hasn’t exactly been celebrated for its exterior form. Some have taken to calling it “the Stapler.” The museum, which unites collections of Catalan decorative arts, graphics, ceramics, textiles and fashion that previously had been scattered throughout the city, was originally to be the building’s sole occupant. But in an effort to make use of its vast interior spaces — and lure people to what is still considered an off-the-beaten-path area — municipal leaders also moved the city’s major design organizations here and named the whole enterprise Design Hub Barcelona, or DHUB, hoping it truly would become a hotbed of design activity. Today, while design professionals show up for events in the building, museum-goers make their way through exhibits that sprawl on four floors, displaying everything from corsets to cruets. The museum, which charges a 5-euro ($5.35) general admission fee, has already drawn about 204,000 visitors. While its holdings may never achieve the popularity of the offerings at the flea market next door, the institution is already helping attract traffic — foot traffic — to the Glòries area. “In the future Glòries will be a place not for cars, but for people,” said Isabel Roig, executive director of Barcelona Design Center, a trade group and one of DHUB’s new tenants.


Question: How many antiques does the musuem have?

Answer: 120,000

Aficionados of lowbrow aesthetics are also heading to Glòries, thanks to the arresting Encants Barcelona, the new home for the area’s historic flea market — a ramped space, open on the sides, with slender columns supporting an angular reflective metal canopy. <hl> Since the market moved here in 2013, it’s been drawing 120,000 antiques- and junk-seekers a week to early morning auctions and the stalls that open directly after the last lot has sold. <hl> Ironically, the building housing the Barcelona Design Museum — a squat, zinc-clad structure with front and rear cantilevers — hasn’t exactly been celebrated for its exterior form. Some have taken to calling it “the Stapler.” The museum, which unites collections of Catalan decorative arts, graphics, ceramics, textiles and fashion that previously had been scattered throughout the city, was originally to be the building’s sole occupant. But in an effort to make use of its vast interior spaces — and lure people to what is still considered an off-the-beaten-path area — municipal leaders also moved the city’s major design organizations here and named the whole enterprise Design Hub Barcelona, or DHUB, hoping it truly would become a hotbed of design activity. Today, while design professionals show up for events in the building, museum-goers make their way through exhibits that sprawl on four floors, displaying everything from corsets to cruets. The museum, which charges a 5-euro ($5.35) general admission fee, has already drawn about 204,000 visitors. While its holdings may never achieve the popularity of the offerings at the flea market next door, the institution is already helping attract traffic — foot traffic — to the Glòries area. “In the future Glòries will be a place not for cars, but for people,” said Isabel Roig, executive director of Barcelona Design Center, a trade group and one of DHUB’s new tenants.

Aficionados of lowbrow aesthetics are also heading to Glòries, thanks to the arresting Encants Barcelona, the new home for the area’s historic flea market — a ramped space, open on the sides, with slender columns supporting an angular reflective metal canopy. Since the market moved here in 2013, it’s been drawing <hl> 120,000 <hl> antiques- and junk-seekers a week to early morning auctions and the stalls that open directly after the last lot has sold. Ironically, the building housing the Barcelona Design Museum — a squat, zinc-clad structure with front and rear cantilevers — hasn’t exactly been celebrated for its exterior form. Some have taken to calling it “the Stapler.” The museum, which unites collections of Catalan decorative arts, graphics, ceramics, textiles and fashion that previously had been scattered throughout the city, was originally to be the building’s sole occupant. But in an effort to make use of its vast interior spaces — and lure people to what is still considered an off-the-beaten-path area — municipal leaders also moved the city’s major design organizations here and named the whole enterprise Design Hub Barcelona, or DHUB, hoping it truly would become a hotbed of design activity. Today, while design professionals show up for events in the building, museum-goers make their way through exhibits that sprawl on four floors, displaying everything from corsets to cruets. The museum, which charges a 5-euro ($5.35) general admission fee, has already drawn about 204,000 visitors. While its holdings may never achieve the popularity of the offerings at the flea market next door, the institution is already helping attract traffic — foot traffic — to the Glòries area. “In the future Glòries will be a place not for cars, but for people,” said Isabel Roig, executive director of Barcelona Design Center, a trade group and one of DHUB’s new tenants.


Question: The roundabout in the Glories area of Barcelona has been torn down as part of what program?

Not so long ago, travelers might have stopped in the Glòries area of Barcelona only if they were stuck in traffic. Three major roads leading in and out of this Spanish city — Avenida Diagonal, Avenida Meridiana and the Gran Via de les Corts Catalanes — converged here at an elevated roundabout, where cars often came to a standstill. But lately this northeastern axis of the Catalan capital — situated in the Sant Martí district, bordering Eixample — is becoming a place to go to, not just through, especially for those interested in design. The roundabout has been torn down as part of a roadway reconfiguration, making the area more walkable. And some of the city’s most exciting public spaces have sprung up nearby, including a popular flea market under a modernist metal roof and, opening last December, the Barcelona Design Museum. “The area is definitely up-and-coming,” said the tour guide Jordan Susselman, whose company, Hi. This Is Barcelona … ,  increasingly makes stops in Glòries and adjacent Poblenou. In fact, the city has been trying to invigorate this part of town for some time. Ildefons Cerdà, the engineer who drew up the 1859 plan for the expansion of Barcelona, envisioned his Plaça de les Glòries Catalanes as a new town center. Instead, Glòries (pronounced GLO-rias), as it’s commonly called, became the aforementioned traffic snarl, a no man’s land at the top point of a triangular swath stretching down to the Mediterranean, encompassing Poblenou, or “new city,” a longtime manufacturing zone that declined in the 20th century.

Answer: roadway reconfiguration

Not so long ago, travelers might have stopped in the Glòries area of Barcelona only if they were stuck in traffic. Three major roads leading in and out of this Spanish city — Avenida Diagonal, Avenida Meridiana and the Gran Via de les Corts Catalanes — converged here at an elevated roundabout, where cars often came to a standstill. But lately this northeastern axis of the Catalan capital — situated in the Sant Martí district, bordering Eixample — is becoming a place to go to, not just through, especially for those interested in design. <hl> The roundabout has been torn down as part of a roadway reconfiguration , making the area more walkable. <hl> And some of the city’s most exciting public spaces have sprung up nearby, including a popular flea market under a modernist metal roof and, opening last December, the Barcelona Design Museum. “The area is definitely up-and-coming,” said the tour guide Jordan Susselman, whose company, Hi. This Is Barcelona … , increasingly makes stops in Glòries and adjacent Poblenou. In fact, the city has been trying to invigorate this part of town for some time. Ildefons Cerdà, the engineer who drew up the 1859 plan for the expansion of Barcelona, envisioned his Plaça de les Glòries Catalanes as a new town center. Instead, Glòries (pronounced GLO-rias), as it’s commonly called, became the aforementioned traffic snarl, a no man’s land at the top point of a triangular swath stretching down to the Mediterranean, encompassing Poblenou, or “new city,” a longtime manufacturing zone that declined in the 20th century.

Not so long ago, travelers might have stopped in the Glòries area of Barcelona only if they were stuck in traffic. Three major roads leading in and out of this Spanish city — Avenida Diagonal, Avenida Meridiana and the Gran Via de les Corts Catalanes — converged here at an elevated roundabout, where cars often came to a standstill. But lately this northeastern axis of the Catalan capital — situated in the Sant Martí district, bordering Eixample — is becoming a place to go to, not just through, especially for those interested in design. The roundabout has been torn down as part of a <hl> roadway reconfiguration <hl>, making the area more walkable. And some of the city’s most exciting public spaces have sprung up nearby, including a popular flea market under a modernist metal roof and, opening last December, the Barcelona Design Museum. “The area is definitely up-and-coming,” said the tour guide Jordan Susselman, whose company, Hi. This Is Barcelona … , increasingly makes stops in Glòries and adjacent Poblenou. In fact, the city has been trying to invigorate this part of town for some time. Ildefons Cerdà, the engineer who drew up the 1859 plan for the expansion of Barcelona, envisioned his Plaça de les Glòries Catalanes as a new town center. Instead, Glòries (pronounced GLO-rias), as it’s commonly called, became the aforementioned traffic snarl, a no man’s land at the top point of a triangular swath stretching down to the Mediterranean, encompassing Poblenou, or “new city,” a longtime manufacturing zone that declined in the 20th century.

The roundabout has been torn down as part of a <hl> roadway reconfiguration <hl> , making the area more walkable.


Question: What has opened up nearby in December?

Answer: Barcelona Design Museum

Not so long ago, travelers might have stopped in the Glòries area of Barcelona only if they were stuck in traffic. Three major roads leading in and out of this Spanish city — Avenida Diagonal, Avenida Meridiana and the Gran Via de les Corts Catalanes — converged here at an elevated roundabout, where cars often came to a standstill. But lately this northeastern axis of the Catalan capital — situated in the Sant Martí district, bordering Eixample — is becoming a place to go to, not just through, especially for those interested in design. The roundabout has been torn down as part of a roadway reconfiguration, making the area more walkable. <hl> And some of the city’s most exciting public spaces have sprung up nearby, including a popular flea market under a modernist metal roof and, opening last December, the Barcelona Design Museum . <hl> “The area is definitely up-and-coming,” said the tour guide Jordan Susselman, whose company, Hi. This Is Barcelona … , increasingly makes stops in Glòries and adjacent Poblenou. In fact, the city has been trying to invigorate this part of town for some time. Ildefons Cerdà, the engineer who drew up the 1859 plan for the expansion of Barcelona, envisioned his Plaça de les Glòries Catalanes as a new town center. Instead, Glòries (pronounced GLO-rias), as it’s commonly called, became the aforementioned traffic snarl, a no man’s land at the top point of a triangular swath stretching down to the Mediterranean, encompassing Poblenou, or “new city,” a longtime manufacturing zone that declined in the 20th century.

Not so long ago, travelers might have stopped in the Glòries area of Barcelona only if they were stuck in traffic. Three major roads leading in and out of this Spanish city — Avenida Diagonal, Avenida Meridiana and the Gran Via de les Corts Catalanes — converged here at an elevated roundabout, where cars often came to a standstill. But lately this northeastern axis of the Catalan capital — situated in the Sant Martí district, bordering Eixample — is becoming a place to go to, not just through, especially for those interested in design. The roundabout has been torn down as part of a roadway reconfiguration, making the area more walkable. And some of the city’s most exciting public spaces have sprung up nearby, including a popular flea market under a modernist metal roof and, opening last December, the <hl> Barcelona Design Museum <hl>. “The area is definitely up-and-coming,” said the tour guide Jordan Susselman, whose company, Hi. This Is Barcelona … , increasingly makes stops in Glòries and adjacent Poblenou. In fact, the city has been trying to invigorate this part of town for some time. Ildefons Cerdà, the engineer who drew up the 1859 plan for the expansion of Barcelona, envisioned his Plaça de les Glòries Catalanes as a new town center. Instead, Glòries (pronounced GLO-rias), as it’s commonly called, became the aforementioned traffic snarl, a no man’s land at the top point of a triangular swath stretching down to the Mediterranean, encompassing Poblenou, or “new city,” a longtime manufacturing zone that declined in the 20th century.

And some of the city’s most exciting public spaces have sprung up nearby, including a popular flea market under a modernist metal roof and, opening last December, the <hl> Barcelona Design Museum <hl> .


Question: In which year did Illdefons Cerda design Barcelona?

Answer: 1859

Not so long ago, travelers might have stopped in the Glòries area of Barcelona only if they were stuck in traffic. Three major roads leading in and out of this Spanish city — Avenida Diagonal, Avenida Meridiana and the Gran Via de les Corts Catalanes — converged here at an elevated roundabout, where cars often came to a standstill. But lately this northeastern axis of the Catalan capital — situated in the Sant Martí district, bordering Eixample — is becoming a place to go to, not just through, especially for those interested in design. The roundabout has been torn down as part of a roadway reconfiguration, making the area more walkable. And some of the city’s most exciting public spaces have sprung up nearby, including a popular flea market under a modernist metal roof and, opening last December, the Barcelona Design Museum. “The area is definitely up-and-coming,” said the tour guide Jordan Susselman, whose company, Hi. This Is Barcelona … , increasingly makes stops in Glòries and adjacent Poblenou. In fact, the city has been trying to invigorate this part of town for some time. <hl> Ildefons Cerdà, the engineer who drew up the 1859 plan for the expansion of Barcelona, envisioned his Plaça de les Glòries Catalanes as a new town center. <hl> Instead, Glòries (pronounced GLO-rias), as it’s commonly called, became the aforementioned traffic snarl, a no man’s land at the top point of a triangular swath stretching down to the Mediterranean, encompassing Poblenou, or “new city,” a longtime manufacturing zone that declined in the 20th century.

Not so long ago, travelers might have stopped in the Glòries area of Barcelona only if they were stuck in traffic. Three major roads leading in and out of this Spanish city — Avenida Diagonal, Avenida Meridiana and the Gran Via de les Corts Catalanes — converged here at an elevated roundabout, where cars often came to a standstill. But lately this northeastern axis of the Catalan capital — situated in the Sant Martí district, bordering Eixample — is becoming a place to go to, not just through, especially for those interested in design. The roundabout has been torn down as part of a roadway reconfiguration, making the area more walkable. And some of the city’s most exciting public spaces have sprung up nearby, including a popular flea market under a modernist metal roof and, opening last December, the Barcelona Design Museum. “The area is definitely up-and-coming,” said the tour guide Jordan Susselman, whose company, Hi. This Is Barcelona … , increasingly makes stops in Glòries and adjacent Poblenou. In fact, the city has been trying to invigorate this part of town for some time. Ildefons Cerdà, the engineer who drew up the <hl> 1859 <hl> plan for the expansion of Barcelona, envisioned his Plaça de les Glòries Catalanes as a new town center. Instead, Glòries (pronounced GLO-rias), as it’s commonly called, became the aforementioned traffic snarl, a no man’s land at the top point of a triangular swath stretching down to the Mediterranean, encompassing Poblenou, or “new city,” a longtime manufacturing zone that declined in the 20th century.