architecture

Wednesday, March 31, 2010

Book Review: Storefront Newsprints

Storefront Newsprints: 1982-2009 by Storefront for Art and Architecture
Storefront Books, 2009
2-volume paperback with slip case, 1,000 pages

book-storefront1.jpg

Anybody who has visited the Storefront for Art and Architecture has probably walked away with a folded piece of newsprint with details on the exhibition on display. Since my first visit in 1997 I've amassed quite a few, storing them in a shoebox with pamphlets from other museums and venues I've visited in New York City and beyond. The Storefront newsprints have a way of standing out from the rest, in large part from the material they are printed on as well as the monochrome graphics employed. They are anachronistic without being reactionary. They recall a time before ink-jet printers and digital publishing, a time of literal cut-and-paste graphic design and printing in local copy shops. Yet the newsprint is a consistent medium in the nearly 30-year Storefront history, spanning a time of great changes arising from digital technologies, be it graphic design, publishing, or architecture. That Storefront continues to use the format points to a desire to keep in mind the organization's origins, even as it grows in scope and influence beyond the confines of 97 Kenmare Street.

book-storefront2.jpg

Storefront Newsprints collects over 150 of the newsletters from its early days on Prince Street to last year, reprinted in two volumes nicely packaged in a black slip case. This is book as historical artifact, focused on what could be considered Storefront's unintentional archive. Not all of the text in the reprints is legible (essays by Lebbeus Woods, Michael Webb, and Vito Acconci are reprinted in easy-to-read format), but it is the images, layouts, and most of all the subject matter that rises to the fore while perusing the collection.

Storefront Newsprints comes at the end of Joseph Grima's three-year directorship. Heading for Italy and Domus, he followed Sarah Herda, who is now at the helm of the Graham Foundation in Chicago after her eight-years at Storefront. Before them founder Kyong Park directed the space's exhibitions, and Grima's interview with him is particularly revealing about the organization and its newsprints. As the Storefront searches for Grima's replacement, the past tenuousness of its existence seems to have given way to a widespread appreciation of the organizations, its space (restored in 2008), and its place within the broader architectural community. The influence of its programs reaches beyond its 868sf home (PDF link), but the newsprints are unique artifacts for those able to visit the gallery in person...and now for those willing to spend $49.

US: Buy from  Amazon.com or at Storefront Bookstore

Why don't you?

Why don't you refashion your chipped or broken china as beautiful desktop accessories? Here I'm using a chipped Wedgwood jasperware creamer to hold paperclips on my desk at work.
Waste not, want not; Definitely cheers up my day!

New World Order

[Image: Work by Shannon Rankin, taken from the artist's Flickr page].

Artist Shannon Rankin does amazing things with maps. Treating them as mere pieces of decorated paper to be manipulated—clipping out spirals, folding crevassed roses of ridges and faultlines, pinning up confetti-like clouds of circles and zigzags—she creates "new geographies, suggesting the potential for a broader landscape."

[Image: Work by Shannon Rankin, taken from the artist's Flickr page].

The maps thus become more like the terrains they originally referred to: textured, complex, and subject to eruption. Unexpected forms emerge from below—like geology, overlapping, igneous, and dynamic.

[Images: Shannon Rankin, taken from the artist's Flickr page].

Outlines of new island continents appear in the process, polar regions and archipelagoes that out-Dymaxion Buckminster Fuller in their collaged vortices and coasts.

[Image: By Shannon Rankin, taken from the artist's Flickr page].

All of the works you see here come from Rankin's Flickr page—specifically, the Uncharted, Bayside, ETA6, Maps, and Aggregate sets, where there are many other images to see.

[Images: All works by Shannon Rankin, taken from the artist's Flickr page].

But seeing these makes me want to feed full-color sheets of obscure maps through laser-cutting machines, slicing elaborate and random geometries to reveal the longest possible distance between two adjacent things, or to discover previously unknown proximities, the whole Earth cut-up and unspooled like a lemon rind.

[Image: By Shannon Rankin, taken from the artist's Flickr page].

There are a variety of distinct styles at work, as you can see, from tiling and tesselation to straight-ahead origami.

[Images: All works by Shannon Rankin, taken from the artist's Flickr page].

Another approach is to reduce every map to capillaries—pure roads. The geography is simply how you get somewhere.

[Image: Work by Shannon Rankin, taken from the artist's Flickr page].

And lest all of these look diminutive, or simply too tiny to see, the scale of execution is often surprising.

[Images: By Shannon Rankin, taken from the artist's Flickr page].

If you want to see some of these in person, meanwhile, work from Rankin's Convergence set are on display now through April 17 at the Craftland Gallery up in Providence, RI.

Consider supporting her work, as well, by purchasing a piece or two; you can contact the artist via her webpage.

(Originally spotted via Data is Nature).

Tuesday, March 30, 2010

Extracts of local distance

Extracts of local distance is a project by Benjamin Maus, Frederic Gmeiner and Thorsten Posselt. "Countless fragments of existing architectural photography are merged into multilayered shapes. The resulting collages introduce a third abstract point of view next to the original ones of architect and photographer." Take a look at the project video:

Extracts of Local Distance from STOESELTNTPRO on Vimeo.

Now take a look at one of the finished pieces:
extracts1.jpg
extracts2.jpg
[Elbberg Campus, top with detail below | image source]

The project, Elbberg Campus by BRT Architekten was featured on my weekly page in 2004:

brt1.jpg
brt2.jpg
brt4.jpg

The original photographer is Klaus Frahm, though I'm not sure if the three photos from my feature are the ones used for manipulation. Pieces of the wood louvers, curling metal facade, and wood decking can be seen in the collage, taking the space between the buildings and making it 100 times more dynamic. The image recalls Zaha Hadid's paintings, but it also makes me think of exploded diagrams, where pieces are pulled away from their final location for ease of understanding. In a sense these collages do the same thing, they extract information from the architectural photography and isolate individual pieces for regrouping into something new yet still recalling the original. Do the technique and its result have the potential to reorient how architects design space? Or are they just a commentary on the fairly consistent world of architectural photography today? Whatever their influence, they are striking images that I'm sure most architects would love to have gracing their walls.

(via PYTR 75)

Events in the Landscape and their Acoustic Shadows

While writing the previous post, about sound and warfare in Iraq, I came across a brief description of something called an acoustic shadow and its occurrence during the American Civil War.

[Image: Map via University of Maine Civil War Webquest].

An "acoustic shadow" is when the sounds of an event—here, a battle—cannot be heard by people nearby—say, in the neighboring valley or a parallel city street—but those same sounds can plainly be heard over much larger distances. This effect is caused by "a unique combination of factors such as wind, weather, temperature, land topography, forest or other vegetation, and elevation," we read. For example, "battle sounds from Gettysburg fought on July 1, 2, and 3, 1863 could be heard over one hundred miles away in Pittsburgh, but were not heard only ten miles from the battlefield."

Without my own access to contemporary accounts of these battles and their acoustic shadows—sonic phantom limbs haunting distant landscapes—I simply have to trust the accounts that I'm quoting from here; nonetheless, these stories are fascinating. "More than 91,000 men were engaged in battle at Gaines's Mill, Virginia on June 27, 1862," for instance. "Confederate commanders and troops were less than two miles from the battlefield and could plainly see the smoke and flashes from the guns and artillery, but not a sound could be heard of the battle for two hours. Strangely, the battle sounds from the Battle of Gaines's Mill were easily heard in Staunton, Virginia over one hundred miles away."

The unexpected atmospheric reflection of sound, and sound's complicated relationship with certain topographies, levels of humidity, climatic systems, and more presents an amazing—if impossibly complex—dimension to the future of urban design and landscape architecture. Could 5th Avenue be retrofitted to cultivate acoustic shadows—or might a neighborhood in eastern Brooklyn someday find itself overhearing distant traffic events and individual human conversations that have been carried on the winds from Midtown, acoustic effects soon traced back to the mirage-like venting of a new steam plant on the East River?

This also makes me wonder if instances of ghostlike visitation in ancient times—a king crazed by invisible whispers in his fortified tower bedroom, a city cursed by nocturnal voices, a village terrified by bodyless beasts unseen by any hunter—might actually have been examples of acoustic shadows. How could acoustic shadows be archaeologically and historically investigated without exactly reproducing the landscape topography and climatic conditions of the time?

(Vaguely related: a very old post about sound mirrors).

Warsound

[Image: U.S. helicopter over Baghdad, via (scroll down)].

I've mentioned The Forever War by Dexter Filkins before, but I was struck again the other day by a passage in which Filkins catalogs the mechanically unprecedented sounds of the American siege of Falluja, a collection of noises so alien and overpowering that he describes it as "an entire ecosystem" with its own hidden predators and prey.

Filkins writes that "rocket-propelled grenades whizzed out of the darkness, striking the M-1s and exploding but doing no harm. Whoosh-bang, like a fireworks show. Whoosh-bang." He quickly adds, however, that "the real weirdness was circling above."
    The night sky echoed with pops and pings, the invisible sounds of frantic action. Most were being made by the AC-130 gunships, whose propellers were putting out a reassuring hum. But over the droning came stranger sounds: the plane's Gatling gun let out long, deep burps at volumes that were symphonic. Its 105mm cannon made a popping sound, the same as you would hear from a machine that served tennis balls. A pop! followed by a boom! Pop-boom. And then there was the insect buzz of the ScanEagle, the pilotless airplane that hovered above us and beamed images back to base. It was as if we were witnessing the violent struggles of an entire ecosystem, a clash of airborne nocturnal beasts we could not see.
Of course, the unnatural acoustic ecology of humans at war is surely something you could find throughout history, from the fibrous zing of crossbow strings and the thunderous lurch of the catapult to endlessly irritating scrapings of metal on metal as swords and shields collide. What ancient Roman warfare actually sounded like is something for the acoustic archaeologists.

But, while an acoustic history of war has yet to be written—though some have treated sound itself as war—it would be a fascinating study to pursue.

Pritzker Musing

It's virtually impossible to write about The Pritzker Architecture Prize without discussing what other people are saying about the newest recipient. Coverage is fast and furious (see yesterday's ArchNewsNow for a few links and Google News for many more), and questions of "are they worthy" seem to take precedence over other concerns. This year's winners, Kazuyo Sejima and Ryue Nishizawa (aka SANAA), are known for minimal, ethereal designs of glass, metal and concrete. This fact is seen by James S. Russell (Bloomberg) as a disservice "at a time of profound challenges in the field." That they are the second duo (after Herzog & de Meuron) and Sejima is the second woman (after Zaha Hadid) to win the coveted prize is mentioned in just about all coverage (Cityscapes), and Christopher Hawthorne (LA Times) focuses on the former. While he quotes how the jury believes "it is virtually impossible to untangle which individual is responsible for what aspect of a particular project," there is one thing missing from this and other coverage: the individual practices of Sejima and Nishizawa that exist alongside SANAA.

The collaborative aspect of SANAA that Hawthorne and the jury praises is certainly nothing new, but that each retains their own individual practice is very unique. Many partnerships splinter as two or more designers and their egos do battle. Thom Mayne received the prize in 2005, but for a long time Morphosis was him and Michael Rotondi, who formed ROTO Architects in 1995. It's cliche but oftentimes true to say that a firm does not have room for more than one great designer. I think SANAA manage by allowing their own practices to exist and be treated equally; SANAA does not take precedence over the others, even though the commissions may get more press. But what is also important about this three-part structure, and is something that makes their choice for the Pritzker a little more complicated, is how the projects of each practice are not so easily distinguishable from the others. To be sure SANAA's commissions tend to be larger, but the minimalism, pristine surfaces and complex spaces are present in all their output. The award is given to Sejima and Nishizawa, but it can also be seen as a validation of all their work, whichever name gets the formal credit.

Previous Sejima/Nishizawa/SANAA coverage on my web pages:
:: Dior Building (Sejima)
:: Moriyama House (Nishizawa)
:: New Museum of Contemporary Art (SANAA, building)
:: New Museum of Contemporary Art (SANAA, project)
:: Onishi Hall (Sejima)
:: Rolex Learning Center (SANAA)
:: SANAA Houses (Sejima, Nishizawa, SANAA)
:: SHIFT: SANAA and the New Museum (SANAA)
03-31 Correction: Christopher Hawthorne does indeed mention the separate practices of Sejima and Nishizawa: "Both continue to operate their own smaller, separate firms."

My New Camera

You may remember I broke my old camera a few months ago and was on the search for a replacement. My replacement is a Canon Powershot SD1200 is and I can't say enough good things about it. I think the photographs have been excellent at 10 MP (judge for yourself though, the last 2 months worth of posts have used this camera); it's tiny and fits into my pocket and is super easy to use. My previous camera was also a canon powershot from 2002 but the difference is really amazing; Technology has come so far!Recently at the Smithsonian's National Museum of American History, I got a chance to see just how far camera technology has advanced. Above you see a number of cameras from the last century in all shapes and sizes.
This Ansco Cadet has the most enormous flash but is basically the 1960s version of my canon amateur powershot. You need luggage to tote this thing around though, definitely NOT pocket size!
This Thorton-Pickard Mark III Aerial gun from 1915 was used during WWI to spy on the enemy. I wouldn't advise this for everyday use unless you want an adventure in prison!
This little promotional velveeta camera was probably my favorite; so cute! I don't know if you had to save up UPC points from boxes or not to earn this, but it was definitely worth it!
Sidenote: this is not a paid advertisement of the Canon! Actually, the camera did have a fault in that it did not include a memory card and so was not 'ready to use' ! This is a very annoying thing to find out after you get it home and can't even try it out till you find an SD card!!! Canon - include basic memory cards with your cameras, please!

Monday, March 29, 2010

Quick Links 9

Ten quick links for a Monday morning:

[Image: Photo by Richard Caplan for City Limits].

—An "African burial ground" lies beneath the floor of a bus depot in Harlem, City Limits reports, but "the only stone slab at the site [marking its historical importance] is the concrete floor of the Metropolitan Transit Authority bus garage sitting on top of tons of fill mingled with human remains." That is subject to change, however, as "the Harlem African Burial Ground Task Force—composed of church leaders, activists, historians and elected officials—seeks preservation and official recognition of the colonial-era cemetery." As DNAinfo.com adds, "Community members feared upcoming reconstruction of the bus depot, slated to begin in 2015, along with ongoing construction of the Willis Avenue Bridge, could disturb the remains of its former African burial ground located between 126th and 127th Streets along First Avenue."

[Image: Eleusis, Greece, courtesy of the UCLA Archaeology Field Program].

—If I had a spare $8,000, I'd sign up for the UCLA Archaeology Field Program's Eleusis 3D Archaeological Recording and Visualization Project: "Eleusis is world famous as the location of the Eleusinian Mysteries—a significant Athenian religious festival—and is located some 14 miles west of Athens opposite the island of Salamis. The students will record the site’s extensive architectural remains using terrestrial laser scanning, photogrammetry, GIS and GPS. 3D computer visualization and animation technologies will be used to re-create areas of the site."

[Image: Dubai's abandoned Arabian Canal project: "The Arabian Canal was meant to run for 75 kilometres through the desert," photographer Tom Gara explains, "surrounded by luxury villas and apartment towers, creating an entire new city and doubling the size of Dubai"].

—"It will require an army of 10,000 construction workers, hundreds of giant drills and bulldozers, and four years of digging to get the job done," we read courtesy of The National back in 2008. "A billion cubic metres of earth will be removed from the ground and turned into hills that rise as high as the Emirates Towers Hotel."
    The 75-kilometre-long Arabian Canal will join the ranks of the great civil engineering legends of the earth—like the Suez and Panama canals. Yet, unlike its predecessors, Dubai’s new US$11bn (Dh40.4bn) canal is being dug solely for its value to property development. On its banks a new city will rise with museums, hotels, apartment buildings, villas, shops—and a population of 1.5 million people.
Unfortunately, it is now a ruin—or, more properly speaking, an abandoned excavation cut through the Earth like a little-known desert work by Michael Heizer.

[Image: The shallow acidic lakes of desert Australia, courtesy of NASA-JSC].

—"Life not only survives but thrives in Australian lakes where conditions may be as harsh as those on ancient Mars," New Scientist reports. "The lakes are very shallow and periodically fill with rainwater before partially evaporating, which concentrates the salts within them. They may be the closest equivalents on Earth of the shallow pools thought to have once dotted Mars."

[Image: Cliffs of Mars, courtesy of NASA].

—Speaking of Mars, "the new Mars pictures are a confrontation with the sublime," Sam Leith opines in the Guardian. "Look at these photographs of Mars, and you often can't tell if you're looking at miles, or metres, or microns. It's a scale with nothing human to anchor it. It suggests an unsettling kinship between the alienness of both the very tiny and the very large."

[Image: "A floating container vessel used by the UK during the 1982 Falklands War," courtesy of Popular Science].

—The ever-awesome Popular Science—whose Twitter feed is well-worth following—explains that "a modular, self-assembling floating platform delivered by cargo ships could provide a cheaper naval base for military forces" in their battle against piracy. Making BLDGBLOG's long-stated comparisons between Archigram and DARPA seemingly explicit, the "Tactically Expandable Maritime Platform (TEMP)," as it's known, "would turn the standard ISO containers carried by cargo ships into modules that each serve a specific purpose, such as living quarters, command cells, comm shacks, or weapons stations. Once deployed by cargo ship, the self-propelling modules would use low-level computer brains to assemble themselves into a larger structure." Mobile, modular, military instant cities at sea. Read a bit more at The Register.

[Image: A glimpse of an Aquapod floating fish farm, courtesy of National Geographic].

—For a variety of reasons, that previous story reminds me of this report from National Geographic last summer: "In the future, giant, autonomous fish farms may whir through the open ocean, mimicking the movements of wild schools or even allowing fish to forage 'free range' before capturing them once again." See more images here—and, in the process, read Pruned's 2008 take on the Aquapod farm module.

[Images: From Atlas of the New Dutch Water Defense Line].

—I really want to read this book, but I have yet to find a copy: Atlas of the New Dutch Water Defense Line.
    This atlas addresses the New Dutch Water Defense Line (Nieuwe Hollandse Waterlinie) on a themed basis. Its position in the landscape, the forts, the inundation system, the geomorphology, the strategic system and recent developments can be read off in maps rendered so as to give an understanding of all aspects of the defense line landscape. The defense line reveals itself as a many-tentacled military defensive system of forts, group shelters and polders which can be flooded at the threat of war. The maps show the cohesion of the defense line as a landscape-strategic structure as well as the topographic composition of this structure in layers and components. The more detailed maps of the forts display the wealth of historic places, insertions in the landscape and defining elements.
It's beautifully designed, as well.

[Image: From a project by nARCHITECTS].

—"Abandoned neighborhoods. Boarded-up harbor facilities. An oil refinery submerged under several feet of brackish water. The Statue of Liberty slowly sinking into the sea. 'Rising Currents: Projects for New York’s Waterfront,' a new show at the Museum of Modern Art, reflects a level of apocalyptic thinking about this city that we haven’t seen since it was at the edge of financial collapse in the 1970s," writes the beleaguered architecture critic for the New York Times. The show—open now through October 11, 2010—includes work by ARO and dlandstudio, LTL Architects, Matthew Baird Architects, nARCHITECTS, and SCAPE.

[Image: Areas of Outstanding Natural Beauty, courtesy of Geographical].

—Finally, "an Area of Outstanding Natural Beauty (AONB) is exactly what it says it is," Geographical magazine explains: "a precious landscape whose distinctive character and natural beauty are so outstanding that it is in the nation's interest to safeguard them." Check out Geographical's guide to the UK's 40 official sites of Outstanding Natural Beauty, including the Ring of Gullion, the Sperrins, the dams and ruins of Nidderdale, the abandoned mines of the Tamar Valley, and many more.

(Some links via Archaeology. Don't miss Quick Links 1, 2, 3, 4, 5, 6, 7, and 8).

Sunday, March 28, 2010

Monday, Monday

My weekly page update:

This week's dose features Kirkwood Public Library in Wilmington, Delaware by ikon.5 architects:
this  week's dose

The featured past dose is Clinton Library in Little Rock, Arkansas by Polshek Partnership:
featured  past dose

This week's book review is Hunch 13: Consensus edited by Salomon Frausto:
this week's book review

Some unrelated links for your enjoyment:
2010 Pritzker Architecture Prize
The $100,000 prize goes to SANAA, Kazuyo Sejima and Ryue Nishizawa. (More coverage to follow.)

Architectural Braindump
"The ever-changing profession of architecture." (added to sidebar under blogs::architecture)

architecture for the masses
Blog of Populous, the firm formerly known as HOK Sport. (added to sidebar under blogs::offices/architects)

arkinet
"Sharing architecture - connecting architects." (added to sidebar under blogs::architecture)

Supermodel

[Image: Thesis project by Vincenzo Reale, from a course taught by Alessio Erioli at the University of Bologna; photo by Alessio Erioli].

Here are two 3D-printed thesis projects from a course taught by Alessio Erioli at the University of Bologna; above you see work by Vincenzo Reale, below work by Riccardo La Magna. I have to admit to being utterly blown away by the formal possibilities of 3D printers, and these projects only make that obsession more extreme.

[Image: Thesis project by Riccardo La Magna, from a course taught by Alessio Erioli at the University of Bologna; photo by Alessio Erioli].

For one or two more images of these and other thesis projects, check out the Flickr stream of Alessio Erioli, where I originally saw these photos; for more on the future of (an admittedly different kind of) 3D printing, check out the recent, awesome article by Tim Abrahams in Blueprint Magazine: "In a small shed on an industrial park near Pisa is a machine that can print buildings," we read.
    The machine itself looks like a prototype for the automotive industry. Four columns independently support a frame with a single armature on it. Driven by CAD software installed on a dust-covered computer terminal, the armature moves just millimetres above a pile of sand, expressing a magnesium-based solution from hundreds of nozzles on its lower side. It makes four passes... The system deposits the sand and then inorganic binding ink. The exercise is repeated. The millennia-long process of laying down sedimentary rock is accelerated into a day. A building emerges. This machine could be used to construct anything.
Mimicking geology, we might forego architecture altogether and print new tectonic plates. Print earthquakes and mountain chains, archipelagoes at sea.

Today's archidose #404


London Olympics 2012, originally uploaded by Manuel.A.69.

The View Tube for the London Olympics 2012 in London, England, 2009. Please comment if you know the architect responsible for the View Tube's design.

To contribute your Flickr images for consideration, just:

:: Join and add photos to the archidose pool, and/or
:: Tag your photos archidose