architecture

Tuesday, November 30, 2010

Stationary Cinema

[Image: Wallpaper by Studio Carnovsky, via Creative Review].

This wallpaper, designed by Studio Carnovsky, changes images depending on what color light you view it under. As such, it could be an incredibly interesting thing to experiment with in other contexts—including outdoor urban lighting, public signage, and even film animation.

[Image: Wallpaper by Studio Carnovsky, via Creative Review].

In the latter case, imagine a hallway whose wallpaper is printed with six or seven closely related scenes from an animated clip; each "scene" is printed in a different color. A light programmed to move through the appropriate sequence of color changes is then installed in the same corridor; as it flashes from color to color, changing perhaps every half-second, you see what appears to be a moving image on the walls around you.

It would be a kind of unmoving zoetrope—a stationary cinema in printed form (or a stationary cinema in stationery form?).

[Images: Wallpaper by Studio Carnovsky, via Creative Review].

Even if only used for interior decoration, however, the effect is well worth exploring further.

(Thanks to a tip from Tim Maly).

Today's archidose #460



IMG_3861a, originally uploaded by mo+.
Haus V/B in Seeheim-Jugenheim, Germany by mo+ messerschmidt | oligmueller | architekten, 2010. See mo+'s documentation of the project in their flickr set.

To contribute your Flickr images for consideration, just:
:: Join and add photos to the archidose pool, and/or
:: Tag your photos archidose

Casa Milà

One of the most famous Gaudi designed structures in Barcelona is the Casa Mila, an apartment building completed in 1912. This is Gaudi at his best with an interesting amorphous shape and amazingly colorful details.
Besides the beautiful ironwork which I've shown in a few of my previous posts, many of his buildings are exceptional in their roof architecture. Not content with ugly chimneys and ventilation shafts, Gaudi would decorate these utilitarian objects and turn them into works of sculpture.
While I wasn't able to tour the Casa Mila due to time constraints, I was able to bring a small piece home with me. Over the past few years I've been collecting tiny (tacky?) miniature buildings from house museum gift shops and the main ventilation stack from the Casa Mila now sits on my bookshelf in between Thomas Jefferson's Poplar Forest and Gaudi's nearby Casa Battlo. What do you like to bring home from your travels as a momento?

Monday, November 29, 2010

Architecturally Armed

[Image: Photo by Vincent Fournier, courtesy of Wired UK].

This morning's post about a robot-city on the slopes of Mount Fuji reminded me of this thing called the CyberMotion Simulator, operated by the Max Planck Institute for Biological Cybernetics in Germany (and featured in this month's issue of Wired UK).

The Simulator, Wired writes, is "a RoboCoaster industrial robotic arm adapted and programmed to simulate an F1 Ferrari F2007."
    Testers are strapped into a cabin two metres above ground, and use a steering wheel, accelerator and brake to control CyberMotion. The simulator can provide accelerations of 2G and its display shows a 3D view of the circuit at Monza. The arm's six axes allow for the replication of twists and turns on the track and can even turn the subjects upside down.
But I'm curious what everyday architectural uses such a robo-arm might have. An office full of moving cubicles held aloft by black robotic arms that lift, turn, and rotate each desk based on who the worker wants to talk to; mobile bedroom furniture for a depressed ex-astronaut; avant-garde set design for a new play in East London; a vertigo-treatment facility designed by Aristide Antonas; surveillance towers for traffic police in outer Tokyo; a hawk-watching platform in Fort Washington State Park.

You show up for your first day of high school somewhere in a Chinese colonial city in central Africa and find that everyone—in room after room, holding hundreds of people—is sitting ten feet off the ground in these weird and wormy chairs, dipping and weaving and reading Shakespeare.

Maunsell Nation

[Image: From Anti Syn Nation by Jonas Loh].

I like this tiny model of the Maunsell Towers, part of Jonas Loh's Anti Syn Nation project—"a speculative micro nation," he writes, supported by the "natural genetic engineering" of sea slugs. But I think someone should make a chess set entirely from Maunsell-tower like oil platforms and other modular microutopias at sea—or perhaps just a student thesis project presented using custom-milled chess pieces, with elaborate spatial rules governing the resulting game.

The Robot A-Z

[Image: The yellow chipboards of the Fanuc global headquarters; courtesy of Fanuc].

On the flight back to Los Angeles yesterday I read about the corporate campus of Fanuc, "a secretive maker of robots and industrial automation gear," according to Bloomberg Businessweek.

"Some 60 percent of the world's precision machine tools use Fanuc's controls," the article explains, "which give lathes, grinders, and milling machines the agility to turn metal into just about any manufactured product." As if suggesting a future art installation by Jeff Koons—sponsored by Boeing—we read about a man who uses "a milling machine with Fanuc controls to sculpt 747 parts." (The company's robot A-Z shows off their other goods).

[Image: Assembly robots by Fanuc].

But it's the description of the firm's actual facilities that caught my eye. "Fanuc's headquarters, a sprawling complex in a forest on the slopes of Mount Fuji, looks like something out of a sci-fi flick":
    Workers in yellow jumpsuits with badges on their shoulders trot among yellow buildings as yellow cars hum along pine-lined roads. Fanuc lore holds that the founder, Seiuemon Inaba, believed yellow "promotes clear thinking."Inside the compound's windowless factories, an army of (yes, yellow) robots works 24/7. "On a factory floor as big as a football field you might see four people. It's basically just robots reproducing themselves."
Thing is, if you want to see more—to see this strange origin-site for contemporary intelligent machines—you can't. "Outsiders are rarely allowed inside the facility, and workers not engaged in research are barred from labs," Businessweek adds. "'I can't even get in,' quips a board member who asks that his name not be used."

In a way, I'm reminded of South Korea's plans for its own "Robot Land," an "industrial city built specifically for the robotics industry," that will have "all sorts of facilities for the research, development, and production of robots, as well as things like exhibition halls and even a stadium for robot-on-robot competitions."

Here, though, alone amidst other versions of themselves in the pines of Mt. Fuji, "the world's most reliable robots" take shape in secret, shelled in yellow, reproducing themselves, forming a robot city of their own.

Palau Güell

One of the lesser known Gaudi designed buildings in Barcelona is the Palau Guell. Unfortunately closed for repairs after years of work, I wasn't able to see inside which I hear is pretty amazing.
The Guell name is not unfamiliarly associated with the architect, as many of Gaudi's most famous designs were commissioned by the family. This was the Guell's main townhouse, built by Eusebi Guell from 1886-1890 directly off La Rambla. The house stayed in family hands, with a brief confiscation as army barracks during the civil war, until it was gifted to the country in 1945.
The main entrances seen on the facade were meant for carriages, one for 'in' and one 'out'; hows that for efficiency, much like a restaurant kitchen! The house revolved around entertaining and a large main entertaining room was located just inside off the entry court. The ceiling was studded with holes into the private rooms above to look like starlight, which also provided views of guests below so that the family could decide what to appropriately wear to greet their guests. Another efficient and ingenius idea!
As I wasn't able to see this for myself (the house should be open to the public again by summer 2011) I had to content myself with the beautiful ironwork on the windows outside; true masterpieces.
The small street that it's located on off La Rambla makes it hard to get a very good picture but you can see below that the facade is actually rather plain and quiet for a modernista structure, no matter how lovely. The exterior interest lays in the details of course which I've tried to show here. I think the lesson here is that Gaudi knew when his buildings should be stand out stars, and when they should be background structures. They can't all be masterpieces; sometimes a house is just a house, no matter how extraordinary!

Sunday, November 28, 2010

Targeting the Public

Pioneer Courthouse Square is the central plaza of downtown - often referred to as the 'living room' of Portland and is praised as one of the best public spaces for it's flexibility and programming

:: image via MetroBabel

In this regard, the space hosts a number of large-scale public events, rallies, concerts, and gatherings - including the annual tree lighting ceremony, which is typically a large draw for families,

:: image via PDXPipeline

While the specter of terrorist attack is on people's minds when aggregating in public, this is something that most folks feel would happen in a bigger city.  Thus I was literally shocked to hear of a plot, by a 19 year old Somali who graduated from high school in Beaverton, to detonate a bomb during this year's ceremony, which happened on Friday, November 26th.
"The bomb, which was in a van parked off Pioneer Courthouse Square, was a fake — planted by F.B.I. agents as part of the elaborate sting — but “the threat was very real,” Arthur Balizan, the F.B.I.’s special agent in charge in Oregon, said in a statement released by the Department of Justice. An estimated 10,000 people were at the ceremony on Friday night, the Portland police said."
:: image via New York Times

Our sense of relatively safety in Portland was part of the approach - as he was quoted in the New York Times: "Federal agents said Mr. Mohamud thought Portland would be a good target because Americans “don’t see it as a place where anything will happen... It’s in Oregon; and Oregon, like you know, nobody ever thinks about it,” an affidavit quotes him as saying."


The bomber had been under the watch of law enforcement for months, meaning there wasn't imminent danger for the people at the festival, as mentioned: "...the F.B.I. had been tracking Mr. Mohamud since 2009 and his planning unfolded under the scrutiny and even assistance of undercover agents, officials said." That said, it's got to shake people up to hear of this happening so close.


This isn't an isolated event, as mentioned in the article: "His case resembles several others in which American residents, inspired by militant Web sites, have tried to carry out attacks in the name of the militant Islamic movement only to be captured in a sting operation.  In a similar case in September 2009, a 19-year-old Jordanian was arrested after placing a fake bomb at a 60-story Dallas skyscraper. The same month, a 29-year-old Muslim convert was charged with placing a bomb at the federal building in Springfield, Ill. And in October, a 34-year-old naturalized American citizen born in Pakistan was arrested and charged with plotting to bomb the Washington subway after meeting with undercover agents and discussing his plans and surveillance activities."


Does this change the essence and usage of public spaces, transit, or other significant targets, or is it something that is impossible to think about and lead a somewhat normal existence?  It's heartening to see that the law enforcement and intelligence is working to find these plots and protect people from all areas from danger.  It is easy to become complacent as residents (and maybe that's a good thing, as living in fear of the possible dangers would make it hard to leave the house in the morning) - so the hidden network of danger seems to become distant - happening elsewhere around the world, or sometimes creeping into the large cities of the United States.  Oklahoma City proved that high profile targets are sometimes not what we think, and the enemies may not come from outside.  The danger, everywhere is real.

Beyond the continuing efforts of law enforcement, how, if at all, do we react, and how does this impact the form and function of cities?  Do we evolve more security and barricades?   Disallow the gathering of large groups?  Do public spaces become less public?

:: image via Picassa

More cameras, surveillance, metal detectors?  Is transit, which creates density of people, perceived as dangerous - making people flee to the 'safety' of the singular car?  While not the Green Zone in Baghdad, it's interesting to see how this shapes the modern city.  The securing of buildings has definitely received plenty of attention - and the ability to control access points, beef up materials, essentially defend an object.  While much has been made of federal building security, making a better, more stylish bollard, is still using a bunker mentality that isn't really applicable for public spaces.

:: image via Thinking Shift

It's a bit different when operating in open space, as there are infinite entry points, making the perimeter harder to defend.  I was thinking of precedents, and immediately looked at the well-publicized, award-winning security measures for the Washington Monument.  While inventive in the way it doesn't detract from the monument itself, and while technically more open, this is merely a different version of the bunker protecting an object - not a way to secure outdoor public space - surrounding walls, underground tunnels forming a perimeter around the monument.

::  image via ASLA

Urban space is even different, with a context of buildings, streets, rooftops, sidewalks, leading to a massively porous boundary to spaces.  Do we look to theories like Newman's 'Defensible Space' or measures like CPTED - which are directed towards crime-prevention, or do these not work for large public gatherings?  Do physical changes make a difference, are they viable options, or do these make economic sense?  Or are public gatherings a minimal danger compared to protection of vital infrastructures that could be more catastrophic?  Or is it something we target with sophisticated technology, using an expanded network of public surveillance to target people and patterns within amorphous, hard to contain spaces like transit and public gatherings?

:: image via ZDnet 

I remember being in New York City soon after the attacks of September 11, 2001 - and although it never crossed our minds to attend the large gathering in Times Square on New Years (and there was some debate about whether the event would go forward) - while we were skirting around the area, we wanted to see what was up.  It gave the illusion of a military zone, with massive mobilization of police and barricades at every street, multiple checkpoints.  Massive security to maintain a public spectacle and tradition of our cities to gather and celebrate.  Even then, the spaces of Times Square were still full of revelers, despite the implied danger - unwilling to let fear rule their lives.

:: Times Square (circa 1954) - image via Times Square NYC

The key will be to give enough feeling of security, and use our available tools - without bunkerizing our cities with physical objects that ruin the experience of access and publicness that people desire.  Our reactions to these events - even the unsuccessful ones - will be telling as to how we will live in cities for years to come.

Friday, November 26, 2010

Landscape+Urbanism Turns 3

What a strange trip it's been since an initial post of three years ago, November 26, 2007.  Almost 750 posts, just shy of 1000 comments (not counting the 10,000 or so spamments I've deleted), and a lot more landscape-related blogs in the territory than when I started.  Plus a lot of great virtual friends made in the process.  Thanks all.

:: image via Vulgare

Black Friday

Let's make the shopping experience a bit more dangerous... Asphalt Spot in Tokamashi, Japan by R&Sie(n).




:: images via Space Invading

Holiday Gift Books: 2010 Edition

As in the last five years, I'm presenting a list of gift books just in time for the holidays. This year I'm presenting one each by close to 40 publishers, posted in one long list.

010 Publishers:
books10-010.jpg
Megacities: Exploring a Sustainable Future
edited by Steef Buijs, Wendy Tan, Devisari Tunas

Actar:
books10-actar.jpg
Total Housing: Alternatives to Urban Sprawl
edited by Albert Ferre and Tihamer Salij (It is also a recent competition.)

a+t:books10-at.jpg
Strategy Public


AVA Academia:
books10-ava.jpg
Basics Architecture: Architectural Design
by Jane Anderson

Birkhäuser:
books10-birkhauser.jpg
Thinking Architecture (Third Edition)
by Peter Zumthor (Edition is expanded, with two new essays.)

Douglas & McIntyre:
books10-dmpi.jpg
Sketches: From Here and There
by A.J. Diamond

Elsevier:
books10-elsevier.jpg
Architecture in Detail II
by Graham Bizle

Gestalten:
books10-gg.jpg
Closer to God: Religious Architecture and Sacred Spaces
edited by L. Feireiss, R. Klanten

Gingko Press:
books10-gingko.jpg
Conceptual Architecture
by Sandu Cultural Media

Gregory R. Miller & Co.:
books10-gregory.jpg
Brad Cloepfil / Allied Works Architecture
by Brad Cloepfil with Sandy Isenstadt, Kenneth Frampton

Hatje Cantz:
books10-hatje.jpg
Raimund Abraham and the Austrian Cultural Forum NY
edited by Andreas Stadler

Island Press:
books10-island.jpg
Cities for People
by Jan Gehl (Read my review here.)

Lars Müller Publishers:
books10-lars.jpg
Brasilia-Chandigarh: Living with Modernity
by Iwan Baan

Laurence King Publishing:
books10-king.jpg
Towards Zero-Energy Architecture: New Solar Design
by Mary Guzowski

Merrell Publishers:
books10-merrell.jpg
New Architecture in Japan
by Yuki Sumner and Naomi Pollock (Read my review here.)

Metropolis Books:
books10-metropolis.jpg
The Power of Pro Bono
edited by John Cary and Public Architecture

MIT Press:
books10-mit.jpg
Event Cities 4: Concept-Form
by Bernard Tschumi

The Monacelli Press:
books10-monacelli.jpg
Remarks on 21 Works
by Rafael Moneo

ORO Editions:
books10-oup.jpg
Small Projects
by Kevin Mark Low

Oxford University Press:
books10-oxford.jpg
AIA Guide to New York City, Fifth Edition
by Norval White, Elliot Willensky, Fran Leadon (Read my review here.)

Papadakis Publishers:
books10-papadakis.jpg
Fair World: A History of World's Fairs and Expositions from London to Shanghai 1851-2010
by Paul Greenhalgh

Phaidon:
books10-phaidon.jpg
John Pawson: Plain Space
by Alison Morris

Princeton Architectural Press:
books10-papress.jpg
Narrow Houses: New Directions in Efficient Design
by Avi Friedman

Reaktion Books:
books10-reaktion.jpg
Architecture's Evil Empire?: The Triumph and Tragedy of Global Modernism
by Miles Glendinning

Rizzoli:
books10-rizzoli.jpg
Frank O. Gehry: Since 1997
by Germano Celant

Routledge:
books10-routledge.jpg
Will Alsop: The Noise
by Tom Porter

Scribner:
books10-scribner.jpg
Makeshift Metropolis: Ideas About Cities
by Witold Rybczynski

Skira Rizzoli:
books10-skira.jpg
Thomas Phifer and Partners
by Stephen Fox and Sarah Amelar

SUN Architecture:
books10-steidl.jpg
Cultivating the City: London Before and After 2012
by Bob Allies

Taschen:
books10-taschen.jpg
Coop Himmelb(l)au: Complete Works 1968-2010
by Michael Mönninger, Peter Gössel (Also of note is an acrylic bookstand for your mondo Taschen titles and Phaidon Atlases.)

Thames & Hudson:
books10-thames.jpg
Architect: The Work of the Pritzker Prize Laureates in Their Own Words
edited by Ruth Peltason and Grace Ong-Yan

Toto:
books10-toto.jpg
Tadao Ando: Process and Idea


University of Chicago Press:
books10-uchicago.jpg
Terror and Wonder: Architecture in a Tumultuous Age
by Blair Kamin

University of Minnesota Press:
books10-pitt.jpg
Architecture's Historical Turn: Phenomenology and the Rise of the Postmodern
by Jorge Otero-Pailos

Wiley:
books10-wiley.jpg
What is Architectural History?
by Andrew Leach

W.W. Norton:
books10-wwn.jpg
Greening Modernism: Preservation, Sustainability, and the Modern Movement
by Carl Stein

Yale University Press:
books10-yale.jpg
A Landscape Manifesto
by Diana Balmori