architecture

Tuesday, October 31, 2006

Book-Event of the Moment

David Rockwell, an architect known as much for set design as for architecture and interiors, and whose work is self-described as a "quirky pluralism", has a new book.

Spectacle is "a visual essay documenting the notion and history of spectacle, those public performances and happenings that galvanize hordes of people and, if only for a brief moment, express the culture of our time in mass participation." Here's a taste. In its documentation of images influencing the author/architect it reminds me of John Pawson's popular book Minimum. Not coincidentially, both are published by Phaidon Press.

spectacle.jpg

To celebrate the publication of Rockwell's book, The Architectural League (with the Municipal Art Society’s Urban Center Books) is hosting a panel discussion on Wednesday, November 1 with David Rockwell and Bruce Mau, moderated by Chee Pearlman. It's at 6:30 p.m. at the Baruch Performing Arts Center, 55 Lexington Avenue.

Half Dose #31: Z-House

As an extension of this week's dose by Denmark's 3XN, here we feature the work of that office's former competition design managing architect Eve Harlou.

HD31a.jpg

The Z-House is a 700 sm (7,500 sf) single-family residence in Risskov, Denmark.

HD31b.jpg

The design is composed about an S-curve, visible in model above but also this elevation.

HD31c.jpg

This S-curve continues into the arrangement of rooms in the floor plan, whereby outdoor "rooms" are created, especially towards the back of the house.

HD31d.jpg

A feature wall abutting the stair creates an anchor for the house, a kind of eye of the swirling around it.

Links:
:: Eve Harlou
:: 3XN

Offshore

HEIDRUN[Image: Courtesy of Statoil].

I was flipping through a copy of Archive the other night when I came across a spread of recent print ads by Norwegian oil giant, Statoil. The ads featured cities and skyscrapers and the Roman Colosseum all Photoshop'd perfectly onto offshore oil derricks; they looked like instant and futuristic offshore micro-utopias – or perhaps even some weird, mechano-robotic version of Arnold Böcklin's Isle of the Dead.

0[Image: Arnold Böcklin].

In any case, I wanted to post the ads here – but all I could find online were Statoil's own press images. Those, however, induced a kind of minor panic attack, as the offshore structures they document easily rival, and possibly surpass, the most far-fetched architectural speculations of Constant Nieuwenhuys.

0STATFJORD A[Images: Constant vs. Statoil].

So here are some photos – and anyone who runs across online versions of the Statoil ads, let me know.

0[Images: Courtesy of Statoil].

These next two shots were actually taken inside the legs of one of the derricks; as such, the photographer is standing below sealevel.

Troll AI skaftet på Troll A[Images: Courtesy of Statoil].

But then I got to thinking how, toward the beginning of The Aeneid, we read that Aeneas and his crew have been tossed about by a string of storms and bad navigation, moving island to island against their will:
For years
They wandered as their destiny drove them on
From one sea to the next...
They are accidental exiles, always docking on the wrong shore.

[Image: Courtesy of Statoil].

Unsurprisingly, Aeneas is soon fed up with trying "[t]o learn what coast the wind had brought him to," so he confronts a random islander – not realizing that it's actually his mother (his mom happens to be Venus, and she likes to wear disguises). He demands:
Tell us under what heaven we've come at last,
On what shore of the world are we cast up,
Wanderers that we are, strange to this country,
Driven here by wind and heavy sea.
Etc. etc. – it's the endless drama of origin and detour.
My point is simply: how might the Aeneid have been different if the Mediterranean Sea they'd explored had actually been full of oil derricks, a manmade geography of machine-islands, industrialized stilt-kingdoms each more fantastic than the rest – and so they'd set sail beneath the anchored legs of support understructures and maintenance gantries, roping up their ships for the night in the shadow of artificial hills and disguised islands? An Aeneid for the machine age.

[Images: Courtesy of Statoil].

More practical questions include the reuse of these structures: what unintended future functions might these aging derricks be repurposed for? Once their fields run dry, will they be left standing till inevitable collapse? Or will a maritime preservation movement swoop in to save them?
Further, will corporate tax havens of tomorrow be built at sea, in private archipelagos of platform-cities, an experimental terrain for new concepts of financial sovereignty?

[Note: Just to be absolutely clear here, all images of oil derricks used in this post come courtesy of Statoil].

Monday, October 30, 2006

The Weather Bowl

[Image: A passing Illinois lightning storm and supercell, the clouds peeling away to reveal evening stars; photo ©Extreme Instability/Mike Hollingshead. If you can overlook pet photos, meanwhile, don't miss Hollingshead's other storm work from 2006 and 2005 – including these Nebraskan auroras. While you're at it, this storm sequence has some stunning, pre-storm landscape shots].

During a disastrously moderated talk at the MAK Center last night in West Hollywood, where the panelists could hardly get a word in edgewise because of the barely coherent, self-answering, 40-minute monologue of the moderator, Karl Chu briefly managed to say that he was interested in constructing and designing whole continents and weather systems.

Which got me thinking.

Given time, some digging equipment, a bit of geotechnical expertise, and loads of money, for instance, you could turn the entirety of greater Los Angeles into a weather bowl, dedicated to the recreation of famous storms. Install some rotating fans and open-air wind tunnels, build some deflection screens in the Hollywood Hills, scatter smaller fans and blowers throughout Culver City or overlooking Burbank, amplify the natural sea winds blowing in through Long Beach – and you could re-enact famous weather systems of the 18th and 19th centuries, reproducing hurricanes, even bringing back, for one night, the notorious storm that killed Shelley.

You consult your table of weather histories, choose your storm and go: fans deep in hillsides start turning, the wind tunnels roar, and lo! The exact speed and direction of Hurricane Andrew is unleashed. Seed the clouds a bit and reprogram the fans, and you can precisely reproduce the atmospheric conditions from the night William Blake was born. Or the ice storm that leveled electrical gantries outside Montreal, now whirling in a snow-blurred haze through Echo Park.

You could build competing weather colosseums in London, San Francisco, Tokyo, and Beijing. Every night new storms are reenacted, moving upward in scale and complexity. The storm Goethe saw as a nineteen year-old, contemplating European history, kills a family of seven outside Nanking. You soon get Weather Olympics, or a new Pritzker Prize for Best Weather Effects.

One day, a man consumed with nostalgia hacks the control program to recreate the exact breeze on which he once flew a kite over the Monbijouplatz in Berlin...

(For more on the construction of continents, see The Transgondwanan Supermountain. For more on the exhibition now up at the MAK Center, download this PDF).

Sunday, October 29, 2006

Monday, Monday

My weekly page update:
image03sm.jpg
Glass Museum in Ebeltoft, Denmark by 3XNielsen A/S.

The updated book feature is Wallpaper* City Guide: New York and New York's 50 Best Places to Find Peace and Quiet by the editors of Wallpaper* and Allan Ishac, respectively.

Some unrelated links for your enjoyment:
Eco Tecture
"Musings on Sustainable Urban Development & Design," from Chicago.(added to sidebar under blogs::sustainability)

vision42
"A citizens' initiative to re-imagine and upgrade surface transit in Midtown Manhattan, with a low-floor light rail line running river-to-river along 42nd Street within a landscaped pedestrian boulevard."

American Cities
Catherine Opie photographs at The Morning News.

Today's archidose #42

Habitat '67
Habitat '67 by hyfen
Habitat '67 by Moshe Safdie.

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

Saturday, October 28, 2006

Dwell on Design

Dwell on Design: Coming to Palm Springs December 1-3 2006
Exploring the past, present, and future of modern architecture and design.



FOR IMMEDIATE RELEASE...October 27, 2006...San Francisco, CA...Dwell has announced plans for Dwell on Design: Palm Springs to be held at the Hotel Zoso in Palm Springs December 1-3 2006.

Known as a Mecca of modern design and boasting one of the highest concentrations of important mid-century modern architecture in the United States, Palm Springs is the ideal location to address issues of preservation, sustainability, and the future of modern living. The weekend will be packed with information and activities including two very special cocktail receptions, a conference, an on-site modern showcase, a film premiere, and exclusive home tours.

A DAILY DOSE OF ARCHITECTURE DISCOUNT!
A Daily Dose of Architecture readers who register for Dwell on Design Palm Springs will receive a $75 discount off of the full conference ticket price. Use A Daily Dose of Architecture code DOSE when registering.

Register at www.dwell.com/dwellondesign

Friday, October 27, 2006

Chicago's Inner Flute-Ruins

[Image: The old tower blocks of Chicago's Cabrini-Green, transformed by demolition into totem pole-like wind instruments, flute-ruins, a musically-active wasteland whistling to itself behind security fences. Photographer unknown; spotted at Archinect. It seems worth briefly pointing out, however, that Cabrini-Green could instead have been architecturally salvaged and later reused—and, given a different economic model, the towers could also have been refurbished. Indeed, through that latter link we learn that the combined weight of London's existing tower blocks is an astonishing forty million tons—meaning that high-rise building materials constitute a near-geological presence in many cities, and they should not simply go to waste...].

sea.net

Wired reveals what "a permanent presence in the ocean" might look like, if that "presence" consisted entirely of manmade submersibles.

[Image: From Wired].

This underwater robotic metropolis is otherwise known as the NEPTUNE Project. Specifically, Wired writes, the project "would string 10 semiautomated geobiological labs across the Juan de Fuca tectonic plate off Washington, 8,000 feet underwater. Each would have cameras, lights, robots, and sensors, all connected to the surface via optical cable to transmit data on everything from the biomass of microbes to the effects of ocean temperature on weather."
According to the project's own website, the "goal is for NEPTUNE to appear as a seamless extension of the global Internet, connecting users anywhere on shore to the sensors on the seafloor."

[Image: A future seafloor exploratorium. Image provided courtesy of the NEPTUNE Project and produced by CEV].

As Space.com reported back in 2003, "the network itself will cover a region roughly 310 miles by 620 miles (500 kilometers by 1,000 kilometers) in size. More than two dozen experimental sites will form nodes along the sub-sea cable system. Nodes will be situated about 62 miles (100 kilometers) apart" – making the whole thing only slightly smaller than Great Britain.
On the other hand, the NEPTUNE Project should be thought of as a terrestrial analog for other, more far-flung, research stations: according to John Delaney, for instance, a similar set-up could be used to explore the oceans of Europa (about which more can be found here).
Given some oxygen tanks, it could also be the perfect location for a new public lecture series on architectural design...

(Not quite related: Open Ocean Aquaculture).

Today's archidose #41

ArcAm west
ArcAm west by mauOne
ArcAm in Amsterdam by Rene van Zuuk.

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

Thursday, October 26, 2006

New Zealand is Droning

Apparently this sound (which I can only hear through headphones) is causing quite a stir in the northern districts of Auckland. The sound is so maddening, it seems, that it's inspired some residents "to take drastic action" – which, in one case, means purposefully deafening oneself with the roar of chainsaws.
In fact, "for those who can hear it, the sound is the bane of their lives."


The sound also reveals where unexplained acoustic phenomena, dishonesty, and urban real estate intersect: "Some have been reticent to give away more details of their predicament for fear that reports of persistent humming could adversely affect the resale price of their homes."
One of the researchers trying to locate the sound's origins "rules out geological factors. 'It's more likely to be things like pipes under the ground – you know, gas pipes, sewerage pipes, factories in the distance.'" CIA installations, perhaps.
"This is not the first incidence of humming in New Zealand," we're told. Oh, no. "In 2005, New Zealand author Rachel McAlpine wrote a book called The Humming... largely inspired by the author's own experiences in the seaside town of Puponga on the northwest tip of New Zealand's south island which was itself at the centre of a humming mystery some years back." That man was later arrested.
In McAlpine's novel we read how "life is becoming increasingly frustrating for [a character named] Ivan because he is plagued by an underground humming that he tries to disguise with an increasingly bizarre array of devices."
If it were my story to re-tell, however, Ivan would soon become so unbelievably good at manufacturing sonic camouflage that he turns into the terror of post-Blair Great Britain. (He moves to Britain). Completely silent, exploding noiseless weaponry over the city of Birmingham, Ivan's Joseph Conrad-inspired, acoustically avant-garde ransom demands are met not with payment stashed inside a pre-arranged safety deposit box – but by a visit from a certain, rather well-known, secret agent of the crown... Unfortunately, James Bond is almost immediately captured – having been dumbfounded by a house full of mirrored rooms, someone else's mobile phone, and a weird echo, coming as if from behind him, that induces a state of cognitive paralysis. Bond is then subjected to a series of unbearable noise-tortures, leading some in the audience to laugh and others to accuse the film of being an unacknowledged remake of The Ipcress File. But, once the enemy is brought back on screen, transformed by his life of sonic dissimulation, he addresses Bond through a grotesque series of hand-held voice-cancellation machines – and we see that something altogether more terrifying has been planned...
Of course, it has long been known that if you "listen carefully... you can hear the Earth singing quietly to itself."
    They live underground. They are everywhere but seem to come from nowhere. They barely exist, but never leave. If sounds have shadows, they are the shadows of a sound. Researchers call them the background free oscillations of the Earth.
These "background free oscillations," however, while more or less totally unrelated to the New Zealand drone, discussed above, are also unexplained. This endless terrestrial resonance could be "buildings shuddering in the wind," for instance – or it could be "the constant throb of fluctuating atmospheric pressure all over the Earth." It could even be the combined effect of all the oceans' waves crashing on all the earth's shores simultaneously. It could even – though let me pull the blinds closed as I write this – it could even be the rumble of invisible stealth bombers breaking the sound barrier out at sea...

(Thanks, Marcus! Earlier: Sound Dunes, Dolby Earth, and so on).

Wednesday, October 25, 2006

BLDGberry

Though it's kind of insane to post this here, I was excited nonetheless to see that BLDGBLOG is featured in the new Blackberry Pearl ad campaign...


It pops up in the context of author Douglas Coupland's everyday telephonic activities; at 12:45pm, according to the little Flash animation, Coupland "settles a lunchtime architectural argument" by going to BLDGBLOG.


The logo's so bigtime they got shy and hid the other half...
That's right.
So I'm retiring on the royalties to Brazil, where I'll re-reverse the flow of the Amazon River and report back in a few years' time.

(Thanks, Douglas!)

P.A.N.

P.A.N. stands for [progressive architecture network], an exhibition opening tomorrow at the Frederieke Taylor Gallery in New York. Curated by Winka Dubbeldam and Helene Furjan, the exhibition includes:

Missing image - PAN.jpg

The exhibition will feature the work of five, young, international architecture firms that share an attitude toward architecture rather than a common style or formal doctrine...mobile and connected, operating on multiple continents simultaneously and moving in and out of collaborations and affiliations at a fast pace.
A reception will be held tomorrow from 6-8pm at the gallery's space at 535 West 22nd Street in Chelsea.

Tuesday, October 24, 2006

Quick list 5: Energy, tunnels, landscape, and ruin

[Image: By Nicolai Grossman, of Photon Detector fame].

Like some weird cross between the Bible, William Blake, and a botanical Finding Nemo, the British landscape is alive with plants that escaped from gardens: "About one-quarter of plants sold to ornamental gardeners since the 1800s have escaped, and 30 per cent of these are firmly established in the English countryside." It seems these inadvertant landscapes-at-a-remove could actually have been financially predicted; historical researchers "found that the odds of escape increased with how widely available and inexpensive a given plant was at the time." Leading me to wonder if a similar approach, today, could be used to plot prices of wildflowers, garden herbs, and domestic tree species against the projected future landscape of Ohio, say, or Brecon, Wales: price-maps as a subset of future landscape geography.
Speaking of future landscapes, New Scientist's look at an earth without humans was republished and discussed everywhere last week – but, in case you missed it, here's a link. From the article: "Left once more to its own devices, Nature would begin to reclaim the planet, as fields and pastures reverted to prairies and forest, the air and water cleansed themselves of pollutants, and roads and cities crumbled back to dust."

[Image: A related graphic, from the Times Online].

Further: "If tomorrow dawns without humans, even from orbit the change will be evident almost immediately, as the blaze of artificial light that brightens the night begins to wink out. (...) The loss of electricity will also quickly silence water pumps, sewage treatment plants and all the other machinery of modern society."
    The same lack of maintenance will spell an early demise for buildings, roads, bridges and other structures. Though modern buildings are typically engineered to last 60 years, bridges 120 years and dams 250, these lifespans assume someone will keep them clean, fix minor leaks and correct problems with foundations. Without people to do these seemingly minor chores, things go downhill quickly.
Of course, ten years ago New Scientist offered a very similar look at what would happen if London was abandoned to the marshes and earthworms. "Within the first year," we read, "dandelions and other weeds begin growing in the gutters and emerge from the cracks caused by frost and flooding in concrete, paving slabs and walls." Fair enough. "Within five years," however, "roads, pavements parking places and the great squares of the city are carpeted with weeds and a rich turf of clover." Then, an "understorey of grasses and shrubs gradually spreads over the city. As the soil layer builds up, deeper-rooting plants take hold. Trees start to grow and their roots smash through what's left of the pavement and tarmac," until the whole of London looks more like Angkor Wat, or the lost city of Z, than it does Notting Hill. Etc. etc.
The article's parting shot: "In a flood plain like London's, inundation of foundations and natural soil movements would leave very few buildings standing after 1000 years. By that time, both the oak and the floodplain forests would be mature and the rubble of Canary Wharf would have sunk into the marsh." (See Silt for more on a flooded London).
Speaking of ruined cities, meanwhile, Pruned introduces us to a new boring machine – that is, a new machine that bores tunnels. Quoting from both Pruned and the project brief, the machine's designer, we learn, hopes:
    [to] deploy a robot to cities devastated by an earthquake, whereupon this "burrowing robot negotiates through the unstable rubble and solid earth, creating an interred, inhabitable structure from recycled debris. The raw system left behind by the robot provides a basic framework for shelter, infrastructure, and structural stability in an upheaved landscape. The resultant system is a landscape of interconnected spaces ready for human colonization."
The machine would look like this:

[Image: From The Reinterred City].

There are many more images available at the project's Flickr page.
Whilst pondering that mechanism, don't forget that the Pamphlet Architecture 29 submission process is still open. So get published. And whilst you're pondering that, don't miss this year's Next Generation competititon, sponsored by Metropolis:
    The 2007 Next Generation® prize will finance the development of a bright idea that focuses on ENERGY, its uses, reduction, consumption, efficiencies, and alternatives. (...) On your own or in teams we invite you to submit work on urban plans, buildings, interiors, products, landscapes or communications design. The winner will receive $10,000 to realize his or her idea, and will be featured in Metropolis magazine.
One place you could start: is thorium the clean energy source of the future...?
Returning to William Blake – who once declared that "Energy is Eternal Delight" – the November 2006 issue of Wired features a fantastic article about Darren Aronofsky's new film, The Fountain. In the article, author Steve Silberman describes how Aronofsky, determined to represent galactic space without the use of computerized special effects, came upon the work of Peter Parks, "a marine biologist and photographer who lives in a 400-year-old cowshed west of London":
    Parks and his son run a home f/x shop based on a device they call the microzoom optical bench. Bristling with digital and film cameras, lenses, and Victorian prisms, their contraption can magnify a microliter of water up to 500,000 times or fill an Imax screen with the period at the end of this sentence.
Having then constructed their own kind of universal microcosm, using "yeast, dyes, solvents, and baby oil, along with other ingredients they decline to divulge," these DIY home f/x producers filled the end of Aronofsky's film with "galactic clouds and pillars of dark matter that look like nothing else in science fiction."

[Image: From The Fountain].

Such an approach gives The Fountain's grand finale "a handwrought quality that evokes the luminous etchings of William Blake."
Turning our eyes away from space, toward the center of our own planet, we read that the "first known organisms that live totally independently of the sun have been discovered deep in a South African gold mine. The bacteria exist without the benefit of photosynthesis by harvesting the energy of natural radioactivity to create food for themselves." They apparently "live in ancient water trapped in a crack in basalt rock, 3 to 4 kilometres down."
Speaking of energy and the center of the earth, it's never too late to revisit Manhattan's (only?) geothermally powered townhouse:

[Image: From the Wall Street Journal].

According to the Wall Street Journal, the building's "unusual geothermal energy system provides heating, cooling and hot water. Pipes extend about 1,400 feet into the earth, where the temperature is always about 52 degrees... The pipes transfer energy to the house, where two-layer-thick concrete exterior walls, filled with thermal materials, trap the energy and distribute it."
Finally, part of Turkey's new Marmaray Rail Tube Tunnel, set to open in 2010, will cut beneath the Bosporus strait.

0[Image: A visualization of project specifics; from New Scientist].

The Marmaray rail link "will not only be the deepest underwater tunnel ever constructed," it "will also pass within 16 kilometres of one of the most active geological faults in the world." Indeed, "the abutting plates move about 2 to 3 centimetres relative to each other every year." However, using "flexible joints made from thick rubber rings reinforced by steel plates," the central section, passing under the waters between Europe and Asia, will hopefully survive any major quakes. Or hopefully not, if you like disaster/rescue films.
Much more information available at, yes, New Scientist. (Thanks, Bryan!)

[Earlier: Quick list 4 and so on].

Half Dose #30: Urban Cactus

Urban Cactus is a housing project in the Vuurplaat section of Rotterdam by UCX Architects / Ben Huygen and Jasper Jaegers and done for Vestia Rotterdam Feijenoord/Estrade Projecten.

Missing image - HD30a.jpg

Due to its siting at the end of harbor, the architects chose to conceptualize the project as belonging to the "green nerve" rather than the surrounding urban structure.

Missing image - HD30b.jpg

They placed the 98 residential units on 19 floors, using the pattern of outdoor spaces to determine the overall appearance of the project.

Missing image - HD30c.jpg

The slightly irregular pattern alternates these outdoor spaces to create what are in effect double-height spaces. Each unit then receives more sunlight than a typical stacked composition.

Missing image - HD30d.jpg

Also the terrace area might be equivalent to a constant depth extended around the perimeter (say two meters), but their configuration creates larger "rooms" for gardening and for enjoying the outdoors and the city views.

Links:
:: UCX architects
:: Estrade

Monday, October 23, 2006

Monday, Monday

My weekly page update:
missing image - image01sm.jpg
Juliana Curran Terian Design Center in Brooklyn, New York by hanrahanMeyers Architects.

The updated book feature is Hotel as Home: The Art of Living on the Road by Gary Chang.

Some unrelated links for your enjoyment:
ShantyWorld.com
"Observations & Commentary on all issues affecting Architecture, Urban Planning & Design...the Antidote to a world of McMansions, Starter Castles and other crimes against the Built Environment." (added to sidebar under blogs::architecture)

Archicad 10
Archicad 10 is free for students. Yes, free!

iMod
"A blog about Modern Home and Design." (added to sidebar under blogs::design)

Sunday, October 22, 2006

Overnight in the sleep-pipes

Austria's relatively new dasparkhotel is an inn "constructed from repurposed, incredibly robust drain pipes."


Each pipe's Zen-like "external simplicity," we're told, "surrounds an unexpectedly comfortable interior – full headroom, double bed, storage, light, power, woolly blanket and light cotton sleeping bag. All other hotelery devices (toilets, showers, minibar, cafe, etc) are supplied by the surrounding public space." Which means you piss in the bushes...?
In any case, dasparkhotel uses "simultaneously functional and comfortable concrete sleep-pipes" – or architecturally repurposed drains – to "offer the chance to experience a place in a totally new way."


According to Wallpaper, the hotel is "a big hit among passing canoeists."

(Via Archinect).

North

[Image: "An aurora borealis and the lights of Finland, Russia, Estonia and Latvia are featured in this digital still picture taken by the Expedition 11 crew aboard the International Space Station." In addition to cities, you can see the moon, the Beehive Cluster, and the planet Saturn, the latter shining just above the green magnetized wisps of the northern lights. Via Space.com].

Today's archidose #40

DSCF2506
DSCF2506.JPG by schopaia
Handrail detail at the Figge Art Museum in Davenport, Iowa by David Chipperfield Architects.

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

Friday, October 20, 2006

How An X-Ray Looks


As many of you will no doubt know, I interviewed photographer David Maisel back in March for Archinect. As it happens, Maisel has a new show of photographs opening up this weekend at the Paul Kopeikin Gallery in Los Angeles (6150 Wilshire Boulevard), and he'll be at the gallery tomorrow night, October 21st, from 6-8pm.
The show consists of shots from Maisel's series Oblivion: reverse-printed aerial views of Los Angeles. As Maisel explains in the Archinect interview, Oblivion "was realized in a post-9/11 time period, so seeing the urban world from the air simply was not the same as it might have been a few years earlier." Further:
    Getting permission to fly over the city was fraught with difficulty; the possibility of an airplane somehow turning the urban fabric into the site of an Armageddon-esque conflagration was implicit. At the same time, the meaning of "looking" within an urban environment has changed; it’s now more akin to an act of surveillance. Who gets to look? Who controls the gaze? Who controls the information seen? Who is or is not permitted to photograph the railroad tracks, the subway station, the public building? Is it unlawful to do so without permission? And who, or what entity, is given the power to grant such permission? By what authority is that bestowed?

Elsewhere, on his own website, Maisel adds: "Certain spatial fears seem endemic to the modern metropolis, and Los Angeles defines this term in ways that no other American city can approximate. This amorphous skein of strip malls and gated developments, highway entrance and exit ramps, lays unfurled over the landscape like a sheet over a recalcitrant cadaver. Surely the earth is dead beneath the sheer weight and breadth of this built form?"


Finally, Oblivion is simultaneously being released in book-form by the Nazraeli Press. There, in an essay accompanying Maisel's photographs, author William L. Fox (the same William L. Fox discussed here) suggests that the tonal inversion so apparent in the Oblivion series works to disrupt the"circuitry of the city":
    The skyscrapers of downtown are now axonometric figures in a virtual reality, as if displayed in a Computer Aided Design program, and the course of the Los Angeles River is indistinguishable from those of the freeways. The oblique view... lays out a city as elaborate as that of a Persian carpet, yet it is as white as if it had been incinerated. What presumably is a blown-out, overexposed sky above the hills in the background is instead a black void that glowers over the city. It’s how an X-ray looks, how we imagine the military sees the monochromatic world when surveilling it at night. It’s as if we are seeing what the artist refers to as a “shadowland,” a place previously unobserved that coexists with its sunstruck version.
So come out if you can, meet David (and possibly meet William Fox?), and potentially even meet me, though I'll just be there as a spectator. It should be a good night. Bring your friends, your Romans, your countrymen – as well as a few bucks so you can buy a signed copy of the book.

2 Projects

Here's a couple recent projects that have landed in my inbox.

Vanke Center in Shenzhen, China by Steven Holl Architects:
Missing image - CN-holl11.jpg
A "progressive new sustainable mixed-use complex...on the South China Sea...the building, a horizontal skyscraper, will contain a conference center, hotel, serviced apartment and offices and the headquarters of China Vanke Co., Ltd....The floating horizontal bars of space loosen the connection between formal structure and function, giving vitality to the main ground level and surrounding landscape. The plan provides open space for the intricate multi-faceted daily life at this ground level to evolve and change."

Missing image - CN-holl2.jpg

O-14 Commercial Tower in Dubai by Reiser + Umemoto:

Missing image - RU-dubai1.jpg

"O-14, a twenty-two story tall commercial tower perched on a two-storey podium...comprises 300,000 square feet and...will be located along the extension of Dubai Creek, occupying a prominent location on the waterfront esplanade. The design for O-14 is for a tower sheathed in a forty centimeter-thick concrete shell perforated by over 1,000 openings that create a lace-like effect on the building’s façade. The shell is not only the structure of the building, it acts as a sunscreen open to light, air, and views."

Missing image - RU-dubai2.jpg