architecture

Thursday, December 2, 2010

Probe Field

[Image: From "Kielder Probes" by Phil Ayres, Chris Leung, and Bob Sheil, courtesy of sixteen*(makers)].

Beginning in 2003, architects Phil Ayres, Chris Leung, and Bob Sheil of sixteen*(makers) began experimenting with a group of "micro-environmental surveying probes" that he was later to install in Kielder Park, Northumbria, UK.

[Image: From "Kielder Probes" by Phil Ayres, Chris Leung, and Bob Sheil, courtesy of sixteen*(makers)].

The probes were "designed to act as dual monitors and responsive artefacts." Which means what, exactly?
    The probes were designed to measure difference over time rather than the static characteristics of any given instance. Powered by solar energy, the probes gathered and recorded ‘micro environmental data’ over time. The probes were simultaneously and physically responsive to these changes, opening out when warm and sunny, closing down when cold and dark. Thus not only did the probes record environmental change, but they demonstrated how these changes might induce a responsive behaviour specific to a single location.
After the probes were installed, they were filmed by "an array of high-resolution digital cameras programmed to record at regular intervals."

[Images: From "Kielder Probes" by Phil Ayres, Chris Leung, and Bob Sheil, courtesy of sixteen*(makers)].

The resulting data—which took note of the climatic and solar situations in which the objects began to change—offers insights, Sheil suggests, into how "passively activated responsive architecture" might operate in other sites, under other environmental conditions.

[Images: From "Kielder Probes" by Phil Ayres, Chris Leung, and Bob Sheil, courtesy of sixteen*(makers)].

As DIY landscape-registration devices constructed from what appear to be off-the-shelf aluminum plates, they also cut an interesting formal profile above the horizon line, like rare birds or machine-flowers perched amidst the tree stumps.

[Image: From "Kielder Probes" by Phil Ayres, Chris Leung, and Bob Sheil, courtesy of sixteen*(makers)].

Chernobyl/Baikonur

[Image: The Baikonur Cosmodrome; image via Tomorrow's Thoughts Today].

Liam Young and Kate Davies of the Architectural Association's Unknown Fields Division have teamed up to launch an annual "nomadic studio." Next July, 2011, Young and Davies will lead a two-week visit to the irradiated zones of exclusion at Chernobyl, Ukraine, and the derelict Soviet launch-city of Baikonur for an intensive workshop of architectural research and design.

As Liam describes the studio: "Together we will form a traveling circus of research visits, field reportage, rolling discussions, and impromptu tutorials... Joining us on our travels will be a troupe of collaborators: photographers and filmmakers from the worlds of technology, science and fiction including the Philips Technologies Design Probes research lab and Archis/Volume magazine."

There is a £650 fee to participate, but this does not cover flights or hotels. More info here.

Ventilating Mines with Repurposed Airplane Engines

[Image: A "Jeffrey Portable Blower," once billed as the "highest efficiency in mine ventilation, insuring [sic] a continuous and abundant supply of fresh air under every operating condition." Image courtesy of Kentucky Coal Heritage].

I had never heard of a "Gorniczy Agregat Gasniczy" apparatus prior to the Pike River Mine disaster still unfolding in New Zealand, where one such device is about to be deployed.

The GAG, as it's known, is "a jet engine inertisation unit developed for use in mines, controlling and suppressing coal seam fires," Wikipedia explains—another way of saying that it is literally a jet engine that you plug into one end of a sealed mine in order to blow high-powered chemical winds (carbon dioxide, nitrogen, and water vapor) into the tunnels below. These gases then "lower the oxygen levels, suppressing fires and forcing methane out of the mine."

[Image: A GAG unit being readied in New Zealand, courtesy of the New Zealand Herald News].

There are only three operational GAG units in the world right now, apparently. Each operates by taking a "docking position" on the earth's surface, attached to "intake ventilation headings" that lead, via boreholes, into the porous labyrinth of artificial caves below. The GAG then rapidly pumps a new atmosphere into the existing mineworks, as if generating artificial weather underground. In a paper on "jet engine inertisation techniques," Stewart Bell points out that "a variation of this device was used, mounted on a remotely controlled tank, to extinguish the oil well fires in Kuwait following the Gulf War."

As Jonathan Rennie, the person who originally pointed this machine out to me, added: "I wonder what alternative structures it could be plugged into and what alternative gases could be pumped." Indeed. Weaponized jet-engine army battering rams used to clear enemy houses of hidden combatants. Emergency subway ventilation machines. Alcoholic mist-dissemination units for avant-garde cocktail parties. Underground deodorant guns.

As it happens, the specialty subfield of preventing and/or extinguishing underground mine fires comes with a wide range of spatial and material techniques. These include the controlled "injection" of instant gel-foam barriers (operated via "an underground-based mobile gel preparation and injection system"), in order to block airflow through the mines, and the installation of ventilation control devices (VCDs), or rapidly deployed explosive barriers.

Looking into this latter architectural form—if we can treat underground ventilation control devices as a form of spatial design—led me to something called the "TestSafe Explosions Gallery" in Queensland, Australia—a kind of experimental underground explosion lab that operates as "a full-scale pressure test facility for ventilation control devices (VCDs) within Australia."

[Image: The Lake Lynn Experimental Mine facility; image courtesy of the CDC].

This "full-scale pressure test facility" joins another Aussie site, called the Lake Lynn Experimental Mine (LLEM), "a highly sophisticated underground and surface facility where large-scale explosion trials and mine fire research is conducted."
The workings are located in a massive limestone deposit. Entries are sized to match those of commercial mines, making them authentic, full-scale test galleries. Movable bulkheads permit the setup of single-entry, triple-entry, and longwall face configurations for experiments. The underground test areas are amply instrumented and coupled to a remote control center at the surface. Research conducted at this facility includes large-scale gas and coal dust explosion studies, conveyor belt flammability trials, and evaluations of explosive materials and mine stoppings. In addition, diesel, ground control, and emergency response and rescue research is conducted here.
I'm increasingly convinced that these sorts of highly specific sites need to be cataloged within the architectural world—or, at the very least, within the world of landscape research and design. Put another way, in the long line of accepted building typologies—the library, the stadium, the prison, the house, the theater—it's a shame not to see mine-fire research facilities more frequently listed...

In any case, Jonathan Rennie, who first pointed out Gorniczy Agregat Gasniczy devices to me, also forwarded a link to the homepage of Andrzej M. Wala, a mine engineering professor at the University of Kentucky with a research focus on subsurface ventilation techniques—mapping and predicting atmospheric effects in highly confined quarters below ground. As part of this, Wala has pioneered work in simulating the spread of underground fires using VENTGRAPH "mine fire simulation software" (as opposed to VENTSIM "mine ventilation simulation software").

"The essential work program of the project," Wala and his co-authors explain, "was built around the introduction of fire simulation computer software and the consequent modeling of fire scenarios in selected mine with different layouts." At stake here is a comprehensive understanding of the geometry of underground airflow:
The importance of understanding complex ventilation networks such as those with diagonal connections has been discussed. It is important to identify and understand their potential effects on the mine ventilation network as the airflow through the diagonal connections could reverse or stop due to the changes in the adjoining branches within the ventilation network. Mining companies need to identify the existing and potential diagonal connections in their ventilation system and analyze how these connections will affect their ventilation system especially in the case of fires. Training is necessary to equip mine ventilation personnel how to identify and minimize diagonal connections in their ventilation system.
Indeed, we read elsewhere, underground facilities are often subject to sudden, potentially disastrous "windblasts," an atmospheric effect generated under certain spatial conditions: "These conditions include the geological configuration and the dimensions of the mining excavation (mine layout)." It's like spatially-induced turbulence inside the earth.

[Image: The Wieliczka Salt Mine and its surface weather station; image courtesy of NOAA].

So there is weather underground, then. In fact, it is interesting to note in this context that the famed Wieliczka Salt Mine outside Krakow, Poland, has its own weather station monitoring the atmospheric conditions underground. The station operates in tandem with a distributed network of microclimate sensors and a massive dehumidification system: "Although the dehumidification system is not yet operating exactly as desired... 'tuning' of the dehumidification system is planned and is expected to completely solve the mine's moisture problem."

I'm reminded of a passage from the Aeneid that I often cite here on BLDGBLOG, in which Virgil describes the underground storm-storage facilities of King Aeolus, who "rules the contending winds and moaning gales" of the Mediterranean by "imprisoning" them inside artificial caves that he has excavated beneath the "granite of high mountains." A kind of mythic weather-emperor, King Aeolus exhibits a knowledge of underground atmospheric dynamics that the programmers of VENTGRAPH and the operators of the Wieliczka dehumidification system should envy.

[Image: Holland Tunnel exhaust tower, ventilating the underworld; photo via SkyscraperPage.com].

Finally, all this talk of subterranean ventilation compels me to mention David Gissen's short history of New York's urban ventilation control structures—specifically, the design of exhaust towers for the Holland Tunnel.

In a brief section of his recent book Subnature: Architecture's Other Environments, Gissen describes these structures as "strange buildings" that "collapsed" the difference between architecture and civil engineering:
The Holland Tunnel spanned an enormous 8,500 feet. At each end, engineers designed ten-story ventilation towers that would push air through tunnels above the cars, drawing the vehicle exhaust upward, where it would be blown back through the tops of the towers and over industrial areas of the city. The exhaust towers provided a strange new building type in the city—a looming blank tower that oscillated between a work of engineering and architecture.
The very idea here that urban infrastructure—such as trans-river commuter tunnels or an underground subway—might be atmospherically comparable to deep coal mines is fascinating; the possibility that spatial techniques learned in one of these fields might be equally applicable in the other is equally of interest.

It is these moments of marginal, shared spatial expertise that continue to fascinate me, offering, as they do, unexpected perspectives on the built environment—both above and below the ground.

(Meanwhile, check out this image of 16th-century mine ventilation works, in which "revolving wooden wind vanes fitted to the top of mine ventilation shafts... acted as extractor fans sucking stale air from the mine.")

Smart Growth

One of the recent awards from the EPA for the 2010 National Award for Smart Growth Achievement went to Portland Metro region for it's 2040 Growth Concept.


Policies, Programs, and Regulations: 2040 Growth Concept, Portland metro, Oregon
EPA says: Metro, the elected regional government of the Portland, Oregon, area, is making sure that future population growth can be accommodated through its “Making the Greatest Place” effort. Building on the 2040 Growth Concept, this effort helps protect current and future residents’ quality of life by providing access to transportation choices, investing in compact communities, and preserving farms and forests.

Snowed Off


Today's scheduled fraternal visit by MA A+U to the University of Sheffield MA in Urban Design course has had to be cancelled. Snow on both sides of the Pennines, the closure of university campuses and the cancellation of trains have all been against this particular innovation in the calendar.

Eamonn Canniffe's lecture Park Hill: It is what it is ... has also fallen victim to the adverse weather.

Both events will be rescheduled for the New Year.


Wednesday, December 1, 2010

Spatial Gameplay in Full-Court 3D

Japan is distinguishing its bid to host the 2022 World Cup with a plan to broadcast the entire thing as a life-size hologram.

[Image: Courtesy of the Japan Football Association/CNN].

"Japanese organizers say each game will be filmed by 200 high definition cameras, which will use 'freeviewpoint' technology to allow fans to see the action unfold from a player's eye view—the kind of images until now only seen in video games," CNN reports.

[Image: Courtesy of the Japan Football Association/CNN].

British football theorist Jonathan Wilson puts an interestingly spatial spin on the idea: "Speaking as a tactics geek," he said to CNN, "the problem watching games on television is it's very hard to see the shape of the teams, so if you're trying to assess the way the game's going, if you're trying to assess the space, how a team's shape's doing and their defense and organization, then this will clearly be beneficial."

Watching a sport becomes a new form of spatial immersion into strategic game geometries.

[Image: Courtesy of the Japan Football Association/CNN].

Of course, there's open disbelief that Japan can actually deliver on this promise—it is proposing something based on technology that does not quite exist yet, on the optimistic assumption that all technical problems will be worked out in 12 years' time.

But the idea of real-time, life-size event-holograms being beamed around the world as a spatial replacement for TV imagery is stunning.

(Thanks to Judson Hornfeck for the tip!)

The Digital Canopy (Expanded)

It's intriguing that Google Earth 6 has started populating the virtual 'planet' with 3-Dimensional trees, which together with buildings and terrain offer the opportunity for some reasonable representation of exterior sites.  Right now, only a few cities have been added in selected cities and natural areas:
"I think we can all agree that our planet without trees would be a pretty desolate place. Besides the ever-important task of providing us with the oxygen we breathe, trees are an integral part of the landscape around us. In Google Earth, while we and our users have been busy populating the globe with many thousands of 3D building models, trees have been rather hard to come by. All that is changing with Google Earth 6, which includes beautifully detailed, 3D models for dozens of species of trees, from the Japanese Maple to the East African Cordia to my personal favorite, the cacao tree. While we’ve just gotten started planting trees in Google Earth, we already have more than 80 million trees in places such as Athens, Berlin, Chicago, New York City, San Francisco and Tokyo. Through our Google Earth Outreach program, we’ve also been working with organizations including the Green Belt Movement in Africa, the Amazon Conservation Team in Brazil and CONABIO in Mexico to model our planet’s threatened forests."
A short video from Google, particularly regarding their concept for showing specific species of trees to promote understanding and great conservation.


The problem, of course, is the rendering of trees, which is so often problematic in digital formats as to be more distracting than useful.  The trees are somewhat abstracted, due to the need to provide simple shapes lower memory usage.  (UPDATE: the images previously shown were from the old version of Google Earth - so I have no provided a comparison with these and a city that has the new Google Earth 6 Trees  - thanks to Damian @ World Landscape Architect for the heads up on this).  All images are exports from the Pro version.

Digital Trees (A Comparison)
A contextual overview is somewhat interesting, for instance, Central Park in New York City (which does not have the new trees yet) looks surprisingly robust with the old trees.

Central Park

The new trees - in this case from San Francisco's Golden Gate Park, show a more homogenous and subtle patterning of the canopy, a bit more realistic in the inability to see separate trees, and the lack of repetition.

Golden Gate Park

The distant views at eye level are interesting to provide context for the adjacent buildings, something missing in the sterility of the 3D google earth buildings.  From a flattened view, the Central Park trees do provide a foreground to the adjacent urban edges.

Central Park

Standing in a similar field looking outward, there seems to be a bit more depth in the new 3D trees, and the rendering of individual tree components is more noticeable (maybe it's just the lighter trunks?).  There's obviously less density surrounding Golden Gate park, but the foreground/background relationship of the distant hillside is pretty effective (now when is the Weather on Google Earth going to be perceptible on the ground-level view, which might make the sky look a bit more real).

Golden Gate Park

The whole thing falls apart for the old trees, similar to many other attempted representations of vegetation, at a close-up scale. You can see the X-shaped geometry of the trees (a common way of providing lo-res 3D vegetation) start to give up their individual facets and look a bit strange.

Central Park

While the new 3D trees are an improvement, as you can see a better approximation of the trunk and canopy as well as a distinction between varieties of species.  As anyone that's worked in Sketchup knows, the search for good approximations of trees is a difficult task to find good representations of trees to match diversity of real vegetation.  I think some Google Earth to actual photo matching shots would be interesting to show the differences and see how close these have come to true representation.

Golden Gate Park

An interesting first attempt (check out all of the cities with trees here), but one that still needs a lot of work.  Talking with folks that do a lot of 3D rendering, landscape is always a difficult aspect for a couple of reasons.  The overall complexity of a tree, for instance, is immense - even when compared to a building (which is typically more uniform in shape and is covered with 'flat' materials.  

The Problems of Rendering Trees.
Thinking of a tree as a complex system - there's a infinite branching system of components - trunk, branch, stem, leaf, bud, flower - radiating in 3 dimensions in an ordered, yet flexible paths.  A beautifully rendered tree is a masterpiece, but one that takes a lot of time and memory to accomplish and is a mere snapshot in time of one species, of a certain age, and at a certain time of year.

:: image via Peter Guthrie

Even with the perfect specimen, there are many other factors at work - which in essence requires each one to be slightly different, as well as the ability to capture form at different ages.  Take into account a changing canopy over the 4 seasons - often representing with spring leaf out, coloration, summer full foliage, fall color and leaf drop, and winter branching - and that adds another complex variable to the equation.  A bit simpler for evergreen species, but just think of the number of species of trees that exist in any particular city.  Thus attempts to simplify often create trees which are somewhat cartoony approximations of the real thing.  It boggles the mind - just think what it does to the CPU.

:: Revit Trees - image via YellowBryk

Finally, trees are but one aspect of the landscape - and unless you are living in a park from the picturesque era, most are juxtaposed with a layered structure from overstory, understory, shrubs, and groundcover - especially when viewed from a close-in site scale.  There are programs available that will allow for this complexity - but how many project budgets do you think have this built in, or how many firms have the technological capabilities and personnel to do this type of work. This dilemma becomes evident in the eventual jump from the 3D to more 2D forms of rendering (predominately Photoshop) which allows a snapshot to take on a much richer palette, with less time and expertise - to more accurately render vegetation.  These are relegated to a one-shot image, and lose the potential for fly-throughs and other 3D tools for representation.  The search, alas, continues - for the perfect set of tools.