architecture

Tuesday, May 7, 2013

Shapes from the Dream Mine

[Image: Tunnel House, Dream Mine, Johnson Creek, Abajo Mountains, San Juan County, Utah (1915); courtesy of the USGS].

I don't have much to say about this image, other than it depicts the architectural workings of something called the Dream Mine, located in the Abajo Mountains of Utah and photographed back in 1915.

But it's such a great name—the Dream Mine—perhaps suggesting that, somewhere out there in the American desert, there is a reserve surplus or underground stockpile of unconscious aspiration stored inside the earth, a kind of geological harddrive where the dreams of the whole nation have been frozen like holographs in mineral glass.

[Image: An otherwise unrelated photo of an ice-harvesting operation in Minnesota—but perhaps this is what it would look like to mine dreams. Courtesy of Wikipedia].

Using red and blue lasers, subterranean excavators trained in neurology cut slow sequences from flowstone and ship televisual crystals out along the interstate, rare dreams distributed direct from this underground site in Utah. We'll simply mine our dreams from the earth and ship them out in perfect, white cubes from the dark roots of distant mountains to the rest of the world. It's logistics.

[Images: More ice-harvesting from Minnesota].

Alas, the actual Dream Mine worked the other way around: that is, it was inspired by a dream experienced by John H. Koyle, a Mormon pioneer.
In August 1894 [Koyle] experienced a dream in which he was visited by a figure from another world. The visitor carried him to a high mountain east of Koyle's house and into the mountain, showing him the various strata and explaining the meaning of the minerals. The visitor showed Koyle an ancient "Nephite" mine with large rooms of mined-out ore bodies. The rooms contained treasure and artifacts of an extinct civilization. Koyle was instructed that he was to open a mine and extract gold for the welfare of "his" people. Specific instructions were given for the mine development leading to rich ore bodies.
"Koyle's dreams continued," the University of Utah explains. "He especially received instruction on how to develop the mine. Plans included air shafts, escape ways and drainage tunnels. Instructions came to build a processing mill and storage bins for grain." In other words, Koyle claimed to have received technical plans for the mine in his sleep, down to the precise construction of ventilation shafts.

It would be interesting, in this context, to learn that the entire New York City subway system had been built according to plans seen in a dream by some tweed-bound engineer of the 19th-century—rolling in his sleep at night with visions of stairs coiling into the earth and tunnels connected cellar to cellar across the island like a circuit board—and whether knowing that would affect how millions of commuters look at their daily train trips, as if passing through a 3D model of the mind of a stranger.

[Images: From La Jetée, directed by Chris Marker].

Of course, it was all for naught: the gold was never discovered. However, some apparently still hold out for a Tea Party-like moment of mineralogical revealing on some future day in which the global economy has collapsed and the only thing left with value is gold... all the many, many thousand tons of it stored somewhere in the mountains of Utah and dreamt of decades ago by John Koyle, an incalculable stash as yet unreachable by today's technologies.

Salt Lake City's City Weekly jokes (under the headline "prophet sharing") about "the mine’s ancient and fabled promise: wealth beyond imagination, where rivers of precious gold and platinum course beneath the docile farm community. What’s more, nine vaults are said to lie deep within the mine, filled with the treasures left by an ancient race from the Book of Mormon known as the Nephites. As legend goes, the Nephites’ wealth was set aside for God’s chosen people during a time of uncertainty as a blessing to fortify the faithful against the ensuing chaos of the apocalypse."

Monday, May 6, 2013

A Short Survey of Architectural Publishing

The new World-Architects eMagazine includes "A Short Survey of Architectural Publishing," made up of some Q&As I conducted with ten publishers. Click the link above or image below to read the piece.

Books_Montage.jpg
What is the state of architectural publishing today? How, if at all, are publishers responding to the changes to reading brought on by digital technologies, such as E-books and E-readers? These and other questions are the focus of our Short Survey of Architectural Publishing, in which we asked publishers of books on architecture a series of questions about publishing, technology, and the books they produce.

Monday, Monday

A Weekly Dose of Architecture Updates:

This week's dose features 101 Spring Street in New York City by Architecture Research Office:
this week's dose

The featured past dose is Art et Industrie in New York City by Architecture Research Office:
this       week's  dose

This week's book review is Translucent Building Skins: Material Innovation in Modern and Contemporary Architecture by Scott Murray (L):
this week's book review this week's book review
(R): The featured past book review is Contemporary Curtain Wall Architecture by Scott Murray.

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American-Architects Building of the Week:

Week of April 29: Riverview Park Visitor Service Building I in Louisville, Kentucky, by De Leon and Primmer Architecture Workshop:
this week's Building of the Week

Week of May 6: Rosa F. Keller Library and Community Center in New Orleans, Louisiana, by Eskew+Dumez+Ripple:
this week's Building of the Week

Saturday, May 4, 2013

Stormcloud at SCI-Arc

The following text, photos, and video are courtesy Oyler Wu Collaborative for their Stormcloud installation, as part of SCI-Arc's 40th anniversary celebration.


Designed and built by the office of Oyler Wu Collaborative along with students of the Southern California Institute of Architecture, Stormcloud is the third project in a series of installations designed for SCI-ARC. The previous two installations, Netscape and Centerstage, were designed for the school's graduation ceremonies in 2011 and 2012, respectively.


With SCI-Arc celebrating its 40th anniversary, the school commissioned the new pavilion for the after-party of its April 2013 gala. Tasked with the challenge of revamping the existing Netscape pavilion, Oyler Wu Collaborative saw the project as an opportunity to take a completely different approach to the problem. By removing the ten miles of knitted ropes that once hung between the soaring steel trusses, the project was transformed both volumetrically and materially. Using a minimal amount of new steel elements and cable supports, a spandex fabric was stretched between the elements, giving the pavilion a new life and an unexpected volumetric presence.


Geometrically, the project involves a series of funnel-like forms that extend from the rectilinear canopy structure above to a series of rings that are hung from the columns at around eye level. In the original conception of the project, the rings were simple geometric loops, but this relatively straightforward geometric approach presented a difficult problem in terms of fabric patterning. At the heart of the problem was the dramatic difference in the circumference between the upper portion of the canopy and the lower rings.


As a way of dealing with the problem, the eye-level rings were converted to more eccentric shapes made of bent-steel tubing. With the circumference of the eccentric shapes carefully sized to match the circumference of the upper canopy, the strategy effectively eliminated the need for patterning of fabric, while producing an undulating, curtain-like effect on the surface of the funnels.


One of the more striking features of the scheme is the oscillation between the reading of lines (in the structural system), surface (revealed at the base of the funnels), and volume (most present in the overall external view of the pavilion). What begins as a reading of volume ultimately reveals a system of deep spatial cavities through which an intricate structural system moves in and out of view. Both natural and artificial lighting effects accentuate these qualities further.


The thinness and lightweight color of the fabric produce a changing set of effects as natural lighting conditions change throughout the day. The fabric is at times translucent with a ghostly network of structure revealed beyond, and at other times opaque with dramatically warped shadows cast across the undulating surfaces. The lighting for the after-party was an opportunity to take that one step further, using changing color gradients to highlight the eccentric forms at the bottom funnels.


Project Design and Fabrication Team (Oyler Wu Collaborative): Dwayne Oyler, Jenny Wu, Mike Piscitello, Huy Le, Sanjay Sukie


Project Fabrication and Documentation Team (SCI-Arc): Sandra Reyes, Justin Tan, Jennie Sun, Dan Lu, Daniel Lee, Helena Yun, Noni Pettinger, Jonathan Bruen, Jocelyn Basseporte, Justin Kim, Vaishail Shah, Adam Fujioka, Arnold Kim, Melody Javahevian, Jacky Huang, Patrice Chang, Cody Miner, Shawn Rassekh, Bailey Shugart, Ryan Roark, Chuck Diep, Jennifer Diep, Cathy Qu, Elliott Freeman, Matt Pugh, Deysi Blanco, Stephen Rafferty


Structural Engineering: Nous Engineering, Matt Melnyk


Photography: Scott Mayoral, Art Gray, Clifford Ho, Dwayne Oyler


Video Production: Luisa Martinez, Mike Piscitello, Patrice Chang, Adam Fujioka, Dwayne Oyler, Jenny Wu

Thursday, May 2, 2013

The Images of Architects

For the 2012 Venice Biennale, Swiss architect Valerio Olgiati curated a selection of "Pictographs—Statement of contemporary architects." The inspirational images from well-known architects were displayed on a large table in the Arsenale, and soon they'll be collected in a book published by Quart.



I asked architects to send me important images that show the basis of their work. Images that are in their head when they think. Images that show the origin of their architecture.

In this book we find 44 individual "musées imaginaires". The most unique architects living today each present up to 10 images to explain the autobiographical roots of their oeuvre. The images are explanations, metaphors, foundations, memories and intentions. They are poetic and philosophical avowals. They reveal a personal perspective on thoughts. They show the roots of architecture and expectations concerning projects. Conscious and unconscious.

This book has the format of a reader. As little as possible is said. The images are small, legible and interpretable as icons. As individual collections, they present a personal view of an individual world, while as a whole they provide a universal view of the perceptible origin of contemporary architecture.

Valerio Olgiati

Wednesday, May 1, 2013

Today's archidose #672

Here are some photos of two pavilions at the Kröller-Müller Museum in Otterlo, Netherlands, photographed by Klaas Vermaas.

Aldo van Eyck Pavilion by Aldo van Eyck (1966), rebuilt in 2006:
otterlo sonsbeek paviljoen b reconstr 05 1966 v eijck ae (kmm otterlo 2013)

otterlo sonsbeek paviljoen b reconstr 04 1966 v eijck ae (kmm otterlo 2013)

otterlo sonsbeek paviljoen b reconstr 02 1966 v eijck ae (kmm otterlo 2013)

otterlo sonsbeek paviljoen b reconstr 07 1966 v eijck ae (kmm otterlo 2013)

Rietveld Pavilion by Gerrit Rietveld (1965), rebuilt in 2010:
otterlo sonsbeek paviljoen reconstr 01 1954 rietveld gt (kmm otterlo 2013)

otterlo sonsbeek paviljoen reconstr 08 1954 rietveld gt (kmm otterlo 2013)

otterlo sonsbeek paviljoen reconstr 03 1954 rietveld gt (kmm otterlo 2013)

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

Do you MOO?

Not MOO cows - MOO cards!  I recently received an order of lovely new blogger cards which I ordered from Moo after hearing about them from everyone (Habitually Chic and Slim Paley for example). The mini-MOOs are half the size of an ordinary business card and oddly enough are the same proportions of a blog header! I ordered them in the matte finish and they arrived within 2 days of placing the order online, couldn't have been easier!  Save 10% off your order HERE.  They also offer stickers, postcards and a wide variety of products and finishes. The cards are available with up to 100 images on the back side (although I ordered mine all the same blog header beautifully drawn by the talented PVE).
What have you ordered and been pleased with lately?
I received no compensation for this post, just happy to share a good product!