Chủ Nhật, 5 tháng 12, 2010

Decolonizing Architecture

I've been delinquent in mentioning a talk by Eyal Weizman scheduled to take place later this afternoon, over at REDCAT in downtown Los Angeles. A related exhibition called Decolonizing Architecture—co-curated by Weizman—opens to the public on Tuesday, December 7.
    Decolonizing Architecture is a project initiated by Alessandro Petti, Sandi Hilal and Eyal Weizman in 2007. Set up as a studio/residency program in Beit Sahour, Bethlehem and recently re-established as the Decolonizing Architecture/Art Residency (DAAR), they engage spatial research and theory, taking the conflict over Palestine as their main case study. Decolonizing Architecture seeks to use spatial practice as a form of political intervention and narration. Their practice continuously engages a complex set of architectural problems centered around one of the most difficult dilemmas of political practice: how to act both propositionally and critically within an environment in which the political force field, as complex as it may be, is so dramatically skewed.
I will be posting again about the exhibition next month; for now, I want to get the word out in the nick of time for those of you who able to attend today's talk.

Thứ Sáu, 3 tháng 12, 2010

The Old and The Beautiful

Vogue Turkey just featured Advanced Style in their December issue alongside one of my other favorite blogs Mis Papelicos. I get very excited when I see my photos in magazines that typically feature younger models. Older models are becoming more popular as people realize that beauty and style don't disappear, but advance with age. Do you think its refreshing to see more seasoned models in ad campaigns and on the runway? Chime in on the Advanced Style Forum .

Nancy Ozelli

Gitte Lee

Carmen Dell'Orefice
Bridget Sojourner
Daphne SelfMimi Weddell

Thứ Năm, 2 tháng 12, 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.")

Amazing Grandmas: A Celebration


I have been inspired by amazing grandmas all week after seeing my Grandma Bluma's favorite magazine, The New Yorker, choose Advanced Style as their Style Pick. She would have been so excited to see her name mentioned in her beloved New Yorker. I also had the wonderful opportunity to have dinner with a wonderful grandma, Ruth Flowers,AKA DJ Mamy Rock. Ruth started DJing after attending her grandson's birthday party at a disco, and realized how music can really bring people together. Age doesn't have to limit our creativity or our spirit. Check out some of my favorite Amazing Grandmas below:


Above is the ever stylish Grandma Jojo. Trevor Bush sent in photos of his amazing Grandma with these words:

Jojo is doing "pretty well for an old lady" as she likes to say, and will be 95! in April. She is a former educator (began one of the first kindergartens in New Mexico), and has lived in Albuquerque since 1990. She has been legally blind for a number of years (hence the magnifying glass she wears around her neck). remains as active as possible, walking and visiting with friends daily. She sometimes tells me: "I wonder why the good Lord is keeping me here", and it pleases me that there are younger people who not only appreciate the style of an older person, but also who understand what is meant when it is said that "old people are wise". A lifetime of knowledge and experience has tremendous value. Pay attention to the old people in your life, write them letters, call them, indulge them, it's a mutually beneficial and deeply rewarding experience. And you don't have forever.

Ruth Flowers in her own words,"Everything began the night, when my grandson, whom I'm very close to, celebrated his birthday at a disco in London. He invited me to join him and his friends. When I arrived the doormen wouldn't allow me inside. Its true, I didn't look like their usual customer (laughs)... I did get in eventually... only to be dumbfounded...there was such an electric atmosphere! It was so different from the dances & the bands I used to go to when I was younger. There was a real osmosis between the music and the lights, it energized me!...made me feel so much younger!

That night shattered my view of things, especially the way I saw my life...I had a lot of free time...I discussed my idea with my grandson, he thought I'd gone mad. Sometime after our talk, an acquaintance put me in touch with a young French producer, Aurelien Simon. I told him my idea and he took on the challenge. I wasn't sure about it working but was prepared to give it a go, Aurelien was convinced and he took me with him. Since then I have made many trips around Europe, met quite a number of D.J.s. Aurelien introduced me to electro and house music. I went to clubs and been practicing a lot with the new machines. It was really fun!! Now I know I can make everybody move their ass on the dance floor (laughs)...

The incredible images above were taken by photographer Sacha Goldeberger. He shot these wonderful photos to cheer up his amazing 91 year old grandmother. The photos of Mamika have been compiled into a book that is now for sale on Amazon. http://www.sachabada.com/

These photos were submitted by Leif who describes his gradma Olga:
My grandmother Olga was born in 1890 in New Mexico, grew up in Florida and married my grandfather when they were only 18. They me in Paris where he romantically proposed on the Eiffel Tower. She was most innocent and had no idea how children were conceived, She had 9 children. Her wisdom: Always be kind to other people. Never be afraid of anything. Be original.
If you haven't already checked out Rita's Very Old Grandmother Blog, you are missing out. Enjoy the videos of some other truly Amazing Grandma's below:

Thứ Tư, 1 tháng 12, 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!)