Monday, December 12, 2011

anodized Aluminum

This piece of public art was chosen as the winning proposal among three finalists for the new transit center being built in North Redondo this year. Located at the entry plaza location at Kingsdale Avenue, designed by Marc Fornes/THEVERYMANY in cooperation with Volkan Alkanoglu, the project is a piece of urban furniture, announcing the city of Redondo Beach to arriving visitors.

“Gate Wave” is designed to serve as a communication device, allowing the public to interact and engage with the variety of moiré effects within the colorful pattern and ephemeral qualities of light and shadows.  The design is 13.5 feet at its highest and almost 50 feet wide at its base. It will be constructed using concrete footings, a timber frame structure, and anodized aluminum in four total layers, with cyan and lime colorations on the interior aluminum and white on the outside.

The project had to overcome two major objections: the possibility of misusing the structure as a skateboarding ramp, as well as the fact that the project lapped beyond the constraints set forth in the Request for Proposals. Despite these issues, along with concerns regarding the effects of the ocean air’s on the anodized aluminum shapes near the top of the sculpture, the artwork will be built later this year.

 

Saturday, December 10, 2011

Ο Πυγμάχος, το Λιοντάρι και η Σκόνη

Όλη η ζωή είναι ένα πείραμα

Η κοινωνία προετοιμάζει το έγκλημα. Ο εγκληματίας το διαπράττει

Αν ένα λιοντάρι μπορούσε να μιλήσει, δεν θα το καταλαβαίναμε

Σκέφτομαι άρα υπάρχω

Η πιο μεγάλη τέχνη είναι να ξέρεις να αποχωρείς

Δεν μπορώ να πάω πίσω στο χθες γιατί ήμουν κάποιος άλλος

«Πω, πω, σκόνη που σήκωσα!», είπε η μύγα που καθόταν στο πίσω μέρος του άρματος

Η ύπαρξη προηγείται της ουσίας

Ένας φιλόσοφος που δεν θέλει να παίρνει μέρος σε συζητήσεις είναι σαν έναν πυγμάχο που δεν θέλει να μπαίνει στο ρινγκ

Ένα ποίημα δεν τελειώνει ποτέ, μόνο εγκαταλείπεται

Δεν υπάρχει πιο ταπεινωτική απάντηση από την περιφρονητική σιωπή

Οποιοσδήποτε ανόητος μπορεί να πει την αλήθεια. Χρειάζονται προσόντα για να πεις ψέματα

Οι ιδέες είναι σαν τα καρφιά. Όσο τις χτυπάς, τόσο βαθύτερα μπαίνουν

Αληθινοί επαναστάτες είναι εκείνοι που δεν έχουν να χάσουν τίποτα

Εκείνο που η κάμπια το ονομάζει τέλος του κόσμου, η ζωή το ονομάζει πεταλούδα....

από το βιβλίο του Θ.Πελεγρίνη

Thursday, December 8, 2011

the Match Girl

On a cold New Year’s Eve, a poor girl tries to sell matches in the street. She is freezing badly, but she is afraid to go home because her father will beat her for not selling any matches. She takes shelter in a nook and lights the matches to warm herself. In their glow, she sees several lovely visions including a Christmas tree and a holiday feast. The girl looks skyward, sees a shooting star, and remembers her deceased grandmother saying that such a falling star means someone died and is going into Heaven. As she lights her next match, she sees a vision of her grandmother, the only person to have treated her with love and kindness. She strikes one match after another to keep the vision of her grandmother nearby for as long as she can. The child dies and her grandmother carries her soul to Heaven. The next morning, passers-by find the dead child in the nook.

SourceThe source for the story was a widely popular woodcut illustration by the Danish artist Johan Thomas Lundbye depicting a poor child selling matches printed in a calendar for 1843; several illustrations had been sent to Andersen by the editor of an almanac requesting him to write a story around one.

Another known inspiration for the story is the well known fairy tale The Star Money previously recorded by the Brothers Grimm. It is a story of a poor young girl who gives away everything that she has to the needy and ends up with nothing except her love for God. The Grimms' variation differs, ending with the girl remaining alive and receiving divine gifts (money that falls from the stars) for her charity.

Another source of inspiration could be his trip to Bratislava (Pressburg) in 1841 where he was witnessing how the town of Devin burnt down and how women were searching for their lost children.

[edit] Publication"The Little Match Girl" was first published December 1845 in Dansk Folkekalender for 1846. The work was re-published 4 March 1848 as a part of New Fairy Tales. Second Volume. Second Collection. 1848. (Nye Eventyr. Andet Bind. Anden Samling. 1848.), and again 18 December 1849 as a part of Fairy Tales. 1850. (Eventyr. 1850.). The work was also published 30 March 1863 as a part of Fairy Tales and Stories. Second Volume. 1863. (Eventyr og Historier. Andet Bind. 1863.)

Wednesday, December 7, 2011

to Connect Water

As one of three shortlisted proposals for the St. Petersburg Pier International Design Competition, the Wave tries to connect the water and the city of Petersburg by emphasizing the possibility of achieving unity through physical contact. Its undulating form creates a narrative that merges the pier structure with the entire bay area. BIG’s project is divided into three parts: Tributary Park, Wave Walk and the Wave. The first phase of construction will include The Wave and Wave Walk. Tributary Park will be realized in the second phase.

The programmatic concept includes a museum, observation deck, playgrounds and green areas. The loop-shaped structure mimics the physiology of the water wave: it goes underwater and rises in order to frame a swimming pool and holding areas for kayaks, canoes and small boats. The gesture further culminates by looping the promenade overhead, sheltering people and providing elevated views from the generated roof terrace. The public spaces terminate with a platform which submerges into the bay creating an additional view towards the city. exhibition spaces, banquet halls and other public spaces. The proposal also offers different rooms including a salt bath, mist room, botanical room, steam room, cloud room, snow room, polar bear club, water slides and swimming pool.
 

Tuesday, December 6, 2011

Looking for Immortality

Architects at Manuel Ocaña Architecture and Thought Production Office were asked to design a rather unusual spatial concept, one that would ensure the survival of 20 families and thousands of books for three years after the 2012 Apocalypse. The design was commissioned and promoted by a Belgian foundation and would be located at a mountain slope in Sierra Nevada, Spain. It is conceived as a “culture ark”, after a suddenly precipitated climate change with tsunamis, earthquakes, and a global chain of disasters, nuclear or otherwise.

The initial idea for the project was to use a more organic approach of atomization and circulation strategies. Several dome-shaped areas are interconnected and manifest the underground configuration of the system upon the landscape. In the light of ever-rising number of religious beliefs and, as the architects put it, “the “scientificisim” religious looking for immortality”, the project can also function as an Apocalyptic Resort.

The proposed project encountered serious practical obstacles. Large engineering companies, currently selling thousands of bunkers around the world for the impending apocalypse, eliminated the firm from the project. According to the architects, the companies’ argument was:” This project is extremely serious and your proposal is expensive and unviable. Of course, promoters believe in military discipline in case of global apocalypse.” It seems that the weakened nuclear threat has slowed down their businesses, and climate change opens up a whole new market.

Monday, December 5, 2011

al Qahira in Arabic

A Social Construct for Islamic (Historic) Cairo
Modern Cairo (al-Qahira in Arabic which means the “Victorious”) was founded as the imperial city to a conquering army in 969 AD, at the head of location where the Nile splits into its two main branches. It began as a walled royal compound with highly organized palaces, parade grounds, and lush gardens.

However, within 200 years of its founding and given the fall of its conquering dynasty, Cairo rapidly morphed into the medieval social fabric that largely exists today. At its height in power and wealth in the mid 1930’s, Medieval Cairo was the largest cosmopolitan city in the world, boasting a population of over 500,000 people inside its walls and acted as the center for all trade as it moved from the orient to Europe and the West. The fabric of the Islamic metropolis significantly crystallized within a 100 year period into a complex network of social, economic, religious and cultural network. The historic district of Cairo today is a residue of those relationships, most of which still operate much the same as they did 1000 years ago, upon its founding.

Modern metropolitan Cairo´s growth has far exceeded its medieval numbers and is currently the largest city, in both Africa and the Middle East with a population of over 15 million people. Cairo proper has a density of over 90,000 people per square mile and is suffocating from hyper congestion of every type.

Modern Predicament: Horizontal congestion, lack of vertical density, and the social patterns
The current remarkable state of contemporary Cairo is paradoxically defined by hyper horizontal congestion as one of the single densest cities in the world. While there is an almost complete absence of structures less than 3 stories, there also exist a very low percentage of buildings exceeding 10 to 12 stories, city wide, with typically lower structures in the historic district. A rare exception to this is The Cairo Tower, which is a 187 meter infrastructural telecommunication tower built in 1961. At 187 meters, it is the tallest all concrete (i.e. no steel columns or frames) in the world and stands as a modern landmark in a skyline otherwise singly dominated by thousands of minarets built over the previous 1000 years.
While the most obvious device to deal with horizontal congestion is the skyscraper typology, it is almost never implemented by the Cairene population. Its standard spatial organization and normative mode of circulation is at direct odds with the informal interactions that have been concretized over the previous millennium.

Medieval Complexity: A study in the historic fabric and religious institutions
At the apex of wealth and power of medieval Cairo’s Mamaluk Sultans, the city fabric went through its most spectacular period of monument building, growth, and crystallization. Careful examination of historic city reveals that there is no absolute way in which the medieval complexity can be directed or given a set of guiding rules. Instead, all growth happens by way of few absolute “Certainties” supplemented in a symbiotic way with a significant number of “Tendencies” which occur as a resultant of forces, many of which are driven by the certainties.

In Islamic cities of historic nature, the construction of mosques acts as a “Certainty” operation in the fabric. All mosques by Islamic law are required to face toward Mecca. When constructing mosques, the fabric is removed, the mosques constructed with its appropriate orientation, and afterwards, over a period of time, the fabric grows back around the newly constructed “certainty”. The type and configuration of fabric is vaguely regulated and responds exclusively to symbiotic forces at the moment. They become a construction of “Tendency”.

When looking at the mosque itself specifically from the Mamaluk medieval period, it is easily identifiable that the constructions themselves were first typologies of complex cross programming of both civil and religious lives governed by a theocracy. The mosque complex of Sultan Hassan completed in 1363 was the most massive structure of its time and housed in addition to the religious activities of the day, 4 schools, a dormitory for 400 people, a hospital, and an orphanage. The massive construction also contained infrastructural works such as a water tower that helped maintain the population. A separate room was also set aside as the mausoleum for the patron of the building.
When analyzing “Certainties” and “Tendencies” of built fabric along with an in-depth programming of the medieval mosque complex, there arises opportunities to respond to Cairo’s hyper congestion via a mechanism of medieval morphology that is responsive to both the informal relationships, complex social patterns, and the trajectory of time.

Proposed Tower
The skyscraper proposition is to develop a programmed infrastructure (not dissimilar to the “Cairo Tower”) that strategically places contemporary “Certainties” such as a mosque, madrassa, secular schools, library, hospital, and crypt throughout the framework. Once the certainties are established, the informal “Tendencies” will take over and infill the infrastructure. The proposed project represents a speculative undermined growth cycle of 100 years, where tendencies will infill the tower and help alleviate the horizontal congestion.

Sunday, December 4, 2011

from the Ocean to Tuvalu

Rising high from the ocean below, the elevated “Emergency Land” proposed by South Korean architect Jinman Choi and graduate student Ji Yong Shim is a structure topped by skyscrapers that serves the vital cause of housing the 11,000 residents of the Tuvalu Islands – islands that may soon be swallowed by the sea.

The nine islands of Tuvalu, eight of which have human residents, are located in the Pacific Ocean near the equator. Two of the islands are already experiencing significant flooding, and with elevated sea levels submerging the islands’ lands another 0.5-0.6 cm a year, experts fear the islands could completely disappear within the coming decades.

Choi and Shim are especially concerned with the residents of the islands, as they seem to have few options for escape at this point. The two explain that, currently, nearby Australia has not opened their borders, and New Zealand only permits 75 immigrants from the islands per year, As such, new solutions must be crafted for Tuvalu residents, and quickly. Their solution is to build grand, elevated landmasses anchored by bases on the seafloor and topped by massive skyscrapers to house the 11,000 residents needing new homes. The “arch-designed core” will allow for the balance needed to support the expanded mass of “land” above. The funnel-shaped platforms can be recreated continually to expand the amount of land available. This socially responsible design brings innovation and attention to the needs of a people whose land may, sadly, soon be forever submerged.
 

Saturday, December 3, 2011

a pinPlant WebLayout

Pin-plant is an installation designed by Stewart Hicks and Allison Newmeyer from Design With Company like a series of experiments – an examination and interpretation of humanity through anthropomorphism and color. Finding the fantastic in the systematic. What do our desires to personify computer parts express about us? It all began with an old computer motherboard. At first it was a city scape, then a vast mechanical microcosm, with circuits leading this way and that- a garden of forking paths if you may- immediately immense and endless. Aggregating in intense exchanges of information- where color became landmark and organization revealed a scale of part to whole most basic in its arrangement, yet complex in possibility. It’s efficiency a testament to its time. Technology of foreign pieces. But what did we want to do with it? We wanted to give it life to understand it. Aestheticize it until it could be more than a commentary on the mechanics of things. Through sculpture, the conventional exformative connections are disconnected.
Geometry reminiscent of Buckminster Fuller is structurally efficient until it is not. The 5000 buttons are each an self-sufficient display unit, complete with a devices for hanging and protection; at once a painting, one pixel of digitally sampled color, and an entire portable museum. They are minor figurines, used over and over again to compose the major chimerical figure – an encrusted scape of colorful scales. Each one is hand made and unique yet part of community.

 

Thursday, December 1, 2011

to use a Joshua Tree

Using the desert near Joshua Tree as a backdrop Ball-Nogues Studios have installed what they call a synthetic earthwork which hides a swimming pool inside. The project is part of High Desert Test Sites, an art project which “generates physical and conceptual spaces for art exploring the intersections between contemporary art and life at large.” The parametric bowl Yucca Center is 30 feet tall and egressed by ladder. Visitors transverse the swimming hole, which bottoms out 10 feet below grade, by a series of rock climbing hand holds.

The wooden frame was re-claimed from a previous art project’s form work which was originally intended to be supplies for this piece, something the artists termed as “cross-designed”. The plywood is stacked and cut in sections, slotted into the ribs to create a bowl. Plywood strips skin the interior, like a ship hull in reverse.
Inspired by both aesthetic land art and abandoned swimming pools and buildings of the Southwest the piece is also very much about the human experience. Open on October 15th and 16th 2011 the work was a playground for a lucky few who spent an afternoon playing in the temporary oasis. The piece is abandoned to the elements.

 

Academy of Oscar...in Sciences

The Academy of Sciences for the Developing World -Arab Regional Office (TWAS-ARO) holds its 7th Annual Meeting on 28 and 29 December 2011, at the BA. The Meeting will be preceded by a seminar that intends to bring together leading experts to discuss challenges and opportunities of water, nuclear and renewable energy in the Arab region.TWAS-ARO members and young affiliates, along with other eminent speakers, will provide an opportunity for a wide range of fruitful discussions and solution-oriented exchange of ideas regarding the future of water, nuclear and renewable energy in the Arab World. TWAS-ARO Regional Prize winner, in addition to TWAS-ARO Young Affiliates 2011 announcement, will also take place during the Meeting. TWAS-ARO will also sponsor 10 outstanding young researchers, from different Arab countries, to present their project/research on water, nuclear and renewable energy.