Saturday, May 26, 2012

an Atmospheric Capture to H2O

Designed as a proposal for the Taichung Gateway City Project, the Skywater Tower deals with issues of water production. While many countries already face the water crisis, Taiwan is ironically the second nation in terms of annual rainfall. However, the country’s steep topography leaves its tropical and subtropical zones surprisingly dry and with the soil unable to retain water. The shortage has become more severe in the last years, impacting individuals, agriculture and industries.

Drawing from a long tradition of researching water harvesting techniques, Atelier CMJN has designed an architectural object which also acts as an atmospheric water generator. The principle is the following: water vapor is condensed by cooling the air below its dew point or pressurizing it. Sun and/or wind are used to provide power for refrigeration. Refrigerated panels capture moisture. The verticality of the building enhances the ability to harvest more powerful winds in order to provide more water.

The new tower design is based on water production principles, but is also in line with Taiwanese cultural values. With its hydrodynamic shape, the structure is a landmark that contributes to its environment. The proposal envisions clusters of such water harvesting objects, optimally positioned within cities. They act as both urban attractors and plants, contributing to raising awareness about the water shortage issues.

Friday, May 25, 2012

if Bird...or Devil...!!

Έντγκαρ Άλαν Πόε (Edgar Allan Poe): "Το κοράκι"

Μια πολύ ατμοσφαιρική απαγγελία

Το πρωτότυπο :

Once upon a midnight dreary, while I pondered weak and weary,
Over many a quaint and curious volume of forgotten lore,
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
`'Tis some visitor,' I muttered, `tapping at my chamber door -
Only this, and nothing more.'

Ah, distinctly I remember it was in the bleak December,
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow; - vainly I had sought to borrow
From my books surcease of sorrow - sorrow for the lost Lenore -
For the rare and radiant maiden whom the angels named Lenore -
Nameless here for evermore.

And the silken sad uncertain rustling of each purple curtain
Thrilled me - filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating
`'Tis some visitor entreating entrance at my chamber door -
Some late visitor entreating entrance at my chamber door; -
This it is, and nothing more,'

Presently my soul grew stronger; hesitating then no longer,
`Sir,' said I, `or Madam, truly your forgiveness I implore;
But the fact is I was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard you' - here I opened wide the door; -
Darkness there, and nothing more.

Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortal ever dared to dream before
But the silence was unbroken, and the darkness gave no token,
And the only word there spoken was the whispered word, `Lenore!'
This I whispered, and an echo murmured back the word, `Lenore!'
Merely this and nothing more.

Back into the chamber turning, all my soul within me burning,
Soon again I heard a tapping somewhat louder than before.
`Surely,' said I, `surely that is something at my window lattice;
Let me see then, what thereat is, and this mystery explore -
Let my heart be still a moment and this mystery explore; -
'Tis the wind and nothing more!'

Open here I flung the shutter, when, with many a flirt and flutter,
In there stepped a stately raven of the saintly days of yore.
Not the least obeisance made he; not a minute stopped or stayed he;
But, with mien of lord or lady, perched above my chamber door -
Perched upon a bust of Pallas just above my chamber door -
Perched, and sat, and nothing more.

Then this ebony bird beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore,
`Though thy crest be shorn and shaven, thou,' I said, `art sure no craven.
Ghastly grim and ancient raven wandering from the nightly shore -
Tell me what thy lordly name is on the Night's Plutonian shore!'
Quoth the raven, `Nevermore.'

Much I marvelled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning - little relevancy bore;
For we cannot help agreeing that no living human being
Ever yet was blessed with seeing bird above his chamber door -
Bird or beast above the sculptured bust above his chamber door,
With such name as `Nevermore.'

But the raven, sitting lonely on the placid bust, spoke only,
That one word, as if his soul in that one word he did outpour.
Nothing further then he uttered - not a feather then he fluttered -
Till I scarcely more than muttered `Other friends have flown before -
On the morrow he will leave me, as my hopes have flown before.'
Then the bird said, `Nevermore.'

Startled at the stillness broken by reply so aptly spoken,
`Doubtless,' said I, `what it utters is its only stock and store,
Caught from some unhappy master whom unmerciful disaster
Followed fast and followed faster till his songs one burden bore -
Till the dirges of his hope that melancholy burden bore
Of "Never-nevermore."'

But the raven still beguiling all my sad soul into smiling,
Straight I wheeled a cushioned seat in front of bird and bust and door;
Then, upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yore -
What this grim, ungainly, ghastly, gaunt, and ominous bird of yore
Meant in croaking `Nevermore.'

This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom's core;
This and more I sat divining, with my head at ease reclining
On the cushion's velvet lining that the lamp-light gloated o'er,
But whose velvet violet lining with the lamp-light gloating o'er,
She shall press, ah, nevermore!

Then, methought, the air grew denser, perfumed from an unseen censer
Swung by Seraphim whose foot-falls tinkled on the tufted floor.
`Wretch,' I cried, `thy God hath lent thee - by these angels he has sent thee
Respite - respite and nepenthe from thy memories of Lenore!
Quaff, oh quaff this kind nepenthe, and forget this lost Lenore!'
Quoth the raven, `Nevermore.'

`Prophet!' said I, `thing of evil! - prophet still, if bird or devil! -
Whether tempter sent, or whether tempest tossed thee here ashore,
Desolate yet all undaunted, on this desert land enchanted -
On this home by horror haunted - tell me truly, I implore -
Is there - is there balm in Gilead? - tell me - tell me, I implore!'
Quoth the raven, `Nevermore.'

`Prophet!' said I, `thing of evil! - prophet still, if bird or devil!
By that Heaven that bends above us - by that God we both adore -
Tell this soul with sorrow laden if, within the distant Aidenn,
It shall clasp a sainted maiden whom the angels named Lenore -
Clasp a rare and radiant maiden, whom the angels named Lenore?'
Quoth the raven, `Nevermore.'

`Be that word our sign of parting, bird or fiend!' I shrieked upstarting -
`Get thee back into the tempest and the Night's Plutonian shore!
Leave no black plume as a token of that lie thy soul hath spoken!
Leave my loneliness unbroken! - quit the bust above my door!
Take thy beak from out my heart, and take thy form from off my door!'
Quoth the raven, `Nevermore.'

And the raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon's that is dreaming,
And the lamp-light o'er him streaming throws his shadow on the floor;
And my soul from out that shadow that lies floating on the floor
Shall be lifted - nevermore

Thursday, May 24, 2012

Διαβάζοντας Braille...

Ο φτωχός Νεφέρ Φαραωνικό παραμύθι

Μια φορά κι ένα καιρό ζούσε ένας φτωχός καλός άνθρωπος, ο Νεφέρ. Συνήθιζε να πηγαίνει στο κυνήγι, που του άρεσε πολύ. Σκαρφαλωμένος στις χουρμαδιές περίμενε να πλησιάσει κάποιο ζώο στη λίμνη να πιει νερό για να το σκοτώσει με τα βέλη του. Ζέβρες και γαζέλες έρχονταν πρωί-πρωί να ξεδιψάσουν. Και πραγματικά χτυπά με τα βέλη του μια γαζέλα και την σκοτώνει. Πριν προφτάσει όμως να κατέβει από το δέντρο, κάποιος κρυμμένος σε ένα θάμνο, αρπάζει τη σκοτωμένη γαζέλα και εξαφανίζεται .
«Θα είναι πιο πεινασμένος από μένα», σκέφτηκε ο καλός άνθρωπος και γύρισε στην καλύβα του με άδεια χέρια. Τα παιδιά του έκλαιγαν και η γυναίκα του τον κοίταζε γεμάτη απορία.
Τη δεύτερη φορά που ξαναπήγε στο κυνήγι στο ίδιο μέρος χτύπησε μια αντιλόπη.
«Αυτή κάνει πολύ ωραίο φαγητό» σκέφτηκε, αλλά ώσπου να κατέβει και πάλι ο άγνωστος τού άρπαξε το θήραμα.
«Αυτό δεν θα ξαναγίνει» συλλογίστηκε ο άνθρωπος. Μόλις ανέβηκε στο δέντρο έριξε κάτω ένα μακρύ σχοινί που έφτανε ως το έδαφος και μέσα στην πυκνή βλάστηση δεν φαινόταν. Ήρθαν και πάλι τα ζώα να πιουν νερό και ο κυνηγός μας χτύπησε ένα ζώο που το λένε γκνους. Και πριν προλάβει ο κλέφτης να το αρπάξει, ο κυνηγός μας έπιασε το σχοινί, κατρακύλησε στο έδαφος και άρπαξε τον κλέφτη από το λαιμό. Ήταν ένα νέο παιδί και στο κατάμαυρο πρόσωπό του τα μάτια του γυάλιζαν λευκά και τρομαγμένα.
- Μη με σκοτώσεις! Μη με σκοτώσεις!
- Κάθε μέρα μού κλέβεις κι ένα ζώο. Δεν το κάνεις γιατί πεινάς. Γιατί το κάνεις; Ρωτούσε ο κυνηγός κρατώντας τον κλέφτη από το λαιμό. Έχω παιδιά και γυναίκα και μένουν νηστικοί.
- Μη με σκοτώσεις! Επαναλάμβανε ο κλέφτης κι έτρεμε.
- Δεν σε σκοτώνω. Τώρα που έχω ζώο, έλα να φας κι εσύ στην καλύβα μου μαζί με τα δικά μου παιδιά .
Ο κλέφτης δεν πίστευε στ’ αυτιά του.
- Εκεί θα με σκοτώσεις; Ξαναρωτά, καθώς ο Νεφέρ τον κρατούσε σφιχτά.
- Ούτε εδώ, ούτε εκεί. Θα φάμε το ζώο όλοι μαζί.
Έτσι κι έγινε. Πήγαν στην καλύβα, έψησαν το γκνους και κάθισαν γύρω – γύρω να φάνε. Ο νεαρός κλέφτης από την κατάπληξή του γι’ αυτή τη συμπεριφορά, δεν μπορούσε να βάλει μπουκιά στο στόμα του.
- Καλύτερα να με χτυπούσες, έλεγε και ξανάλεγε στον καλό κυνηγό. Η καλοσύνη σου με σκοτώνει.
- Έτσι είμαι εγώ, δεν αλλάζω, απάντησε ο Νεφέρ. Όποτε πεινάς να έρχεσαι στη καλύβα μας. Αν έχουμε φαγητό, θα τρως κι εσύ. Είμαστε οι άνθρωποι σαν τα δέντρα. Το ένα βγάζει αγκάθια και το άλλο καρπούς. Μάθε να βγάζεις καρπούς για να σε αγαπούν και τα καλά πνεύματα του δάσους.
Από τότε ο νεαρός έπαψε πια να κλέβει. Ο Νεφέρ τού έμαθε να κυνηγά και να σημαδεύει τα ζώα. Και μια μέρα ήρθε φορτωμένος ένα ελάφι. Γελούσε και τα λευκά του δόντια έλαμπαν.
-Σήμερα θα φάμε με δικό μου κυνήγι, είπε και γέλασαν όλοι.
Έτσι δέθηκε μια φιλία που κράτησε παντοτινά....


 

to Tango Lions

'' Tango with Lions are the project of singer/song-writer Kat, and were originally conceived in 2006 after the musical dressing of diaries, photos and book-reading influences. A band was officially formed during a summer-time jam in 2007, in a beach house with former members Johniethin and Dana. Johnniethin's blues-folk guitar playing and harmonica style, met cellist Stavros' confident melodies and Dana's delicate clarinet sound to complete what the debut album "Verba Time" represents. Since the recording sessions during 2009-2010 with producer Ottomo at Fab Liquid Studios, the line up has changed, with Yannos now playing guitars and the appearance of drums. Tango with Lions is seen as a collective of day-dreamers, hard-workers and music-lovers. The album "Verba Time" got released by InnerEar Records on June 21st, 2010 and was warmly welcomed by critics and audience. Tango with Lions are currently giving concerts along with preparing new songs.''

Members:
Kat- voice, piano, guitars, harp, bass
Yannos- guitars, vocals
Stavros- cello, mandolin
Nikos V.- drums, percussion, vocals
Jimmy Star - trompone

Former members and guest appearances:
Dana- clarinet, vocals
Christopher- drums, percussion
Stefanos Hit - drums, percussion
Kostas Vavousis - bass
Serafeim Giannakopoulos - drums, percussion
Johniethin- guitars, vocals, harmonica
Elsa- cello
Dennis- guitars
Manos- harmonica

Taken from their debut album '' Verba Time'' (2010). For any further information please visit:
http://www.myspace.com/kaschialoveslions
http://www.facebook.com/pages/Tango-with-Lions-band/121332907936988
http://www.gogoyoko.com/#/artist/tangowithlions


 

Wednesday, May 23, 2012

Anatomie du Saxophone

Le corps du saxophone est composé de trois parties trouées ou collées réalisées en laiton : le corps conique, le pavillon et la culasse reliant les deux. Les clés (au nombre de 19 à 22 selon les membres de la famille) commandent l'ouverture et la fermeture des trous latéraux percés sur le corps (ou cheminées). L'extrémité haute du corps est prolongée horizontalement par le bocal (démontable) qui porte le bec (en ébonite, en métal ou en bois), équipé d'une anche simple attachée avec une ligature.

Le son du saxophone est produit à l'aide d'un bec et d'une anche (en général en roseau, mais peut être aussi en matière synthétique). C'est la vibration de l'anche sur la facette du bec qui permet l'émission du son par mise en vibration de la colonne d'air contenue dans le corps de l'instrument.

Bien que métallique, le saxophone appartient à la famille des bois de par son mode de production des notes, par la vibration d'une anche en bois contre le bec. Il est cependant parfois considéré (à tort) comme faisant partie de la section cuivres dans les musiques populaires (telles que le rock, la pop, le rhythm’n’blues, le funk ou la soul) où il est associé aux trompettes et aux trombones (instruments à embouchure).

De plus, comme il tend à se rapprocher de la sonorité des cordes (ceci est stipulé dans le brevet d'invention du saxophone), on peut de façon anecdotique en faire un "chaînon manquant" unissant cordes, bois, cuivres et percussions (grâce aux sons slappés). Le saxophone s'accorde avec les autres instruments en faisant légèrement varier l'enfoncement du bec (modulable grâce au liège entourant l'extrémité du bocal) quand le son est trop bas, on enfonce le bec, quand il est trop haut, on tire le bec. Il présente quelques ressemblances avec la clarinette (notamment le soprano), dont il diffère cependant par sa perce conique au lieu d'être cylindrique. C'est d'ailleurs cette dernière particularité qui lui permet d'être un instrument octaviant (alors que la clarinette quintoie) : le but même d’Adolphe Sax lorsqu'il imagina son nouvel instrument.

My Mini Space

The project was designed as a temporary event space, located on a roof in NYC. Part of the MINI’s “Creative Use of Space” campaign, the project was designed and its construction oversaw by architects at HWKN. It is heightened by the design elements characteristic of BMW’s Mini Cooper cars.

The roof combines natural and artificial elements. An organic hill is suspended in an abstract architectural grid. The design is a collection of elements that punctuate the ubiquitous grid: a grassy lounging hill with seating dimples and performance stage, a speakers’ platform embedded in a large scale existing billboard, a lighting tower to cast light on the space and to act as a visual icon on the skyline, and a panorama bar overlooking the Hudson River. The floor is animated with a LED carpet that turns the surface into a programmable horizontal billboard. At an architectural scale, objects like the bar, hill, platform, and light tower float within the grid pattern of the light carpet.

Location: New York, NY
Client: BMW Mini Brand + KKLD*

Size: 1,000 sq ft
Scope: Schematic Design through to Construction Administration
Team: Matthias Hollwich, Marc Kushner, Marc Perrotta, Patricia Sahm,Paul Sanders, Jefferson Frost, Robert May, Will Kemper, Evan V Watts
 

Tuesday, May 22, 2012

Keep on Ironing

White Tanks
Temperas
Studies
Oil
Large Images
Humanity
to Worker

Monday, May 21, 2012

industrial Archaeology

In addition to understanding artifacts, we learn about Nova Scotia’s industrial past through industrial archaeology (IA). IA is the study of the tangible evidence of social, economic and technological development of the period since industrialization. It includes buried foundations, features, and remnants normally associated with archaeological study, such as the foundry, locomotive shed and miner’s house found on our site. But equally important, it includes the landscapes, buildings, sites and structures still evident in some form around us. It is the rows of identical houses close to a vacant lot that once held a pithead; it is the uniformly-shaped manmade stream that once was a mill-race supporting water-powered factories; it is the canal that employed the technology to move vessels from one body of water to another, thereby bringing goods to market more economically. In Nova Scotia you can find it in old canneries and remnant pilings of piers, in street names and neighbourhoods, in architecture, and in slag heaps.

One thing is for certain – it is rapidly disappearing. As we move beyond the Industrial Age, once dominated by resource exploitation like mining, lumbering, and manufacturing this physical evidence is becoming harder to find. There is little trace of the substantial operations of the Sydney steel works, countless factories have disappeared, and the spatial arrangements of industrial towns are changing as the old makes way for the new. Former beehives of activity are now returning to nature. So look around you in the towns and in the woods, to see what your surroundings might tell you about the Nova Scotia of the past and the ways our parents and grandparents lived. If you see something interesting, let us know. It is part of our job to document this heritage before it is gone forever.   Contact us at industry@gov.ns.ca or 902-755-5425.

Sunday, May 20, 2012

Beyond the Old, Cold Metal

Across a frozen river sterilized
by industrial pollution,
a row of rusting metal titans
stands sentinel at water's edge,
their thick, hollow arms rubbing
at roughly bolted elbows,
their bellies silent, dark
of the iron burdens of immigrants.

These black behemoths, mecha-monster
robots seized motionless in rust,
occult a city at dusk
with their mass, their height.

Higher still, above tuyeres
and empty iron ore buckets,
a city glows on Christmas night,
with white-roofed homes
like railroad model buildings,
edged in brilliant scarlet, blue,
or multicolored points of light
that wink between the flakes.

Beyond the furnaces, creaking,
reeking of half-burnt coke and coal,
row homes beckon with aromas
of roasted turkey, stuffing,
hot coffee, pumpkin pie.

Past the ice-bound truss works,
the lightless brick-lined ovens
whistling with wind,
softer walls radiate the warmth
of family.

Here, children in flannel pajamas
tinker with day-old toys,
mothers clean their kitchens,
full-bellied fathers nod off
to the static roar
of football.

Scott Speck
10/13/2003
 

Saturday, May 19, 2012

a Secret Garden

The installation is a composition of three biomimetic pieces created for the Milan Design Week 2012. This project, designed by Zaha Hadid, is located in Milan’s Brera neighborhood, in the garden between the Academia Art Museum and historical roman houses. Together with Paola Navone’s installation, Hadid’s piece constitutes the ambiental whole named The Secret Garden.

“The composition of each of the three showcased works is derived from the intricate beauty of organizational systems in the natural world. These fascinating scenarios are established when energy is applied to geology–developing a geometric set of repeated growth and erosion cycles.

Each piece, immaculately crafted in marble by Citco, invites further investigation; revealing formal complexity, repetition and textures that celebrate the detailed process and fluidity of natural systems – a persuasive manifesto of nature’s unrivalled logic and unity; a journey of discovery into the forces of their creation.

The exacting arrangements, structural integrity and precision of these natural systems inform a rich architectural language with the inherent capacity for complex programming.

The formal dynamic of the pavilion’s design has been generated by subtle gestures that follow a coherent, logical order. A rhythm of slices and folds define each piece; an integration of diverse forms that reflects the individuality of each panel – yet ensures they are considered within the overall ensemble.

This dialogue of geometries establishes a direct relationship between nature and architecture, an obvious evolution of the creative language explored by the practice driven by the innovations in digital design processes and manufacturing techniques.”