samedi 20 novembre 2010

# Mapping holey spaces on Pruned and BldgBlog


I am pretty sure that only few of my readers do not read BLDGBLOG, but I nevertheless wanted to draw attention on a very recent article Geoff Manaugh has been published. This article is a sort of sequel of one Alexander Trevi wrote on Pruned in last February. Both introduce a project that succeeded to 3d-scan a subterranean architecture.
The first one on Pruned is the digital reconstruction (in little dots) of the 2km long tunnel underneath the Mexican city of Guanajato by the artists The North Room. (the project is entitled La Subterranea)
The second one on BLDGBLOG is a similar scan (this time with surfaces and textures application) of the tunnels and caves network of the city of Nottingham. This incredibly rich survey has been organized and effectuated by the local instances of government associated with the University of Nottingham. See the official website of the Nottingham Caves Survey
Geoff published one video on his blog but there are many others and I would like to propose three here which explore three caves of breweries and public houses.




courtesy of the Nottingham Caves Survey

vendredi 19 novembre 2010

# Spatiology by Vittorio Giorgini

Spatiology is a book written (and drawn) by Vittorio Giorgini, former teacher at the Pratt Institute who exposes among other fields, his interest for the geometrical and physical construction of topological thin shell structures.
The book is rich of various drawings illustrating the geometrical processes applied to simple surfaces in order to achieve topological characteristics. This research matches with Giorgini's obsession for the minimal impact of a building on the ground. We can observe this obsession through the Casa Saldarini (Italy 1962) and the Liberty Center (done with Pratt's students in New York 1976) but also in other projects designed by the Italian architect which are using a more "industrial" architectural vocabulary.

A video is available on youtube
showing Giorgini in the garden of the Casa Saldarini talking (in Italian) about his small scales shells but also about the house itself (starting after the 5th minute)




Casa Saldarini

Liberty Center

mercredi 17 novembre 2010

# Two projects by Jonathan Schofield (University of Westminster)

Creative Evolution is a project designed by Jonathan Schofield at the University of Westminster which is nominated for the RIBA Presidents Medals. Since the boards of this work can be looked at on the Presidents Medals' website, I chose to publish the film of the project and another film that Jonathan created for a former project entitled Thames Salmon Rehab.

Both films illustrate a clear interest for a mechanical architecture (paradigmatic in the main UK schools) and the beautiful poetry that those mechanical devices create.

Creative Evolution - Silvertown Ship Breaking Yard / Reconstructed Hybrid Community from Jonathan Schofield on Vimeo.


Thames Salmon Rehab from Jonathan Schofield on Vimeo.

mardi 16 novembre 2010

# Capitalism's Architecture

Here is another text I originally wrote for my post-professional thesis...

So far, I have been focusing exclusively on the militaro-political aspect of the problem I propose to study in this essay. However, it would be deceiving not to evoke the economical system this first aspect attempts to protect: in the Western world, namely Capitalism. In fact, Capitalism as well necessities a space, and architecture, more or less consciously is ready to provide it.
This chapter will be divided into three parts which will attempt to explore the process of gentrification and the two paradigmatic examples of capitalist architecture that are the privately owned public spaces and the shopping malls.

Gentrification is a process extremely illustrative of how Capitalism operates. In fact, only a part of the capitalist system is based on the more or less objective value of manpower and raw materials. A very important other part is provided only by values that are based exclusively on the virtual. That is how a low social class’ neighborhood that despite a not so comfortable aspect, provides a relatively cheap place to live in the center of a city, can be transformed into the new area where the wealthy youth has to spend their nights.
This process usually starts without any transcendental will, with a little amount of middle class young people who decide to move to this kind of districts in order to benefit of the low rents and the authenticity of the neighborhood. Politics, speculators and developers do not need a lot of time before becoming aware of the potential of such area in the center of the city. For the first ones, it constitutes a good opportunity to get rid of a population that is considered as risky and marginal; for the second and third ones, it is a very good way to develop a good financial investment. When politics are taking measure to transform this “dangerous neighborhood where nobody want to come out at night” into a “better and safer place” –understand a place that the authorities can fully control-, speculators buy the current buildings, increase considerably the rent from years to years until the tenants cannot pay anymore and eventually replace them with a population can pay or even destroy the concerned buildings. The developers can then intervene and build new complexes of commercial activities and condominiums.
Gentrification sometimes necessities a dozen of years to become actually effective; however it often implement itself in a much faster way, such as in Williamsburg in Brooklyn where it only took six years to transform a low social class black area into one of the main hipster place of New York City.

Capitalism does not stand not to be in full control of every space of the city. It does not bear either that its best architectural invention, the skyscraper that virtually reproduces infinitely a parcel of land for only once its price, could be limited by urban codes. That is how, in 1961, the City of New York made a deal with private entities in order to reform those codes. In exchange of a significant area of public space on their parcel, corporations and private owners would be authorized to build their towers higher. However, this little zone of public space was not meant to be given to the city so those private actors remained the owners and controllers of this area. They therefore keep the right to authorize or forbid activities to occur and persons to pass on those spaces. Under an appearance of openness, privately owned public spaces are in fact extremely selective of their public. Employees working in the towers are of course welcome; those open spaces are part of a post-modern biopolitical capitalism that appears as taking good care of its subjects. People who spend money on those sites in order to buy coffee, hot dogs, or newspapers are also targeted for this type of public spaces. Others are regarded as unwelcomed and even suspect and can even be asked to leave in case of a “subversive” activity such as playing with a ball, taking pictures or picnicking.
Both corporations and governments are satisfied with those public spaces. Corporations are able to build higher their skyscrapers, provide open space for their employees, developing commercial activities while governments see their public space being maintained by private actors and any potential space of gathering being controlled and supervised.

Shopping malls are another typology of private spaces open to the public under determined circumstances. Once again, two birds are being killed with one stone: the paradigm of the Greek Agora as public space is replaced by a hyper-controlled space owned by private corporations AND this space is able to be highly productive in consumption.
First shopping malls in their contemporary version are said to have been invented by the Austrian-American Victor Gruen in the mid 50’s. In fact, he is probably the one to have thought of those pure capitalist architectures as pieces of urbanism. In an America that was tremendously starting to move its middle class –to whom shopping mall are addressed- in large spread out suburbia, shopping malls were going to become the equivalent of Europeans old cities’ centers, a pedestrian place of gathering and activity. However, probably observing that those European public spaces had been the same spaces that hosted the various national revolutions and insurrections, the United States placed this new kind of public space within the frame of a private supervision, control and police. As Mike Davis describes it for Los Angeles: “The ‘public spaces’ of the new megastructures and supermalls have supplanted traditional streets and disciplined their spontaneity. Inside malls, office centers and cultural complexes, public activities are sorted into strictly functional comportments under the gaze of private police forces.” By designing this space as an interior area accessible by definite entrances and supervised by dozen of video cameras and sensors, corporations were assured to limit to the minimum the population that was not welcomed on “their public space”.
The design is also oriented in order to compose a whole interior fantastic world of itself that is supposed to be perceived as better than the reality. This world is safe, clean, warm, entertaining and attractive and it is always a disappointment to leave it for the consumer who forgot reality thanks to it.

The main characteristic of capitalist design is to leave nothing to chance. Indeed chance provokes uncertainty and uncertainty provides an illegibility that can be unproductive for Capitalism. Supermarkets’ products are placed on their shelves according to various consumers surveys and marketing studies; malls are designed in such a way that in order to reach the place their consumers intended to visit, they would have see the integrality of the shops in presence; hyper-visibility discourage homeless people, kids and political activists to take place on private piazzas etc. Legibility is the ability of Capitalism to transform space into an object, both marketable and controllable.

# Small Worlds by Frank Kunert

A small dose of humor today to give some courage to every students who just realized that their semester will end up in 3-4 weeks or so (!). Frank Kunert's Small Worlds (in reality dioramas he photographs) are enchanting for their soft absurdity involving domestic architectures.





dimanche 14 novembre 2010

# EVENT /// William S. Burroughs. A Man Within by Yony Leyser

William S. Burroughs. A Man Within is a documentary directed and written by Yony Leyser which is about to be released in several American cities. The New York's opening is on this Wednesday 17th November at IFC and Yony will be there to answer post-projection questions on November 17th, 18th and 19th.

The movie includes interviews of renowned people such as Gus van Sant, Patti Smith, Iggy Pop, Sonic Youth, David Cronenberg and a bunch of others.

See the different dates for different cities on Oscilloscope Laboratories' website.

Thanks Camille




samedi 13 novembre 2010

# Meat and 2 Veg by Ali Qureshi & Muhammad Zulfiker Enayet

Meat and 2 Veg is a pretty peculiar project designed by Ali Qureshi & Muhammad Zulfiker Enayet in the University of Greenwich in London. In fact, this project proposes a very poetic re-interpretation of the Cyprus conflict between Greek and Turkish Cypriots. Bullets trajectories are replaced by food trajectories and space ends up serving a big banquet for both sides.
The project itself is a sort of slaughterhouse (which is not without recalling Martin Byrne's to some extent). whose main characters are the reconverted US Army "big dogs".

Here is the text Ali and Muhammad wrote in order to explain their approach:

Our ‘theatrical landscape’ is situated in the Buffer Zone, in Nicosia, Cyprus. The site (and the city) is currently divided between Greek Cyprus to the south and the Turkish Occupied Territory to the North.
The theatre of war has delineated that which is Turkish from that which is Greek in the Green Line, a ceasefire line within the city limits. But the line is actually a space with operation posts on either side of it, in a state of ceasefire for 35 years. We imagine how the exiled Cypriots will be rehoused in the Buffer Zone.
Gunslots around the contested space frame a series of miniature theatres. The appearance of any occupants could result in deadly gunfire.
We have replaced the guns with the accoutrements of a feast, a shared dining space, a public kitchen, and a vanishing banquet, stored in the operation posts atop the batteries of the venetian fortifications.
Once the united nations post has been vacated, vegetables will be sent in from the gunslots on the Greek side to tables suspended over the space, where the banquet will take place. The trajectories of gunfire will be replaced with slow moving tomatoes, courgettes and sumptuous olives. Market stalls with abundant produce will set up below, grapevines and lemon groves will infiltrate the buffer zone.
Ali the Greengrocer will reprogramme the ‘big dog’ US robots to farm the inaccessible spaces. Once the mines have been cleared, he will send robotic farmers in to grow vegetables for the feast. Crops will be watered using rotating irrigation arms emerging periodically from the operation posts. Remote harvesting techniques will be employed. Remote controlled triggers will signal the need for more provisions, the use of fertilizers, the dusting and spraying of crops, and harvesting.
Sheep grazing on the ancient battlements will be farmed by Mohammed the butcher, and sent across the ceasefire line for the annual feast. The Butchers cleaver comes down on the sheep on the borderline. This is the realm of Dr.Jekyll and Mr.Hyde, a butchers’ market stall in the buffer zone. Over time, the wall of blood in the housing / butchery will be drained and in its place will grow the richest of red flowers.
Our theatrical landscape will tamper with nature to create a spectacle and a shared space for people, plants, animals. A place where people from both sides can merge in the moonlight.


tutors: James Curtis, Reenie (Karin) Elliott & Francois Girardin



The Theatre of War: Mapping the positions of gunslots and their trajectories, a reeanactment of a battle.
Re-programming the spaces and accoutrements of warfare for a more benign purpose
Gunslots around the contested space frame a series of miniature theatres.

Exploring modernist technologies: Electro-magnetism in the air 'wirelessly' powers up lamps, tampering with nature to create a spectacle.

Pop up landscapes subvert militaristic functions to achieve an aesthetic purpose, sometimes comical and always eerily prescient

The Big Dog: US robots reprogrammed to farm the inaccessible spaces of the buffer zone

Robots dock off to be repaired/recharged

Sheeps graze on the ancient battlements. The Butchers cleaver comes down on the borderline.

In the aftermath of military operations; why not reconfigure a permanent housing project on the temporary barricades of the buffer zone?

Dehumanisation of the others

Big Dog remote controlled robotic farmers, a robot dock, a housing project, a butchery, a market and a last supper

Vegetable crops grown in the buffer zone, irrigated by rotating arms positioned in the operation posts.

Blood is gathered in sacks of ETFE. Over time, this wall of blood in the housing / butchery will be drained and in its place will grow the richest of red flowers.

The realm of Dr.Jekyll and Mr.Hyde: Meat and veg market stalls are positioned in the strategic trajectories of gunfire, dining tables are spectacles viewed from gunslots.
After the market is packed away and the last remains of the last supper have been cleared, the robots begin the next days harvest.

vendredi 12 novembre 2010

# The Cult of the Infinite by Isaac Barraclough

Until December 1st and the President's medals annual ceremony, I'll be publishing a decent amount of student projects coming from the United Kingdom, or said in other words, a plethora of magnificent architectural narratives illustrating the British education savoir faire .

Today I start with an incredible project, The Cult of the Infinite designed by Isaac Barraclough in Gerard Bareham and Adrian Evans' studio in the University of Huddersfield Huddersfield.
This project dramatizes an "infinite" monastic architecture dedicated to the cult of the amazing Jorge-Luis Borges' Book of Sands within a ravine. (don't hesitate to click on the images in order to appreciate the representative details)

Here is the text related to the project:

The work centres on a personal narrative inspired by Jorge Luis Borges’ short story The Book of Sands and the revelation of an infinite book to the protagonist. The story has been expanded on in the form of an epilogue, whereupon the book has passed hands to a group of individuals who proceed to form a sacred cult around the book and its limitless contents.
The thesis aims to explore the idea of infinity in an architecture and also the idea of the common and understood when revealed to us in an unknown and intimidating fashion. This is primarily revealed in the guise of ‘The Book’ and the house it resides in; all of this in turn, supposedly lies within a ravine in the Pyrenees – but ultimately, everything may not be as it first apparently seems.
The story and the work is introduced as part of a collection of documents supposedly found within a suitcase unearthed in the French Pyrenees.
The book is the focal point of a community of unknown size and provides the basis of daily ritual there. The day-to-day activities of the people who reside within the community provide for its sustenance and operate much as a monastery would. The key difference is that their scripture is a very real book: which to the extent of their knowledge holds literally all of what has been, what will be and what is. It will also hold everything that has never been, never will be and never is.
This is The Cult of The Infinite.
A place where an infinite lives meet an infinite book and their endless attempts to extract and catalogue its contents into an infinite library…


The Book of Sands is a mythical book infinite in length. Those who are exposed to it are enslaved by the potential it holds - the answer to everything. In 2006 a suitcase is found buried in the South of France in the Pyrenees.
The contents of the suitcase seem to portray a community that held this very Book at its centre.
Within the suitcase among the drawings, a diary was discovered. On its pages was scrawled an account of the original discovery of The Book.
Early investigation into the form of the construct revealed the emergence of a ravine like topographical feature in which buildings were built, suspended or seemingly hovered.
The diary mentions the House that the cult leaders resided in prior to their exposure to The Book. The House itself seems to have been replicated and fragmented throughout the drawings - Theory holds that these were fabrications manifested by The Book.

Sections such as this were concluded to be nothing more than conceptual images, produced early in the Author's attempts to contemplate their new surroundings.

An aerial plan of the Ravine at its crucial point: The Gourd. The Gourd is the crux of The Ravine itself, the impossible axis on an impossible infinite line - The housing of The Book as it warps the very fabric of space around itself.
The House fragments and contorts into the residential complex of The Cult - an infinite lives meet the infinite pages of an infinite book...

The Gourd - housing The Book and its infinite pages...
The infinite Library - the systematic cataloguing of The Book into a never ending construction of shipping containers...
Section through the fragmented House - the daily lives of the cult members is shrouded in doubt over their place in a boundless universe and where it was they originally came from...
Section through the Gourd and the container of The Book. Beyond lies the limitless contents of the Library...

Section through the rows upon rows of shipping containers holding the catalogued contents of The Book. People spend years pacing its infinite walkways...
The environmental systems at work in the Ravine consist of the huge waterwheels used to power dynamos and the continual ritual of the burning of heresy...

A Scribe House - the relentless task of reading and cataloguing the contents of The Book ready for inclusion in the Library all happens in small scholarly rooms such as this...
That which is deemed as heresy is mercilessly eradicated in the fires of the furnaces deep in the bowels of the Ravine... The faith must remain pure...

mercredi 10 novembre 2010

# Notre Dame de Royan by Guillaume Gillet & Marc Hebrard

Notre Dame de Royan is a 1958 church in Royan (West part of France) which was designed by architects Guillaume Gillet & Marc Hebrard in association with engineers Bernard Lafaille, Rene Sarger & Ou Tseng after the destruction of the first church during WWII.

The two first photographs are from Guillaume Amat (see previous post)