auto-market

Walking along Kottbusser Damm in Berlin might have a difference depending on which side of the road one might choose.

One of them has the peculiarity that almost every single car parked in the street has a hanging note on its window. It’s a car catwalk, a public showroom, where sellers achieve to occupy the whole side of the street for this automobile sale.

Like flea-markets, there is still a common habit of informally selling cars in Berlin streets amongst different neighbourhoods: Kreuzberg, Wedding, Charlottenburg or Wilmersdorf. But it is still an enigma how many networked people make possible that no alien might use any of the parking places along the street, and still cars on display keep on changing…

danke, alex!

[all images> informal car market in berlin by deconcrete2010]

death before birth

Flash Urbanism in China is not only about building at an extraordinary speed, but also about erasing mistakes of the most recent present, not even the past.

There are dozens of cities much larger than Berlin or Madrid, with names that Europe rarely hears. But it is in these cities, where four-star hotels need to make place for five-star ones, and now. In this photo series of Chinese Buildings dying unnaturally, it is described how constructions sometimes are destroyed before even being finished, still as 1-year old babies or teenagers before reaching the 18-year old grown-up age.

Chinese pulse is more about first doing, and afterwards realizing. Complexes that are being built in flooding protected areas, towers that block landscape views, lots that change their use to profit from a tiny % more…

Almost like human lives, concrete structures are usually conceived for 100 years life span. However, neighbourhoods rise land price at a speed that eventually marks the rhythm of demolition and reconstruction.

[source&images> demolitions in China via chinahush]

under the bridge

As an answer to turn a decommissioned highway overpass in Italian Salerno into a  sustainable solar-park, Toronto-based Ja StudioInc decided to consciously obviate all the requirements. Nima Javidi and his team preferred rather to understand sustainability in terms of spatial appropriation, instead of the classical green renewable energies. Inheriting many ideas of Superstudio’s envisioning Superstructures, Slow-Up-Rising is a newly-created ramp-promenade that should be progressively colonised by citizens and their constructions:

“The proposal is fundamentally skeptical about clean, fast and advance engineering solutions and it stakes out its territory on the very spot of one of these failed engineering solutions. The proposed project does not compromise the slow to the fast or the fast to the very fast, it is not about compromise. It is a project that embraces life with all its weight, dirt and inefficacies.”

[images> Slow Up-rising by Ja StudioInc via spaceinvading]

yellow pressure

I’m scared. I hadn’t notice how many advertising surfaces surround us, until Berlin advertising company itself reminded me yesterday by means of a billboard. On it, one can see all the possibilities that the underground or above ground public space has; every yellow area is subject to be hired at the rates they show.

Maybe the company needs to remember how easy and cheap might be invading the city with whatever. Even a baby’s diapers or the book that a woman is reading are represented in yellow; which can be understood as if I could practically hire my neighbour’s front cover of his novel for my own desires!

I’m terrified that one step can be hired for only 0,50 euros/day, that a poster in the street can cost less than 1 euro a day… maybe i should just try to rent every single available space of one corner of the city for one whole day, and leave them just blank (or yellow). It would be such a relief!

(image> advertising available areas in Berlin by deconcrete2010)

lunar

Yesterday there was a big full moon at dusk. One of those which seems to be almost part of an advertising billboard, instead of a real one. And then we went to see Junya Ishigami’s Small Images and tiny drawings in my favourite bookshop. Thousands of delicate minuscule objects, only readable when you touch the new-smelling paper with your nose.

Today, a new hallucinating lunar map has been published in the media, showing an accurate number of 5,185 craters; a result of all historic suffered impacts, that the Lunar Reconaissance Orbiter (LRO) has made possible to divulge. We cannot touch the moon with our nose, but geology on its surface can meanwhile be readable for us.

[image1> lunar map via elpais] [images2-4> minerals on the moon surface via simplecomplexity]

moving (to) the suburbs

After Detroit’s incredibly booming population in the 1930s, the city started to shrink three decades later with street rioters and decadence of the automobile industry. Nowadays, its downtown struggles to reinvent itself and activate a vast no-man’s landscape, as eerie as apocalyptic.

The Mobile Homestead is last Mike Kelley’s public art/private architecture piece. As a consequence of such demographic trends, he grew up in a workers’ peaceful suburb of Detroit and now is building a replica of his family house in downtown. On Saturday, it will travel from there to its original location, as many Detroit citizens have done in last decades to avoid decadent and dilapidated city centre. A symbol, which visualizes an urban diaspora by means of its standard built forms.

Thought as an urban catalyst to bring some life to Detroit, the house itself is part of a long-term project, as it will function as a community space.

[Source&Image> Mike Kelley's mobile homestead via artangel & domusweb]

nomad cinemas

Last week Geoff Manaugh posted at BLDGBLOG the recent relaunched project of the Vintage Mobile Cinema. In the late 1960s, English Government chartered a series of vans to show their latest technologies in rural areas. Last spring, one of the originals has been restored and now works as a 22-seat cinema on wheels again.

The same concept has just been initiated in South America by a multidisciplinar international team: CINECITA. Their tour consists of expanding the views of rural women in Ecuador, Peru and Bolivia during their journey; both by screening movies and by starting on-site participative cinema workshops, a video laboratory, with rural residents. Women will be taught how to deal with a camera and tell their everyday stories, guided by the activists.

This nomad cinema is based on the belief that improved accessibility to audiovisual media will strongly increase possibilities of exchange, dialogue, and self-expression for women living in different rural areas of the Central Andean region.

Cinecita tour has almost just started and will last for several months. Currently, they are looking for the most suitable transport to be cinematized

thanks, Garen!

[images 1-3> Cinecita's screening, available buses and Andes Tour via Cinecita] [images4,5> exterior and interior of the travelling screen by the Vintage Mobile Cinema]

dancing in the road

Chinese Zhengzhou City (in the image above) has good intentions to green urban asphalt areas; even over any other interests, such as practicality for pedestrians. But You can’t be a nice guy and solve traffic as well. [Henry A. Barnes]

Barnes was an American traffic engineer, author of several smart inventions to make cities more walkable, such as bus lanes, the Green Wave progressive traffic-light system and the Barnes Dance, among others.

The Green Wave allows any vehicle travelling along with the green wave (at an approximate speed decided upon by the traffic engineers) to drive along a progressive cascade of green lights, and not having to stop at intersections. As a result, higher traffic loads can circulate, a flow of bikes can ride at the same time and noise and energy use are both reduced.

Transforms disorganized confusion into orderly chaos, the Barnes Dance is a kind of street-crossing system that stops all traffic and allows pedestrians to cross intersections in every direction at the same time; first used in Kansas City in the 1940s. Pedestrians need to wait a little bit more than at standard crossings, but they save time if they want to cross diagonally, while turning the road into a public square for some seconds.

[Nicholas Bussmann has turned the Barnes Dance into a concept for a Gesamtkunstwerk, currently played at Sophiensäle Berlin]

[image1> zebra crossing in Zhengzhou via chinahush] [image2> Barnes Dance in Baltimore 1968, via torontoist]

amidst the ocean

In order to make 40,000 people cross a bridge in an hour at 25 km/h, the bridge needs to be 138 m wide in case they do it by car, 38 m if by bus, 20 m if on foot and only 10 m wide if by bike. So this brief lapse of 10 minutes time could only be achieved otherwise by hyper-speed trains running at 100 km/h every 30 seconds. But the bike still beats, since it is the only means of transport resolving door-to-door connection. [source> Ivan Illich via la ciudad viva]

The Bridge Project is Do Ho Suh’s recently inaugurated show at Storefront for Art and Architecture NewYork. It consists of a two year speculative research results about how to build a fantastic bridge linking his two cities, NewYork and Seoul. His study also focuses on the sociopolitical and environmental complexity of the ocean as an strategic building site. The bridge should join his two homes into one, with a transpacific straight line, but his perfect home would actually be located just in the middle of it; within a new space of projected desires where neither economic nor structural optimization are the defining elements of design.

…would he ride his bike back home?

[all images> A perfect home: the Bridge Project by Do Ho Suh. Courtesy of Storefront for Art and Architecture]

augmented (hyper)reality

Augmented (hyper)reality is Keiichi Matsuda’s reconsideration on everyday urbanisms through virtual tools. What would happen if we liberate Internet and digital media from screens out into open public space? His interface allows pedestrians to have a multi-layered home/city surrounding them 24 hours. One could select the pattern of the street we walk along, its advertising billboards, or even special weather warnings. Cities could then be physically built as random as possible, using either green Chroma background style or trashed materials. Like shooting special (d)effects, each person could adjust his daily way to work into a promenade along a Caribbean beach… But also the Augmented City would also be a paradise for censored and controlled spaces.

Augmented City 3D from Keiichi Matsuda on Vimeo.

“The architecture of the contemporary city is no longer simply about the physical space of buildings and landscape, more and more it is about the synthetic spaces created by the digital information that we collect, consume and organise; an immersive interface may become as much part of the world we inhabit as the buildings around us. Augmented Reality (AR) is an emerging technology defined by its ability to overlay physical space with information. [...] It may lead to a world where media is indistinguishable from ‘reality’. The spatial organisation of data has important implications for architecture, as we re-evaluate the city as an immersive human-computer interface.”

[source, image & video>Augmented (hyper)reality  by Keiichi Matsuda via supercolossal]

deconstruction of classics

^ orchestra & audience distribution on stage for Terretektorh, by I.X. 1965 via CCA

After a concert as indescriptible as incredible and amazing last night, i cannot but search for the making off of it. Director Peter Eötvös (Steine für Ensemble) conducted a beautiful interpretation of Iannis Xenakis experimental piece N’schima (1975) in a Scharoun’s Philharmoniker, which knew how to meet the challenge of the complex system of hanging microphones.

An on-going exhibition at CCA Montreal shows the drawings of the scores of this soundchitect:

Drawing was central to Xenakis’ working method as a designer of sound and space, and the meticulously hand-rendered scores and graphic studies, both architectural and musical, on view in the exhibition express a spatial understanding of the page as much as they do a palpable sonic quality. These innovative drawings reveal a radical visualization of sound and give insight into this extraordinary innovator’s process of “thinking through the hand.” The musical documents on view are evidence of one of Xenakis’s signature innovations, which was to integrate advanced contemporary mathematics as a compositional tool.

Notre Dame du Haut – Sound in Architecture from Tommaso Nervegna on Vimeo.

^ xenakis meets ronchamp

^Fusinato by I.X. via brancolina

By 1979, he had devised a computer system called UPIC, which could translate graphical images into musical results, producing his ‘arborescences’, which resembled both organic forms and architectural structures. The drawing is, thus, rendered into a composition. Mycenae-Alpha was the first of these pieces he created using UPIC as it was being perfected. [source>brancolina]

^excerpts from Mycènes Alpha by I.X. (1978) via tonewheels & brancolina ^

^ Adapted Scores for human hands by pianist John Mark Harris for Evryali by I.X. 1973 via complementinversion

^ Scores for Pithroprakta by I.X. 1955-56 via brancolina

real pop-sci

Arqueología del Futuro (Archaelogy of the future: architectural future visions of the past) is Carmelo Rodríguez Cedillo’s blog/archive. As part of his meticulous PhD research, he documents every of these punctual visions of former decades. Since they were mostly not continued in the urban discourse for their infeasibility, he is developing this new discipline of study.

In a recent post, he talks about Do-It-Yourself Domes, often published in Popular Science Magazine; a publication started in 1872, with large number of readers during the 1960s-70s in suburban America. Thanks to many Buckminster Fuller’s projects shown in its pages, every dweller could generate himself a structure covering the swimming-pool, a sun dome, a greenhouse or a countryside shelter.

The Magazine itself, would provide paper cutouts for mock-ups, or even the actual construction drawings delivered to your home for an extra $5 fee.

[images1&2> Popular Science Magazine 1966 via arqueología del futuro] [images3&4> Popular Science Magazine 1972 via arqueología del futuro]

unfinished emporio

The density of dots representing unfinished architectures in the map of Italy, already shows in itself the complex world of political urbanisms. If Northern part seems to have forgotten only some buildings while constructing them, Southerners have to deal with concrete left-overs too usually.

Alterazionivideo mapped all these abandoned structures, focusing on Sicily ruins, in their project Incompiuto Siciliano. These contemporary ruins result not from the decay of a whole Roman Empire, but from speculative Power and Trading Emporios. Unfinished urban utopias, which might deserve a whole archaeological study of their never-arrived inhabitants, or anthropological studies of missing lifestyles…

“Unfinished projects are the ruins of modernity, monuments born of laissez-faire creative enthusiasm. [...] Landmarks in their own way, Incomplete public works radiated out from Sicily to the rest of the peninsula, creating an Unfinished Italy. [...]Reinforced concrete is Incompiuto’s constituent material. Its colours and textures are determined by the ageing and weathering of materials. [...]The conflict between form and function is resolved. Lack of function becomes a form of art. [...] Incompiuto Siciliano is a symbol of political power and artistic sensibility. Unfinished projects are not only the products of architectural talent, but also the nerve-ends of a complex and structured organism. Unfinished projects are born of the union of exuberant Sicilian creativity and the ancestral oratorical skill of these people. This skill has allowed the Sicilians to be conquered – by Greeks, Normans, Turks, Garibaldians – without ever submitting to their conquerors.” [extract from Incompiuto Siciliano Manifesto]

[images 1-5> Unfinished architectures in Sicily as contemporary ruins by Alterazionivideo]

[images 6-9> stills from the recorded process of taking one contemporary ruin from Sicily to the Venice Biennale]

prison within a prison

Mind control replaced physical torture as a way of punishment long time ago. Foucault compared an 18th century execution with Bentham’s panopticum concept in his Discipline and punish: the birth of the prison.

In the panopticon prison the all-seeing warder would sit in darkness observing the inmates without their knowing. Eventually, the degree of control would be such that the watchtower would need no occupant as the inmates would behave as if under constant surveillance and discipline themselves. For Foucault, this mind control reflected the idea that knowledge is power and can be used to dehumanise the individual. [huehueteotl]

The same idea of dehumanising individuals is captured in Philipp Lachenmann‘s work SHU (currently exhibited at Hamburger Bahnhof Berlin). In his video piece, he records  a Security Housing Unit prison in the middle of Mojave Desert at night, in a static shot. This prison within a prison is as static as the video itself. Time only goes by through the extremely slow – and artificially added – movements of the stars, which are actually recordings of different aeroplanes from other American cities. The scene could resemble a perverted Walt Disney’s Castle surrounded by fireworks; they  are both two worlds so far away from reality as the dreams they do generate.

The Security Housing Unit (SHU) is a prison-within-a-prison, reserved for what the CDC calls “the worst of the worst.” SHU prisoners are kept in windowless, 6 by 10 foot cells, 23½ hours a day, for years at a time. People held under these conditions develop what is known as “SHU Syndrome” – the degradation of mental faculties caused by extreme isolation. [...] The California Department of Corrections operates four Security Housing Units in its system. Pelican Bay, Corcoran, California Correctional Institution, and Valley State Prison for Women hold 1,292, 1,204, 458, and 44 inmates respectively. [Trevor Paglen describes in his recordings of carceral landscapes]

[image1> still from Philipp Lachenmann video piece SHU via artnet][image2> panopticum-style prison concept in Stateville prison (USA) via uni münster] [image3> SHU cell from California Department of Corrections via americanradioworks]

practical absurdity

Fiction was the only way to give a naive break to the hard reality of Dictator Franco’s Spain around 1940s and 1950s. Professor Franz from Copenhague was an invented characteristic character in national comics, who developed smart no-tech inventions for everyday life. One of the scarce tries to open the country to a European Humanism allowed in the fascist society of that time. The outlandish and eccentric drawings, which I rediscovered in my parents’ bookshelf, depict new folk solutions for an industrial man.

“The Great Invetions of TBO” (Los grandes inventos de TBO) was a compilation of weird devices ranging from mechanism to absurdity, which made one dream of collective umbrellas or hundred ways to optimize energy – sometimes in the most sustainable or even better, the least ecological one!

Threading a simple needle could require a machine as complex and big as one NASA’s computer, but activated with a simple pedal…

[all images> TBO inventions, 1977 printed compilation]

architreecture

I was always fascinated with hybrids such as Zorses, Zonies, Beefalos and Ligers (Zebra+Horse, Zebra+Pony, Beef+Buffalo, Lion+Tiger).

The equivalent in gardening is the grafting technique, consisting, among others, of mixing two different plants in one. My favourite case is grafting potatoes and tomatoes together in the same plant, so that one can grow above ground and the other underground.

In my journey back to my parents’ weekend orchard, i discovered some of my father’s tricks to control plants, towards robot-like trees. Pear trees with steel legs to avoid their overloaded branches break down; young apple trees with tensile structures to widen their branches and make fruit collection easier (bricks hanging from other branches can also work in the same way); or even diverse devices to make plants climb and let the sun brown the fruits… new species of architreecture

[all images> architreecture by deconcrete2010]

form follows tax

In his post about narrow urbanisms in New Orleans, Candy Chang refers to the phenomenon of FORM FOLLOWING TAX LAWS. Government taxing according to property frontage led to extraordinary inventions, both in housing (the “shotgun” typology) and also in the skinny land lots along the Mississippi River.

The government taxed two-story houses more; so people added second floors to the rear, where it didn’t count. The government taxed houses based on the number of rooms; so people didn’t make closets or hallways, which counted as rooms. [...] Doors are arranged so that in some homes you could potentially shoot a shotgun straight through from the porch to the backyard, hence the name.

In the same way that houses minimised their access to the front street, farmers reduced the size of their plantations to the minimum frontage along the Mississippi, just enough to allow ships transport their goods along the main river.

[image1> shotgun house in New Orleans from candychang via strangemaps] [image2> Southern Mississippi map showing narrow lot tenure structure, 1858 from candychang via strangemaps]

learning from a bike-shop

Instead of a sign, this bike-shop in German Altlandsberg has decided to hang 120 bicycles from its façade. In the most refined Venturi’s Vegas style, I cannot wait to see also their washing-machine store building, their Bakery or even the Town Hall with 15 town councillors exhibited on the front wall!

[image> bike shop in Altlandsberg via spaceinvading]

kibbutz & archipelagos

When estate-subsidized housing, urban sprawl and formal public space fail to provide an adequate civic life, can citizens develop their own models? Israel Pavilion at the Venice Biennale 2010 deepens in historical Kibbutz settlements from mid 20th century, a model to be updated.

The Kibbutz mode of settlement, which entails a way of life voluntarily rooted in equality, mutual support, and sharing, presents an inherently unique architectural challenge, encompassing economic egalitarism, collective ownership, and all-inclusive education and health services. [...] Reformist and utopian plans promoting such social ideals had remained mostly on paper. The vision of the Kibbutz, however, was translated and realized through spatial organization, incorporating contemporary experiences and processes of change. [...] Egalitarianism and equality thus materialize in planning through a sharing of space and a communalization of functions of production and consumption, agriculture, industry, culture, education, health, etc. In effect, the Kibbutz is one space, undivided by differential tenure, free of private parcels and fences, host to all of life’s multiple dimensions, and owned cooperatively by Kibbutz members. Open public common space is the main arena of kibbutz life (a large central lawn with the public facitlities, the dining hall, and the culture house situated around it like a forum or agora).

The last 3 years have seen a marded return of population to the Kibbutz, a rethinking of its architectural values, and a reenvisioning of models of solidarity, mutual assistance, and assurance.

This wonderful exhibition proclaims: “Architecture as an active partner in the shaping of a society and in contributing to the quality of human relationships within it.”

However, this utopian humanism and good intentions terribly contrast with the current Mare Magnum that Léopold Lambert describes in the isolation still existing in his Palestinian Archipielago model. I wish the Kibbutz spirit could spread out a little bit in the area.

[image1>dining hall floor-washing machine - unidentified kibbutz 1960s] [image2>general diagrammatic plan for a kibbutz for 250 families by samuel bickels 1940s] [image3> dinning hall at kibbutz Mishmar Ha'emek 1953] [images1-3> from the Israel Pavilion brochure] [image4> Palestinian Archipielago by Julien Bousac via boiteaoutils]