The latest outputs from researchers, alumni and friends at the UCL Centre for Advanced Spatial Analysis (CASA).
This week at the Institut Architektur at FHNW we started new fieldwork for a GPS tracking project in Basel, Switzerland. Earlier the UrbanDiary project already tracked individuals everyday movements in the same urban context. See HERE and HERE for post…
Continue reading »
This week at the Institut Architektur at FHNW we started new fieldwork for a GPS tracking project in Basel, Switzerland. Earlier the UrbanDiary project already tracked individuals everyday movements in the same urban context. See HERE and HERE for post…
Continue reading »This week at the Institut Architektur at FHNW we started new fieldwork for a GPS tracking project in Basel, Switzerland. Earlier the UrbanDiary project already tracked individuals everyday movements in the same urban context. See HERE and HERE for post…
Continue reading »Infographics are everywhere and a lot of development both in therms of technology and style has gone into the representation of information in the last few years. It is however an old topic and through out the past century aspects of graphics, design a…
Continue reading »The Gestalt Theory (Detailed article in the German Wikipedia) was developed in the early 20s of the last century or Tufte (earlier on urbanTick) wrote his much influential books in the 80s and 90s to name two.
Image taken from the189.com / Informotion project by Bryan Ku docuemnting the final game in the 122nd edition of the Wimbeldon Championship Men’s Final between tennis giants Rafael Nadal and Roger Federer. See the animated version HERE.
The reason for some more recent development in information design and especially and especially handling is connected to technological and practical changes, but also the increased availability of raw data and details to be turned into information graphics.
Often however the subject to the data is temporal or process based with need for background or lead in, change of place or frequent change of perspective. For these cases animated inforgraphics can be a great way to communicate knowledge. Besides who doesn’t like to look at motion pictures? It really fits in with the whole TV consuming sort of urban lifestyle.
Its pretty save to say, that for the first time the book Informotion: Animated Infographics by Gestalten bring together a selection of the best motion picture graphics communicating knowledge. All of the examples are very recent projects and most can be found on either vimeo or youtube of course. However the interesting bit on the book is the context the examples are being put in. The editors Tim Finke and Sebastian Manger put great emphasis on contextual details in a wider sense. Where publications like the recent Taschen Infographics are a mere selection of great examples the Informotion book includes the theoretical and practical aspects too.
This of course makes the book heavier to read, it’s also but not only to look at, but you get a lot more out of it for your practice. Besides inspiration the book provides a refresh and update on the graphic, visual and design theories as well as the technical details of animation production such as software, storyboards or size, resolution or format.
Image taken from binalogue.com / Images showing the page spread design. The example shown here is an animated infographic by binalogue showing the CANAL Isabel II water cycle. See video below for the original animation.
There is also one of the aNCL (animated New City Landscape) informmotion graphics included as anexample in the book (p.188-189). It is the animation produced in collaboration between urbanTick and Anders Johansson on the Twitter landscape in the area arond the city of Zuerich in Switzerland. The original post on the animation can be found here, the animation is below.
Of course there is something awkward about a printed book about animated examples. However the content lives up to the expectations and whilst the animations can not be shown in the book the story can still be told. Even more so that the examples are discussed in detail and help to illustrate the theoretical elements of the book. In this sense there is literally more to the book than just the pictures and lines of text there is actual information in there plus Gestalten have a website where readers can get additional info and links to the animations. The list of examples can be found HERE.
Image taken from Gestalten / Book cover.
Finke, T. & Manger, S. eds., 2012. Informotion: Animated Infographics, Berlin: Gestalten.
The Gestalt Theory (Detailed article in the German Wikipedia) was developed in the early 20s of the last century or Tufte (earlier on urbanTick) wrote his much influential books in the 80s and 90s to name two.
Image taken from the189.com / Informotion project by Bryan Ku docuemnting the final game in the 122nd edition of the Wimbeldon Championship Men’s Final between tennis giants Rafael Nadal and Roger Federer. See the animated version HERE.
The reason for some more recent development in information design and especially and especially handling is connected to technological and practical changes, but also the increased availability of raw data and details to be turned into information graphics.
Often however the subject to the data is temporal or process based with need for background or lead in, change of place or frequent change of perspective. For these cases animated inforgraphics can be a great way to communicate knowledge. Besides who doesn’t like to look at motion pictures? It really fits in with the whole TV consuming sort of urban lifestyle.
Its pretty save to say, that for the first time the book Informotion: Animated Infographics by Gestalten bring together a selection of the best motion picture graphics communicating knowledge. All of the examples are very recent projects and most can be found on either vimeo or youtube of course. However the interesting bit on the book is the context the examples are being put in. The editors Tim Finke and Sebastian Manger put great emphasis on contextual details in a wider sense. Where publications like the recent Taschen Infographics are a mere selection of great examples the Informotion book includes the theoretical and practical aspects too.
This of course makes the book heavier to read, it’s also but not only to look at, but you get a lot more out of it for your practice. Besides inspiration the book provides a refresh and update on the graphic, visual and design theories as well as the technical details of animation production such as software, storyboards or size, resolution or format.
Image taken from binalogue.com / Images showing the page spread design. The example shown here is an animated infographic by binalogue showing the CANAL Isabel II water cycle. See video below for the original animation.
There is also one of the aNCL (animated New City Landscape) informmotion graphics included as anexample in the book (p.188-189). It is the animation produced in collaboration between urbanTick and Anders Johansson on the Twitter landscape in the area arond the city of Zuerich in Switzerland. The original post on the animation can be found here, the animation is below.
Of course there is something awkward about a printed book about animated examples. However the content lives up to the expectations and whilst the animations can not be shown in the book the story can still be told. Even more so that the examples are discussed in detail and help to illustrate the theoretical elements of the book. In this sense there is literally more to the book than just the pictures and lines of text there is actual information in there plus Gestalten have a website where readers can get additional info and links to the animations. The list of examples can be found HERE.
Image taken from Gestalten / Book cover.
Finke, T. & Manger, S. eds., 2012. Informotion: Animated Infographics, Berlin: Gestalten.
Everybody needs to eat. Eating and sleeping are two of the very fundamental repetitive necessities of life. There is no going without it for longer periods of time. Food needs to be accessible on a regular basis continuously. This is as such already a …
Continue reading »Everybody needs to eat. Eating and sleeping are two of the very fundamental repetitive necessities of life. There is no going without it for longer periods of time. Food needs to be accessible on a regular basis continuously. This is as such already a …
Continue reading »
Image taken from aestheticsofjoy by Stephanie Posavec / Writing without words exploring possibilities to visually represent text.
Of course info graphics are currently trending and one of the most talked and specially passed around topic, not only online but more recently also in the media. All the large media houses have a special information design group and the publication showcases a number of these examples. In this context the book is not the first such collection of good designed information, but certainly one of the boldest in a positive sense.
The publication is edited by Julius Wiedemann und features contributions by Sandra Rendgen, Richard Saul Wurman, Simon Rogers from the Guardian Data Blog and Paolo Ciuccarelli. This is a very interesting team Taschen has put together for this publication with, whilst still being information specialists, covering a broad spectrum of perspectives and expertise.
Image taken from dynamicdiagrams by NYT / Interactive visualisation showing the changes in election results over the period 2006-2010. Find the interactive version at NYT
Where other publications, for examples Data Flow by Gestalten, Otto Neurat by NAi or indeed Edward Tufte focus on the context of the graphics, the theoretical background of narrating information as well as the actual teaching of how to present information the Taschen publication is a showcase. It is foremost about showing great examples from a variety of sources on how to visualise data sets graphically in mainly 2D. There are a few web based, animated or interactive examples too though. This takes into account that complexity showing in these graphics is continually rising.
Image by Torgeir Husevaag / Escape Routes, 2010-2011. A series of drawing studying possibilities of spatial movement under given time constraints. On the left the map and on the right a detail of some of the blue shaded location sixth path details
Showcasing such a large collection of examples is tricky in that the ordering system as to how the examples are organised becomes very prominent and therefore important. Here the editor has decided to go with a very low number of groups to arrange the info graphics. Where other publications make an exercise out of inventing a whole new system to clarify and characterise the examples this one takes the simple approach. This both refreshingly straight forward and annoyingly rough. What do the chosen terms Location, Time, Category and Hierarchy actually describe, or more importantly how are they distinguished?
The questions remain unanswered however, this does not stand in the way to enjoy the great quality and variety this collection shows. Its a book to brows, jump and flip, a publication you will keep in reach for a long time and always go back to to enjoy or indeed recharge your design batteries.
Image by Taschen / Book cover Information Graphics.
Rendgen, S., 2012. Information Graphics J. Wiedemann, ed., Köln: Taschen GmbH.
Image taken from aestheticsofjoy by Stephanie Posavec / Writing without words exploring possibilities to visually represent text.
Of course info graphics are currently trending and one of the most talked and specially passed around topic, not only online but more recently also in the media. All the large media houses have a special information design group and the publication showcases a number of these examples. In this context the book is not the first such collection of good designed information, but certainly one of the boldest in a positive sense.
The publication is edited by Julius Wiedemann und features contributions by Sandra Rendgen, Richard Saul Wurman, Simon Rogers from the Guardian Data Blog and Paolo Ciuccarelli. This is a very interesting team Taschen has put together for this publication with, whilst still being information specialists, covering a broad spectrum of perspectives and expertise.
Image taken from dynamicdiagrams by NYT / Interactive visualisation showing the changes in election results over the period 2006-2010. Find the interactive version at NYT
Where other publications, for examples Data Flow by Gestalten, Otto Neurat by NAi or indeed Edward Tufte focus on the context of the graphics, the theoretical background of narrating information as well as the actual teaching of how to present information the Taschen publication is a showcase. It is foremost about showing great examples from a variety of sources on how to visualise data sets graphically in mainly 2D. There are a few web based, animated or interactive examples too though. This takes into account that complexity showing in these graphics is continually rising.
Image by Torgeir Husevaag / Escape Routes, 2010-2011. A series of drawing studying possibilities of spatial movement under given time constraints. On the left the map and on the right a detail of some of the blue shaded location sixth path details
Showcasing such a large collection of examples is tricky in that the ordering system as to how the examples are organised becomes very prominent and therefore important. Here the editor has decided to go with a very low number of groups to arrange the info graphics. Where other publications make an exercise out of inventing a whole new system to clarify and characterise the examples this one takes the simple approach. This both refreshingly straight forward and annoyingly rough. What do the chosen terms Location, Time, Category and Hierarchy actually describe, or more importantly how are they distinguished?
The questions remain unanswered however, this does not stand in the way to enjoy the great quality and variety this collection shows. Its a book to brows, jump and flip, a publication you will keep in reach for a long time and always go back to to enjoy or indeed recharge your design batteries.
Image by Taschen / Book cover Information Graphics.
Rendgen, S., 2012. Information Graphics J. Wiedemann, ed., Köln: Taschen GmbH.
CASA is running a one day conference under the title CASA Smart Cities: bridging physical and digital. The title basically explains the aim of the event and besides a exciting line up of speakers with interesting projects there is also an exhibition with interactive installations.
Image by Dr George MacKerron / Pigeon Sim, how to navigate the flight icons.
As the Keynote speaker Professor Carlo Ratti, Director, Senseable City Lab, MIT is invited. Other speakers include: Professor Michael Batty, Chairman, CASA, Professor of Planning; Dr Andy Hudson-Smith, Director and Head of Department, CASA; CASA researchers including Richard Milton, Oliver O’Brien, Dr James Cheshire, Steven Gray, Dr George MacKerron, Dr Jon Reades, Dr Joan Serras and Dr Duncan Smith
Image by CASA / Conference flyer.
This event is supported by CASA research grants: ANALOGIES (EPSRC), COSMIC (ERA-NET), GENeSIS (ESRC) and TALISMAN (ESRC, NCRM).
The four main aspects of the conference are:
Find out about groundbreaking research being carried out at CASA, with talks covering crowd-sourcing and participatory mapping, sensing using social media and experience sampling, data dashboards, public transport, public bike schemes and more. Explore a brand new interactive exhibition, showcasing some of CASA’s latest models and maps. Meet and network with academic, public and private sector attendees during coffee breaks, a catered lunch, and an evening drinks reception. Find out more about the courses we offer at CASA.
The Programm can be found HERE. Registration is on http://casasmartcities.eventbrite.co.uk/. The Twitter hashtag for this conference is #casaconf.
The exhibition part will include some exciting experimental interactive media installations. In Pigeon Sim the visitor can fly around Google Earth, navigating by flapping the arms, there are simulations running interactively on touch tables and also the live London Dashboard installation is on display.
Image by urbanTick for NCL / The 3D London NCL model.
Some of the Twitter work is on display too. The analogue Tweet-O-Meter, last on show at the British Library will be installed and a a 3D physical model of the London New City Landscape map will be on display. This model was layered from the contour lines and includes the labels and tag. With it some of the aNCL network clips will be on display, showing the connective aspects of the data. In these clips other cities than London will also be on show to extend on the perspective.
Image by urbanTick for NCL / The 3D London NCL model.
CASA is running a one day conference under the title CASA Smart Cities: bridging physical and digital. The title basically explains the aim of the event and besides a exciting line up of speakers with interesting projects there is also an exhibition with interactive installations.
Image by Dr George MacKerron / Pigeon Sim, how to navigate the flight icons.
As the Keynote speaker Professor Carlo Ratti, Director, Senseable City Lab, MIT is invited. Other speakers include: Professor Michael Batty, Chairman, CASA, Professor of Planning; Dr Andy Hudson-Smith, Director and Head of Department, CASA; CASA researchers including Richard Milton, Oliver O’Brien, Dr James Cheshire, Steven Gray, Dr George MacKerron, Dr Jon Reades, Dr Joan Serras and Dr Duncan Smith
Image by CASA / Conference flyer.
This event is supported by CASA research grants: ANALOGIES (EPSRC), COSMIC (ERA-NET), GENeSIS (ESRC) and TALISMAN (ESRC, NCRM).
The four main aspects of the conference are:
Find out about groundbreaking research being carried out at CASA, with talks covering crowd-sourcing and participatory mapping, sensing using social media and experience sampling, data dashboards, public transport, public bike schemes and more. Explore a brand new interactive exhibition, showcasing some of CASA’s latest models and maps. Meet and network with academic, public and private sector attendees during coffee breaks, a catered lunch, and an evening drinks reception. Find out more about the courses we offer at CASA.
The Programm can be found HERE. Registration is on http://casasmartcities.eventbrite.co.uk/. The Twitter hashtag for this conference is #casaconf.
The exhibition part will include some exciting experimental interactive media installations. In Pigeon Sim the visitor can fly around Google Earth, navigating by flapping the arms, there are simulations running interactively on touch tables and also the live London Dashboard installation is on display.
Image by urbanTick for NCL / The 3D London NCL model.
Some of the Twitter work is on display too. The analogue Tweet-O-Meter, last on show at the British Library will be installed and a a 3D physical model of the London New City Landscape map will be on display. This model was layered from the contour lines and includes the labels and tag. With it some of the aNCL network clips will be on display, showing the connective aspects of the data. In these clips other cities than London will also be on show to extend on the perspective.
Image by urbanTick for NCL / The 3D London NCL model.
What kind of nuclear future awaits us? The recent discussion on the next generation of nuclear power has ebbed away much too quickly. However especially in the UK a public discussion would be much needed with the current plants becoming out of date and a urgent requirement to either decommission them and replace or refurbish to keep going.
The afterlife of nuclear power, being it military or civil usage is however, a much undiscussed topic. It is a field of uncertainties and projections. A whole range of interesting problems are associated with it, not the least the dramatic time span it covers. See also a post on http://urbantick.blogspot.co.uk/2011/04/message-to-future.html. How to plan for 10’000 years?
Image by Factory Fifteen taken from architizer taken from Dezeen / A vision of the post nuclear city.
Many futures are possible and Factory Fifteen has produced a short on their vision, quite a disturbing one but amazingly produced, mixing some CGI and real footage.
The Synopsis of the film in short: In a post-nuclear future, when the earth is riddled with radiation, a new urban developer proposes to regenerate the cities back into civilisation. GAMMA sets out to stabilise the atomic mistakes of yesteryear for the re-inhabitation of future generations. Using its patented ‘Nuke-Root’ technology; part fungi, part mollusc, GAMMA intends to soak up the radiation and remove it from the irradiated cities, rebuilding them in the process.
Setting out from Baikonur, Kazakhstan, GAMMA launches its RIG_01 BETA and heads east to the iconic disaster sites of 1980’s USSR. The film follows a group of researchers investigating GAMMA’s practice from launch to deployment. Moving through a trail of unsuccessful ships across the desert, we follow the researchers from Aralsk’s littered sea bed east to the Ukraine.
GAMMA begins its quest of nuclear stability in the Ukraine; Pripyat is used as a test bed for the deployment of GAMMA’s patented ‘Nuke-root’ organisms. Intended to soak up the radiation, the roots infiltrate the ground and built structures to absorb the ‘nuclear nasty’s’. As with many urban developers, GAMMA’s execution is cheap and ineffective. The city is in turn rendered more radioactive, broken and uninhabitable than before, only now with an outbreak of growing ‘Nuke-roots’. The film follows the researchers through the ruins of the 70’s utopia, moving across a whole city that consists solely of desolation and total abandon, the researchers witness the aftermath of GAMMA’s almighty cock-up.
What kind of nuclear future awaits us? The recent discussion on the next generation of nuclear power has ebbed away much too quickly. However especially in the UK a public discussion would be much needed with the current plants becoming out of date and a urgent requirement to either decommission them and replace or refurbish to keep going.
The afterlife of nuclear power, being it military or civil usage is however, a much undiscussed topic. It is a field of uncertainties and projections. A whole range of interesting problems are associated with it, not the least the dramatic time span it covers. See also a post on http://urbantick.blogspot.co.uk/2011/04/message-to-future.html. How to plan for 10’000 years?
Image by Factory Fifteen taken from architizer taken from Dezeen / A vision of the post nuclear city.
Many futures are possible and Factory Fifteen has produced a short on their vision, quite a disturbing one but amazingly produced, mixing some CGI and real footage.
The Synopsis of the film in short: In a post-nuclear future, when the earth is riddled with radiation, a new urban developer proposes to regenerate the cities back into civilisation. GAMMA sets out to stabilise the atomic mistakes of yesteryear for the re-inhabitation of future generations. Using its patented ‘Nuke-Root’ technology; part fungi, part mollusc, GAMMA intends to soak up the radiation and remove it from the irradiated cities, rebuilding them in the process.
Setting out from Baikonur, Kazakhstan, GAMMA launches its RIG_01 BETA and heads east to the iconic disaster sites of 1980’s USSR. The film follows a group of researchers investigating GAMMA’s practice from launch to deployment. Moving through a trail of unsuccessful ships across the desert, we follow the researchers from Aralsk’s littered sea bed east to the Ukraine.
GAMMA begins its quest of nuclear stability in the Ukraine; Pripyat is used as a test bed for the deployment of GAMMA’s patented ‘Nuke-root’ organisms. Intended to soak up the radiation, the roots infiltrate the ground and built structures to absorb the ‘nuclear nasty’s’. As with many urban developers, GAMMA’s execution is cheap and ineffective. The city is in turn rendered more radioactive, broken and uninhabitable than before, only now with an outbreak of growing ‘Nuke-roots’. The film follows the researchers through the ruins of the 70’s utopia, moving across a whole city that consists solely of desolation and total abandon, the researchers witness the aftermath of GAMMA’s almighty cock-up.
The defining airport for the last few decades has to be sent into retirement. Heathrow is at its capacity limit and with a growth expectations of only 1.5% also at its expansion limits. It has however, influenced largely airports around the world and w…
Continue reading »The defining airport for the last few decades has to be sent into retirement. Heathrow is at its capacity limit and with a growth expectations of only 1.5% also at its expansion limits. It has however, influenced largely airports around the world and w…
Continue reading »The internet has opened up new resources for funding opportunities. Platforms to advertise projects and find sponsors and funders are developing fast. On such platform is Kickstarter, where developers can promote their project and ask for funding to develop prototyps and deliver products. Others are Go4funds, JustGiving or Profunder. They all have their specialities and niches but essentially they are all about projects and proposals that need to be funded.
A new project called Spacehive has come up in the UK with its own niche in this popular funding circus. The focus is on building projects as they call it neighbourhood improvement projects. As it says on the page “For people with inspiring project ideas, Spacehive allows you to pitch for support and funding from your community. For everyone else it’s a refreshingly easy way to transform where you live: just find a project you like and pledge a donation. If it gets funded, it gets built!”
The founder Chris Gourlay describes the Spacehive as the world’s first online funding platform for neighbourhood improvement projects. The project went live only last December (2011-12-07) and has so far listed a total of seven projects. These range from a Rooftop Aquatic Farm to a Dog Training Facility to the Community Centre project in Glyncoch.
As far as the projects range so do the costs. The platform has no cost restriction or a minimum. For examples the community centre wants to raise some £792,578 and the Revive North Pond project needs £42,320 or the Stokwell Urban Oasis needs only £2,952.
So far none of the projects have been successful. In fact the Glyncoch centre will be the first project to hit the dead line on the 30st of March. The projects currently needs a further £23’000 to go ahead next month. The next 22 days will be nerve racking for the project officials who desperately want their project to go ahead.
Image taken from gka.org / The existing community centre in Glyncoch built in 1977. Could do with an update no question about that.
The media has already responded to the project and BBC has reported from Glyncoch after Steven Fry has tweeted about it. The social media is quick in picking stuff like this up and once more Twitter was the media of choice to discover the Spacehive platform. With over 4 million followers Steven Fry tweeting about it is great promotion and the community hopes this will bring the project the remaining money in funds they are short.
The projects are however not purely community funded. The Glyncoch project for examples has already had funding of 95% when is was listed on the Spacehive platform. This funding is Government money the village was promised for a new community centre. Only the remaining £30’000 the project team is trying to raise on the internet for the new centre to serve the 4’125 strong community.
Image taken from spacehive.com / The newly proposed community centre for Glyncoch to be built for 7. There are no plans of or drawings, mentions of a program or what kind of facilities exactly it will offer. Its only a simple SketchUp image showig some building form the outside. Very difficult to see how it will unfold its qualities but it seems to be enough to try and rais substantial amounts of money.
Getting the public involved in local projects is nothing new interesting however, is the way the new trend on the internet is pushing terminologies and understandings of such projects. What does it mean if such a project for a community centre that is desperately needed is now promoted a crowd funded project. How does that change the responsibility previously carried by official government bodies and what does such a model mean for the next generation of urban project?
Platforms for crowd funded projects are nothing new as we have discussed above. THey work for software and app development, for products and now also have their big platform for art, but does it work for community projects? Can such a model replace the states responsibility to deliver and maintain standards in communities including infrastructure and facilities like a community centre.
The current UK Government will be very pleased if such a funding process takes off and becomes a model for other community project. It will mean that even in the delivery for public projects competition and free market can be introduced. Cameron could try and argue that the best promotion team could win any community the much deserved project with the add-on of ,if they can’t, they don’t deserve it. Let the crowd decide who needs what. It fits perfectly with the Tories plan to run schools privately as academies, privatise the police as outsources services to private security providers and now also let public projects be delivered privately.
Image taken from spacehive.com / A project for A Roof-top Aquaponic Farm for London! producing fish and vegetables is one of the other projects looking for funders on the Spacehive platform. This project will need £45,602 to go ahead. The project is promoted by urbanFarmersUK a project related to urbanfarmers.ch a Group based in Zuerich, Switzerland.
A state and especially a planning and urban development does’t work like that. Values, excellence and quality are not something that is naturally delivered in the free market. Urban planners and practitioners have to stand for such qualities with their expertise. The future of our cities is not to be placed in the hands of lay people, for such important tasks experts should be put in place to develop such plans for the interest of the community.
The deliver should similarly be payed by the state or the local government using the taxes. People already pay a contribution to the community and this should be directed into such projects. The people from Glyncoch have all payed their tax towards this community centre and its not the point to now turn around and say well we are 30’000 short so all of your pay £10 extra and it will get payed. They already have payed!
Further more developing such funding options for urban development will change the responsibilities. The government will no longer be in charge and therefore also looses the power to controle what is happening. Who will be setting the standards and guidelines if the new road or bridge or dump is crowd funded? It will be very easy for large companies and businesses to manipulate such a process and get it don their way whilst ignoring all regulations and guidelines by pretending to work with the community.
Especially here in the UK it will be dramatic since the current development frameworks already are heavily influenced by private interests with the local authority and the government having very weak measures and tools to develop a community based vision. Other countries such as Germany, the Netherlands and Switzerland have much better developed frameworks and instruments for urban planning and community development.
It will be vital to strengthen the public official in delivering such community projects and bring back authority to plan ahead and deliver. This is the only way for consistent and sustainable development of the communities through out the country. The public can privatise these responsibilities they have to remain in the powers of the authorities.
The internet has opened up new resources for funding opportunities. Platforms to advertise projects and find sponsors and funders are developing fast. On such platform is Kickstarter, where developers can promote their project and ask for funding to develop prototyps and deliver products. Others are Go4funds, JustGiving or Profunder. They all have their specialities and niches but essentially they are all about projects and proposals that need to be funded.
A new project called Spacehive has come up in the UK with its own niche in this popular funding circus. The focus is on building projects as they call it neighbourhood improvement projects. As it says on the page “For people with inspiring project ideas, Spacehive allows you to pitch for support and funding from your community. For everyone else it’s a refreshingly easy way to transform where you live: just find a project you like and pledge a donation. If it gets funded, it gets built!”
The founder Chris Gourlay describes the Spacehive as the world’s first online funding platform for neighbourhood improvement projects. The project went live only last December (2011-12-07) and has so far listed a total of seven projects. These range from a Rooftop Aquatic Farm to a Dog Training Facility to the Community Centre project in Glyncoch.
As far as the projects range so do the costs. The platform has no cost restriction or a minimum. For examples the community centre wants to raise some £792,578 and the Revive North Pond project needs £42,320 or the Stokwell Urban Oasis needs only £2,952.
So far none of the projects have been successful. In fact the Glyncoch centre will be the first project to hit the dead line on the 30st of March. The projects currently needs a further £23’000 to go ahead next month. The next 22 days will be nerve racking for the project officials who desperately want their project to go ahead.
Image taken from gka.org / The existing community centre in Glyncoch built in 1977. Could do with an update no question about that.
The media has already responded to the project and BBC has reported from Glyncoch after Steven Fry has tweeted about it. The social media is quick in picking stuff like this up and once more Twitter was the media of choice to discover the Spacehive platform. With over 4 million followers Steven Fry tweeting about it is great promotion and the community hopes this will bring the project the remaining money in funds they are short.
The projects are however not purely community funded. The Glyncoch project for examples has already had funding of 95% when is was listed on the Spacehive platform. This funding is Government money the village was promised for a new community centre. Only the remaining £30’000 the project team is trying to raise on the internet for the new centre to serve the 4’125 strong community.
Image taken from spacehive.com / The newly proposed community centre for Glyncoch to be built for 7. There are no plans of or drawings, mentions of a program or what kind of facilities exactly it will offer. Its only a simple SketchUp image showig some building form the outside. Very difficult to see how it will unfold its qualities but it seems to be enough to try and rais substantial amounts of money.
Getting the public involved in local projects is nothing new interesting however, is the way the new trend on the internet is pushing terminologies and understandings of such projects. What does it mean if such a project for a community centre that is desperately needed is now promoted a crowd funded project. How does that change the responsibility previously carried by official government bodies and what does such a model mean for the next generation of urban project?
Platforms for crowd funded projects are nothing new as we have discussed above. THey work for software and app development, for products and now also have their big platform for art, but does it work for community projects? Can such a model replace the states responsibility to deliver and maintain standards in communities including infrastructure and facilities like a community centre.
The current UK Government will be very pleased if such a funding process takes off and becomes a model for other community project. It will mean that even in the delivery for public projects competition and free market can be introduced. Cameron could try and argue that the best promotion team could win any community the much deserved project with the add-on of ,if they can’t, they don’t deserve it. Let the crowd decide who needs what. It fits perfectly with the Tories plan to run schools privately as academies, privatise the police as outsources services to private security providers and now also let public projects be delivered privately.
Image taken from spacehive.com / A project for A Roof-top Aquaponic Farm for London! producing fish and vegetables is one of the other projects looking for funders on the Spacehive platform. This project will need £45,602 to go ahead. The project is promoted by urbanFarmersUK a project related to urbanfarmers.ch a Group based in Zuerich, Switzerland.
A state and especially a planning and urban development does’t work like that. Values, excellence and quality are not something that is naturally delivered in the free market. Urban planners and practitioners have to stand for such qualities with their expertise. The future of our cities is not to be placed in the hands of lay people, for such important tasks experts should be put in place to develop such plans for the interest of the community.
The deliver should similarly be payed by the state or the local government using the taxes. People already pay a contribution to the community and this should be directed into such projects. The people from Glyncoch have all payed their tax towards this community centre and its not the point to now turn around and say well we are 30’000 short so all of your pay £10 extra and it will get payed. They already have payed!
Further more developing such funding options for urban development will change the responsibilities. The government will no longer be in charge and therefore also looses the power to controle what is happening. Who will be setting the standards and guidelines if the new road or bridge or dump is crowd funded? It will be very easy for large companies and businesses to manipulate such a process and get it don their way whilst ignoring all regulations and guidelines by pretending to work with the community.
Especially here in the UK it will be dramatic since the current development frameworks already are heavily influenced by private interests with the local authority and the government having very weak measures and tools to develop a community based vision. Other countries such as Germany, the Netherlands and Switzerland have much better developed frameworks and instruments for urban planning and community development.
It will be vital to strengthen the public official in delivering such community projects and bring back authority to plan ahead and deliver. This is the only way for consistent and sustainable development of the communities through out the country. The public can privatise these responsibilities they have to remain in the powers of the authorities.
Millions of users leave digital traces of their activities, interactions and whereabouts on the world wide web. More and more personal conversations and private messages are being shifted to these on-the-move channels of communication despite the many …
Continue reading »Millions of users leave digital traces of their activities, interactions and whereabouts on the world wide web. More and more personal conversations and private messages are being shifted to these on-the-move channels of communication despite the many …
Continue reading »Infrastructure projects have grown into an important role in the public realm taking more and more responsibility in a social context. Over the past arguably hundred years more and more emphasis has be put in to infrastructure, being it transport services and facilities.
As a modernists take on the city technology was to be placed as the driving force behind planning and this of course shall also include infrastructural project. In fact especially here technology could be implemented with the help of additional arguments. Today, infrastructure is running as flag ship projects in many cases being put forward as statements both public and design wise.
Image taken from dpr-barcelona / Hans Hollein Aircraft carrier city in landscape, project. Aerial perspective.
The Jovis publication Infrastructure as Architecture: Designing Composite Networks, edited by Katrina Stoll and Scott Lloyd takes a detailed look at this position infrastructure has grown into and how architecture relates to it, thus implying that design has to learn from both in order to support a new take on projects.
The publication discusses the matter in essays organised in five topics. These are: Infrastructure Economy, Infrastructure Ecology, Infrastructure Culture, Infrastructure Politics and Infrastructure Space/Networks. Contributors include for example Dana Cuff from UCLA, LateralOffice, UrbanLAB, Alexander D’Hooghe and MVRDV.
The essays cover a range of topics and reach from the presentation of practical projects, built and planned to theoretical essays of the discussion. Thus there is a wealth of different views that are, as the editors argue: ‘providing a framework for understanding the union of infrastructure and architecture’.
Of course it is on one hand a secret claim to but architects in the position to take on and reclaim design agency over infrastructure projects, but more importantly to discuss the dualities of presence and identity of building projects regardless of their function.
It is superbly interesting how this publication argues for a new take on infrastructure and how the argumentation might actually be point out what practice has already incorporated. Whilst the discussions around the relationships infrastructure is bedded into in the urban system is not new, there is a new approach being argued for. Modernists have taken it on at the beginning of the last century and in the 60s the Smithsons and Team X proposed a new take. More and more it grew into a systemic approach and whilst before it was always one or the other it is now being argued for as both, one and the other.
Appleyard and Lynch in A view from the Road already note that the road is producing scenery for the driver and the passengers it is at the same time dominating the landscape as a static bulky object. Alexander D’Hoogh is especially arguing for this in his essay contribution o the publication: The Objectification of Infrastructure: The cultural project of suburban infrastructure design.
This dualism of producing and being is the new aspect in this publication, but probably could in fact reach beyond. Testing this against current trends might revel a deeper interest of our times in this dualism and the fact that problems could have more than one state.
Image taken from jonathandsolomon.com / Book cover. A preview of the publication is available from Jovis HERE. The Essay by Jonathan Solomon is available HERE.
Stoll, K. & Lloyd, S., 2010. Infrastructure as Architecture: Designing Composite Networks, Berlin: Jovis Verlag.
Infrastructure projects have grown into an important role in the public realm taking more and more responsibility in a social context. Over the past arguably hundred years more and more emphasis has be put in to infrastructure, being it transport services and facilities.
As a modernists take on the city technology was to be placed as the driving force behind planning and this of course shall also include infrastructural project. In fact especially here technology could be implemented with the help of additional arguments. Today, infrastructure is running as flag ship projects in many cases being put forward as statements both public and design wise.
Image taken from dpr-barcelona / Hans Hollein Aircraft carrier city in landscape, project. Aerial perspective.
The Jovis publication Infrastructure as Architecture: Designing Composite Networks, edited by Katrina Stoll and Scott Lloyd takes a detailed look at this position infrastructure has grown into and how architecture relates to it, thus implying that design has to learn from both in order to support a new take on projects.
The publication discusses the matter in essays organised in five topics. These are: Infrastructure Economy, Infrastructure Ecology, Infrastructure Culture, Infrastructure Politics and Infrastructure Space/Networks. Contributors include for example Dana Cuff from UCLA, LateralOffice, UrbanLAB, Alexander D’Hooghe and MVRDV.
The essays cover a range of topics and reach from the presentation of practical projects, built and planned to theoretical essays of the discussion. Thus there is a wealth of different views that are, as the editors argue: ‘providing a framework for understanding the union of infrastructure and architecture’.
Of course it is on one hand a secret claim to but architects in the position to take on and reclaim design agency over infrastructure projects, but more importantly to discuss the dualities of presence and identity of building projects regardless of their function.
It is superbly interesting how this publication argues for a new take on infrastructure and how the argumentation might actually be point out what practice has already incorporated. Whilst the discussions around the relationships infrastructure is bedded into in the urban system is not new, there is a new approach being argued for. Modernists have taken it on at the beginning of the last century and in the 60s the Smithsons and Team X proposed a new take. More and more it grew into a systemic approach and whilst before it was always one or the other it is now being argued for as both, one and the other.
Appleyard and Lynch in A view from the Road already note that the road is producing scenery for the driver and the passengers it is at the same time dominating the landscape as a static bulky object. Alexander D’Hoogh is especially arguing for this in his essay contribution o the publication: The Objectification of Infrastructure: The cultural project of suburban infrastructure design.
This dualism of producing and being is the new aspect in this publication, but probably could in fact reach beyond. Testing this against current trends might revel a deeper interest of our times in this dualism and the fact that problems could have more than one state.
Image taken from jonathandsolomon.com / Book cover. A preview of the publication is available from Jovis HERE. The Essay by Jonathan Solomon is available HERE.
Stoll, K. & Lloyd, S., 2010. Infrastructure as Architecture: Designing Composite Networks, Berlin: Jovis Verlag.
Housing design is the one field of architecture arguably being the most accepted core activity of architects. Building houses is architecture as such. The recent NAi publisher book Housing Design: A Manual by Bernhard Leupen and Harald Mooij is published in a second English edition. It picks up on the is core and very traditional architecture activity of building a house and presents designs across a wide range of types in a cultural context.
Image by urbanTick / Book spread showing the chapter introductino nad a summary of the discussed elements.Housing Design – A Manual.
The new publication is a revised English-Language edition and is based on the first Dutch edition published as Het ontwerpen van woningen in 2008. The new edition is extended in its content and, being translated to English, definitely open up to a wider audience worldwide.
In a series of eight chapters the publication develops a clear presentation of housing projects, of both built and some unbuilt examples. The chapters organise the projects in several categories. Other than most books on the same subject however, Housing Design does not try to press the examples into descriptive categories. The authors have chosen to group them into programatic categories characterising the process and the context rather than the project itself.
Image by urbanTick / Book spread Housing Design – A Manual. The example here is by DKV Architects, Kop van Havendiep (Lelystad, 2004) with detailed sectional drawing.
With this the presentation is more relaxed and less arbitrary in a range of different contexts. Where the descriptive categories often seem out of place the here used programatic categories support the reading of each examples in a wider context.
This is at the same time where the specific strength of this publication lies. It is not just a design manual, but a design reader. The examples are not just standing on their own as a separate entity. Each project is set in a wider context linking it in with a theoretical and practical background.
The book is therefore also great reading material. It is by no means a picture book or a flip book, but presents a systematical approach to the presentation of a range of housing projects in the context of architecture history and practice. In this the publication goes into great detail with the presentation and answering of problems drawing from a great source of architectural history examples. Under the subtitle belly for examples, the problem of the underside of a house if rised on piloties or has an underpass is discussed using Le Corbusier’s Unité d’habitation and MVRDV’s WOZOCO as examples. Similar the topic scenery and the design of interior spaces draws on Haussmann and Adolf Loos’s Haus Moller and Das Prinzip der Bekleidung (The Principle of Cladding).
Image by urbanTick / Book spread Housing Design – A Manual. The example here is by Herzog de Meuron, Hebelstrasse 11 Housing (Basel 1988) as an example of a skeleton construction.
Each chapter starts with a theoretical introduction and presents a series of examples. Each with photo plans and drawings. Often this includes construction drawings such as sections. This allows the publication to go in to a lot of detail beyond just the floor layout, discussing construction problems in line with design and questions of aesthetics.
The book concludes in the chapter The Design Process in which three examples are presented as case studies. The discussed aspects are ‘applied’ or revisited as to how they accompany the different design stages of a project. With this the authors demonstrate that housing design is not simply about finding the right typology and developing a floor plan layout. They make the point very clear that architecture and specifically housing design is a contextual process.
Image by urbanTick / Book endsheet showing the different elements and parts of a house that are discussed in details. There are storys, core space, gallery, staircase, street infill and diagonal stacking amongst many others. The pictograms summarise the characteristics of each element very neatly and allow for quick reference and finding.Housing Design – A Manual.
It is a very beautiful publications. It feels good to touch and it is in its design quite complexe without overloading. Actually it looks plain, but with its use of metallic colours and specific fonts for different types of text it is rather playful in a supporting kind of way. The photographs are all black and white and so are the plans and drawings. Despite this no information the information is very clear and readable.
To summ up, this is definitely one of the great publications on housing design and worth having, not only if you are a first year undergrad architecture student. In fact it might be even too complicated for beginners. It might be even more insightful and interesting if you already know about architecture. With its many references and examples across architecture history it is a great reference as well as reading book.
Image by urbanTick / Book cover Housing Design – A Manual.
Mooij, H. & Leupen, B., 2011. Housing Design – A Manual, Rotterdam: NAI Publishers.
Continue reading »Housing design is the one field of architecture arguably being the most accepted core activity of architects. Building houses is architecture as such. The recent NAi publisher book Housing Design: A Manual by Bernhard Leupen and Harald Mooij is published in a second English edition. It picks up on the is core and very traditional architecture activity of building a house and presents designs across a wide range of types in a cultural context.
Image by urbanTick / Book spread showing the chapter introductino nad a summary of the discussed elements.Housing Design – A Manual.
The new publication is a revised English-Language edition and is based on the first Dutch edition published as Het ontwerpen van woningen in 2008. The new edition is extended in its content and, being translated to English, definitely open up to a wider audience worldwide.
In a series of eight chapters the publication develops a clear presentation of housing projects, of both built and some unbuilt examples. The chapters organise the projects in several categories. Other than most books on the same subject however, Housing Design does not try to press the examples into descriptive categories. The authors have chosen to group them into programatic categories characterising the process and the context rather than the project itself.
Image by urbanTick / Book spread Housing Design – A Manual. The example here is by DKV Architects, Kop van Havendiep (Lelystad, 2004) with detailed sectional drawing.
With this the presentation is more relaxed and less arbitrary in a range of different contexts. Where the descriptive categories often seem out of place the here used programatic categories support the reading of each examples in a wider context.
This is at the same time where the specific strength of this publication lies. It is not just a design manual, but a design reader. The examples are not just standing on their own as a separate entity. Each project is set in a wider context linking it in with a theoretical and practical background.
The book is therefore also great reading material. It is by no means a picture book or a flip book, but presents a systematical approach to the presentation of a range of housing projects in the context of architecture history and practice. In this the publication goes into great detail with the presentation and answering of problems drawing from a great source of architectural history examples. Under the subtitle belly for examples, the problem of the underside of a house if rised on piloties or has an underpass is discussed using Le Corbusier’s Unité d’habitation and MVRDV’s WOZOCO as examples. Similar the topic scenery and the design of interior spaces draws on Haussmann and Adolf Loos’s Haus Moller and Das Prinzip der Bekleidung (The Principle of Cladding).
Image by urbanTick / Book spread Housing Design – A Manual. The example here is by Herzog de Meuron, Hebelstrasse 11 Housing (Basel 1988) as an example of a skeleton construction.
Each chapter starts with a theoretical introduction and presents a series of examples. Each with photo plans and drawings. Often this includes construction drawings such as sections. This allows the publication to go in to a lot of detail beyond just the floor layout, discussing construction problems in line with design and questions of aesthetics.
The book concludes in the chapter The Design Process in which three examples are presented as case studies. The discussed aspects are ‘applied’ or revisited as to how they accompany the different design stages of a project. With this the authors demonstrate that housing design is not simply about finding the right typology and developing a floor plan layout. They make the point very clear that architecture and specifically housing design is a contextual process.
Image by urbanTick / Book endsheet showing the different elements and parts of a house that are discussed in details. There are storys, core space, gallery, staircase, street infill and diagonal stacking amongst many others. The pictograms summarise the characteristics of each element very neatly and allow for quick reference and finding.Housing Design – A Manual.
It is a very beautiful publications. It feels good to touch and it is in its design quite complexe without overloading. Actually it looks plain, but with its use of metallic colours and specific fonts for different types of text it is rather playful in a supporting kind of way. The photographs are all black and white and so are the plans and drawings. Despite this no information the information is very clear and readable.
To summ up, this is definitely one of the great publications on housing design and worth having, not only if you are a first year undergrad architecture student. In fact it might be even too complicated for beginners. It might be even more insightful and interesting if you already know about architecture. With its many references and examples across architecture history it is a great reference as well as reading book.
Image by urbanTick / Book cover Housing Design – A Manual.
Mooij, H. & Leupen, B., 2011. Housing Design – A Manual, Rotterdam: NAI Publishers.
How exactly are we using light? Are we lighting what we need or are we lighting the surrounding plus everything else, wasting energy? Light has become a resource in our western societies that is being taken as a given available with the flick of a fing…
Continue reading »How exactly are we using light? Are we lighting what we need or are we lighting the surrounding plus everything else, wasting energy? Light has become a resource in our western societies that is being taken as a given available with the flick of a fing…
Continue reading »Traditionally Geographic Information System (GIS) have been exclusively run on the Windows platform. Only very few applications run on either cross platform or exclusively on the Mac. This is part two of a review and introduction to Cartographica, a Mac based GIS software. Find part one with a general introduction HERE and the working with section HERE. This third part is looking at the mobile version for your iPhone or the iPad.
The GIS software are generally quite heavy software packages and with all them functions packed in use a fair bit of processing power. A mobile client is not quite the first choice as a platform for such an app. However, the field is where you get your data from, check on changes or record problems. Having a powerful GIS bases system right there to record the information and look up details makes your life so much easier and quite a bit more fun.
With the new quite powerful handheld devices running iOS this has become a reality and both iPad and iPhone rund GIS packages. Cartographica is offering a Cartographica Mobile app, currently at version 1.1 available now from the itunes app store.
With it you can take data with you out into the field. This is as simple as dropping files into your itunes. It will natively read shape files for example. Each file can be accessed from the mobile app, including layers.
Testing this HERE is a download link for Boris Bike station locations in London from the Guardian Datastore. The data can then be droppend into itunes and opened on the iPad.
Image by urbanTick / Accessing the data on your iPad. Here showing the Boris Bike station location around London. As a background OSM is used by default.
You can then zoom in and get to the details that are stored with each data point. This is flexible and can be adjusted to the need even out in the field. As done here an field for photo is added and for each location an Photograph can be recorded and linked in directly form the iPad.
Image by urbanTick / Accessing the data on your iPad. Here showing the Boris Bike station location around London. The details can be accessed individually.
Beside looking at the data and access it new data points can be created. There is a plus button at the bottom of the screen or by keeping your finger on the screen also will bring up a zoom functions with witch a point can be manually located. Alternatively the GPS can be used to add a point at the current location.
Image by urbanTick / Adding data directly on your iPad. The cross zoom helps definitely place a new data point.
Image by urbanTick / Adding data directly on your iPad. The pop up dialoge lets you fill in the preset fields. Those can be manipulated on the go and new ones can be added or old ones deleted.
Image by urbanTick / Adding data directly on your iPad. Using the iPad camera to add photographs of the location, or anything else.
What can’t be done on the go is any processing. The station platform of Cartographica offers a range of tools to analyse and visualise the data (see previous post HERE.) The mobile verson as of now does not include any of this. As such the mobile app goes as an addon rather than a replacement. It is intended to take the data with you check, extend or create and bring it back for analysis and further processing.
Nevertheless, Cartographica Mobile does integrate with a network and multiple users including live updating. This opens up possibility for collaborative work on the move and in the field. This is very need and helpful in many cases.
The Cartographica Mobile version is available from the itunes app store at a price of £54.99 or the equivalent of your currrency. It is available world wide. The Cartographica workstation software is available form the web store at a price of $495 and as an academic student license for only $99 for one year. This is tremendously good offer, especially if compared to some of the other packages prices.
Traditionally Geographic Information System (GIS) have been exclusively run on the Windows platform. Only very few applications run on either cross platform or exclusively on the Mac. This is part two of a review and introduction to Cartographica, a Mac based GIS software. Find part one with a general introduction HERE and the working with section HERE. This third part is looking at the mobile version for your iPhone or the iPad.
The GIS software are generally quite heavy software packages and with all them functions packed in use a fair bit of processing power. A mobile client is not quite the first choice as a platform for such an app. However, the field is where you get your data from, check on changes or record problems. Having a powerful GIS bases system right there to record the information and look up details makes your life so much easier and quite a bit more fun.
With the new quite powerful handheld devices running iOS this has become a reality and both iPad and iPhone rund GIS packages. Cartographica is offering a Cartographica Mobile app, currently at version 1.1 available now from the itunes app store.
With it you can take data with you out into the field. This is as simple as dropping files into your itunes. It will natively read shape files for example. Each file can be accessed from the mobile app, including layers.
Testing this HERE is a download link for Boris Bike station locations in London from the Guardian Datastore. The data can then be droppend into itunes and opened on the iPad.
Image by urbanTick / Accessing the data on your iPad. Here showing the Boris Bike station location around London. As a background OSM is used by default.
You can then zoom in and get to the details that are stored with each data point. This is flexible and can be adjusted to the need even out in the field. As done here an field for photo is added and for each location an Photograph can be recorded and linked in directly form the iPad.
Image by urbanTick / Accessing the data on your iPad. Here showing the Boris Bike station location around London. The details can be accessed individually.
Beside looking at the data and access it new data points can be created. There is a plus button at the bottom of the screen or by keeping your finger on the screen also will bring up a zoom functions with witch a point can be manually located. Alternatively the GPS can be used to add a point at the current location.
Image by urbanTick / Adding data directly on your iPad. The cross zoom helps definitely place a new data point.
Image by urbanTick / Adding data directly on your iPad. The pop up dialoge lets you fill in the preset fields. Those can be manipulated on the go and new ones can be added or old ones deleted.
Image by urbanTick / Adding data directly on your iPad. Using the iPad camera to add photographs of the location, or anything else.
What can’t be done on the go is any processing. The station platform of Cartographica offers a range of tools to analyse and visualise the data (see previous post HERE.) The mobile verson as of now does not include any of this. As such the mobile app goes as an addon rather than a replacement. It is intended to take the data with you check, extend or create and bring it back for analysis and further processing.
Nevertheless, Cartographica Mobile does integrate with a network and multiple users including live updating. This opens up possibility for collaborative work on the move and in the field. This is very need and helpful in many cases.
The Cartographica Mobile version is available from the itunes app store at a price of £54.99 or the equivalent of your currrency. It is available world wide. The Cartographica workstation software is available form the web store at a price of $495 and as an academic student license for only $99 for one year. This is tremendously good offer, especially if compared to some of the other packages prices.
Continue reading »The Cold War years are usually presented in terms of the military force and an ever expanding resource of military equipment. This of course includes foremost the nuclear weapons both sides the West lead by the U.S. and the NATO and the Communist East lead by Russia.
Architecture however, played an important role in cicvil defence and the preparation for a potential third world war. There was far less attention payed to the fact that all nations had programs running to prepare their societies for the case of escalation. Tensions there were enough.
Nuclear war was the ultimate danger and with images and evidence form Hiroshima and Nagasaki preparation was part of civil defence programs also in the U.S. In a new book Fallout Shelter: Designing for Civil Defence in the Cold War published by University of Minnesota Press, David Monteyne presents these U.S. programs from an architectural perspective. This detailed investigation ranges from the propaganda to built examples and examines closely the role of the architect as the middle man between government and civil society implementing a plan that is further reaching than simply the provision of shelter. Find Fallout Shelter: Designing for Civil Defence in the Cold War for great prices with these Amazon Promo Codes.
Image taken from etsy / DIY fallout shelter for your back garden.
As Monteyne points out in his introduction it effectively is a contract between citizens and government exchanging provision for shelter and quality of live for cooperative behaviour. He refers to Foucaults biopower as a political relationship. Essentially building shelters was and in some cases still is, as we’ll discuss further on, the physical implementation of goals and powers of the welfare state.
The book explores in seven chapters the background, the planning, the implementation and the potential influence of shelter provision programs in the U.S. The programs were mostly about information and education but of course also aiming to build shelter provision. For this the architects were a key alley and the American Institute of Architects (AIA) launched a series of design competitions together with the Office for Civil Defense (OCD). The aim was to promote good planning and preparation for shelter provision. A series of designs were presented as winners, both built and as projects.
In the last chapter Monteyner goes a step further and applies his observations and investigations as an interpretation of an architectural style. He goes as far as arguing that this focus on shelter and bunker design has effectively led to an specific style, not a new one, but Brutalism?! Well thats something new and of course he has some evidence, the famous Boston City Hall. The basic argument is that Brutalist architecture looks a bit like bunk architecture so the origin of Brutalism is to be found in these government programs during the early Cold War times having shaped a whole generations concusses.
http://en.wikipedia.org/wiki/Brutalism
Image taken from Wikipedia / The Boston City Hall that serves as an example as to how bunker design has lead to the Brutalism movement.
Boston City Hall is at this point is the famous and widely debated example in the U.S. and serves well since it has implemented to some extend the requirements for fallout shelter. Interestingly the term Burtalism however is claimed to be coined by the Smithsons from the United Kingdom based on Le Corbusier in the context of CIAM. So not really an American connection there and all in all a bit too early for these programs that were run in the fifties and sixties mainly.
Reading the shelter guides these cold war programs produced and the resulting designs one can not help but smile. It amazing how naive the designs are and how improvised. For example there are guides on how to build a wooden shelter in your backyard and even the Boston City Hall project, the famous bunker style building has implemented shelter space on the eights floor?
It seemed to work and to some degree the American officials seemed to gain some sense of preparednes from these exercises. To everyone else these plans must immediately seem strange. If all you need to withstand a nuclear war is to build the entrance of a house not in line with the corridor to prevent fallout from penetrating deep into the house we ar all save.
American architecture is not generally well known for going deep underground and if possible basements are avoided at any cost. Very much so in terms of shelter and fall protection provision. Not even these programs have seriously considered building bunker underground, as the Boston City Hall projects demonstrates. Shelter can happily be provided on the eighth floor?!
The way this infrastructure of bunkers and shelters is described in the publication does echo practices for example in Switzerland. The small country in the heart of Europe is well known for its specific bunker infrastructure. On the military end this infrastructure was designed to guarantee the independence creating a réduit in the alps. On the civil side planning for large scale shelter infrastructure started a early as the 1930s. These efforts were geared towards the provision of shelter everyone in the country. Doring the 1980s this was achieved, making Switzerland arguably the leading provider of shelters.
It is a general requirement in Switzerland to built a shelter as part of every housing project ranging from a single family house to an entire block. Depending on the size of the project and number of inhabitants the shelter has to provide a certain capacity. Currently there are, according to the Swiss Federal Office for Civil Protection FOCP, about 360’000 individual shelters built as part of buildings and in addition some 2300 communal shelters. Hereby a shelter in general is a sort of mini bunker in the basement of every building constructed after 1963.
Image taken from Kanton Schwyz / Detailed section drawing showing the emergency exit from a standard single family house shelter space. Requirements including distances and dimensioning are based on standards applicable through out Switzerland. Note also the shown solution in case of high ground water.
There are clear guide lines for the construction of the shelter, the provisions and the equipment necessary. Every opening has to have a massive concrete door to completely seal the space. There is ventilation equipment required, designed to withstand gas and fall out. In addition there are simple bunk bed constructions and basic facilities such as dry toilets required.
Larger buildings such as community centres provide shelter for a larger number of people ranging from 30 to a few hundred. All are real bunkers constructed in full concrete, at least 25 cm in thickness with completely sealable openings, basic infrastructure equipment, toilets, beds and cooking facilities.
In addition infrastructure projects sometimes have been used to extend capacity of shelter place capacity. For examples the highway tunnel ‘Sonnenbergtunnel‘ in Luzern was build with the capacity to transform into a massive bunker if required. It would have provided places for about 20’000 people. This includes sanitary facilities including a small hospital unit, large kitchens, ventilation infrastructure and bunk beds and so on. In case of emergency each tunnel entrance would be closed with a specially designed massive concrete gates to seal the entrance. The entire length of the tunnel be used for cubicles with bunk beds. It was calculated for 1m2 of floorspace per person.
Image taken from Luzernerzeitung / The large gates of the Sonnenbergtunnel shelter in Switzerland were last closed in 1987. The gate is constructed on sight and is curved to withstand great pressure.
Sonnenberg tunnel is since 2005 no longer in operation as a shelter unit. It can still be visited with a guided tour though. The city of Luzern has in connection to the complete renovation of the highway A2 developed a new Civil Defence concept and provides the capacity in shelter places elsewhere. However, through out switzerland a number of other such invisible underground civi defence infrastructure buildings are still being maintained in order to provide shelter in case of war or nuclear fall out.
Switzerland has in many ways optimised and multiplied the implementation of shelter provision for the civil population. Reading it under the aspects David Monteyne presents in the introduction to his publication the outreach of the state to discipline the population to good behaviour in exchange for welfare did work and still works very well. It can be argued that the Swiss population and the architects as the implementers of these outreach programs cooperate well. However, the implementation of the shelter infrastructure is taken much more serious in its mechanics in Switzerland than according to Monteyne it was in the US. And from a Swiss perspective to speak of a specific bunker style (believed to be brutalism) to emerge from the state requirements for shelter seems absurd. This is mainly dueto the fact that Swiss planners have always decided that shelter or bunker facilities only really make sense if they are implemented in the basement and never tried to somehow fit it in above ground. As such the shelter has never been visible and therefore did not influence the ascetics of the aboveground appearance necessarily.
Details taken from: Heierli, W., Jundt, L. & Kessler, E., 1976. Die Zivilschutzanlage Sonnenbergtunnel in Luzern. Schweizerische Bauzeitung, 94(46), pp.689-699.
/ Map of the Sonnenberg highway tunnel near Luzern in Switzerland showing the location of the built shelter. The bunke was designed to provided space for 20’000 civilians in the case of war. Constructed between 1971 and 1976. The shelter was finally closed in 2005.
Details taken from: Heierli, W., Jundt, L. & Kessler, E., 1976. Die Zivilschutzanlage Sonnenbergtunnel in Luzern. Schweizerische Bauzeitung, 94(46), pp.689-699.
Building shelters underground could be an explanation why the required provision of shelter had and still has a much higher acceptance through out the civil population. Without it being constantly present in the everyday environment it is much more a background infrastructure than an style and other functions are not overloaded by the required provision of shelter but extended.
Nevertheless the book presents a very distinct characteristic of the last century and the period between 1950 and 1980. Whether it lead to a distinct architectural style can be debated. What is of specific interest is to compare the different approaches to the provision of shelter as well as what these approaches tell about how the civil society deals with chaos and order, the manipulation of the collective and the individual and the role of planning and architecture in a wider society context.
Image taken from amazon / Book cover.
Monteyne, D., 2011. Fallout Shelter: Designing for Civil Defense in the Cold War, University of Minnesota Press.
The Cold War years are usually presented in terms of the military force and an ever expanding resource of military equipment. This of course includes foremost the nuclear weapons both sides the West lead by the U.S. and the NATO and the Communist East lead by Russia.
Architecture however, played an important role in cicvil defence and the preparation for a potential third world war. There was far less attention payed to the fact that all nations had programs running to prepare their societies for the case of escalation. Tensions there were enough.
Nuclear war was the ultimate danger and with images and evidence form Hiroshima and Nagasaki preparation was part of civil defence programs also in the U.S. In a new book Fallout Shelter: Designing for Civil Defence in the Cold War published by University of Minnesota Press, David Monteyne presents these U.S. programs from an architectural perspective. This detailed investigation ranges from the propaganda to built examples and examines closely the role of the architect as the middle man between government and civil society implementing a plan that is further reaching than simply the provision of shelter. Find Fallout Shelter: Designing for Civil Defence in the Cold War for great prices with these Amazon Promo Codes.
Image taken from etsy / DIY fallout shelter for your back garden.
As Monteyne points out in his introduction it effectively is a contract between citizens and government exchanging provision for shelter and quality of live for cooperative behaviour. He refers to Foucaults biopower as a political relationship. Essentially building shelters was and in some cases still is, as we’ll discuss further on, the physical implementation of goals and powers of the welfare state.
The book explores in seven chapters the background, the planning, the implementation and the potential influence of shelter provision programs in the U.S. The programs were mostly about information and education but of course also aiming to build shelter provision. For this the architects were a key alley and the American Institute of Architects (AIA) launched a series of design competitions together with the Office for Civil Defense (OCD). The aim was to promote good planning and preparation for shelter provision. A series of designs were presented as winners, both built and as projects.
In the last chapter Monteyner goes a step further and applies his observations and investigations as an interpretation of an architectural style. He goes as far as arguing that this focus on shelter and bunker design has effectively led to an specific style, not a new one, but Brutalism?! Well thats something new and of course he has some evidence, the famous Boston City Hall. The basic argument is that Brutalist architecture looks a bit like bunk architecture so the origin of Brutalism is to be found in these government programs during the early Cold War times having shaped a whole generations concusses.
http://en.wikipedia.org/wiki/Brutalism
Image taken from Wikipedia / The Boston City Hall that serves as an example as to how bunker design has lead to the Brutalism movement.
Boston City Hall is at this point is the famous and widely debated example in the U.S. and serves well since it has implemented to some extend the requirements for fallout shelter. Interestingly the term Burtalism however is claimed to be coined by the Smithsons from the United Kingdom based on Le Corbusier in the context of CIAM. So not really an American connection there and all in all a bit too early for these programs that were run in the fifties and sixties mainly.
Reading the shelter guides these cold war programs produced and the resulting designs one can not help but smile. It amazing how naive the designs are and how improvised. For example there are guides on how to build a wooden shelter in your backyard and even the Boston City Hall project, the famous bunker style building has implemented shelter space on the eights floor?
It seemed to work and to some degree the American officials seemed to gain some sense of preparednes from these exercises. To everyone else these plans must immediately seem strange. If all you need to withstand a nuclear war is to build the entrance of a house not in line with the corridor to prevent fallout from penetrating deep into the house we ar all save.
American architecture is not generally well known for going deep underground and if possible basements are avoided at any cost. Very much so in terms of shelter and fall protection provision. Not even these programs have seriously considered building bunker underground, as the Boston City Hall projects demonstrates. Shelter can happily be provided on the eighth floor?!
The way this infrastructure of bunkers and shelters is described in the publication does echo practices for example in Switzerland. The small country in the heart of Europe is well known for its specific bunker infrastructure. On the military end this infrastructure was designed to guarantee the independence creating a réduit in the alps. On the civil side planning for large scale shelter infrastructure started a early as the 1930s. These efforts were geared towards the provision of shelter everyone in the country. Doring the 1980s this was achieved, making Switzerland arguably the leading provider of shelters.
It is a general requirement in Switzerland to built a shelter as part of every housing project ranging from a single family house to an entire block. Depending on the size of the project and number of inhabitants the shelter has to provide a certain capacity. Currently there are, according to the Swiss Federal Office for Civil Protection FOCP, about 360’000 individual shelters built as part of buildings and in addition some 2300 communal shelters. Hereby a shelter in general is a sort of mini bunker in the basement of every building constructed after 1963.
Image taken from Kanton Schwyz / Detailed section drawing showing the emergency exit from a standard single family house shelter space. Requirements including distances and dimensioning are based on standards applicable through out Switzerland. Note also the shown solution in case of high ground water.
There are clear guide lines for the construction of the shelter, the provisions and the equipment necessary. Every opening has to have a massive concrete door to completely seal the space. There is ventilation equipment required, designed to withstand gas and fall out. In addition there are simple bunk bed constructions and basic facilities such as dry toilets required.
Larger buildings such as community centres provide shelter for a larger number of people ranging from 30 to a few hundred. All are real bunkers constructed in full concrete, at least 25 cm in thickness with completely sealable openings, basic infrastructure equipment, toilets, beds and cooking facilities.
In addition infrastructure projects sometimes have been used to extend capacity of shelter place capacity. For examples the highway tunnel ‘Sonnenbergtunnel‘ in Luzern was build with the capacity to transform into a massive bunker if required. It would have provided places for about 20’000 people. This includes sanitary facilities including a small hospital unit, large kitchens, ventilation infrastructure and bunk beds and so on. In case of emergency each tunnel entrance would be closed with a specially designed massive concrete gates to seal the entrance. The entire length of the tunnel be used for cubicles with bunk beds. It was calculated for 1m2 of floorspace per person.
Image taken from Luzernerzeitung / The large gates of the Sonnenbergtunnel shelter in Switzerland were last closed in 1987. The gate is constructed on sight and is curved to withstand great pressure.
Sonnenberg tunnel is since 2005 no longer in operation as a shelter unit. It can still be visited with a guided tour though. The city of Luzern has in connection to the complete renovation of the highway A2 developed a new Civil Defence concept and provides the capacity in shelter places elsewhere. However, through out switzerland a number of other such invisible underground civi defence infrastructure buildings are still being maintained in order to provide shelter in case of war or nuclear fall out.
Switzerland has in many ways optimised and multiplied the implementation of shelter provision for the civil population. Reading it under the aspects David Monteyne presents in the introduction to his publication the outreach of the state to discipline the population to good behaviour in exchange for welfare did work and still works very well. It can be argued that the Swiss population and the architects as the implementers of these outreach programs cooperate well. However, the implementation of the shelter infrastructure is taken much more serious in its mechanics in Switzerland than according to Monteyne it was in the US. And from a Swiss perspective to speak of a specific bunker style (believed to be brutalism) to emerge from the state requirements for shelter seems absurd. This is mainly dueto the fact that Swiss planners have always decided that shelter or bunker facilities only really make sense if they are implemented in the basement and never tried to somehow fit it in above ground. As such the shelter has never been visible and therefore did not influence the ascetics of the aboveground appearance necessarily.
Details taken from: Heierli, W., Jundt, L. & Kessler, E., 1976. Die Zivilschutzanlage Sonnenbergtunnel in Luzern. Schweizerische Bauzeitung, 94(46), pp.689-699.
/ Map of the Sonnenberg highway tunnel near Luzern in Switzerland showing the location of the built shelter. The bunke was designed to provided space for 20’000 civilians in the case of war. Constructed between 1971 and 1976. The shelter was finally closed in 2005.
Details taken from: Heierli, W., Jundt, L. & Kessler, E., 1976. Die Zivilschutzanlage Sonnenbergtunnel in Luzern. Schweizerische Bauzeitung, 94(46), pp.689-699.
Building shelters underground could be an explanation why the required provision of shelter had and still has a much higher acceptance through out the civil population. Without it being constantly present in the everyday environment it is much more a background infrastructure than an style and other functions are not overloaded by the required provision of shelter but extended.
Nevertheless the book presents a very distinct characteristic of the last century and the period between 1950 and 1980. Whether it lead to a distinct architectural style can be debated. What is of specific interest is to compare the different approaches to the provision of shelter as well as what these approaches tell about how the civil society deals with chaos and order, the manipulation of the collective and the individual and the role of planning and architecture in a wider society context.
Image taken from amazon / Book cover.
Monteyne, D., 2011. Fallout Shelter: Designing for Civil Defense in the Cold War, University of Minnesota Press.
Continue reading »The UCL Urban Laboratory brings out a publication under the title Urban Constellations, summarising five years of work since the LAB was established in 2005. The LAB was set up as an interdisciplinary work group within UCL bringing together architecture, engineering, anthropology and film studies with a focus on urban. With urban Mattheew Gandy the Director of the urbanLAB and also editor of the publication sees encompassed far more than in the bounded term city. This is then also what the publications aims to achieve, drawing out and identifying critical themes and opening a discussion around them.
The collection explores themes such as new forms of political mobilisation, the effects of economic instability, the political ecology of urban nature and the presence of collective memory. The section Excursions documents artistic interventions in the urban context by 5 artists.
Image taken from othersights / Installation The Games are Open, with materials recycled from the 2010 Olympic & Paralympic Winter Games Athletes’ Village, by Köbberling & Kaltwasser, 2010.
The other four parts of the publication are Urban Lexicon outlining popular topics in the urban discurse, Crisis and Perturbations depicting strong influential shaping process, Places and Spaces as a showcase of concrete examples of urban studies and Projections linking the theoretical discussion to other fields such as art. A preview of sample page can be found on the publisher JOVIS website as a HERE.
Each essay, of which there area total of 42, is intentionally short. As Gandy outlines in his introduction, the aim was to create little vignettes of aspects. With this linking it to Sigfrid Kracauer’s work and use of the term urban vignettes. Similarly is the link established to Walter Benjamin via the book title Urban Constellations which link to the use of constellations by Benjamin. With this Gandy aims to underpin a close attention to detail of everyday life.
The essays are written by a selection of mostly well known scholars. In most cases they are related to the context of UCL with for examples Jane Rendell and Ian Borden form the Bartlett School of Architecture.
The essays are of very good quality and interesting to read although as mentioned very short, at most four pages. However, the main aspect of the publication is how it highlights the current state of the urban discussion. And this is if there is one, but more likely there are many. As Gandy himself already summarises in the introduction the essays draw form the remains of the modernist planning umbrella to examine how the urban context managed to cope, both with the domination of a religious planning doctrine based on technology and the decline thereof.
Further more it highlights the shift in approaches with the disappearance of bullet-point lists and the replacement of solutions with possibilities. The field seems all very vague and there are very few topics or even cornerstones the community can take for granted.
This is a very tricky position for the professionals to be in as with a lack of operational directions of development other disciplines are threatening to take over urban planning. Of course it is once more technology and the quantitative sciences promising anything they can even think of under a new umbrella of Smart Cities. It is of course no coincidence that here again the terms city is pushed as it represents exactly what Gandy described as too restrictive.
Qualitative research into urban environments in general is currently mainly exploring the boundaries of structuring aspects of dogmas and predefinitions. This is of course essential to understand more about the nature and the complexity of the urban context. On the other hand it would be healthy to start directing these efforts towards a more applied and pragmatic practice. As such the publications makes an effort to actually apply such a practice and combine the dismantling of modernist’s remains with a application of findings. Things can be taken from there.
Image taken from amazon / Urban Constellations book cover.
Gandy, M. ed., 2011. Urban Constellations, Berlin: JOVIS Verlag.
The UCL Urban Laboratory brings out a publication under the title Urban Constellations, summarising five years of work since the LAB was established in 2005. The LAB was set up as an interdisciplinary work group within UCL bringing together architecture, engineering, anthropology and film studies with a focus on urban. With urban Mattheew Gandy the Director of the urbanLAB and also editor of the publication sees encompassed far more than in the bounded term city. This is then also what the publications aims to achieve, drawing out and identifying critical themes and opening a discussion around them.
The collection explores themes such as new forms of political mobilisation, the effects of economic instability, the political ecology of urban nature and the presence of collective memory. The section Excursions documents artistic interventions in the urban context by 5 artists.
Image taken from othersights / Installation The Games are Open, with materials recycled from the 2010 Olympic & Paralympic Winter Games Athletes’ Village, by Köbberling & Kaltwasser, 2010.
The other four parts of the publication are Urban Lexicon outlining popular topics in the urban discurse, Crisis and Perturbations depicting strong influential shaping process, Places and Spaces as a showcase of concrete examples of urban studies and Projections linking the theoretical discussion to other fields such as art. A preview of sample page can be found on the publisher JOVIS website as a HERE.
Each essay, of which there area total of 42, is intentionally short. As Gandy outlines in his introduction, the aim was to create little vignettes of aspects. With this linking it to Sigfrid Kracauer’s work and use of the term urban vignettes. Similarly is the link established to Walter Benjamin via the book title Urban Constellations which link to the use of constellations by Benjamin. With this Gandy aims to underpin a close attention to detail of everyday life.
The essays are written by a selection of mostly well known scholars. In most cases they are related to the context of UCL with for examples Jane Rendell and Ian Borden form the Bartlett School of Architecture.
The essays are of very good quality and interesting to read although as mentioned very short, at most four pages. However, the main aspect of the publication is how it highlights the current state of the urban discussion. And this is if there is one, but more likely there are many. As Gandy himself already summarises in the introduction the essays draw form the remains of the modernist planning umbrella to examine how the urban context managed to cope, both with the domination of a religious planning doctrine based on technology and the decline thereof.
Further more it highlights the shift in approaches with the disappearance of bullet-point lists and the replacement of solutions with possibilities. The field seems all very vague and there are very few topics or even cornerstones the community can take for granted.
This is a very tricky position for the professionals to be in as with a lack of operational directions of development other disciplines are threatening to take over urban planning. Of course it is once more technology and the quantitative sciences promising anything they can even think of under a new umbrella of Smart Cities. It is of course no coincidence that here again the terms city is pushed as it represents exactly what Gandy described as too restrictive.
Qualitative research into urban environments in general is currently mainly exploring the boundaries of structuring aspects of dogmas and predefinitions. This is of course essential to understand more about the nature and the complexity of the urban context. On the other hand it would be healthy to start directing these efforts towards a more applied and pragmatic practice. As such the publications makes an effort to actually apply such a practice and combine the dismantling of modernist’s remains with a application of findings. Things can be taken from there.
Image taken from amazon / Urban Constellations book cover.
Gandy, M. ed., 2011. Urban Constellations, Berlin: JOVIS Verlag.
Continue reading »A publication is no longer just a publication. It can be many things and what we see is only the beginning. A book can be a magazine, an ebook a website or a comic. Different medias are being mixed to play with ways of presentation. New technology plays here are good part and enables some very new concepts to be tested.
The eReader platforms and especially the iPad promise new ways of publishing. Only last week Apple has announced, as part of the app ibooks 2, the publication of text books. Here they put the emphasis more than before on the integration of additional media like video for tutorials and explanations, interactive graphics (like the newly released E. O. Wilson’s Life on Earth) and of course web links and so on. The animated and augmented book is only catching on a the moment. If you’re looking to purchase an iPad try out these Promotional Codes and save some money on this expensive technology!
Image taken from earchitect / Yes is More on the iPad.
The architectural monagraphy is a rather unlikely candidate to put forward such an interactive publication. One would expect it to be a heavy piece with nicely photoshopped images and and a thick cover. This is however a way of presentation for the old garde and if BIG represents the new generation of architects such an interactive option of presentation is the way to go. BIG has always been very much about telling a good story and producing a good show. The show of course is very subjective and this subject is two fold its the facts about the design and Bjarke Ingels the head of the Bjarke Ingels Group (This is what BIG stands for).
Their Yes is More: An archicomic on architectural evolution was originally published back in 2009 by Taschen and as such already wasn’t the architectural monograph one might buy if it was Norman Foster or Richard Meier. BIG presented their work in a sort of comic they branded archicomic. It was however mostly well received even though few probably understood what Bjarke actually meant by Yes is more.
The one architectural monography ambitious architecture practices have to top if they really want to set a mark and the book that has dominated the style of architecture book for the last decades is S,M,L,XL by Rem Koolhass’s OMA and AMO’s Bruce Mau. It was published in 1995 by Monacelli Press.
BIG had a go at this with the comic. It was well received, but not quite enough to land in the hall of fame. It certainly did stir things a little and it fitted well with the self image Bjarke is building around his practice and the delivered projects. The advancing technology however meant new opportunities are opening up. BIG has been working more and more with new media, testing animation, 3d as well as augmented reality.
Now in 2011 the original book has been transformed into an app for the iPad as Yes is more! An Archicomic on Architectural Evolution by BIG. It is published by Taschen again and available on itunes. It is not exactly an ebook since it is as a comic mainly imagery based and now also integrated animations and movies. The comic comes to live with clips that play within the grid of images or in full screen mode. It’s clear from the start that this format fits the stile. The publication really thrives with the media in this case.
Image taken from the app / Page spread 218-219 in landscape mode and page 219 in portrait mode. Both show at the bottom the navigation bar.
The app works both in portrait and in landscape mode. With the swipe of a finger one browses through the sequence of images learning about reasons and effects, but also a lot about Bjarke. Where he lives and what the view of his balcony looks like. Details can be zoomed in on, just like you are getting used to on your touch screen. A youtube like triangle symbolises clips and a click opens these additional medias in a small window or plays them at full screen at rather good resolution. Quality is ver good through out even if zoomed in on details.
Navigation is organised in a bar at the bottom that appears with a tab. To choose or jump to a new topic one can either use a slider of miniature pages or a selector roll. Of course individual pages can also be found by page number. However, the layout does not show any page numbers. They have been removed. In this sense the app is not at all a pure digital version of the paper based publication.
The app also offers a search box for key word search or a separate listing of all the clips if only moving images are of interest. The app offers the option to put bookmarks. There is no note option though, something a lot of ebook users probably have come to like from other platforms.
The experience the app offers is very good even though they have chosen not to the mimicked turn the page effect. It runs smooth the displayed material is qualitative very good with nice colours and sharp contours. Its what you get from other ebooks.
THe feel of the app has very little to do with a book any longer. The turn the page effect is missing, which to be fair, is a stupid thing, an purely visual imitation, but it comes the closest to turning a page and with it imitating the book. Then also the page numbers are missing, a very distinct design element of a paper based publication. This is not so much about the actual number but about orientation and progress. How far have I read and how many pages ago did the lead character last smile? Here we have no page numbers unless we choose to look at it in the bottom bar by tapping to activate it every time. There is however, a tiny bar appearing with each swipe of the page at the bottom indicating the position in the book, assuming the whole length of the screen is the entire book. This is very neat and practical. It would be nice if this little feature could also be draged and enable a sort of quick flip.
Currently there is no way to quickly flip through the book. the swipe response is quite slow and three quick swipes result in only one page shift. Similar the page numbers don’t move you through the pages that quickly. If now this little bar could do such a thing, maybe even in combination with the thumbnail page preview it would make for a great navigation.
The sequence of pages are presented in linear fashion. There are for example no links within the book. The last chapter BIG City provides an overview of the BIG project grouping similar projects together to city districts. It would be nice if clickable and acting as hyperlinks to jump to the details. Or maybe select one of the groups and look at all these projects together. It being programmed as an independent app such options would be possible enabling more browser like handling with back and forth or even history options, where the linearity of the paper based publication would be unlocked. With out this and it feels a bit like a slide presentation and in terms of the linearity would represent a power point against a prezi.
Image taken from klatmagazine / Yes is More on the iPad.
To sum it up, navigation and experience are working fine. Every function you would need is there. Its just that most things have the feel of a computer based click with your mouse here sort of solution. At the same time the app designer have not really let go of the book and present it in a purely linear fashion. It remins a hybrid, and is as sort of ebook with its own app not quite defining a new category of interactive, reader driven, content platforms.
As it being an independent app there are is the downside that it does not link up with other publications. The thing about ebooks is that they still, at least in the term, link up and the same software is playing for all of them. Notes are taken across books, so are markings. This publication is a standalone thing and plays at most with the collection of apps, but not necessarily the books or ebooks in this case. This is more from a collectors perspective a point, but then if you are into architecture you want a whole bunch of similar publications to cover your entire field of interest. One single item doesn’t really satisfy this and remains the odd one out. Bjarke doesn’t mind to be the odd one out as long as he’s being talked about.
Nevertheless its an interesting publication and an impressive one. Its not just a few swipes long, something you have swiped through in under five minutes. This is your proper comic you can read on the tube and the bus for an entire week of commuting. It comes along happily on you iPad and pops upen where you left it. It is currently priced at £6.99 which is nearly the price of the actual print, on amazon for £11.66 (on the Taschen website it is priced at £ 17.99, here the app a bit less than half). You can buy the app from HERE on itunes and the book from Taschen or amazon
Image taken from the Yes is More app / Spread showing the project with the very poignant title Swept under the carpet. It is not a particularly famous BIG project, but it is one that summarises a lot about the approach. (click image to read the details) The introduction of the publication shows Bjarke with his feet on the table proclaiming his architecture paradigme is to say YES to everything. He claims that architecture can incorporate everything and still be progressive. In this very particular project, Swept under the carpet, he literally sweeps the pollution, this very project is built on a piece of land with polluted soil and the competition asked for solutions to deal with this fact, under the carpet with the argument: “Instead of cleaning up the mess we just cover it. We can spend the money required for cleaning the soil on my project and cover up.” He in fact says NO, in this case to the environment and a longterm solution. Much rather, he lets the polluted soil continue to contamine the water around the community and sailing centre and lets the kids swim in the dirty waters, but everything is nicely covered up. Even though BIG claims for their working attitude to be about process the reflection stage is missing in their project. No critical questions are asked, there is often little attitude or actual opinion on things. Even though BIG is subjectivated and purely focused on the person of Bjarke Ingels it is a brand and not a person.
The comic style fits well with the experiment of a ebook hybrid. There isn’t much to loose by putting it in an rather experimental form and it thrives on it. However the comic style dose not add anything to the content. It is however playful option to publish a book base don figure notes. Yes is More is a graphic novel taking the communication of architecture in visual terms to the extreme by not even attempting to talk about architecture in text form. The comic here is interpreted as annotated pictures and this fits perfectly with the way BIG explain projects, in simple steps explaining what is happening as if it were a DiY manual.
For BIG it’s all about the presentation. They way the projects are presented makes the projects directly ind simply accessible, see video below. The media used are engaging, playful and fitting. The explanations are very simple making every move easily understandable even for a layperson. Interesting however is more how arguments are made and here BIG’s background shines through. Everything is very much the famous and with this publication very much targeted form follows function. Following this paradigma the entire project is presented, throwing in here and there a few clever references and options, but essentially argumentation is very much founded on functionality.
Ingels, B., 2010. Yes is More: An Archicomic on Architectural Evolution, iPad App., Cologne: Taschen GmbH.
A publication is no longer just a publication. It can be many things and what we see is only the beginning. A book can be a magazine, an ebook a website or a comic. Different medias are being mixed to play with ways of presentation. New technology plays here are good part and enables some very new concepts to be tested.
The eReader platforms and especially the iPad promise new ways of publishing. Only last week Apple has announced, as part of the app ibooks 2, the publication of text books. Here they put the emphasis more than before on the integration of additional media like video for tutorials and explanations, interactive graphics (like the newly released E. O. Wilson’s Life on Earth) and of course web links and so on. The animated and augmented book is only catching on a the moment. If you’re looking to purchase an iPad try out these Promotional Codes and save some money on this expensive technology!
Image taken from earchitect / Yes is More on the iPad.
The architectural monagraphy is a rather unlikely candidate to put forward such an interactive publication. One would expect it to be a heavy piece with nicely photoshopped images and and a thick cover. This is however a way of presentation for the old garde and if BIG represents the new generation of architects such an interactive option of presentation is the way to go. BIG has always been very much about telling a good story and producing a good show. The show of course is very subjective and this subject is two fold its the facts about the design and Bjarke Ingels the head of the Bjarke Ingels Group (This is what BIG stands for).
Their Yes is More: An archicomic on architectural evolution was originally published back in 2009 by Taschen and as such already wasn’t the architectural monograph one might buy if it was Norman Foster or Richard Meier. BIG presented their work in a sort of comic they branded archicomic. It was however mostly well received even though few probably understood what Bjarke actually meant by Yes is more.
The one architectural monography ambitious architecture practices have to top if they really want to set a mark and the book that has dominated the style of architecture book for the last decades is S,M,L,XL by Rem Koolhass’s OMA and AMO’s Bruce Mau. It was published in 1995 by Monacelli Press.
BIG had a go at this with the comic. It was well received, but not quite enough to land in the hall of fame. It certainly did stir things a little and it fitted well with the self image Bjarke is building around his practice and the delivered projects. The advancing technology however meant new opportunities are opening up. BIG has been working more and more with new media, testing animation, 3d as well as augmented reality.
Now in 2011 the original book has been transformed into an app for the iPad as Yes is more! An Archicomic on Architectural Evolution by BIG. It is published by Taschen again and available on itunes. It is not exactly an ebook since it is as a comic mainly imagery based and now also integrated animations and movies. The comic comes to live with clips that play within the grid of images or in full screen mode. It’s clear from the start that this format fits the stile. The publication really thrives with the media in this case.
Image taken from the app / Page spread 218-219 in landscape mode and page 219 in portrait mode. Both show at the bottom the navigation bar.
The app works both in portrait and in landscape mode. With the swipe of a finger one browses through the sequence of images learning about reasons and effects, but also a lot about Bjarke. Where he lives and what the view of his balcony looks like. Details can be zoomed in on, just like you are getting used to on your touch screen. A youtube like triangle symbolises clips and a click opens these additional medias in a small window or plays them at full screen at rather good resolution. Quality is ver good through out even if zoomed in on details.
Navigation is organised in a bar at the bottom that appears with a tab. To choose or jump to a new topic one can either use a slider of miniature pages or a selector roll. Of course individual pages can also be found by page number. However, the layout does not show any page numbers. They have been removed. In this sense the app is not at all a pure digital version of the paper based publication.
The app also offers a search box for key word search or a separate listing of all the clips if only moving images are of interest. The app offers the option to put bookmarks. There is no note option though, something a lot of ebook users probably have come to like from other platforms.
The experience the app offers is very good even though they have chosen not to the mimicked turn the page effect. It runs smooth the displayed material is qualitative very good with nice colours and sharp contours. Its what you get from other ebooks.
THe feel of the app has very little to do with a book any longer. The turn the page effect is missing, which to be fair, is a stupid thing, an purely visual imitation, but it comes the closest to turning a page and with it imitating the book. Then also the page numbers are missing, a very distinct design element of a paper based publication. This is not so much about the actual number but about orientation and progress. How far have I read and how many pages ago did the lead character last smile? Here we have no page numbers unless we choose to look at it in the bottom bar by tapping to activate it every time. There is however, a tiny bar appearing with each swipe of the page at the bottom indicating the position in the book, assuming the whole length of the screen is the entire book. This is very neat and practical. It would be nice if this little feature could also be draged and enable a sort of quick flip.
Currently there is no way to quickly flip through the book. the swipe response is quite slow and three quick swipes result in only one page shift. Similar the page numbers don’t move you through the pages that quickly. If now this little bar could do such a thing, maybe even in combination with the thumbnail page preview it would make for a great navigation.
The sequence of pages are presented in linear fashion. There are for example no links within the book. The last chapter BIG City provides an overview of the BIG project grouping similar projects together to city districts. It would be nice if clickable and acting as hyperlinks to jump to the details. Or maybe select one of the groups and look at all these projects together. It being programmed as an independent app such options would be possible enabling more browser like handling with back and forth or even history options, where the linearity of the paper based publication would be unlocked. With out this and it feels a bit like a slide presentation and in terms of the linearity would represent a power point against a prezi.
Image taken from klatmagazine / Yes is More on the iPad.
To sum it up, navigation and experience are working fine. Every function you would need is there. Its just that most things have the feel of a computer based click with your mouse here sort of solution. At the same time the app designer have not really let go of the book and present it in a purely linear fashion. It remins a hybrid, and is as sort of ebook with its own app not quite defining a new category of interactive, reader driven, content platforms.
As it being an independent app there are is the downside that it does not link up with other publications. The thing about ebooks is that they still, at least in the term, link up and the same software is playing for all of them. Notes are taken across books, so are markings. This publication is a standalone thing and plays at most with the collection of apps, but not necessarily the books or ebooks in this case. This is more from a collectors perspective a point, but then if you are into architecture you want a whole bunch of similar publications to cover your entire field of interest. One single item doesn’t really satisfy this and remains the odd one out. Bjarke doesn’t mind to be the odd one out as long as he’s being talked about.
Nevertheless its an interesting publication and an impressive one. Its not just a few swipes long, something you have swiped through in under five minutes. This is your proper comic you can read on the tube and the bus for an entire week of commuting. It comes along happily on you iPad and pops upen where you left it. It is currently priced at £6.99 which is nearly the price of the actual print, on amazon for £11.66 (on the Taschen website it is priced at £ 17.99, here the app a bit less than half). You can buy the app from HERE on itunes and the book from Taschen or amazon
Image taken from the Yes is More app / Spread showing the project with the very poignant title Swept under the carpet. It is not a particularly famous BIG project, but it is one that summarises a lot about the approach. (click image to read the details) The introduction of the publication shows Bjarke with his feet on the table proclaiming his architecture paradigme is to say YES to everything. He claims that architecture can incorporate everything and still be progressive. In this very particular project, Swept under the carpet, he literally sweeps the pollution, this very project is built on a piece of land with polluted soil and the competition asked for solutions to deal with this fact, under the carpet with the argument: “Instead of cleaning up the mess we just cover it. We can spend the money required for cleaning the soil on my project and cover up.” He in fact says NO, in this case to the environment and a longterm solution. Much rather, he lets the polluted soil continue to contamine the water around the community and sailing centre and lets the kids swim in the dirty waters, but everything is nicely covered up. Even though BIG claims for their working attitude to be about process the reflection stage is missing in their project. No critical questions are asked, there is often little attitude or actual opinion on things. Even though BIG is subjectivated and purely focused on the person of Bjarke Ingels it is a brand and not a person.
The comic style fits well with the experiment of a ebook hybrid. There isn’t much to loose by putting it in an rather experimental form and it thrives on it. However the comic style dose not add anything to the content. It is however playful option to publish a book base don figure notes. Yes is More is a graphic novel taking the communication of architecture in visual terms to the extreme by not even attempting to talk about architecture in text form. The comic here is interpreted as annotated pictures and this fits perfectly with the way BIG explain projects, in simple steps explaining what is happening as if it were a DiY manual.
For BIG it’s all about the presentation. They way the projects are presented makes the projects directly ind simply accessible, see video below. The media used are engaging, playful and fitting. The explanations are very simple making every move easily understandable even for a layperson. Interesting however is more how arguments are made and here BIG’s background shines through. Everything is very much the famous and with this publication very much targeted form follows function. Following this paradigma the entire project is presented, throwing in here and there a few clever references and options, but essentially argumentation is very much founded on functionality.
Ingels, B., 2010. Yes is More: An Archicomic on Architectural Evolution, iPad App., Cologne: Taschen GmbH.
Continue reading »I am giving a presentation to the MRes course at CASA, UCL today. There are two part to this lecture. The first part is covering the PhD research with a focus on the city and an overview of the methods of investigation that have been used. It is organi…
Continue reading »I am giving a presentation to the MRes course at CASA, UCL today. There are two part to this lecture. The first part is covering the PhD research with a focus on the city and an overview of the methods of investigation that have been used. It is organi…
Continue reading »The dramatic events involving a sinking cruise ship in the Mediterranean Sea has all of a sudden brought the topic of large cruise ships back to the front pages of News Channels from around the world. Recently only the size could possibly get the ships into the news, but a disaster is always a good selling point.
The story that unfolded over the past days however, is more than only a sunken ship, but a real crazy entangling of very unfortunate events and, as it currently seems, poor judgement of the captain. The ship passed the coast of Giglio way too close and was not at all even meant to be there, but manually steered into the disaster.
It seems almost unbelievable that a nearly 300 meter luxury cruise liner can sink just like that. Even more so as it effectively happens only 100 meter from shore. On any News coverage, alway there is the save land not just on the horizon, but right next to the ship. It is only a 100 meter or so to shore. Even so the tragic events have claimed several lives with about 19 people still being missing at the time of writing.
Image taken from DigitalGlobe-Imagery / Aerial view of the Costa Concordia sunken of the coast of Giglio. The wreck has been mapped on OSM.
Large cruise ships don’t just sink they go down with a dramatic story and this is another one of these events that bring about the mistic and special atmosphere surrounding the large passenger ships sailing the seas of the world. There are numerous stories and practices entangled in this picture of such large vessels, including the glamour and wealth on board all the way to the understood but not written down practice of ‘women and children first’ and the captain leaving the shop last. Examined in detail by the BBC.
Definitely the most famous Ocean Liner disaster is the Titanic disaster where the branded as unsinkable ship sinks after a collision with an iceberg in the North Atlantic Ocean during its maiden travel from England to America in 1912. Between then and now there are a few accidents recorded involving large cruise ships, but the industry was able to build up a very clean and save image for travels on large ocean liners.
Image taken from Maritimequest / The famous Titanic.
Size matters, especially in this business. Steadily the companies are building larger units, with Oasis of the Seas currently being e largest ship being in operation. It offers space for 6296 passengers and 2165 crew. Under construction are at the moment Project Sunshine 1 and 2 expected to have a total capacity of 5700. It is size and luxury in the form of entertainment and facilities offered as selling points to attract the passengers.
Modern liners offer a lot more than only the swimming pool and the tennis court. There are water slides, wave board pools, ice rinks, rock climbing, basketball court and so on. Guest can browse through boutiques and shops, visit several restaurants and bars, entertainments show or casinos and cinemas. There is around the clock entertainment from yoga classes to guided running sessions and wine tasting on offer. Plus of course the captains dinner is still the climax of every cruise.
Cruise liner are in heir nature self contained and built to carry all necessary support systems beside the entertainment facilities. In fact these large ocean liners are more like small cities in themselves capable of catering for as many as 8000 people over periods of more than a week, with many systems being able to run for at lest a week without calling at a port.
Image taken from khulsey / A line drawing using Illustrator for the ships documentation.
The key difference between the types of ships is between cruise ships an ocean liners. As the name indicates the two categories serve very different purpose. The liner is built for a linear connection ferrying passengers between ports traditionally between the old and new world from Plymouth to New York. Cruisers on the other hand traditionally have circular routs manly for pleasure travels returning to the port of departure. There are also technical differences setting the two categories apart. Liners are built for rougher seas running deeper making smaller ports inaccessible. Cruisers are built with more passenger space, focused entertainment and specially designed for higher numbers of outside cabines and fewer inside cabins.
By now however, the only dedicated ocean liner really is the prestigious Queen Marry 2. Since 2010 is she the last remaining ocean liner representative running between Southamton and New York. However even QM2 is equipped with specialised entertainment, and runs on cruise tours every now and then.
Image taken from iglucruise / The Queen Mary 2 upon leavning New York.
Cruise liners carry a special aura with them and were especially popular in the first half of the 20 century with especially the modernist movement. Famously the architect Le Corbusier stylised the ocean liner to become the ultimate triumph of technology and symbolised the ideal city as a self contained organism. Especially in his book ‘Toward an Architecture‘ (). It’s also the aspect of mobility / traveling that implies the freedom connected to the cruise tours. An perception of independence and sovereignty is what attracted and still continues to do so.
There are a number of famous floating city project dreamed of by architects since the modernist movement. The Triton City by Buckminster Fuller or the freedomship project. But of course cruise ships have also entered the virtual world and SS Galaxy is one of the really bog projects in Second Live with a handfull of people full-time playing the crew on a virtual deck.c
Image by Wayne Mazzotta taken from maritimematters / Red Dashboard: ’59 Cadillac and SS Conte Grande.
Technology is still today a major aspect of cruise line travels from the ship design, the build, the infrastructure and the built in technology. Machines are very powerful but at the same time capable of very fine manoeuvring amid, buy the size of the latest ships dwarf ports. Navigation is built on the latest technology covered by several backup and parallel systems. Even though the atmosphere is relaxed and definitely majestic, the equipment is built on very high safety standards, covering a whole range of applications and devices. The bridge of a cruise liner is a high technology command centre covering the complexity of the entire ship.
Besides all these aspects however, the spirit of innovation and conquering of nature using technological power has faded. For cruise ships are marketed not any longer to experience the power and genius of man, but to celebrate one self. Where in the days of the ocean liner passengers would be amazed by the sheer idea of traveling on such a ship across the Atlantic, admiring its power, today guests are demanding services and entertainment. The challenges for the ship and the crew is no longer the sea, but the parties on board, it’s a matter of keeping alive a sensation.Unfortunately the tragical Accident involving the Costa Concordia and claiming several lives is most likely owed to such a
Image by Uaohk taken from maritimematters GNU Free Documentation License / The Costa Concordia as it lays on one side. COSTA CONCORDIA wreck off Isola del Giglio.
The floating city has become an fantasy entertainment park and is no longer pushing the boundaries of innovation nor is it representing progress. It has become the opposite and pretty surely the modernists would no longer see the floating amusement parks with “balcony-laden floating condominiums”, as they are described in a Wikipedia article as a representation of their fascination.
The dramatic events involving a sinking cruise ship in the Mediterranean Sea has all of a sudden brought the topic of large cruise ships back to the front pages of News Channels from around the world. Recently only the size could possibly get the ships into the news, but a disaster is always a good selling point.
The story that unfolded over the past days however, is more than only a sunken ship, but a real crazy entangling of very unfortunate events and, as it currently seems, poor judgement of the captain. The ship passed the coast of Giglio way too close and was not at all even meant to be there, but manually steered into the disaster.
It seems almost unbelievable that a nearly 300 meter luxury cruise liner can sink just like that. Even more so as it effectively happens only 100 meter from shore. On any News coverage, alway there is the save land not just on the horizon, but right next to the ship. It is only a 100 meter or so to shore. Even so the tragic events have claimed several lives with about 19 people still being missing at the time of writing.
Image taken from DigitalGlobe-Imagery / Aerial view of the Costa Concordia sunken of the coast of Giglio. The wreck has been mapped on OSM.
Large cruise ships don’t just sink they go down with a dramatic story and this is another one of these events that bring about the mistic and special atmosphere surrounding the large passenger ships sailing the seas of the world. There are numerous stories and practices entangled in this picture of such large vessels, including the glamour and wealth on board all the way to the understood but not written down practice of ‘women and children first’ and the captain leaving the shop last. Examined in detail by the BBC.
Definitely the most famous Ocean Liner disaster is the Titanic disaster where the branded as unsinkable ship sinks after a collision with an iceberg in the North Atlantic Ocean during its maiden travel from England to America in 1912. Between then and now there are a few accidents recorded involving large cruise ships, but the industry was able to build up a very clean and save image for travels on large ocean liners.
Image taken from Maritimequest / The famous Titanic.
Size matters, especially in this business. Steadily the companies are building larger units, with Oasis of the Seas currently being e largest ship being in operation. It offers space for 6296 passengers and 2165 crew. Under construction are at the moment Project Sunshine 1 and 2 expected to have a total capacity of 5700. It is size and luxury in the form of entertainment and facilities offered as selling points to attract the passengers.
Modern liners offer a lot more than only the swimming pool and the tennis court. There are water slides, wave board pools, ice rinks, rock climbing, basketball court and so on. Guest can browse through boutiques and shops, visit several restaurants and bars, entertainments show or casinos and cinemas. There is around the clock entertainment from yoga classes to guided running sessions and wine tasting on offer. Plus of course the captains dinner is still the climax of every cruise.
Cruise liner are in heir nature self contained and built to carry all necessary support systems beside the entertainment facilities. In fact these large ocean liners are more like small cities in themselves capable of catering for as many as 8000 people over periods of more than a week, with many systems being able to run for at lest a week without calling at a port.
Image taken from khulsey / A line drawing using Illustrator for the ships documentation.
The key difference between the types of ships is between cruise ships an ocean liners. As the name indicates the two categories serve very different purpose. The liner is built for a linear connection ferrying passengers between ports traditionally between the old and new world from Plymouth to New York. Cruisers on the other hand traditionally have circular routs manly for pleasure travels returning to the port of departure. There are also technical differences setting the two categories apart. Liners are built for rougher seas running deeper making smaller ports inaccessible. Cruisers are built with more passenger space, focused entertainment and specially designed for higher numbers of outside cabines and fewer inside cabins.
By now however, the only dedicated ocean liner really is the prestigious Queen Marry 2. Since 2010 is she the last remaining ocean liner representative running between Southamton and New York. However even QM2 is equipped with specialised entertainment, and runs on cruise tours every now and then.
Image taken from iglucruise / The Queen Mary 2 upon leavning New York.
Cruise liners carry a special aura with them and were especially popular in the first half of the 20 century with especially the modernist movement. Famously the architect Le Corbusier stylised the ocean liner to become the ultimate triumph of technology and symbolised the ideal city as a self contained organism. Especially in his book ‘Toward an Architecture‘ (). It’s also the aspect of mobility / traveling that implies the freedom connected to the cruise tours. An perception of independence and sovereignty is what attracted and still continues to do so.
There are a number of famous floating city project dreamed of by architects since the modernist movement. The Triton City by Buckminster Fuller or the freedomship project. But of course cruise ships have also entered the virtual world and SS Galaxy is one of the really bog projects in Second Live with a handfull of people full-time playing the crew on a virtual deck.c
Image by Wayne Mazzotta taken from maritimematters / Red Dashboard: ’59 Cadillac and SS Conte Grande.
Technology is still today a major aspect of cruise line travels from the ship design, the build, the infrastructure and the built in technology. Machines are very powerful but at the same time capable of very fine manoeuvring amid, buy the size of the latest ships dwarf ports. Navigation is built on the latest technology covered by several backup and parallel systems. Even though the atmosphere is relaxed and definitely majestic, the equipment is built on very high safety standards, covering a whole range of applications and devices. The bridge of a cruise liner is a high technology command centre covering the complexity of the entire ship.
Besides all these aspects however, the spirit of innovation and conquering of nature using technological power has faded. For cruise ships are marketed not any longer to experience the power and genius of man, but to celebrate one self. Where in the days of the ocean liner passengers would be amazed by the sheer idea of traveling on such a ship across the Atlantic, admiring its power, today guests are demanding services and entertainment. The challenges for the ship and the crew is no longer the sea, but the parties on board, it’s a matter of keeping alive a sensation.Unfortunately the tragical Accident involving the Costa Concordia and claiming several lives is most likely owed to such a
Image by Uaohk taken from maritimematters GNU Free Documentation License / The Costa Concordia as it lays on one side. COSTA CONCORDIA wreck off Isola del Giglio.
The floating city has become an fantasy entertainment park and is no longer pushing the boundaries of innovation nor is it representing progress. It has become the opposite and pretty surely the modernists would no longer see the floating amusement parks with “balcony-laden floating condominiums”, as they are described in a Wikipedia article as a representation of their fascination.
Continue reading »A few days in the Swiss Alps around Saas Fee and on is completely drawn into a world of rough mountains and beautiful snow scenes. Its this time of the year again, its freezing cold and condensation collects at the windows through the night. Your breath is visible as you step outside, the air is thin and views are clear. Winter is finally here.
Video by Patryk Kizny showing amazing views of boiling clouds from the highest mountain peaks, landscapes of the glacier of SaasFee and other locations develop into much more abstract audio-visual form along with the weather changes. The film is also a tribute to free of light pollution places featuring fantastic views of the MilkyWay.
The short timelapse film “Altissimo” has been shot entirely in motion-controlled timelapse technique. The team shot over 45 000 single frames (over 700 GB of RAW data) using a few cameras in various locations of Switzerland during a one-week stay in Switzerland in May, 20111.
A few days in the Swiss Alps around Saas Fee and on is completely drawn into a world of rough mountains and beautiful snow scenes. Its this time of the year again, its freezing cold and condensation collects at the windows through the night. Your breat…
Continue reading »