Thursday, April 26. 2012
In the "tele-present" environments serie and after the water, here comes the wind, by David Bowen:
See also his previous work, "Tele-present water" that has been published a lot already.
PS. Thanks Sinan Mansuroglu for the link.
It is a very direct translation of the source, very readable and therefore quite efficient (but also possibly too direct, like a roboticized reproduction). In this case, we are confronted to a kinetic sculpture, which makes it works, especially in the case of the water. It is, literaly, a kinetic sculpture in the abstract realism tradition.
Tuesday, April 24. 2012
Note: I re-reblog this article about The 10'000 Years Clock because in the meantime (since last decembre, when I first rebloged it), I learned that this is a project from Stewart Brand (a.k.a. The Whole Earth Catalogue) and its Long Now Foundation.
A book has been published about this project by Mr Brand, especially around the question of "time and responsibility": The Clock of the Long Now, Time and Responsability (the ideas behind the world slowest computer) published back in 2000.
The book has just been translated to French.
Via MIT Technology Review (blog)
By KFC 12/15/2011
The Earth's rotation is notoriously unpredictable. So how can a clock keep time for 10,000 years?
Obviously we are interested in "dimensions" and the way to architecture or interact with them. In this case, it is particularly interesting to underline the relationship between the construction of the clock (its materials, architecture) and the environment (the tunnels) that could/should last unchanged for 10'000 years.
Thursday, April 19. 2012
Archinect and Woodbury School of Architecture are proud to present:
Publish Or... bracket [GOES SOFT]
Sonic landscape by Health and Beauty.
Come say hello, mingle, and check out selected entries from bracket [goes soft]. Including work by Woodbury School of Architecture faculty member Ewan Branda.
Bracket [goes soft] examines the use and implications of soft today—from the scale of material innovation to territorial networks. While the projects in Bracket 2 are diverse in deployment and issues they engage, they share several key characteristics—proposing systems, networks and technologies that are responsive, adaptable, scalable, non-linear, and multivalent. Certain projects reveal how soft systems rely on engagement with their larger environment, collecting and sensingenvironmental atmospheric information, and through feedback, adapting the system to augment performance. Other projects examine how soft systems can function as interfaces with the environment—whether mitigating or harnessing it—operating at the scale of a wall, a building, or a landscape.Moreover, a particular strand of projects presented in Bracket 2 are tactical and strategic in nature, enabling them to operate, often covertly, within existing organizational structures, subverting rules and limitations for opportunism, to support new ecologies—whether natural, economic or political. Intelligence in other work lies in the organization and format of the system, accommodating transformation by rejigging components of the system itself. Adapting to extrinsic as well as intrinsic factors, enabling them to anticipate, recover and transform in unexpected situations, renders other speculations resilient to disturbances. Instead of mitigation, contingency in these soft systems is typically opportunistic. Lastly, select projects expose how the networking of smaller units or interventions, diffused across a larger territory, can generate, collect, or respond at a vast scale. Agile, these tentacular networks can diffuse or retract as resources or needs change.
The editorial board and jury for Bracket 2 includes Benjamin Bratton, Julia Czerniak, Jeffrey Inaba, Geoff Manaugh, Philippe Rahm, Charles Renfro, as well as co-editors Lola Sheppard and Neeraj Bhatia.
fabric | ch publishes its project Arctic Opening (pdf) in the second volume of Bracket. Subject of this edition of Bracket is "software", or how the projects that are presented "share several key characteristics—proposing systems, networks and technologies that are responsive, adaptable, scalable, non-linear, and multivalent."
Thursday, April 12. 2012
By fabric | ch
Last week I published a post about Paranoid Shelter, a recent architectural installation by fabric | ch that deals with "smartness", sensing and surveillance. As explained then, this new work can be displayed on its own, as a study on the "contemporary shelter" that articulates the notions of (the nearly fantasized) shelter and the one of surveillance. But this installation or "architectural device" was also created with a collaborative context in mind.
This collaboration, or at lest the first one, was for a theatrical: Globale Surveillance, for which we worked on the scenography and co-initiated the project. This is a project and performance-like theatrical staged by Eric Sadin, a french essayist and writer, based on the books Globale Paranoïa (Éditions Les Petits Matins, 2009) --fiction-- & Surveillance Globale (Climats/Flammarion, 2009) --theory--, both written by him. NOhista (sound and video design) as well as Abigail Fowler (light design) joined the team to finalize the project as well, of course, as the two comedians, Laure Wolf and Gurshad Shaeman.
Rehearsals and opening of Globale Surveillance were last February and March in Caen (France), at the Comédie de Caen-Centre Dramatique National de Normandie (CDN). The play should travel to Paris for the new theater season (12-13) and then hopefully to other cities in France and Switzerland, before, eventually to travel further away and in english.
About the play (notice from the Comédie de Caen):
We live in a world under surveillance, no one would dispute that point anymore. But what configurations do the new devices of control take, in what forms and in which way are they different from the practices of the last century? How do they alter our relationship to the world and to the others? Do they reach the point of threatening the right to privacy? Globale Surveillance sets up an hyper-monitored zone, within which actors and spectators are subject to quantities of traceability procedures, in this case made visible, conversely many scary mechanisms at work daily that are affected by the phenomenon of invisibility.
Text & staging : Éric Sadin
Scenic architecture, responsive spatial device : fabric | ch
Sound & video design : Nohista
Light design : Abigail Fowler
Comedians : Laure Wolf & Gurshad Shaheman
Paranoid Shelter on stage during the play with the two comedians (Laure Wolf, Gurshad Shaeman), CDN (Centre Dramatique National) / ESAM of Caen in France.
A compressed preview and short of the play by NOhista.
Pictures: Nicolas Besson, Patrick Keller, Alban Van Wassenhove
Co-production: Comédie de Caen-Centre Dramatique National de Normandie (CDN), France; Ecole supérieure d'arts et médias de Caen (ESAM), France.
With the support of: DICRéAM, France; Office Fédérale de la Culture, Swirtzerland; Pro Helvetia, Switzerland; Ville de Lausanne, Switzerland and Etat de Vaud (Switzerland).
de Irina Vinnitskaya
BrightFarms CEO, Paul Lightfoot is obsessed with efficiency. Spending most of his career improving market supply chains he has now turned his attention to the market supply chains of America’s produce. BrightFarms is an innovative and straight forward program whose goal is to eliminate the wasted energy expended on travel times between the farm and the shelf, to provide more nutritious and safer produce that is grown for the table and not for the endurance of days and weeks of transport, and to create a local market where consumers know their farmers and where the food is coming from and who is responsible for growing it. Littlefoot describes the blatant problems with the food industry today – efficiently factory farming and preserving produce that moves from one and end of the country to the other and inefficiently providing nutritious and tasty produce.
The challenge is to create a model that ensures quality while keeping costs down and BrightFarms appears to have found a strategy that works: hydroponic rooftop gardening near supermarket distribution centers or local markets. The newly renam520/500 ed Federal Plaza #2, soon to be known as Liberty View Industrial Plaza to be developed by Salmar Properties, in Brooklyn, NY is set to be the world’s largest rooftop garden which will reportedly grow “1 million pounds of local produce per year, including tomatoes, lettuces and herbs”. Find out how it works after the break!
BrightFarms business model seems simple – and too good to be true. The company is essentially a middle man – connecting experienced and reliable local farmers with credited grocery stores – that finances, develops and builds the BrightFarm operation. BrightFarms ensures that both parties enter into individual agreements with the program. The grocery stores are obligated to purchase the output of the farms for a 10-year period, while farmers must guarantee the volume and quality of output. And of course the key ingredient to making this operation distinct from the trends of the country is the proximity of the farms, farmers and grocery stores. Community is essential.
Aside from providing goods that are fresher and more nutritious, BrightFarms hydroponic system also reduces carbon output drammatically. Hydroponic farming delivers nutrients to plants directly through the water without soil. These systems can be trays or columns made of PVC that expose the roots to the nutrient and mineral filled water. No soil means no land use and no heavy, gas-guzzling equipment. The water in the system can be reused, There is greater control of the nutrients which means reduced waste and the water stays in the system and can be reused which greatly reduces the agricultural runoff. It also consolidates space, which makes maintenance and harvesting much easier.
The system is perfect for urban rooftop applications, which is why Liberty View Industrial Plaza is set to be the model for urban agriculture covering the rooftop of an 8-story 1.1 million-square-foot warehouse building along Brooklyn’s Industrial Waterfront in Sunset Park. The project will provide innumerable benefits for the city. It will provide enough produce to feed 5,000 New Yorkers, will create an anticipated 1,300 permanent industrial jobs and 400 construction Jobs, and will relieve the over-burdened sewer system of 1.8 million gallons of storm water from entering the waterways. It is also a plan that is part of Mayor Bloomberg’s initiative to revitalize Brooklyn’s waterfront – which is already underway at the Brooklyn Navy Yard aka Navy Hill.
Everyone is optimistic that the project will not only bring fresh and healthy food and revitalized attitude toward local farming, but will also push the long-dormant industrial buildings into a new territory of sustainable development for cities. Follow this link to see other projects by BrightFarms.
While I also definitely think that producing food closer to the place where it will be eaten is a necessary thing (but guess what? this was still the way we were producing and eating food, at least in my neighboorhood, when I was a very young kid --i.e. my grandfather was selling the excedent products of his garden to the local shop, which means: we need local shops again, as well as a different economic and consumption model--. We didn't need either to take a car to buy a few tomatoes so to say), I also question this whole idea of urban farming: how much energy does it really need to grow products? At least on rooftop and exposed platforms seems a good direction, on the contrary, to build skyscapers that need artificial lighting and air conditioning to produce food not really.
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fabric | rblg
This blog is the survey website of fabric | ch - studio for architecture, interaction and research.
We curate and reblog articles, researches, writings, exhibitions and projects that we notice and find interesting during our everyday practice and readings.
Most articles concern the intertwined fields of architecture, territory, art, interaction design, thinking and science. From time to time, we also publish documentation about our own work and research, immersed among these related resources and inspirations.
This website is used by fabric | ch as archive, references and resources. It is shared with all those interested in the same topics as we are, in the hope that they will also find valuable references and content in it.
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