David Rockwell and Bruce Mau: Spectacle

New from Phaidon, Spectacle is a detailed exploration of larger-than-life events from around the world. Aiming to capture “the power of real-time, real-space events in today’s highly mediated world,” Spectacle includes over 200 stunning photographs from events as diverse as the Olympic opening ceremonies, the biannual Brussels Flower Carpet (pictured center, click all images for detail), the Harbin Ice Festival, Burning Man, Cinco de Mayo (pictured right), Holy (pictured left) and the Spanish tomato-throwing festival Tomatina. Accompanying texts give concise historical and cultural context.

Authored by architect David Rockwell in collaboration with Bruce Mau, the book also includes interviews with award-winning authors, producers, directors and performers, including Muhammad Ali, John Waters, Quincy Jones and Dave Hickey. The “Getting There” chapter offers a calendar and vital information about how to attend 100 spectacles around the world.

Spectacle is available from Amazon or directly from Phaidon.

TAGS: Books, Events, Festivals,

Originally
from Cool Hunting

by Letizia Rossi


reBlogged

by michael

on Oct 23, 2006, 11:42PM

The Laser harp – Jen Lewin

The Laser harp by Jen Lewin, Blue Ink Studio is playing with the relationship between the physical and the digital, the virtual and the real. The "Laser Harps" is an immersive instrument and installation using movement and laser light to trigger sound. On her website she explains: “The use of light instead of a physical string plays with our perception of space and matter. What is physically not there (the virtual string), responds as if it were”.

via wmmna

Originally
from Interactive Architecture dot Org

by Ruairi


reBlogged

by michael

on Oct 23, 2006, 11:08AM

Quick list 5: Energy, tunnels, landscape, and ruin

[Image: By Nicolai Grossman, of Photon Detector fame].

Like some weird cross between the Bible, William Blake, and a botanical Finding Nemo, the British landscape is alive with plants that escaped from gardens: “About one-quarter of plants sold to ornamental gardeners since the 1800s have escaped, and 30 per cent of these are firmly established in the English countryside.” It seems these inadvertant landscapes-at-a-remove could actually have been financially predicted; historical researchers “found that the odds of escape increased with how widely available and inexpensive a given plant was at the time.” Leading me to wonder if a similar approach, today, could be used to plot prices of wildflowers, garden herbs, and domestic tree species against the projected future landscape of Ohio, say, or Brecon, Wales: price-maps as a subset of future landscape geography.
Speaking of future landscapes, New Scientist‘s look at an earth without humans was republished and discussed everywhere last week – but, in case you missed it, here’s a link. From the article: “Left once more to its own devices, Nature would begin to reclaim the planet, as fields and pastures reverted to prairies and forest, the air and water cleansed themselves of pollutants, and roads and cities crumbled back to dust.”

[Image: A related graphic, from the Times Online].

Further: “If tomorrow dawns without humans, even from orbit the change will be evident almost immediately, as the blaze of artificial light that brightens the night begins to wink out. (…) The loss of electricity will also quickly silence water pumps, sewage treatment plants and all the other machinery of modern society.”

The same lack of maintenance will spell an early demise for buildings, roads, bridges and other structures. Though modern buildings are typically engineered to last 60 years, bridges 120 years and dams 250, these lifespans assume someone will keep them clean, fix minor leaks and correct problems with foundations. Without people to do these seemingly minor chores, things go downhill quickly.

Of course, ten years ago New Scientist offered a very similar look at what would happen if London was abandoned to the marshes and earthworms. “Within the first year,” we read, “dandelions and other weeds begin growing in the gutters and emerge from the cracks caused by frost and flooding in concrete, paving slabs and walls.” Fair enough. “Within five years,” however, “roads, pavements parking places and the great squares of the city are carpeted with weeds and a rich turf of clover.” Then, an “understorey of grasses and shrubs gradually spreads over the city. As the soil layer builds up, deeper-rooting plants take hold. Trees start to grow and their roots smash through what’s left of the pavement and tarmac,” until the whole of London looks more like Angkor Wat, or the lost city of Z, than it does Notting Hill. Etc. etc.
The article’s parting shot: “In a flood plain like London’s, inundation of foundations and natural soil movements would leave very few buildings standing after 1000 years. By that time, both the oak and the floodplain forests would be mature and the rubble of Canary Wharf would have sunk into the marsh.” (See Silt for more on a flooded London).
Speaking of ruined cities, meanwhile, Pruned introduces us to a new boring machine – that is, a new machine that bores tunnels. Quoting from both Pruned and the project brief, the machine’s designer, we learn, hopes:

[to] deploy a robot to cities devastated by an earthquake, whereupon this “burrowing robot negotiates through the unstable rubble and solid earth, creating an interred, inhabitable structure from recycled debris. The raw system left behind by the robot provides a basic framework for shelter, infrastructure, and structural stability in an upheaved landscape. The resultant system is a landscape of interconnected spaces ready for human colonization.”

The machine would look like this:

[Image: From The Reinterred City].

There are many more images available at the project’s Flickr page.
Whilst pondering that mechanism, don’t forget that the Pamphlet Architecture 29 submission process is still open. So get published. And whilst you’re pondering that, don’t miss this year’s Next Generation competititon, sponsored by Metropolis:

The 2007 Next Generation® prize will finance the development of a bright idea that focuses on ENERGY, its uses, reduction, consumption, efficiencies, and alternatives. (…) On your own or in teams we invite you to submit work on urban plans, buildings, interiors, products, landscapes or communications design. The winner will receive $10,000 to realize his or her idea, and will be featured in Metropolis magazine.

One place you could start: is thorium the clean energy source of the future…?
Returning to William Blake – who once declared that “Energy is Eternal Delight” – the November 2006 issue of Wired features a fantastic article about Darren Aronofsky’s new film, The Fountain. In the article, author Steve Silberman describes how Aronofsky, determined to represent galactic space without the use of computerized special effects, came upon the work of Peter Parks, “a marine biologist and photographer who lives in a 400-year-old cowshed west of London”:

Parks and his son run a home f/x shop based on a device they call the microzoom optical bench. Bristling with digital and film cameras, lenses, and Victorian prisms, their contraption can magnify a microliter of water up to 500,000 times or fill an Imax screen with the period at the end of this sentence.

Having then constructed their own kind of universal microcosm, using “yeast, dyes, solvents, and baby oil, along with other ingredients they decline to divulge,” these DIY home f/x producers filled the end of Aronofsky’s film with “galactic clouds and pillars of dark matter that look like nothing else in science fiction.”

[Image: From The Fountain].

Such an approach gives The Fountain‘s grand finale “a handwrought quality that evokes the luminous etchings of William Blake.”
Turning our eyes away from space, toward the center of our own planet, we read that the “first known organisms that live totally independently of the sun have been discovered deep in a South African gold mine. The bacteria exist without the benefit of photosynthesis by harvesting the energy of natural radioactivity to create food for themselves.” They apparently “live in ancient water trapped in a crack in basalt rock, 3 to 4 kilometres down.”
Speaking of energy and the center of the earth, it’s never too late to revisit Manhattan’s (only?) geothermally powered townhouse:

[Image: From the Wall Street Journal].

According to the Wall Street Journal, the building’s “unusual geothermal energy system provides heating, cooling and hot water. Pipes extend about 1,400 feet into the earth, where the temperature is always about 52 degrees… The pipes transfer energy to the house, where two-layer-thick concrete exterior walls, filled with thermal materials, trap the energy and distribute it.”
Finally, part of Turkey’s new Marmaray Rail Tube Tunnel, set to open in 2010, will cut beneath the Bosporus strait.

[Image: A visualization of project specifics; from New Scientist].

The Marmaray rail link “will not only be the deepest underwater tunnel ever constructed,” it “will also pass within 16 kilometres of one of the most active geological faults in the world.” Indeed, “the abutting plates move about 2 to 3 centimetres relative to each other every year.” However, using “flexible joints made from thick rubber rings reinforced by steel plates,” the central section, passing under the waters between Europe and Asia, will hopefully survive any major quakes. Or hopefully not, if you like disaster/rescue films.
Much more information available at, yes, New Scientist. (Thanks, Bryan!)

[Earlier: Quick list 4 and so on].

Originally
from BLDGBLOG

by Geoff Manaugh


reBlogged

by michael

on Oct 24, 2006, 6:26PM

Design Patterns: Communicating Patterns (Complete)

The second Design Patterns conversation between James Reffell, Bill Scott, Jenifer Tidwell, Martijn van Welie, and myself has wrapped up on the Yahoo! User Interface Blog. Here’s a set of links to the complete dialog:

What’s the Best Way to Communicate Patterns?

• Part one: Jenifer Tidwell
• Part two: Luke Wroblewski
• Part three: Bill Scott
• Part four: Martijn van Welie
• Part five: James Reffell

Tags: patterns, UI components, communication, writing

Originally
from Functioning Form: Interface Design

by LukeW


reBlogged

by michael

on Dec 31, 1969, 11:59PM

visual poetry 2006

it is this time of year again, at which Boris Müller puts online his newest ‘visual theme’ for a yearly international literature festival. this year, the theme consists of beautiful visualizations of the poetry texts themselves.

each words correspond to a numerical code by adding the alphabetical values of its letters together. this number is mapped onto the position on a circle, & marked by a red dot. gray lines connect the dots in the sequence the words appear in the poem. the diameter of the circle on which the dots are placed is decided by the length of the poem.

see also last year’s visual theme.

[link: esono.com|via generatorx.no]

Originally
from information aesthetics

reBlogged

by michael

on Oct 23, 2006, 11:40PM

Endangered Culture: New Orleans’ Mardi Gras Indians

Before Hurricane Katrina nearly destroyed the city, New Orleans placed great importance on its culture and traditions — some now in jeopardy of disappearing. This isn’t metaphoric, but factual. The evacuation has led to a diaspora of the New Orleans culture across the rest of the country. Estimates are that only a third of the population has returned so far. And a city without its people has a small chance at creating and maintaining culture.

One of these disappearing traditions is that of the Mardi Gras Indians or Masking Indian — “the parade most white people don’t see” as one of its most ubiquitous figures, Big Chief Larry Bannock, once said a few years ago — quickly becoming endangered as its main participants suffer from increasing poverty, dislocation and negligence to support their nearly 200-year-old tradition.

Big Chief Larry Bannock; photo by Paula Stratton

Their actual history is a bit cloudy. Some say it started as a homage to the days when runaway black slaves fled into the swamps and formed alliances with the Creeks, Cherokee and Seminoles. Intermarriages were common and generations of New Orleanians trace their lineage back to that time. Masking Indian was seen by both white and black cultures as organized street gangs from notorious neighborhoods “up to no good”. Mardi Gras offered an opportunity for rival gangs to disguise themselves and go settle scores across town. Uptown Indians fought with Downtown Indians and the result was confrontation and bloodshed. The police to this day still have a wary suspicion of these gatherings. Eventually, actual fights between tribes evolved into stylized mock battles: Thread and needle have replaced guns and knives.

Someone once said that New Orleans is the antidote to minimalism: Everything in excess. Mardi Gras Indians took this to heart with a passion. Their participation in Carnival evolved into a display of public art and outstanding craftsmanship, but kept its rebelliousness alive. Nobody could tell a Mardi Gras Indian what to do on Mardi Gras morning. Their culture became a self-evolving folk art and a wellspring of New Orleans music. The wanderings of the tribes took on more of a celebratory aspect with battle chants becoming popular street music rhythms. New Orleans’ Creole patois still intact, Indian music was an important influence on such musicians as Jelly Roll Morton (once a “Spy Boy” in his youth). Also Louis Armstrong, Professor Longhair, Dave Bartholomew, Fats Domino, Dr. John and the Neville Brothers had this influence to their sound. From there it snaked across America in pop Rhythm and Blues.

Unnamed Chief; photo by Paula Stratton

The parade, with its roots in deadly confrontations, is now a battle of tribes fought with dance, song and elaborate dress, with the Chief’s “suit” being the most important. A ritualized confrontation of socially-ranked participants, precedes the arrival of each tribe’s Chief — and sometimes their Indian Queens and children — who dance, sing and boast about their suits’ finer qualities. The hierarchy of these tribes is set up to carry out these battles. Out front was the “Spy Boy” — the lookout — vigilant for the approach of other tribes. His signal to the “Flag Boy” set off an alert for danger. Followed by the “Wild Man”, whose horned headdress indicated that his duty was to keep crowds clear for the “Big Chief”, a man of high esteem. Moving up the ranks required skill in designing their elaborate suits. The winner of this stylized battle was the one who presented the most magnificent display. Being called “pretty” was a major compliment and acknowledgement was hard to come by.

Mardi Gras Indians will spend an entire year making a new suit. To wear one twice is a disgrace worthy of being called out in public. In the creation of these eight-foot-tall plumed Indian suits a man who is a shipyard welder 364 days a year can step out his door to his “Nation of Indians” and lead his people parading and singing around the city on Mardi Gras Day. One gang would meet another at Shakespeare Park or on Saint Claude Avenue near the projects and challenge each other to what is essentially an aesthetic design competition — one that is taken very seriously.

The Mardi Gras suit is divided into parts in somewhat the same way European suits of armor were constructed: breastplate, leggings, arm sleeves, moccasins, and crown. Weighing up to 150 pounds in the heat and humidity of the Crescent City, wearing one of these suits is an achievement all by itself. They’re made of canvas and covered in velvet and ribbons, and then encrusted with seperately beaded illustrations called “patches”, and finally encircled with three- to four-foot-high plumed feathers. All of them highly illustrated with beaded images on every angle. To call it a costume would be to miss the point.

Big Chief Larry Bannock; photo by Will Crocker

The patches are usually depictions of American Indian themes: wolves, bears, eagles, and depictions of American Plains Indians, Apaches and Cheyenne braves. Rebellious figures like Geronimo and Sitting Bull are popular. Usually about twelve by sixteen inches and tightly sewn on with thread, seed beads and rhinestones. Thousands of them in each picture sown on. One by one. Since the colors are limited, the final art is intensely graphic. A Technicolor mosaic-like framed image, say, of a red skinned renegade warrior riding a painted pony under a turquoise sky near an orange and brown mesa. Outside, on the street, it looks like diamonds and rubies.

Everything about a suit is handmade. Ostrich plumes bought from a distributor in New York were the only outlet for their crowning glory, instructed to be dyed in the brightest colors: Shining Yellow, Fiery Orange, Hot Pink and Lime Green. It is difficult to describe the sight of ten Mardi Gras Indians parading on a sunny Carnival Day with their feathers blowing and beaded patches glittering, rippling in color. People almost get high on the color. It’s like a meeting of macaws in the Amazon rainforest.

Photo by Will Crocker; illustration by Mark Andresen; beading by Big Chief Larry Bannock

Today the Chiefs are dwindling to a chosen few. Suits are sold to museums. Young men are too impatient to sew or follow the respect of their elders’ tradition. Gangs are replacing tribes once again in a city lost to chaos. For over a dozen years I drew pictures mostly for one Chief: Larry Bannock, the Big Chief of Chiefs. He came from Gert Town, one of the poor neighborhoods. Often times, he would have been sewing all day and night to meet that dawn on Mardi Gras morning. Living at subsistence level now, he’s determined to keep that tradition alive. And so am I.

Illustration by Mark Andresen; beading by Big Chief Larry Bannock

The last time I was there, his neighborhood looked more like some apocalyptic dream than any conceivable American city. It’s shocking and shameful that after a year, the wreckage is still so extensive. Chief Bannock’s house is still broken and he sometimes lives in his car, but he continues to be the Mardi Gras Indian Chief of the 17th Ward known as Gert Town. As an ambassador of New Orleans culture, he needs help in the aftermath of Katrina. Many of us who have known him for years have been doing what we can to give him financial aid. But we are too hard hit ourselves to be as supportive as we we’d like. And we can’t bare to see culture and tradition lost to negligence. The plight of New Orleans after the catastrophe is very real. And it is also cultural. As visual communicators and translators of culture we can not afford a loss like this.

Speak Up would like to offer the opportunity to anyone who is interested in directly helping Big Chief Larry Bannock and his effort to maintain this tradition alive. Donation amounts are left to your consideration. All the funds will go directly to Larry Bannock and Speak Up will cover the PayPal transaction expenses.

If donations are not your cup of tea, you may also help Larry Bannock by comissioning hand-made beading. You’ve seen what he can do. Your next great poster, ad or package could look swell.

Originally
from Speak Up

by Speak Up


reBlogged

by michael

on Oct 25, 2006, 1:21PM

Swashbuckler Si Scott

Portugal’s Type for you (a fairly new kid on the typoblog block) recently interviewed Si Scott, the fellow who is at least partially responsible for the dramatic increase in swashy lettering seen on the web and in advertising over the past few months. The difference between Scott and the flourishing bandwagoneers? Scott can actually draw.

Nothing too earth-shattering in the interview, but the video is a nice little window into his process.

Also at Type for you is an interview with unsung type designer Andrea Tinnes.

Syndication sponsor: Use this link to buy fonts at Veer and they’ll turn your type love into Typographica support.

Originally
from Typographica

reBlogged

by michael

on Oct 23, 2006, 10:58PM

L.A. Graffiti

PingMag highlights L.A.’s graffiti scene both on the street and on paper. Pieces by Eye One and Modem (top) and Tempt (bottom).

…

Originally
from core77.com's design blog

reBlogged

by michael

on Oct 19, 2006, 6:19PM

Worldchanging : the book

Worldchanging: A User’s Guide for the 21st Century will hit store shelves on November 1st. Everyone’s fave positive future-forward blog spot plots out “the best overview of the tools, models and ideas for building a better future available in print anywhere.” Writing by the Worldchanging team ensures literary substance while design by Stefan Sagmeister lures those who just like to look at the pictures.

…

Originally
from core77.com's design blog

reBlogged

by michael

on Oct 19, 2006, 5:41PM

Design Academy Eindhoven

From the 21st to the 19th of October, Design Academy Eindhoven will show their annual collection of over 150 bachelor and master graduates in a 5000m sq. space. An additional gallery will include works from acclaimed DAE teachers and design graduates such as Hella Jongerius, Job Smeets, Richard Hutten, Gijs Bakker and Ulf Moritz.

…

Originally
from core77.com's design blog

reBlogged

by michael

on Oct 20, 2006, 8:42PM