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Archive for October, 2011|Monthly archive page

Regular vs Irregular _ traces, lines, extensions > boundaries

In Critical Design, History of the Future, Media Design, Urban Design on October 22, 2011 at 4:55 pm

an eruv in Williamsburg, Brooklyn, New York photo courtesy of Wally Gobetz

Recently, my writing advisors Elizabeth Chin and Molly Steenson introduced me to eruv -  a structure erected around orthodox Jewish communites throughout the world. They are erected with the permission of local authorities and in accordance with the lengthy and complex set of architectural laws set forth in the Talmud. The construction of eruvin (or eruvim, plural for eruv) stems from the observation of Shabbat, the weekly day of rest (Friday sundown to Saturday sundown) that includes a prohibition against carrying objects outside of one’s home, or private domain. Religious law forbids one from carrying objects outside the home on the Sabbath, but the eruv extends the home, with a symbolic doorframe, allowing women to carry their children outside the home. The wire or string must form a continuous boundary and may be strung along telephone poles or buildings. A natural boundary such as a river bank or steep hill can also be used as part of the eruv, as can an actual wall of a building.

Daniel Beauregard of the The Champion Newspaper of DeKalb County, GA discussed of Orthodox Jews in Delkalb have developed the eruv’s to be in sync with power line and black string. Thus, the process of creating an eruv doesn’t just create a boundary – but an extension of personal space for a cultural group. Click photo for article.

Photo courtesy of  Daniel Beauregard

One translation into the digital realm for eruv was done by Elliot Malkin of New York Times. Click the photo below for the article.

Here is the project description:

eRuv is a digital graffiti project installed along the route of the former Third Avenue elevated train line in lower Manhattan. The train line, dismantled in 1955, was more than just a means of transport; it was part of an important religious boundary – an eruv – for a Hasidic community on the old Lower East Side. Using semacodes, the former boundary is reconstructed and mapped back onto the space of the city, and pedestrians with camera phones can access location-specific historical content

Photo courtesy of Elliott Malkin

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These two particular articles reveal that the aesthetics and practice of eruv structures enable a cultural group with to create extensions, not boundaries, within the public domain. In DeKalb County, GA, the eruv has merged with telecommunication structure (telephone wires, etc) that it has create roles of preserving and maintaining a cultural practice – since the eruv needs to be certified. Within Malkin’s project,  the eruv identified in that Manhattan community was discovered also built from city infrastructure. The 3rd Ave train line was parallel along the eruv. Once it was dismantled in 1955 – so was the trace. The semacode done Malkin doesn’t just try to rebuild that part of eruv but also use technology to reveal the infrastructural history of that train line.

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Within in my own neighborhood of Van Nuys, CA, many pedestrians casually pass by infrastructure that tie peculiar part os the street together. Also, few unusual object pop up as well- temporary CCTV systems. Below are a few snapshots of these conditions. They are not eruv – and may even seem irregular in terms of form relating to streetscape. However, they are regular because they blend a soft condition (the need for telecommunication) with hardscape. The space in between is enough to pass by- knowing that I have basic cable for the night.

Interview : Takako Tajima pt 1.

In Architecture, Media Design, Urban Design on October 21, 2011 at 5:53 pm

                  

                   

Video is after the jump…

Prior to founding Bureau E.A.S.T. with Aziza Chaouni, Takako was senior designer at Urban Studio in Los Angeles. At Urban Studio she worked on urban design projects including design reviews of major projects for the City of Santa Monica, City of Santa Ana, and City of Pasadena. She was the lead on project coordination and concept development for the urban design component of the West Hollywood General Plan Update and the Ocean Park Boulevard Green Street Project in Santa Monica. In our conversation, we talked about issues of agency and framework for streetscape, how modernist urban planning in 1960s was transformed anterolaterally by Moroccan everyday density, and just on the experience of walking.

 

Takako and Aziza gained notoriety with their current project for City of Fez Department of Water and Power (RADEEF) : Fez River Project: River remediation and urban development scheme. Her personal research focuses on the intersection of architecture, landscape, and urbanism and its potential to transform the urban milieu.

special thanks to Takako for her wonderful insight!

an Ode/Manifesto…

In Architecture, Critical Design, Media Design, Thesis Statement, Urban Design on October 13, 2011 at 11:23 pm

the following is the first sketch at a ode/manifesto for Strange Quotidian:


Occupy LA : Oct 09

In Architecture, Critical Design, Urban Design on October 13, 2011 at 9:11 pm

On Oct 09, 2011, I  conducted two experiments at Downtown City Hall/ Occupy Los Angeles. The experiments were about two questions regarding streetscape spaces :

1. How can traces be left for pedestrians to see and occupy?

2. How can a tool for self-documentation generate a conversation?

For the first question, a pair of sneakers were appropriated to hold large chalk pieces so that a person can leave lines of color or draw with color on the sidewalk. The second question was conducted from use of a past project Strange Cams in order to create machines that had multiple cameras.

A future post will go further into depth these two experiments. The following are few snapshots - enjoy!

Interview : Valerie Watson pt 1

In Architecture, Thesis Statement, Urban Design on October 13, 2011 at 5:41 pm

                    

                  

Valerie Watson is an Urban Designer with Meléndrez, a Landscape Architecture, Planning, and Urban Design firm located in Los Angeles. Currently,  she serves as At-Large Director of the Parks, Recreation & Open Space Committee for the Downtown Los Angeles Neighborhood Council. Since 2007, she has helped coordinate Parking Day for Los Angeles and organized the 2011 theme for the Spring St. location to be about Parklets. We met at LA Cafe on Spring Street- one of the proposed site for the first parklets. Along discussing about Valarie’s recent work with getting the proposed parklet sites developed, topics of how sidewalks and streetscape evolved into public spaces for temporal events emerged from our conversation as well.  Video after the jump.

                     

              

special thanks to Valerie for her time and wonderful insight!

and extra thanks to Brandon Shigeta for help with the filming!

To the Ode that Engages

In Architecture, Critical Design, History of the Future, Media Design, Thesis Statement, Uncategorized, Urban Design on October 13, 2011 at 5:36 pm

Robert Venturi presented A Disorderly Ode to Architecture That Engages on September 29, 2001 at “In Your Face,” a symposium conducted by Metropolis Magazine in London. The event focused on the importance and influence of Philadelphia-based architects Venturi, Scott Brown & Associates (VSBA).  In praise of mannerism, Venturi’s manifesto seeks to explain what were a perceived mis-reading and non-comprehension of their architectural work and urban designs – around the ideas of mannerism, Pop content and iconography.  Denise Scott and Robert always firmly believed that they were not Postmodernists in the sense of using historical context and contextual as a design aesthetic for urban spaces and architectural surface. Instead, their analysis of historical context was a way for them to practice architectural as media study of how structures communicate narratives. The lyrical prose that Robert presented was accompanied by a set of not just mere inspired images- but images, as he describes, they love.  It is the juxtaposition of the oration of this ode, along with this specific set of images, that Robert communicates what Denise and he feels is the range of artistic freedom that they operate in.  There are specific moments that Robert establishes connections of communication with contemporary media (iconography, mannerism, information, electronic technology).  Two phrases in particular really strike a tension in term of what I had focus my thesis on.

Discovering the Familiar – rather than Stalking the Exotic

Within this image, Robert does not need to establish the irregular, yet beautiful nature of 70’s Vegas signs – Denise and Bob already have. The symposium was not looking for a confirmation, nor a further explanation of Learning from Las Vegas. Instead, Robert emphasizes that facts are already stranger than fiction. The familiar is not only exotic – its unexpected and extraordinary because of what programming people do with these normal objects of neon, metal, plastic and plaster.

Incidental Originality – rather than Overt Originality

A trained eye that examines the familiar, also understand that mass produced products and cultural items of consumption have physical peculiarities and tactile features that are odd. For instance, the image, that Robert shown in tangent with the statement, illustrates that these mundane, engineered object have a humor outside their function. What was designed to be the perfect pasta bowl for Ragu, Prego or Neuman’s tomato sauce – can be looked at from another angle. A Pea pod, a boat, a cloud, or even a snail comes to mind, and these subjective notions are what frame the incidental as original.

Robert then ended his lyrical prose with :

And finally, perhaps for our new Age of Terrorism, architecture as electronic-generic shelter more than architecture as formal-sculptural monument

It is obvious to read this verse as a critique of physical structures in urban environments that serve as egos of their clients. However, the confusion is that I interpret from this:  a blank modernist shape that surfaced with information. The term electronic-generic shelter seem to suggest that media and technology will be at the forefront as context for building structures – not programming for clients. Yet, Denise and Bob have always been about the dialogue that buildings and signs have with the public. Maybe what is monumental in on streetscape is not physical structure, but what these structures facilitate in terms of exchange and narration.

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1. Venturi, Robert. “Robert Venturi’s Disorderly Ode.” Metropolis Magazine. 30 Oct. 2001. Web. 06 Oct. 2011. <http://www.metropolismag.com/html/vsba/robert_venturi.html&gt;.

[SmartHome_>Line_=Game] – pt. 3 :

In Critical Design, Interaction, Media Design, Uncategorized, Urban Design on October 4, 2011 at 8:04 am

                                    

So now I have handed to the game over to Matt Manos and now I am re-framing this collaboration as a conversation about shared space. The context is about how can two people author a shared space.

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