Tuesday, February 21, 2012

Light and Music: Chicago's Luminous Field

Luminous Field is by Luftwerk.  To really get the feel for this and what it's about watch the videos.  The photos are mine and the videos are by others:  explorechicago, thequinzilla, and thereseflanagan.  Wonderful hearing all the different languages while visiting this installation which ran until 2/21/2012.  Chicago, international City ...


Luminous Field 1

Luminous Field 2


Luminous Field 3

Luminous Field 4

Luminous Field 5

Luminous Field 6


Luminous Field 7

Luminous Field 8

Luminous Field 9

Saturday, February 18, 2012

Ocean Imagination: BIG Thinking in South Korea

Ocean Imagination

“Ocean Imagination” is the proposal for the Thematic Expo Pavilion of Yeosu 2012 by Unsangdong Architects.
Ocean Imagination
Ocean Imagination
 This “Ocean Gate” takes the culture of the sea shore and shifts it vertically and allows visitors to experience the ocean’s ecosystems. This move creates a dynamic visual that is a constant reminder of nature’s different environments, flora and fauna.

Ocean Imagination

Tuesday, February 14, 2012

Dubai: The Future is Now



As the title of above video suggests the real city of Dubai seems inspired by George Lucas' Star Wars fantasy below.


George Lucas' Coruscant 1999
http://www.planetizen.com/node/146

George Lucas' Coruscant 1999
http://starwars.wikia.com/wiki/File:Coruscant_view_EII_1.jpg

Sunday, February 05, 2012

A Place Set Apart: The NYC AIDS Memorial Park Design Competition

memorial court
This is my entry for the NYC AIDS Memorial Park Design Competition hosted by Architizer and chaired by Michael Arad, designer of the 9/11 Memorial.  A sunken court with an altar - a living memorial - where personal tributes can be placed.  The place is a quiet place.  A place to remember.  A place to contemplate.  It is a special place in NYC for those to remember loved ones, known, unnamed, unremembered.  A place to honor health care providers who helped those with AIDS.  A place to remember those who died from AIDS.  A place to think about AIDS.  A place to recall and feel our common ties.  A place to move on. A place set apart.


There is no true standing memorial to HIV victims . . . so the bland sarcophagus along Seventh Avenue holds that place in the geography of our plague memory; it is a museum, almost, a place haunted by Whitman’s “carols of Death.”

– David France, New York Magazine


aerial view

street plan - the park


basement plan - the learning center
The Altar in the Memorial Court is in line with the main open-plan digital exhibition space.  Since all the walls in the digital exhibition space are glass the Altar and Court are always visible.  The plan is set up to encourage visitors to remember. 



From Architizer about the site:

The site is located at the gateway to New York City's storied West Village neighborhood and blocks from the Chelsea neighborhood, on a triangle of land bounded by Seventh Avenue, West 12th Street and Greenwich Avenue. The cultural significance of this site cannot be overstated; it stands at the epicenter of the AIDS epidemic in New York City through its adjacency to the former St. Vincent's Hospital.

St. Vincent's is the single site most associated with the AIDS crisis in New York City. The hospital figures prominently in The Normal Heart, Angels in America, As Is and other important pieces of literature and art that narrate the stories of the plague years in New York. The area is also in close proximity to the LGBT Community Center, where ACT-UP and other AIDS advocacy/support groups first organized. The memories, personal stories, and associations with the hospital run very deep.

This triangle was the location of the Loew's Sheridan movie theater until the late 1970s when it was demolished to make room for the hospital's expansion including a loading facility, medical infrastructure and below-grade storage space. St. Vincent's hospital tragically went bankrupt in April 2010, and the entire former medical campus is being redeveloped into a new luxury residential development.

As part of that redevelopment, this site is being redesigned as new public open space. For many years, the community has expressed desire that the site be turned into a public park. The West Village, like most of Lower Manhattan, is starved for public, green, open places for relaxation.

The significance of the location, coupled with this redevelopment, creates an unprecedented opportunity. We strongly believe that the time has come for New York City to recognize this important history with a living memorial park that connects current and future generations and guides us forward.

section looking towards Saint VIncent Hospital

Also from Architizer:

We are looking for designs that function simultaneously as a useable park for the surrounding park-starved neighborhood and a significant memorial to the AIDS Crisis. Designs will be evaluated in their success at creating a functional park, available for both passive and active recreation, and a significant memorial with a strong commemorative narrative. Designers should consider reusing existing below-grade space to expand and extend the commemorative narrative: As a space for exhibition, teaching, meditation, or memorial elements. The park, memorial features, and any use of below-grade space must be integrated both functionally and aesthetically.               




Additional evaluation criteria call for park designs that:
  • Creatively and comprehensively integrate the important commemorative narrative into the fabric and essence of the park to create a living memorial
  • Seamlessly integrate any adaptive reuse of the below-grade space, including issues of access/egress and ventilation
  • Are welcoming, accessible and usable by all
  • Seek to maximize planted areas and gardens
  • Include ample seating and pedestrian walkways                   




My solution proposes a sunken court that ties the park above with the learning center below.  The court is oriented towards the original hospital paying homage.  A water monument stands on the 7th avenue end signifying loss while a garden is placed on the opposite Greenwich avenue end to signify life.

Functionally the court is designed to work with the existing grid structure of the abandoned basement.  The court is separate from the learning center and provides an opportunity for natural light to penetrate the basement below as it punctures ground from above.  Stairwells also act as lightwells.

The park is designed to protect the memorial.  Also the memorial is part of the park.  It is a mix of public and intimate.  The park has places to sit, enjoy, play chess, stroll, farm.  But through out the park the memorial with its water monument is always perceived and present.  People should not be forgotten.

The learning center is completely accessible from above and below.  Tunnels under West 12th and 7th are re-used so that pedestrians can get to and from the park safely.  Elevators are provided.

All this to provide a place to remember.  A place set apart.  To remember those lost to AIDS.  To learn.  To sit.  To move on.  It is a respite from the urban hub-bub.  Sweet.  Bittersweet.  Bitter.  Sweet again.

Life from death ...

obelisk at Greenwich and 7th
A digital display for time, art, weather, and news provides a new landmark for the intersection at Greenwich and 7th.

Saturday, February 04, 2012

Gehry - New York

Great video and music of Gehry's New York.  He says he is "resurrecting the bay window".  I'll say.



Bay Window - OLD
Bay Window - GEHRY

Saturday, January 28, 2012

Exploring Saint Croix

One of many abandoned sugar mills dotting the island.  A great example of great design derived from function.
Interior of a sugar mill
All the stone is local including coral from the shore.  People were building GREEN long before we have been.
Found this picture of a restored sugar mill.  The original fins would have been fabric.  Turns out there was a workers' revolt called the Fireburn of 1878 that left many plantations on the island in ashes.  These islands have been fought over by many, poor and wealthy, for many generations.  Such a violent past.  You would have never guessed it from seeing the serene beauty of the place.
Ruins of the plantation home downhill from the sugar mill
Government House Courtyard
The building was the home of a Danish merchant.

Goverment House in Christiansted
The way the sculptures were integrated with the ballustrade gives is a chilling goth Medusa-effect.  Trapped in stone.


Vines Taking over a Brick Colonade.  I believe this is the Strangler Fig Vine, an invasive plant species.
Nature finds a way ...  CLICK the video below

Friday, January 20, 2012

Yayoi Kusama's Obliteration Room


I see this installation by Yayoi Kusama as a physical representation of the virtualization of real space.  Reality is pixelated.

Saturday, November 26, 2011

A Weekend in San Francisco November 2011

Contemporary Jewish Museum - Liebeskind
Seeing a horse in front of this blue metal shard made me think how exotic the urban environment can be.
Contemporary Jewish Museum  - Liebeskind
Contemporary Jewish Museum - Liebeskind
Contemporary Jewish Museum - Liebeskind
Contemporary Jewish Museum (Interior) - Liebeskind
Downtown Big Architecture

Downtown Mini Garden
Yerba Lane


Relaimed Wood

Tuesday, November 01, 2011

PBS: Ant Mega City


Amazing video showing some real master building.  Thanks to PBS.
Watch the video by clicking here.

Wednesday, February 02, 2011

Dream Cities


Above is a Google SketchUp model I created for my continuing study on a High Place for Chicago. It is a to-scale 3D model of a section of Chicago's Eisenhower Expressway. A canvas, not blank, ready for more paint.

This High Place is a built thing. It is man-made. It is not only building, but also infrastructure. Also land. Also sculpture.

It is inspiring. It is responsible. It is more than Green.

It breaks boundaries. There is no difference between building and site. There is no difference between zone district and building type.

It is a nod towards built-utopia.

It is social, commercial and spiritual.





Like the inspiring images of Paul Rudolph above and Hugh Ferriss below, High Place for Chicago encourages a place that is more than plain built-environment. It is more than style, nationality, brick and concrete. It is an evolution. It is an idea that ...


... can be very real.

Wednesday, November 17, 2010

Less is More?




Less is more. Less is more. Less is more. It is true that less is more. In a world of 24/7, always connected, Twitter and more, more, more, less is a welcome respite from the daily barrage. Homes, places of business need to be more efficient, more simple, more Dwell magazine, minimal and Zen. Living rooms and lobbies are furnished with planar, furniture sculptures within wide horizontal spaces to quiet life and business. Less clutter means more getting down to business and minimal elevates living to a rite of sorts. The minimal can also inspire and stir the imagination. Look at the Pyramids and their geometrical perfection. They are literally man-made mountains. Wow! Stonehenge with it's simple post and lintel construction. There must have been a very good reason to stack these elephantine stones that way. There is "Cloud Gate" in Chicago's Millennium Park. People are drawn to it's reflective and funhouse mirror surface. The Vietnam Memorial , with its somber list written in black stone of the those lost, guides us on the path to paying tribute and gratitude. Two elegantly placed pieces of etched stone help us to remember. Yes. Less is more.


Then there is Antoni Gaudi's "La Sagrada Familia". There is nothing less about this building. Here more is more. It is not a mass-produced thing, a cog, a car, nor a machine for living. It is tailor-made. It is pre-industrial. It is unique. And every piece of it appears unique. None is like the other. Gaudi built to glorify Nature. He was a Catalan builder. And proud of it. Is it overindulgant? Is it wasteful? Is it less because it is more? No. It inspires because it invites you to discover its messages. It is overwhelming with message and craft. It invites you to read its messages. It is a hidden grotto with hidden treasure. It glories in the hand-made or at least in the appearance of it. Inlaid mosaics. Tree-like columns. Sculpture. In fact the whole is a sculpture. It is humble in in capturing the everyday and the holy. Birds of the air and farm animals mingle with angels. It revels in its individualism. It blurs the boundaries between art and building. It is a building that showcases its personality rather than distilling it. And for this reason, it is a very human building. A living breathing thing that is far from shy. So yes, Less is More. But every once in a while you got to let go.


P.S. I love Dwell magazine.


Friday, April 23, 2010

Safe Trestles Competition April 2010




Above are images from my submission for the competition "Safe Trestles" hosted by Architecture for Humanity and Open Architecture Network, two groups that are making a difference in the world with their design as a tool. The program called for a safe crossing over, under and/or through a fragile wetland ecosystem and railroad. The site is the Trestles an exemplary surfing spot, from most reports. Below is my text for the design:

Conflict and contradiction exist at the site. The tampered and precious natural wetlands must be restored by building an unnatural and man-made safe crossing. Nature must be enabled to heal itself. We must allow it to do so. The design must be part of the site and work as counterpoint to it. It must work with the conflicts inherent in the site and the program and make something that is as poetic and powerful as nature itself. It must enhance and improve the site and provide non-intrusive ways to enjoy it.

Inspiration derives from the site. At the Trestles, nature has provided a canvas made by the wetlands with its grasses. Slashing through this canvas is an unnatural man-made railroad. Both these elements coexist. The bridge must draw from these inspirations. It must be a part of it. Also the design must capture the dynamism of the surfing sport. It must be bold. It must soar. In contrast to how the railroad cuts through the site, the safe passage will be a bridge, flying over it. Human foot traffic will be removed from the wetlands. From this bridge the wetlands can be observed. Views will be created. The bridge will be a place that will enhance the site, provide access to it and provide a sanctuary on high, literally, to worship the play of the waves, the setting of the sun, and the sway of the wetland grasses.

Through prefabrication technology, the bridge will be made of components, molded off-site, delivered as modules and assembled at the site by crane. In this way there will be minimal impact to the construction site. The technology of fiber reinforced polymer (FRP) composites and structural grade plastic lumber (SGPL) shall be developed to provide Green modular bridge components that are both resilient and recyclable. The bridge shall also create energy by harnessing wind. Solar panels shall also be installed to provide energy for any information points and lighting. Restrooms shall be provided underground and work with composting technology. Finally, the whole of the bridge shall be accessible.

The whole of the design is laid out on one spine. As the railroad cuts a line through the site, so will this bridge. The path starts some fifty feet above the Trestles at the drop-off point. An observation point to view the beach and wetlands from this height is provided. This point will also be a low-key point of orientation. Only a bench, drinking fountain, and educational plaque will be provided. From here a ramp will lead northeast then doubles back upon itself southwest delving underground where public restrooms will be provided. Moving towards the shore, the bridge emerges from the hillside and runs straight as a bullet towards the shore. On the left the bluff stands with the wetlands on the right. The webbed and woven structure of the bridge is intermittently broken by observation points with information about the wetlands and the Trestles. The criss-cross concept of the bridge structure derives from the mesh of the wetland reeds and grasses. The bridge stretches out and over the sea from which surfing events, and the surf itself, can be viewed. From here another ramp is provided down to the Trestles snaking around a main structural wall and enclosed in a metallic and reflective screen. A landing is provided at the beach, level with it, as another point of orientation. You have arrived at the Trestles.

Bridge Component 1

Bridge Component 2