Arch. Myriam B. Mahiques Curriculum Vitae

Tuesday, March 8, 2011

Robots for demolitions



Fitted with hydraulic breakers and other attachments, track-based, electrically powered demolition robots can venture into interiors, hazardous environments and confined spaces to dismantle floors, ceilings and wall slabs, keeping workers out of the way of falling concrete and other dangers.
Demolition robots, which are free from the emissions issues associated with diesel and propane motors, can be used safely in buildings that are still occupied and operational.
Today’s demolition robots do not trace their technological origins to dank laboratories or outer space; in fact, their roots go back to Scandinavia. Mike Martin, director of North American sales for Swedish manufacturer Brokk, which pioneered demolition robots in the early 1980s, says worker safety has been the decisive factor in product development.
“Swedish workers were required by law to limit their time on jackhammers to prevent nerve damage and other vibration-related injuries,” Martin explains. “Robots helped contractors across Europe address that issue—along with the worksite hazards—and increase their productivity.”

Excerpt from Demolition Robots Break New Ground. Article by Jim Parsons, for Engineering News Record


Monday, March 7, 2011

"Wellness goods", "dating" maps

See these maps from 1991 and 2010. They are showing the sex market on the streets of New York. Of course, it looks pretty changed in the last year, see why, in the article by Sudhir Venkatesh for Wired magazine:
The economies of big cities have been reshaped by a demand for high-end entertainment, cuisine, and “wellness” goods. In the process, “dating,” “massage,” “escort,” and “dancing” have replaced hustling and streetwalking. A luxury brand has been born.
These changes have made sex for hire more expensive. But luxe pricing has in turn helped make prostitution, well… somewhat respectable. Whereas men once looked for a secretive tryst, now they seek a mistress with no strings attached, a “girlfriend experience,” and they are willing to pay top dollar for it.
Technology has played a fundamental role in this change. No self-respecting cosmopolitan man looking for an evening of companionship is going to lean out his car window and call out to a woman at a traffic light. The Internet and the rise of mobile phones have enabled some sex workers to professionalize their trade. Today they can control their image, set their prices, and sidestep some of the pimps, madams, and other intermediaries who once took a share of the revenue. As the trade has grown less risky and more lucrative, it has attracted some middle-class women seeking quick tax-free income.
Keep on reading:

Friday, March 4, 2011

Fiestas urbanas mexicanas. Unas hermosas palabras de Octavio Paz

Celebración del Día de los Muertos en calle Olvera, Los Angeles. Foto de Myriam B. Mahiques, 2008

¨El solitario mexicano ama las fiestas y las reuniones públicas. Todo es ocasión para reunirse. Cualquier pretexto es bueno para interrumpir la marcha del tiempo y celebrar con festejos y ceremonias hombres y acontecimientos. Somos un pueblo ritual. Y esta tendencia beneficia a nuestra imaginación tanto como a nuestra sensibilidad, siempre afinadas y despiertas. El arte de la fiesta, envilecido en casi todas partes, se conserva intacto entre nosotros. En pocos lugares del mundo se puede vivir un espectáculo parecido al de las grandes fiestas religiosas de México, con sus colores violentos, agrios y puros y sus danzas, ceremonias, fuegos de artificio, trajes insólitos y la inagotable cascada de sorpresas de los frutos, dulces y objetos que se venden esos días en plazas y mercados.
Nuestro calendario está poblado de fiestas. Ciertos días, lo mismo en los lugarejos más apartados que en las grandes ciudades, el país entero reza, grita, come, se emborracha y mata en honor de la Virgen de Guadalupe o del general Zaragoza. Cada año, el 15 de septiembre a las once de la noche, en todas las plazas de México celebramos la fiesta del Grito; y una multitud enardecida efectivamente grita por espacio de una hora, quizá para callar mejor el resto del año. Durante los días que preceden y suceden al 12 de diciembre, el tiempo suspende su carrera, hace un alto y en lugar de empujarnos hacia un mañana siempre inalcanzable y mentiroso, nos ofrece un presente redondo y perfecto, de danza y juerga, de comunión y comilona con los más antiguo y secreto de México. El tiempo deja de ser sucesión y vuelve a ser lo que fue, y es, originariamente: un presente en donde pasado y futuro al fin se reconcilian.
Pero no bastan las fiestas que ofrecen a todo el país la Iglesia y la república. La vida de cada ciudad y de cada pueblo está regida por un santo, al que se festeja con devoción y regularidad. Los barrios y los gremios tienen también sus fiestas anuales, sus ceremonias y sus ferias. Y, en fin, cada uno de nosotros —ateos, católicos o indiferentes — poseemos nuestro santo, al que cada año honramos. Son incalculables las fiestas que celebramos y los recursos y tiempo que gastamos en festejar. Recuerdo que hace años pregunté a un presidente municipal de un poblado vecino a Mitla: "¿A cuánto ascienden los ingresos del municipio por contribuciones?". "A unos tres mil pesos anuales. Somos muy pobres. Por eso el señor gobernador y la Federación nos ayudan cada año a completar nuestros gastos." "¿Y en qué utilizan esos tres mil pesos?" " Pues casi todo en fiestas, señor. Chico como lo ve, el pueblo tiene dos Santos Patrones."
Esa respuesta no es asombrosa. Nuestra pobreza puede medirse por el número y suntuosidad de las fiestas populares. Los países ricos pocas: no hay tiempo, ni humor. Y no son necesarias; las gentes tienen otras cosas que hacer y cuando se divierten lo hacen en grupos pequeños. Las masas modernas son aglomeraciones de solitarios. En las grandes ocasiones, en París o en Nueva York, cuando el público se congrega en plazas o estadios, es notable la ausencia de pueblo: se ven parejas y grupos, nunca una comunidad viva en donde la persona humana se disuelve y rescata simultáneamente.
Pero un pobre mexicano, ¿cómo podría vivir sin esa dos o tres fiestas anuales que lo compensan de su estrechez y de su miseria? Las fiestas son nuestro único lujo; ellas substituyen, acaso con ventaja, al teatro y a las vacaciones, el week end y elcocktail party de los sajones, a las recepciones de la burguesía y al café de los mediterráneos. En esas ceremonias —nacionales, locales, gremiales o familiares— el mexicano se abre al exterior. Todas ellas le dan ocasión de revelarse y dialogar con la divinidad, la patria, los amigos o los parientes. Durante esos días el silencioso mexicano silba, grita, canta, arroja petardos, descarga su pistola en el aire. Descarga su alma.¨
De Máscaras Mexicanas. En Ensayos.
Lea los Ensayos completos:

Exhibición: un siglo y medio de testimonios gráficos argentinos


Un siglo y medio de testimonios gráficos comparten desde ayer un mismo espacio. Detalles de nuestra historia y secretos de la idiosincrasia nacional forman parte de la exhibición Argentina 1848-2010. Imágenes e historias , desarrollada en conjunto por la Fundación Mapfre y el Centro Cultural Recoleta (CCR) e inaugurada ayer.
La muestra es el resultado de un arduo trabajo de una veintena de historiadores que, coordinados por Felicitas Luna, trabajaron durante un año y medio para recabar más de 1200 imágenes obtenidas de trabajos de distribución pública y de coleccionistas privados. El criterio, según resumió Luna, fue su valor estético y el hecho de que reflejaran "un momento específico en el tiempo". De ellas, un centenar conforma la exposición, y unas 250 integrarán un libro que ya está a la venta en las librerías.
La muestra combina eficazmente fotografías de principio del siglo XIX con coloridas imágenes de la década actual.
Hasta el 24 de abril, la muestra puede verse en Junín 1930, de lunes a viernes de 12 a 21 y sábados, domingos y feriados de 10 a 21, con entrada libre y gratuita.
REFERENCIA:
Artículo de Julieta Molina para La Nación. Foto: Emiliano Lasalvia

Thursday, March 3, 2011

The tower of Frankenstein´s castle


This is Frankenstein´s castle tower when he was ready to give life to the bride of Frankenstein (Indeed, the fiend´s bride).
Bride of Frankenstein (advertised as The Bride of Frankenstein) is a 1935 American horror film, the first sequel to the influential Frankenstein (1931). Bride of Frankenstein was directed by James Whale and star Boris Karloff as The Monster. (Wikipedia.org)
The picture is a shot from my computer screen. Isn´t it beautiful?

A new lease of life for former Hitler's barracks

Walter de Maria’s Large Red Sphere, at the Turkentor in Munich. Photograph: Jan Bitter
" In the 1990s, De Maria began making great stone spheres, one of which, a 25-tonne piece of highly polished red granite, has just bumped down at the Turkentor gallery in Munich. A former barracks that once provided a bunk for a young soldier called Adolf Hitler, the Turkentor was bombed in the second world war, then all but demolished in the 1970s. Only a fragment, a grand neoclassical gatehouse, remained. The Turkentor, neatly situated between two major Munich galleries, has now been reconstructed by architects Sauerbruch Hutton – and given a new life as a gallery remarkable for the fact that its purpose is to house one artwork, De Maria's sphere, and nothing else.
Large Red Sphere, as the Turkentor's sole exhibit is called, measures 260cm in diameter and sits in totemic splendour at the heart of the gallery, lit solely by the sun and the moon, through a glass roof. There is nothing else to see here, although the enveloping architecture, and the way light cascades around its shapes and spaces, are striking. Yet it is hard not to be wholly absorbed by Large Red Sphere, which watches you and the world beyond like some giant unwinking eye. It has a hypnotic quality: your own eye is drawn to both its surface and into its core. You can watch it for hours – and some people do. You can even touch it. "I like people to do that," says De Maria, although most visitors are too intimidated."
Excerpts from Jonathan Glancey's article for Guardian

Wednesday, March 2, 2011

The underground St Kinga´s chapel. Salt Mine Wieliczka, Poland

Chapel of St Kinga. 110m  underground. Picture from Wired magazine

The Saint Kinga’s Chapel is the most impressive and opulent of underground temples. The chamber, carved in a block of salt, has been a place of worship since 1896. The chapel ornamentation has been created over a period of more than a hundred years. From late 19th century until 1963, the sculpting was conducted by self-taught miners-sculptors, Józef and Tomasz Markowski and Antoni Wyrodek. Their work is continued by the new generation of miners, who create new sculpting projects.

Picture from http://www.kopalnia.pl/

Sculptures which decorate the chapel walls are New Testament scenes. Closest to the stairs, on the right, the Jesus Before Herod and Massacre of the Innocents reliefs are to be seen, and above them, a Nativity scene. Slightly further, the Chapel of Madonna and Child, with the depiction of God the Father atop, is to be seen, as well as the Flight Into Egypt relief, and above it, Christ Falling Under the Cross.
Next to the main altar, a side altar dedicated to the Sacred Heart, the Twelve-year-old Jesus Preaching At the Temple relief, and a pulpit whose base resembles the walls of the Wawel castle can be seen. In a niche of the altar table, Saint Kinga’s relics were placed.
The figures of Christ Crucified and two kneeling monks are salt copies of the sculptures from the Saint Anthony’s Chapel, which were presented at EXPO 1900 in Paris.

The Weimar chamber. Picture from http://www.kopalnia.pl/

The Weimar Chamber was created in the early 20th century, after a block of green salt was excavated by machines. In the 1960s the bottom of the chamber was flooded with brine, and a lake was created. The shores of the lake are watched over by a statue of the Treasurer – the good spirit of the mine. The sculpture, made by the miner-sculptor Stanisław Anioł, was the symbol of the Wieliczka Mine at the EXPO 2000 in Hanover. In the Weimar Chamber, a touching small-scale son-et-lumière show is presented, transporting the visitors back to the times when the chamber was excavated.

Keep on reading. These excerpts are from :

Tuesday, March 1, 2011

Pionen Data Center Stockholm, Sweden

Photo: Christoph Morlinghaus

¨Where does WikiLeaks keep its secrets? In a former military bunker and nuclear shelter under Stockholm’s city streets. Nicknamed the James Bond Villain Data Center, this 8,000-server facility, which could theoretically withstand a nuclear impact, is protected by 24-hour video surveillance and a 2-foot-thick armored door. Two German V12 diesel submarine engines are on standby for backup power. Recycling a war room comes at a price, though: Bahnhof—the ISP that runs the data center—had to have the glass and frames for the walkway and conference room custom-cut to accommodate the curved walls and uneven ceiling.¨ Wired magazine.

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