Arch. Myriam B. Mahiques Curriculum Vitae

Wednesday, March 10, 2010

"Orange officials sue couple who removed their lawn"

Picture from LATimes.com Angelina and Quan Ha walk through their frontyard with daughter Zella. After the city informed them that their property was not up to code, they added bark, fencing and drought-tolerant plants.(Glenn Koenig / Los Angeles Times / February 25, 2010)

This is the title of an article published in Los Angeles Times, march 2, 2010, written by Amina Khan.
City codes require that live landscaping cover 40% of the yard. Quan and Angelina Ha say their water use has dropped 80% since they replaced the grass with wood chips and drought-tolerant plants.”

This is not the first case in USA. In my post “ Struggling for the front lawn”, date September 29th, 2010, I wrote about an old precedent:” The neat front lawn somehow communicates an expected behavior, and the struggle begins when the behavior is out of the common rules.
Amos Rapoport was an American architect and anthropologist, who wrote about an interesting case in the suburbs of Wauwatosa, Wisconsin in 1972. “Given the local climate, and the particular orientation of her house, a woman decided that she would have her vegetable garden in front –where a lawn is normally to be found in Anglo -American culture. The Municipality was outraged, and many special council meetings were held. Court actions took place and the case eventually reached the Wisconsin Supreme Court”. (Rapoport, The Meaning of the Built Environment, p. 129). At last, the woman was allowed to grow her vegetables. This case shows us that the front lawn is much more than a piece of grass and that there are feelings involved in its arrangement.”
Cities can be very hard about the front yards, because whatever the treatment is, it will be affecting the rest of the neighborhood. If you buy a house, at least in California, you must know your obligations: pay the loan, pay for the lawn maintenance, pay taxes, legalize any illegal construction, keep it livable and in good condition.
Regarding the lawn, it is reasonable to require between 40% or 50% of landscape, not only for aesthetic reasons, there is also need for soils drainage. The rest of the front lot is left for the driveway manouvers. The same rule is applied at the back, or back and sides, though I’ve seen some cases, -as the backyard is not controlled by the inspectors after construction works-, sometimes the homeowners decide to pour concrete completely, what is not a good idea. They try to save money in water and gardener’s expenses, but the house is automatically decreased in its value, because it has no garden.
This is the story of Quan and Angelina:

"Some Southern California cities fine residents for watering their lawns too much during droughts.
But in Orange, officials are locked in a legal battle with a couple accused of violating city ordinances for removing their lawn in an attempt to save water.
The dispute began two years ago, when Quan and Angelina Ha tore out the grass in their frontyard. In drought-plagued Southern California, the couple said, the lush grass had been soaking up tens of thousands of gallons of water -- and hundreds of dollars -- each year.
They said they were trying to do something good for the environment.
"We've got a newborn, so we want to start worrying about her future," said Quan Ha, an information technology manager for Kelley Blue Book.”
But city officials told the Has they were violating several city laws that require residents to cover significant portions of their frontyards with live ground cover. On Tuesday, the couple is scheduled to appear in Orange County Superior Court to challenge the city's lawsuit against them.
Soon after the city complained about the yard, the Has placed wood chips on top of the dirt, with help from neighbor Dennis Cleek.
"It's their yard, it's not overgrown with weeds, it's not an eyesore," said Cleek, whose own yard boasts fruit trees. "We should be able to have our yards look the way we want them to."
But city officials determined the fix was not acceptable, saying city codes require that 40% of the yard be landscaped predominantly with live plants.
"Compliance, that's all we've ever wanted," said Senior Assistant City Atty. Wayne Winthers.
Last summer, the couple tried to appease the city by building a fence around the yard and planting drought-tolerant greenery -- lavender, rosemary, horsetail and pittosporum, among others.
They sent a photo of the yard to city officials in October. But according to the city, their landscaping still did not comply with city standards.
"They put up a nice fence, but [the photo] didn't show anything about how they had complied with code, as far as the frontyard goes," Winthers said, "nor did it include a site plan."
At the end of January, the Has received a letter saying they had been charged with a misdemeanor violation and must appear in court.
"It's just funny that we pay our taxes to the city and the city is now prosecuting us with our own money," Quan Ha said. "Doesn't it waste funds to go back and forth in court, rather than sending pictures, e-mails and having phone conversations?"
Winthers said he hopes the city can work out a compromise. "We know times are tough, but we're willing to work with them, we'd be more than happy to," he said.
Meanwhile, the couple said they had reduced their water usage from 299,221 gallons in 2007 to 58,348 gallons in 2009.
http://www.latimes.com/news/local/la-me-bad-lawn2-2010mar02,0,3613612.story

In my opinion, based on this picture only, I think that the main reason for the couple’s  decision was to save money in water expenses. And they didn’t take care of the landscape as they should have done based on the City requirements. If they choose more drought tolerant species, some of the cheap ground cover type, that blooms in Spring, growing wild in the mountains without needing too much water, it would have helped them, they can still defend their point of view about planting native species instead of lawn. To spread wood chips, is not enough. Also, with these chips, there is need for an aesthetic sentiment, at least considering the neighbors.  The fence does not solve the problem.
If they do not agree with the City’s regulations, they have to select another City out of Orange County where to live. Maybe move to East Los Angeles, where nobody cares about landscaping.


Sunday, March 7, 2010

Article: Why did fewer die in Chile's earthquake than in Haiti's?

This article written by Anthony Reuben, for BBC News, march 1st 2010, is clear about the importance of following the Building and Safety Codes, specially, those regulations related to fire and earthquakes. To read about Haiti´s concrete construction

Seismic design. From BBC News

¨The death toll from Chile's 8.8 magnitude earthquake looks like being a fraction of the 220,000 people who were killed in Haiti in January.
This is despite the Chilean quake being 500 times stronger than the one in Haiti.
Clearly, Chile is a more prosperous country, with economic output per head of the population more than 10 times greater than Haiti.
That has meant that buildings in general are better built, but Chile was also better prepared.
People in Chile knew the safest places to go to when the earthquake struck.
Also, since an even stronger earthquake in 1960, Chile has developed a seismic design code for new buildings, which has made them better able to stay standing in an earthquake.
One system that helps buildings stay up is called the "strong columns weak beams" system.
The idea is that buildings are held up by reinforced concrete columns, which are strengthened by a steel frame.
Reinforced concrete beams are joined onto the columns to make floors and the roof.
If there is an earthquake, the idea is that the concrete on the beams should break near the end, which dissipates a lot of the energy of the earthquake, but that the steel reinforcement should survive and the columns should stay standing, which means the building will stay upright.
The problem is that an 8.8 magnitude earthquake is "towards the top end of what you're designing for", according to Professor Colin Taylor, professor of earthquake engineering at Bristol University.
A mitigating factor in the Chilean quake was that its epicentre was 21 miles (34km) underground, off-shore and 70 miles (115km) from the nearest big city, Concepcion.
The energy from earthquakes falls the further away you are from the centre.
The Haitian quake on the other hand was only 8 miles (13km) underground and right on the edge of Port-au-Prince¨.

Tentaciones en el Arte del Buen Construír: una anécdota de la vida real

Asado de obra. Imagen de  asadosargentinos.blogspot.com
 -Ahí viene, y con pollera, qué raro, será tanta calor-
-Suerte, así no sube a la losa, porque no va a mostrar los calzones, se salvaron los armadores, pero nosotros, atentos!-
-Se quedó en el cerco, y está llamando al vecino......mire, salió la mucama-
-Seguro que el rubio está durmiendo, desde que hizo esa propaganda se cree artista de joligú, ahora va a estar muy enojada.-
-No, no, ahí sale-
-¿Qué dirán?-
-Ya sabe, el perro -
-Pobre bicho, el rubio lo tiene hambriento, cómo no va a pasar el cerco, con ese olor, él se las da de actor, pero no tiene un mango éste....-
- Le dice que el perro casi nos voltea la pared fresca, y que no tenemos obligación de alimentarlo.-
- Sacó el paraguas! Lo amenaza!-
- Ja , Ja, Ja, Ja, no, no, es que se quiere defender!-
- Ja, Ja, mire, arrugó el rubio, ahí se va, llamando al perro, que no le hace caso...-

- Buenas tardes muchachos, ¿a qué tanta risa sin defenderme? ¿Tantos hombres y todos acovachados?. A ver esa pared, torcida...-
- Fue el perro, Ud sabe, se viene por el humito, es cachorro y saltó..-
- Dice el dueño que Uds le dan huesos de falda, y se va a morir atragantado.-
- Peor es que se muera de hambre.-
- Corrijan la pared y no se les ocurra regalarle centímetros al vecino.-
- Es que el perro la corrió un poquito....-
- Pero ve, ganamos de nuestro lado.-
- No muchachos, ya sabemos que sería un mejor castigo que darle con el paraguas, pero nada de tentarse (aunque se lo merezca), sigan la línea, mañana vemos los hierros, y cierren el portón, así no se nos va el perro a la calle, y le dan asado con cuidado, porque seguro pasa el alambrado, vamos, avancen con esa pared, hasta mañana!.-
- Hasta mañana arquitecta.-
- Mañana se viene con pantalones y botas, sonamos.-


Saturday, March 6, 2010

Concepts About Geometry in The Time Machine

A modern recreation of The Time Machine. From http://img5.allocine.fr/acmedia/medias/nmedia/00/02/42/21/time1.jpg

Herbert George Wells (21 September 1866 – 13 August 1946) was a British author, specially dedicated to the science fiction genre. He was a scientific visionary and social prophet. One of the most widely read writers of his generation, he explored the new territory of science fiction and crusaded for a new social order in more than forty-four novels and social and historical books.
His childhood fascination with science found expression in The Time Machine (1895), the first of several enormously popular novels of scientific mythmaking, including The Invisible Man (1897) and The War of the Worlds (1898).

The Time Machine in the 1960´s movie. From Wikipedia.org

This is the Time Traveller’s explanation about his “innovative” concepts on geometry (Bantam Books, p.3, 1991). Let us think about the idea applied to urban changes in time:
“Really, this is what is meant by the Fourth Dimension, though some people who talk about the Fourth Dimension do not know they mean it. It is only another way of looking at Time. There is no difference between Time and any of the three dimensions of Space except that our consciousness moves along it. But some foolish people have got hold of the wrong side of the idea. You have all heard what they have to say about this Fourth Dimension?”
“ I have not,” said the Provincial Mayor.
“ It is simply this. That Space, as our mathematicians have it, is spoken of as having three dimensions, which one may call Length, Breadth, and Thickness, and is always definable by reference to three planes, each at right angles to the others. But some philosophical people have been asking why three dimensions particularly –why not another direction at right angles to the other three?- and have even tried to construct a Four dimension geometry. …You know how on a flat surface, which has only two dimensions, we can represent a figure of a three dimensional solid, and similarly they think that by models of three dimensions they could represent one of four –if they could master the perspective of the thing. See?………
“Well, I do not mind telling you I have been at work upon this geometry of Four Dimensions for some time. Some of my results are curious. For instance, here is a portrait of a man at eight years old, another at fifteen, another at seventeen, another at twenty three, and so on. All these are evidently sections, as it were, three Dimensional representations of his Four Dimensioned being, which is a fixed an unalterable thing.”

Friday, March 5, 2010

The Spanish Patios. Arte contemporáneo en 16 patios de Córdoba

Cristina Lucas´intervention

I came across with this exhibition web page ¨El Patio de mi Casa¨ (My house´s patio), and though we are out of date to visit it (sorry, it was a 2009 exhibition), I think we can still enjoy the pictures and concepts. All pictures were downloaded from the web page. See the link below and enjoy the gallery with brief explanations.

Cai Guo Qiang. The turtle is adding dynamism to the space.

Carlos Garaicoa. He presented a massive model made of sugar. Ants were eating it.¨Principios básicos para destruir¨ (Basic principles to destroy).

Federico Guzmán. He showed a garden of sacred plants. See the texture of the floor.

Fernando Baena. See the golden snails he added on the vase.

Glenda Leon. Interior garden

Kang Xuan

Magdalena Atria. Painting with ¨plastilina¨.

Nina Yuen

Priscilla Monge. There is ¨blood¨ instead of water in the fountain.

This exhibition presented works by 16 contemporary artists from several countries in 16 private courtyards and monumental Córdoba, from an idea of Carlota Álvarez Basso. The patios are one of the most symbolic heritage of the city, providing an image-synthesis of the long multicultural history of Cordoba. With a background in Mesopotamia and originated in the atrium of the houses of ancient Rome, the courtyard was developed by the Arab and Moorish architecture, reaching its greatest splendor in Andalucía. The cordobeses patios are unique, with an explosion of color and beauty provided by its baroque floral. Aesthetic areas of common life, are pieces of nature and urban open space within the home, family edens in the Arab tradition. Beyond this, they are places to see and feel the sky: a way of appropriating a piece of the cosmos for private use.
The works, mostly specific interventions have been inspired by every yard, or correspond to existing projects adapted to the situation of the place. The aim was to achieve a balance, indeed, a mutually enriching conversation among courtyards and contemporary art. Thus, the courts have not been used as mere spaces to show work, but as active components in a relationship. The artistic interventions are more or minimum as appropriate, but always make sense creative dialogue with the courts. The works pulsate and investigate the relationship between the private and public, between art and everyday life, between modernity, history and tradition. Each of the 16 yards integrates a particular encounter between patio and artwork, a kind of micro-exhibition which has its own content and visuals. The "theme" of the exhibition was to show patios as aesthetic, cultural, and historical environments.

Detail of Magdalena Atria´s painting
http://universes-in-universe.org/esp/magazine/articles/2009/arte_patios_cordoba

Tuesday, March 2, 2010

Mi punto de vista sobre el Artista y su Técnica

Nebulosa. Pintura digital de Myriam B. Mahiques
Platón consideraba que el conocimiento es innato y se perfecciona a través de los años de crecimiento. Idea base de la teoría del Constructivismo.
Aristóteles, enfatizó el desarrollo integral de la persona; jugar, entrenarse, escuchar música, -entre tantas actividades-, formarían el cuerpo, la mente y el alma.
Para hablar de técnica, no nos confundamos con tecnología, si ambas las palabras provienen del griego Techne. Literalmente traducida, sería arte, manualidad, habilidad. Pero conceptualmente, es el uso sistemático de un conocimiento para realizar una acción humana. El origen del conocimiento? Pues que lo discutan los filósofos.
Mucho podemos contar acerca de nuestras técnicas artísticas, para escribir, dibujar, pintar, cocinar, cantar, fotografiar..... Pero yo creo que uno no encuentra la técnica, sino la técnica lo encuentra a uno.
No estoy segura si el conocimiento es innato, pero sí que nacemos con ciertas habilidades, que en los tiempos de la inteligencia emocional, nos pueden situar por arriba de cualquier persona de alto coeficiente intelectual. Obsoleto este sistema de reconocimiento de inteligencias, hemos de hurgar en nuestro pasado para ver la luz en nuestras técnicas del presente.
En mi caso particular, no cursé preescolar, ni ¨jardincito¨, que no eran obligatorios en ese momento. Sin embargo, entre los cuatro y cinco años, tenía necesidad de escribir. Fue sencillo, me senté en un banquito con una mesita de juegos en el patio de casa, tomé una ¨birome¨ y comencé a escribir continuamente mmmmmmmmmmmmmmmmmmmmmmmmm. Las letras se me presentaron como una expresión distinta a los dibujos infantiles, y por su concepción no legible, diría que ¨el texto¨ se acercaba más a un gráfico monótono. Letras, dibujo, una misma cosa, porqué no?
A mis nueve años, se acercó a casa un vendedor callejero, trayendo unos libros de la colección Walt Disney, esas hermosas ediciones españolas llenas de fotos y con tapas duras brillantes. Recuerdo a mi mamá dudar, pero me leyó la expresión, o tal vez para que ningún vecino la critique (porque estábamos en la puerta del jardín), me dijo, ¨elegite uno¨. Y sin dudar, elegí ¨Maravillas del Mar¨. Esas fotos del fondo marino me cautivaron, pero especialmente un par de ellas mostrando los monstruosos peces piedra. Confusión en el mar! Cómo un pez puede ser piedra, animal, mimetizarse en el fondo, todo en una maraña de colores, elementos inertes y vida a la vez. Creo que esa fue mi primera imagen de un fractal, cuando Mandelbrot recién empezaba a pensar, qué pasaría con la Bolsa y los cereales, y los patrones de ventas, etc. Con los años, me bastó ver una foto aérea de una ciudad africana. Pez piedra, ciudad africana, todo me cierra, basta conseguir softwares para aprender a representarlos con la tecnología adecuada.
El vendedor volvió y yo elegí ¨Mitos y Leyendas¨, ante las protestas de mi mamá, que resignada decía, ¨si los vende tan baratos y no los trae todos juntos es porque los está robando¨. Este asunto no estaba entre mis preocupaciones. No sólo leí el libro unas cinco veces, sino que me preguntaba porqué las ilustraciones deformaban los cuerpos, todos elongados, estilizados, planos, sin intención de mostrar la tercera dimensión. Esa fue mi primera apreciación curiosa de arte, que después de todo, estaba emparentado con el arte bizantino. 
Tapa del disco " Burn" de Deep Purple


A los quince años, edad de la música y los bailes, me compré el long play (qué antigüedad!) Burn (Quemar) de Deep Purple. Y no dudé en empezar a copiar con las pinturitas del colegio, esas cabezas con una vela arriba, impresionante, cabezas derritiéndose en explosión de colores.......Me llevó once años más llegar al taller de pintura y tomar contacto con los olores y la textura del color.
A los dieciséis, mi familia cita al ¨maestro mayor de obras¨ que diseñaría nuestra casa nueva. Todos absortos, y yo, pensando, ¨ahhh, ésta será mi habitación, para mí sola!¨. En las caras serias y absortas de mis padres comprendí que este hombre, que no era arquitecto ni lo sería, estaba cambiando con simple un dibujo nuestras vidas. Creo que este fue mi primer encuentro con la arquitectura y la sociología, que tiñó todos mis escritos doctorales.
Entonces, mi técnica, cómo explicarlo correctamente?, es una mezcla de todas esas sensaciones, el ver un cuadro digital –o no- y decir, ¨así¨, sin vueltas, sin meditar si le falta luz, color, si la imagen se me ¨cae¨ o si se hizo un agujero visual; en mis escritos mezclados, se confunden los idiomas, y la poesía se junta con el lenguaje técnico, las imágenes de morfologías urbanas representadas con fractales se asocian a los santos y rituales, las recetas de comida se vuelven proyectos arquitectónicos.... y no hay forma de desdoblar el producto artístico en un proceso regido por el paso 1, paso 2, siguiente....

Monday, March 1, 2010

Easter Island’s Statues at Risk

Moai with “hats”. Picture by Marc Pelissier.
The Chilean Easter Island has always been an object of curiosity and it is well-known for tourists due to its monumental statues. There has been controversy and confusion concerning the origins of the Easter Islanders, Thor Heyerdahl proposed they would be Peruvian descent, but archaeological evidence indicates that Polynesians discovered the island at about 400 AD.
The island, with the native name of Rapa Nui is located 3500 km West of South American continent. During the aftermath of the earthquake in Chile, last February 27th, there was a tsunami warning and people were ordered to evacuate the coastal areas, to move to the highlands. The warning expired and the island weathered the tsunami with no major damage.
But, regardless the earthquake, Easter Island’s statues are at risk, as weathering imperils them continuously.
The following text is taken from Kristin Weichman’s article “Easter Island’s Statues at Risk” for National Geographic Magazine, November 2005:
Moai. Picture by Cliff Wassman.
“The great stone faces are showing their age. For some six centuries, beginning a thousand years ago, the Rapa Nui people of Easter Isaland carved images of their ancestors into the island’s soft volcanic tuff. The sculptures –called Moai- probably started wearing away soon after the statues were dragged from the tuff quarry to their platform sites, some of which are miles away. But years of exposure to wind, water and human activity have sped the deterioration.
At Ahu Tongariki, largest of Easter Island’s moai sites, the 15 statues have already been through a lot. Feuding Rapa Nui began toppling and breaking the figures, which weigh as much as 98 tons, in the 17th century, and a 1960 tsunami washed the scattered stones hundreds of feet inland. When archaeologists started reconstructing Ahu Tongariki in 1992, it was a rubble pile. They hoisted the broken pieces upright, then cemented them together. Recently the mended moai were covered with tarps to allow them to dry. A water repellent was then applied to prevent further erosion –but the coating is expected to last only a few years.
“It’s sad but unfortunately true that existing methods cannot preserve all the statues,” notes UCLA archaeologist Jo Anne Van Tilburg. Since 1981 she’s complied more than 12,000 images, along with historical, ethnographic, and excavation records, of the island’s 887 moai. “The Rapa Nui community and their scientific advisers have some hard choices to make,” says Van Tilburg. “Statues containing the most valuable scientific or historical information can and must be saved.”

Concurso Gratuito con Premios Internacionales. World Architecture Community

Llamada a la comunidad de World Architecture
Registrate y presenta tus proyectos en worldarchitecture.org, tendrás reconocimiento internacional
20+10+X Premios de Arquitectura, 7ª Convocatoria:
Plazo de presentación: 23 de Abril de 2010

worldarchitecture.org, el primer portal interactivo creado para proporcionar una oportunidad para todos los Estudios de ámbito local, invita a todos los Arquitectos Mundiales a registrarse y presentar sus proyectos - gratuitamente - hasta el 23 de Abril de 2010 para participar en el 20+10+X Architecure Award, 7ª Convocatoria. Más de 200 Miembros de Honor, entre los cuales se encuentran Udo Kultermann, Hans Hollein, Fumihiko Maki, Robert Ivy, Wolf D. Prix, Charles Correa and Michael Sorkin, pueden participar en la votación online y constituyen el Panel científico y jurado.

CÓMO PARTICIPAR

20+10+X Awards es un programa de Premios internacionales en línea de la Comunidad de World Architecture que ya ha alcanzado un nivel prestigioso gracias a su extraordinario panel de Miembros de honor y al elevado nivel de los proyectos ganadores de los primeros seis Ciclos. Los Premios se repiten cada tres meses e incluyen un programa internacional de publicación de los resultados en colaboración con un amplio número de revistas de arquitectura en todos los continentes. Cada convocatoria recibe aproximadamente 1100 proyectos presentados por los miembros de la Comunidad, entre los cuales después de un primer proceso de votación pública vienen seleccionados 250 proyectos. A continuación se proclaman a través de los medios de comunicación relacionados con la arquitectura los 35 ganadores, además de otros 30-40 proyectos mencionados.

Visita la colección de Proyectos Ganadores de las primeras seis convocatorias

Estudiantes, paisajistas, ingenieros pueden también presentar proyectos de los cuales sean autores. Todas las categorías (residencial, comercial, educativo,..) construidos o prototipos son considerados elegibles para los premios.

worldarchitecture.org invita a todos los arquitectos a crear un perfil en WA. Todos los proyectos presentados serán promocionados y puestos en valor en todo el mundo. El portal WA es el único registro abierto internacional de arquitectura contemporánea donde todos los arquitectos, investigadores e instituciones someten su trabajo y enlaces para compartir con el resto del Mundo.

para mayor información:
www.worldarchitecture.org
info@worldarchitecture.org

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