Arch. Myriam B. Mahiques Curriculum Vitae

Friday, November 26, 2010

A green future for Brooklyn-Queens Expressway trench

Connections. Picture by Starr Whitehouse Landscape Archs.
Green Canopy. Picture by Starr Whitehouse Landscape Archs.
Maximum Green. Picture by Starr Whitehouse Landscape Archs.
¨The proposals (..... will)) decide the future of the Brooklyn-Queens Expressway trench which severs the Carroll Gardens, Cobble Hill, and Columbia Street Waterfront neighborhoods of Brooklyn. Residents spoke up and prioritized their wishes for a less disruptive BQE including reduced noise and pollution, increased neighborhood connectivity and bike / pedestrian safety, and an overall greener streetscape.
In short, the BQE is going green, or at least as green as a pollution-spewing six-lane highway can be. Luckily the NYC EDC, NYC DOT, and Starr Whitehouse Landscape Architects have come up with three compelling design solutions to improve the area.¨
REFERENCE
Posted by Branden Klayko

Thursday, November 25, 2010

Happy Thanksgiving!


Happy Thanksgiving for everybody in USA!!!!!! My contribution of digital paintings for a peaceful day.

Monday, November 22, 2010

The ultimate destiny of the Harmon Hotel in Las Vegas

Picture downloaded from lasvegasun.com
That´s a very bad story based on a building designed by arch. Lord Norman Foster. So many problems in the construction, and Building  And Safety inspectors are not approving the installation of rebars.
In consequence, the building should be shrinked or imploded. I´m so sorry to learn about it, after approximately one year of lawsuit.
¨Let´s see an excerpt from lasvegassun.com almost a year ago:
What if they had shorted the Empire State Building by a couple of football fields?
Or gave the Great Pyramid a flattop? Or built the Eiffel Platform?
Size certainly isn’t everything when it comes to buildings, of course. But the impact of many iconic structures is in their sheer stature. That is why it’s so startling — disappointing, even — that the Harmon hotel, CityCenter’s gateway to the Las Vegas Strip, has suddenly been cut down to about half its intended size.
Topping out at 28 stories instead of the proposed 49, the incredible shrinking Harmon seems unfortunately fated to look like a stubby, squashed stepchild next to its soaring CityCenter siblings, the 61-story Aria Resort & Casino and the 57-story Vdara condo-hotel.
That is the result of construction flaws — 15 floors of wrongly installed rebar — that forced MGM Mirage, which is developing the project with Dubai World, to rapidly call for a significant reduction of the nongaming boutique hotel. MGM Mirage canceled the Harmon’s 207-unit condominium component — the top half of the building — and postponed the opening of the hotel to late 2010.¨
Now, read the what´s going on in November 2010, from Las Vegas Review-Journal:
¨MGM Resorts officials, very quietly and with no public fanfare, want to demolish the unopened 27-story Harmon Hotel -- one of the components of its $8.5 billion CityCenter development.
But litigation and pinpointing blame for the troubled building will prevent anything from happening to the unfinished tower until late 2012.
In its recent third-quarter earnings statement, MGM Resorts said it took a $279 million noncash impairment charge for the Harmon and concluded "it is unlikely the Harmon will be completed using the building as it now stands."
MGM Resorts International operates CityCenter in a 50-50 joint venture with Dubai World.
In an interview this week, CityCenter Chief Executive Officer Bobby Baldwin said the company has hired two sets of structural engineers to determine the building's condition and what steps might be taken. MGM Resorts will bring in a third group of experts to analyze the building.
A report on the findings will be filed with the Clark County District Court, as part of CityCenter's lawsuit against Perini Building Co., the project's general contractor.
Perini will also be allowed to hire structural experts to assess the Harmon.
"Right now, I have a building I can't do anything with," said Baldwin, adding that Harmon has become "the poster child for nonconforming work worldwide."
Clark County Building Department officials will not allow any construction to be done to the Harmon, which was originally designed as a 47-story hotel and condominium tower.
In 2008, inspectors found structural work on the Harmon did not match building plans submitted to the county. The construction issues involved improperly placed steel reinforcing bar, commonly known as rebar.¨

Sunday, November 21, 2010

A look at contemporary Berlin through the pictures of Frank Schirrmeister

Frank Schirrmeister is a photographer who lives in Berlin. These pictures are from his series ´Plain City¨.
¨Plain City is an attempt to keep hold of something, to retain or preserve a particular vision of Berlin, whose only constant is constant change. Berlin today is deemed the trendsetting city in Europe. Due to clever marketing and low-budget airlines, it is known around the world as "the place to be." As someone who was born in Berlin, I find it difficult to keep pace emotionally as the city reinvents itself with dizzying speed. I often have the feeling that my own city doesn't belong to me anymore, but to the forces of the global economy. When photographing Berlin, I am constantly trying to scrutinize and to challenge the popular image of the city. I explore the town beyond the facade, delve into the deeper layers of the metropolis.¨
All pictures by Frank Schirrmeister.










Keep on looking

The narrative of St. Bartholomew Roman Catholic Church

St. Bartholomew Roman Catholic Church. PHOTO: Jeff Goldberg for Esto
Architect William A. Browne, Jr. explains how he and his firm use narrative when designing buildings and spaces:
¨Columbus, Indiana – a community of less than 40,000 – has put its mark on architecture like no other community of its size. The city is ranked sixth in the nation for architectural innovation and design by the American Institute of Architects on a list that includes Chicago, New York, Boston, San Francisco and Washington, D.C. Championed by Cummins Engine entrepreneur J. Irwin Miller, since 1941 this community has constructed more than 70 buildings and pieces of public art by internationally-noted architects and artists, including I.M. Pei, Eliel Saarinen and his son Eero Saarinen, Richard Meier, Harry Weese, Dale Chihuly and Henry Moore. The most revered of the commissions are the churches, so when we were selected to design the St. Bartholomew Roman Catholic Church, it was a heaven-sent opportunity.
Reinterpreting the seven days of creation, the design for the church begins with a simple story that reflects the ecclesiastical function of the building, as well as the Catholic faith's sacred and distinct symbols. The church’s design unfolds from its core, (1) beginning with the crucifix and the tabernacle. The altar's placement (2) is inspired by the Vatican II doctrines that bring the congregation closer to it. From this design, a nautilus configuration emerges, representing God and the perfect shape of nature. The tower and roof structure (3) reaches up toward heaven, acting not only as the church’s structural support but also as its spiritual support housing the tabernacle. The roof structure then uniquely spirals downward with the curves of the nautilus-shaped walls. Two large triangular stained glass windows, are created on the north and east walls. The baptistery's placement (4) is located in front of the main entry to the worship space, in reference to the Catholic tradition of touching holy water before entering. Traditionally, the historic narthex (5) was the entry room to the worship space, however; the modern use has adapted to a social gathering space before and after worship. Its square shape represents man's perfect shape. The sacristy, the vestry, and the nursery (6), along with restrooms and coatrooms, provide the support for the times of worship, completing the buildings functions. With this final step, the church’s design is completed (7), marking that the seventh day is for worship.¨

Friday, November 19, 2010

Berlusconi y la ¨restauración¨ de las estatuas de Venus y Marte


Fotos bajadas de eluniversal.mx
A esta hora del día, creo que esta ya no es más noticia, todos los diarios, la red, están comentando sobre la decisión del primer ministro de Italia, Silvio Berlusconi, de completar las estatuas de Venus y Marte en la casa de gobierno.
No soy experta en Preservación y Reciclaje, pero sí hice una materia electiva y un par de cursos de postgrado. O sea, algo aprendí. Y lo más importante es el respeto por la obra original, trátese de una estatua, un cuadro, un edificio, ornamento, etc. En ese sentido, hay una diferencia, entre Preservación y Reciclaje. Se puede hacer obras de preservación para que la pieza no decaiga, un trabajo absolutamente concienzudo y/o un reciclaje y completar las piezas faltantes, pero esto implica mostrar al público qué ha agregado el restaurador y no pertenece a la obra original. En otras palabras, mostrar los elementos que no son parte de su ¨esencia¨ o su ¨espíritu¨. Es por esto que se emplea un material altamente contrastante, en color y textura, un ejemplo cualquiera que aplicará o no según los expertos, -pero valga para este post-, acrílico y piedra.
Es insólita la decisión del Primer Ministro italiano, y, en defensa de la admirable cultura de su país, hasta diría vergonzosa. Debajo, la reproducción del artículo del diario argentino La Nación, sección Cultura:
¨ROMA.- A pesar de las estrictas reglas de restauración en Italia, el primer ministro Silvio Berlusconi ordenó "completar" por su cuenta dos estatuas del 175 d.C. que decoran la sede del gobierno en Roma, lo que generó una ola de reacciones indignadas.
El jefe de gobierno dispuso la colocación del pene y las manos a la estatua de mármol de Marte del siglo II y las manos a la de Venus, partes que se habían perdido por el paso del tiempo.
Las hermosas estatuas, de más de 2 metros de altura, prestadas por un importante museo romano, fueron instaladas en el patio de honor del Palazzo Chigi a pedido del jefe de gobierno y magnate de las comunicaciones, quien las hizo colocar delante de un discutible telón azul ideado por su arquitecto personal, Mario Catalano.
Las estatuas fueron descubiertas en Ostia, cerca de Roma, en 1918 y representan al dios de la guerra y a la diosa del amor con los rostros del emperador romano Marco Aurelio y su esposa Faustina.
El préstamo de las estatuas, concedido a comienzos de año, había generado ya una polémica, debido a que se trata de algo inusual en un país que protege su enorme patrimonio arqueológico, cuenta con expertos de renombre mundial especializados en restauración y conservación y aplica leyes que son un ejemplo para los demás países.
La llamada "cirugía estética" a la que fueron sometidas las estatuas viola también las reglas de conservación para piezas de valor histórico, para las cuales se prohíbe que se engañe al espectador y se deben evidenciar los pedazos originales y aquellos restaurados.
"¿Por qué las esculturas en China parecen todas nuevas y a las nuestras les faltan brazos y cabezas?", preguntó Berlusconi a su arquitecto cuando decidió que fueran completadas, según informó el diario La Repubblica.
El controvertido "lifting" y su costo (70.000 euros) fueron criticados también por haber sido decididos justo cuando el Ministerio de Cultura registra recortes drásticos de fondos (de un 46 por ciento para 2011) y tras el grave derrumbe del Duomo de los Gladiadores en el parque arqueológico de Pompeya, entre las mayores atracciones de Italia. La política de austeridad alcanza la tutela del patrimonio artístico italiano.
Según La Repubblica , el dinero gastado en las estatuas podría haber sido utilizado para intervenciones de máxima urgencia.
Para la mayor formación de izquierda, el Partido Democrático, el ministro de Cultura, Sandro Bondi, se ha plegado "a los caprichos y manías" del premier. "Que explique si es normal que se violen las normas vigentes y se someta a cirugía estética a ese grupo de estatuas de mármol", declaró la encargada de cultura del PD, Manuela Ghizzoni.
Por su parte, el arquitecto Catalano justificó su intervención: "Son prótesis removibles que sirven para admirar la belleza de la obra tal como cuando fue esculpida", aseguró.¨

Wednesday, November 17, 2010

El Museo Nacional de los Niños de Pelli Clarke Pelli. Washington

Foto perteneciente al estudio Pelli Clarke Pelli
Del artículo de Rafael Mathus Ruiz para la Nación:
NUEVA YORK.- "Lo diseñé con la idea de que fuera algo adonde me hubiera gustado ir cuando era chico. Ojalá hubiera habido algo así en Tucumán. No había nada que se le pareciera."
Así resume el arquitecto argentino César Pelli el motivo que lo inspiró para dar forma, primero en el papel, al nuevo edificio del Museo Nacional de los Niños, que se construirá en National Harbor, cerca de Washington.
Más allá del goce inherente a la fantasía, Pelli reconoce, durante una entrevista con La Nacion, que viajar al pasado fue una tarea ciertamente compleja. "No es nada fácil ponerse de nuevo en la mente de un chico de 7 años. Es mucho más difícil de lo que parece. Hay que hacer un gran esfuerzo para recapturar cosas que se perdieron hace mucho. Es interesante la prueba. No pasa así nomás, pruébelo y se va a dar cuenta de que uno se ha olvidado casi plenamente lo que era tener 7 años", desafía.
Foto perteneciente a Pelli Clarke Pelli
Inaugurado en 1974, el Museo Nacional de los Niños tiene como misión primordial inspirar a los pequeños a preocuparse por el mundo y "tratar de mejorarlo". El museo planea mudarse al edificio diseñado por Pelli en 2013, cuando el nuevo centro cultural y educativo, que según se espera atraerá unos 600.000 visitantes al año, esté terminado.
"Este proyecto fue muy divertido, y el cliente fue fantástico, muy claro, expresó muy bien lo que quería. Nos dio un gran apoyo en las ideas que propusimos. Tuvimos muy pocas dificultades. Eso fue importantísimo", dijo Pelli, considerado uno de los arquitectos más influyentes del mundo por obras como el World Financial Center, en esta ciudad, y las torres Petronas, en Kuala Lumpur.
Luz y colores
El arquitecto también se refirió al lugar donde se levantará el museo y dio detalles del proyecto. "Estamos muy contentos con el terreno, que nos permitió diseñar un edificio libre, con mucha luz. Hemos diseñado seis alas, todas unidas, de colores, formas y materiales diferentes. El museo es un poco como lo podría concebir un niño, creo que va a tener una buena respuesta en ellos", apuntó.
Con un costo cercano a los 200 millones de dólares en un espacio de casi 14.000 metros cuadrados, el museo tendrá un espacio para juegos al aire libre y exposiciones que resaltarán las seis áreas de contenido básico -el medio ambiente, la salud y el bienestar, el juego, el compromiso cívico, las artes y las culturas del mundo-, creadas por tres firmas de diseño: Amaze Design, Roto Studios, y Aldrich Pears.
Pelli enfatizó la idea de vincular a los niños con el ambiente y que se sientan miembros de la comunidad global y protectores de la naturaleza.
El arquitecto se refirió también al desafío de seducir a un niño en la era de Internet y los juegos electrónicos. "No es un museo en el sentido común. Es un lugar de educación y entretenimiento. Va a depender mucho de los docentes. Va a haber gente para guiar a los chicos. Tiene un propósito educacional. Muchas de las cosas que están siendo exhibidas son interactivas. Los chicos tienen que hacerlas andar. Son todos elementos en que los chicos tienen que participar", señaló.
Pese a sus pergaminos, Pelli debió enfrentar, como todos sus colegas, los avatares de la crisis financiera global. "El año pasado fue difícil para nosotros. Este año hemos reemplazado gente y hemos tenido más trabajo. Pero en 2009 teníamos dos proyectos grandes en Dubai, que desaparecieron. Hemos vuelto al nivel que teníamos antes de la crisis. Nosotros ya nos hemos recuperado. Pero sé que hay otras firmas que siguen sufriendo", concluyó.
Lea otra nota al respecto:

National Children's Museum by Pelli Clarke Pelli Architects

From The Washington Post, an article by Jacqueline Trescott:
The National Children's Museum, a local institution without a home for five years, today will unveil the design by acclaimed architect Cesar Pelli for its permanent location near the Potomac River.
The museum, scheduled to open in 2013 at National Harbor in Prince George's County, is also opening a sneak-preview center, called the Launch Zone, at the harbor complex this week and introducing a redesigned Web site, http://www.ncm.museum, that officials say will allow future visitors to have a say about the museum -- from building materials to exhibits to games.
The planned structure is a four-story building with a glass atrium on one corner, a towering wind turbine, a wall of living plants along one exterior side and an interior open courtyard. Other features will include a slip on one of the Potomac piers with science and boating activities, and a gathering place in a nearby woodland.
But before this vision can be realized, there's the price -- $182.6 million -- that must be raised during a difficult time for many arts organizations due to declining endowments, streamlined public money, and decreased individual and corporate giving.
The starting point for the capital campaign was the $26 million from the sale of the museum's old property on Capitol Hill. Developer Milton Peterson donated the land, and the museum has received $7 million from the state. And museum organizers are confident they will reach their goal.
"This is a tough economic time. But we believe in the project and we have great leadership," says Kathy Southern, the president of the museum. "We are being very careful about how we use the money." All expenses are coming out of the fundraising, which currently is in the unannounced, quiet phase; Southern declined to say how much has been raised.
The museum, formerly known as the Capital Children's Museum, operated for 30 years and closed in 2004. Its previous location -- a rambling former convent at Third and H streets NE -- would have been too expensive to upgrade and modernize: "There was one winter where I wore mittens when I used the computer," recalls Southern.
As a museum "without walls," it has organized traveling exhibitions and demonstrations in classrooms, as well as participating in the White House Easter Egg Roll and the Cherry Blossom Festival.
Officials at the museum, which Congress declared a national museum in 2003, say that breathing room gave the founders and designers time to develop a framework for what the 21st-century patron wants.
"We are putting together the traditional role of a museum, along with a place where [children] can be helped to make a difference," says Southern. "We heard from kids that they wanted to be involved in their communities but had to find out how to do it. We surveyed 7- to 13-year-olds, the top part of our target, and 90 percent said they wanted to volunteer. But yet only one-third of those surveyed do it," says Southern, who was the start-up executive for Port Discovery in Baltimore and former executive director of James Madison's Montpelier.
Rather than organize projects, Southern says, the museum will show students the way through stories of volunteerism -- for example, efforts to recycle old bikes and send them to foreign countries, or a street-cleaning project that children can duplicate in their own communities -- will be outlined.
The 2,700-square-foot preview space will focus on the environment. The eventual museum will revolve around topics including the environment, civic engagement, play, health, the arts and the global neighborhood. Admission was $6 at the old museum. Southern says they plan to charge admission again: "We are waiting until we are closer to opening and then see what the market demands," she says.
Pelli, a winner of the American Institute of Architects' Gold Medal and the senior principal of Pelli Clarke Pelli Architects, has been associated with the project for years. He designed the space twice, once for a building-locked area at L'Enfant Plaza that didn't materialize because of a change in that renovation's timeline and plans.
The National Harbor site, Pelli says by phone, "gave us more room to do a better building. It is much more suited to accomplish more for children."
The courtyard is "the heart of the building," he says. Arranged around the courtyard are the other spaces for exhibitions, classrooms, stores and snacks. The design for the glass atrium includes a tower of children's photographs, some of which will be taken in real time of the day's visitors.
This is the first children's museum for Pelli's firm, and the architect says he wanted to emphasize all approaches to education and make the building itself a teaching tool. "We wanted to develop the building to teach in a non-structured way. Children should be immersed, not always sitting at a desk with homework," he says. "The wind turbine should be a delightful, education element. It is light and energy and should teach children about the problems we are facing in the world."
Up to this point, Pelli's most visible contribution to the Washington skyline has been the extension of Reagan National Airport. He also designed an office building at 1900 K St. NW and renovated another one at 15th and K streets NW.
http://www.washingtonpost.com/wp-dyn/content/article/2009/04/21/AR2009042103805.html

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