Arch. Myriam B. Mahiques Curriculum Vitae

Thursday, January 6, 2011

Call for Papers: Nexus 2012

We are very pleased to issue the first announcement regarding the 9th international, interdisciplinary conference NEXUS 2012: RELATIONSHIPS BETWEEN ARCHITECTURE AND MATHEMATICS. The conference will take place at11-14 June 2012 in Milan, Italy, hosted by the Department of Industrial Design, Art, Comunication and Fashion (INDACO) and the Department of Mathematics of the Politecnico di Milano.

This Call for Papers can also be accessed from the NNJ homepage,http://www.nexusjournal.com
The deadline for submission of abstracts is 15 February 2011
The Nexus conferences are dedicated to explorations of the relationships between architecture and mathematics, through a broad panorama of topics. In the past, these topics have included: symmetry in architecture, projective and descriptive geometry, soap bubbles and minimum surfaces, systems of proportions, geometry and urban design, the development of structural forms, the use of arithmetical, geometrical, and harmonic means, calculations of domes and arches, linear algebra and geometric forms, music theory and architecture, fractals in architecture, etc. Presentations have also included discussions of the work of individual architects, such as Alberti, Palladio, Frank Lloyd Wright; historical periods, such as Roman, Incan and Renaissance; the application of particular branches of mathematics to architectural design, such as geometry, topology and algebra.
For the 2012 edition of Nexus we particularly encourage submissions on the following topics:
Architecture and Mathematics
Mathematics and design (formal design, development and representation of complex surfaces, etc.)
Architecture and music
Architecture and astronomy / archaeoastronomy
Mathematics and urban design and planning
Mathematics and configuration (geometric models for designing)

Animals in the mediaeval streets of London, Paris, Frankfurt, Nuremberg

Illustration of the Hotel Dieu, France. From wikipedia.org
In the twelfth century, half the householders of Paris kept pigs which roamed the streets in search of provender. As unofficial refuse collectors, they were invaluable, tut they tended to trip up pedestrians and tangle up traffic. After the heir to the throne had fractured his skull when a pig ran between his horse´s legs, an edict was issued that there should be no more pig-rearing in towns. Little attention seems to have been paid, however -or perhaps the custom waned and then increased again- for in the time of Francois I, four centuries later, the executioner was empowered to capture all the stray pigs he could find and take them to the Hotel Dieu for slaughter. London suffered from the same nuisance, and in 1292 four men were sworn in as ¨killers of swine¨ with the task of capturing and slaughtering ¨such swine as should be found wandering in the King´s highway, to  whomsoever they might belong, within the walls of the City and the suburbs thereof¨. In such cities as Frankfurt and Nuremberg, it was the custom to keep not only pigs, but sheep, cows and fowls as well. There, curiously enough, it was the pigsties rather than the pigs which were regarded as anuisance, and in 1481 the Rath of Frankfurt was compelled to rule that pigsties should no longer be located in front of houses on the public street.
Hotel Dieu. From aspergillus.org.uk
Excerpt from The Fine Art of Food, by Reay Tannahill. Pages 58/59. Great Britain, 1970

Wednesday, January 5, 2011

A mediaeval pit made of horns

Horn Core pit at London's Prescot St. via lparchaeology
I found a curious picture at deconcrete.org. It´s a mediaeval pit made of horns, as a kind of architecture without architects.
¨After the Romans settled in today’s London, Aldgate surroundings (eastwards from the city wall) were turned into a cemetery. But in the Post-Medieval period, Prescot Street was transformed from an essentially rural situation on the fringe of the City, into a densely populated central district. Among the on-going archaeological excavations at this site, a horn core pit has been discovered, showing the intense industrial activity in the area.¨
Read more

A Triage to Save the Ruins of Babylon

An Iraqi helicopter hovering over the Ishtar Gate in May. Groundwater and excavations have eaten away brick reliefs at its base. Picture by Joao Silva

JIMIJMA, Iraq — The damage done to the ruins of ancient Babylon is visible from a small hilltop near the Tower of Babel, whose biblical importance is hard to envision from what is left of it today.
Across the horizon are guard towers, concertina wire and dirt-filled barriers among the palm trees; encroaching farms and concrete houses from this village and others; and the enormous palace that Saddam Hussein built in the 1980s atop the city where Nebuchadnezzar II ruled.
Something else is visible, too: earthen mounds concealing all that has yet to be discovered in a city that the prophet Jeremiah called “a gold cup in the Lord’s hands, a cup that made the whole earth drunk.”
On the hillside during one of his many visits to the ruins, Jeff Allen, a conservationist working with the World Monuments Fund, said: “All this is unexcavated. There is great potential at this site. You could excavate the street plan of the entire city.”
That is certainly years away given the realities of today’s Iraq. But for the first time since the American invasion in 2003, after years of neglect and violence, archaeologists and preservationists have once again begun working to protect and even restore parts of Babylon and other ancient ruins of Mesopotamia. And there are new sites being excavated for the first time, mostly in secret to avoid attracting the attention of looters, who remain a scourge here.
The World Monuments Fund, working with Iraq’s State Board of Antiquities and Heritage, has drafted a conservation plan to combat any further deterioration of Babylon’s mud-brick ruins and reverse some of the effects of time and Mr. Hussein’s propagandistic and archaeologically specious re-creations.
In November, the State Department announced a new $2 million grant to begin work to preserve the site’s most impressive surviving ruins. They include the foundation of the Ishtar Gate, built in the sixth century B.C. by Nebuchadnezzar’s father, Nabopolassar, and adorned with brick reliefs of the Babylonian gods Marduk and Adad. (The famous blue-glazed gate that Nebuchadnezzar commissioned was excavated in the early 20th century and rebuilt in the Pergamon Museum in Berlin.)
A bas-relief of the Babylon god Marduk adorns a wall. Picture by Joao Silva
The objective is to prepare the site and other ruins — from Ur in the south to Nimrud in the north — for what officials hope will someday be a flood of scientists, scholars and tourists that could contribute to Iraq’s economic revival almost as much as oil.
The Babylon project is Iraq’s biggest and most ambitious by far, a reflection of the ancient city’s fame and its resonance in Iraq’s modern political and cultural heritage.
“This is one of the great projects we have, and it is the first,” Qais Hussein Rashid, the director of the State Board of Antiquities and Heritage, said in an interview in Baghdad. “We want to have it as a model for all the other sites.”
The task at hand is daunting, though, and the threats to the site abundant. In the case of some of the Hussein-era reconstructions, they are irreversible. The American invasion and the carnage that followed brought archaeological and preservation work to a halt across the country, leaving ruins to wither or, in the case of looting, much worse.
The American military turned Babylon into a base. It was later occupied by Polish troops and, though it was returned to the control of the State Board of Antiquities and Heritage in 2004, the detritus of a military presence still scars the site.
The World Monuments Fund has been carrying out what amounts to archaeological triage since it began its conservation plan in 2009. It has created computer scans to provide precise records of the damage to the ruins and identified the most pernicious threats, starting with erosion caused by salty groundwater. “What we’ve got to do is create a stable environment,” Mr. Allen said at the site in November. “Right now it’s on the fast road to falling apart.”
The wicking of groundwater into mud bricks, compounded by a modern concrete walkway and the excavations conducted by the German archaeologist Robert Koldewey more than a century ago, have already eaten away some of the 2,500-year-old brick reliefs at the Ishtar Gate’s base.
“They took care of Ishtar Gate only from the inside, because you had visiting leaders and dignitaries who would come,” said Mahmoud Bendakir, an architect who is working with the fund, referring to the site’s caretakers during the Hussein era. “The outside is a disaster.”
The grant from the United States will pay for repairs to channel the water away from the gate’s foundation, which stands several yards beneath the surrounding area. Similar repairs are planned for two of Babylon’s temples, Ninmakh and Nabu-sha-Khare, the most complete sets of ruins, though they too suffer from erosion and harmful restorations with modern bricks.
“It’s difficult to say which is doing more,” Mr. Allen said, “but the two together are nearly toxic for the preservation of monuments.”
The American reconstruction team has refurbished a modern museum on the site, as well as a model of the Ishtar Gate that for decades served as a visitors’ entrance. Inside the museum is one of the site’s most valuable relics: a glazed brick relief of a lion, one of 120 that once lined the processional way into the city.
The museum, with three galleries, is scheduled to open this month, receiving its first visitors since 2003. And with new security installed, talks are under way to return ancient Babylonian artifacts from the National Museum in Baghdad.
The fate of Babylon is already being disputed by Iraqi leaders, with antiquities officials clashing with local authorities over when to open it to visitors and how to exploit the site for tourism that, for the most part, remains a goal more than a reality. Even now they are clashing over whether the admission fee should go to the antiquities board or the provincial government.
Another of the more dire threats to the site has been unchecked development inside the boundaries of the old city walls, enclosing nearly three square miles. The fund’s project has plotted the old walls on a map, causing trepidation among Iraqis who live along them now.
They fear the preservation of Babylon’s ruins will force them from their homes and farmlands, as when Mr. Hussein expelled residents of a local village to build his palace. “They took them from their lands,” said Minshed al-Mamuri, who runs a civic organization for widows and orphans here. “It’s psychological for them.”
Mr. Allen, who oversees the fund’s work, said the preservation of Babylon would require collaboration among competing constituencies that is extremely rare amid Iraq’s political instability.
“We’re looking at not just archaeology,” he said of the project. “We’re looking at the economic opportunities and viability for local people. They need to see something out of this site. That’s possible, and possible at the same time to preserve the integrity of the site.”
Article by Steven Lee Myers. For The New York Times, january 2nd 2011.
http://www.nytimes.com/2011/01/03/arts/03babylon.html?_r=1&ref=stevenleemyers

Lea el artículo en español

Tuesday, January 4, 2011

China builds Sichuan earthquake museum

Sichuan earthquake. From chinasmack.com
Sichuan earthquake. From chinasmack.com
The Associated Press
Tuesday, December 28, 2010; 4:46 AM
BEIJING -- Chinese state media says construction has begun on a museum commemorating the nearly 90,000 people who died during a 2008 earthquake.
Xinhua News Agency says the museum is located in the worst-hit region of Beichuan in Sichuan province in southern China.
Dozens of poorly constructed schools collapsed during the quake and over 5,000 children were among the 87,000 killed.
The government has not responded to complaints that many schools lacked emergency exits and other basic safety features, and activists investigating the deaths of the children have been detained and jailed.
The $35 million museum is expected to be completed by May 12, 2011 - the third anniversary of the quake.
Image: The 2008 International Conceptual Design Competition for 5.12 Sichuan Earthquake Memorial Landscape, “Track” Designers: Wei Jiang, Jiong Yan, Zhaobo Liang, Lijun Lin. From http://arts.brighton.ac.uk/study/interior-architecture-urban-studies-brighton-uk/

Concerns and recommendations by the Industry Council on temporary shelters after natural disasters

Haiti seism. Camp of children. From bambouhaiti2010.blogvie.com
Andres Duany´s design for a temporary shelter in Haiti
The disaster in Haiti demonstrates the critical importance housing has on the ability of an affected community to effectively respond to and recover from a natural disaster.
Sawyer revealed that the major, ongoing tragedy in Haiti is the vast number of temporary camps set up and housing
1.3 million people. The FEMA trailers after Katrina are another example that underscore the need for better
solutions for temporarily housing people immediately after disaster strikes and for rebuilding housing for the long term.
The following concerns and recommendations were offered by the Industry Council:
Temporary Housing
1. Recognizing that temporary housing may be in place for a long time, designate appropriate sites in the case of a natural disaster that can function appropriately as short or long-term communities.
2. Avoid putting people in temporary housing in isolated areas after a disaster. The people will need to find jobs and interact with their communities again.
3. Create modular/kit housing that is sufficiently scalable to be employed effectively after a disaster, both in terms of speed of construction and in adequate volume to be able to house everyone displaced by the disaster.
Replacement Housing
1. Establish protocols before disaster strikes regarding standard building materials to be avoided, such as ones containing formaldehyde and other hazardous materials.
2. Pre-approve building products/components for a specific jurisdiction or zone to speed up the rebuilding process.
Avoid a “one size fits all” approach to rebuilding. Rynd’s recommendation that all rebuilding after a disaster must be done with an eye to beauty and function, and Rochman’s observation of the value of building in the local architectural style both speak to this point.
REFERENCE
Designing for Disaster: Partnering to Mitigate the iMPact of natural Disasters
insights Drawn from the national Building Museum’s industry council for the Built environment, May 12, 2010

Monday, January 3, 2011

Reconstruyen el taller de Caravaggio

Foto archivo de La Nación
ROMA.- Para cerrar un año marcado por la "caravaggiomanía", con exhibiciones, eventos y conferencias varias para celebrar los 400 años de la muerte de Caravaggio (1571-1610), se inauguró hace pocas semanas en esta capital Caravaggio, la bottega del genio, una muestra totalmente inédita que intenta reconstruir, en forma experimental y didáctica, el taller del célebre pintor.
La idea surgió del hecho de que, pese a que existe una imponente bibliografía sobre Caravaggio, su técnica sigue siendo un misterio para los estudiosos de su obra.
¿Cómo hacía el artista para realizar sus espléndidos capolavori, marcados por un manejo único del claroscuro y la expresividad de sus figuras?
Para tratar de entender mejor los procesos creativos de un pintor que es considerado uno de los más grandes exponentes de la pintura barroca italiana, fue presentada en las Sale Quattrocentesche de Palazzo Venezia, en el centro de esta capital, una exhibición que muestra algunas hipótesis de cómo podría haber sido su taller en su época romana.
Basándose en fuentes contemporáneas al artista, los curadores de esta excepcional muestra relacionaron algunos datos fundamentales para entender la técnica que usaba el artista tanto para recrear la luz que iluminaba a sus modelos como para indagar los modos utilizados por su reproducción sobre la tela.
Así dedujeron que, probablemente, Caravaggio pudo haber utilizado instrumentos ópticos, como espejos y lentes.
En la muestra, que se extenderá hasta el 29 de mayo próximo, el visitante se encuentra con cuatro hipótesis de reconstrucción, en salones totalmente oscuros, porque se cree que el gran artista probablemente pintaba sus magníficas obras en la penumbra.
Las primeras tres hipótesis tienen que ver con cómo pudo ser realizada la Canestra di frutta, una famosa naturaleza muerta de Caravaggio que se puede apreciar en todo su esplendor en la Pinacoteca Ambrosiana de Milán, reproducida en este caso con una canasta de fruta en vitrorresina.
Y se basan sobre un posible recurso de lentes, agujeros estenopeicos -un simple agujero posicionado en el centro de un panel que hace de objetivo- y espejos para la proyección del objeto sobre la tela como guía para la ejecución pictórica, pero sobre todo como instrumento para observar la realidad.
La cuarta hipótesis, en cambio, tiene que ver con el empleo de un espejo plano, usado como plano para reflejar a los modelos.
En este caso, el visitante puede directamente ponerse en el lugar del pintor, vivir la escena visualizando al modelo en el espejo así como podría haberlo colocado Caravaggio para poner a punto su composición y ver junto a él la tela preparada con el mismo tono y las mismas incisiones presentes en el original.
En este caso, el modelo es el famoso San Girolamo scirvente -que se encuentra expuesto en la Galleria Borghese-, también realizado en vitrorresina en dimensiones naturales.
Foto archivo de La Nación
REFERENCIA
Fragmento del artículo de Elisabetta Piqué para La Nación

The Invisible Wall. By Daniel Kehlmann

Illustration by arch. Matteo Pericoli
I try to ignore this view. When I’m at my writing desk I turn my back to it. When I look up — though these days one no longer looks up from his work, but merely past the monitor — I see only the spines of books along their shelves. What I don’t see is the pitched window of the attic, the bend that the Spree, Berlin’s main river, makes behind me, the distant facade of the magnificent Bode Museum; above all I don’t see the three bridges with their streams of cars and pedestrians under which pass huge barges headed in both directions. Some of the barges carry freight, while others blast music as people dance and raise beer bottles on the deck, although on most of them sit tourists with their cameras, attentive as schoolchildren. I always wonder what they are photographing. The majority probably photograph the so-called Palace of Tears, that glass border-crossing station that once sat between East and West Berlin; today it is empty, although it will soon become a dance club. A few will also photograph the Berlin Ensemble, originally a theater founded and run by Bertolt Brecht; it is to the left of my window and visible only if I lean out. The most important thing, however, cannot be photographed: the invisible line where the Berlin Wall once stood. Absence can’t be captured, not even with the best camera, and so the tourists turn their helpless devices to the gray facades of the new buildings, to the rows of identical windows, one of which, high up near the roof, stands open, and behind it a barely visible figure quickly turns away and goes back to work at his desk.

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