Arch. Myriam B. Mahiques Curriculum Vitae

Sunday, March 13, 2011

Tape Vienna, Odeon 2010, by Numen. Tuesday 15 March

For one night only witness and explore Tape London, a sculptural installation on an architectural scale by Vienna and Zagreb based architects Numen/For Use. Their series of tape structures have been nominated in this year’s Brit Insurance Designs of the Year, and they have been commissioned to create a site specific tape installation across the Design Museum’s First Floor Gallery to dramatically preside over the stage for the Brit Insurance Designs of the Year 2011 awards ceremony.
The Design Museum will be open to the public between 6.30pm and 9pm on Tuesday 15 March for an evening viewing of this temporary installation and an opportunity to judge for yourself the winner of Brit Insurance Designs of the Year 2011 announced earlier that day.
Christoph Katzler, Ante Krizmanic and Nikola Radeljkovic from Numen/For Use will be available to guide you through their work and the Brit Insurance Designs of the Year gallery will be open throughout the evening.

The installation
Mutliple layers of transparent tape act like tendons stretched between rigid points and columns. Days of work and 45km of tape went into creating some of the structures, which can be experienced from inside as well as out. Try to believe it!

The concept
The inspiration comes from a set design for a dance performance, in which the form evolves from the movement of dancers between pillars: the dancers stretch the tape as they move, resulting in a (tape) recording of the choreography.
Designmuseum.org
Film by Numen.org
Design Museum, Shad Thames, SE1 2YD

Saturday, March 12, 2011

Street artist JR in Los Angeles: 'The Wrinkles of the City'

Hidden behind his signature sunglasses and fedora, JR, like his now-famous British counterpart Banksy, is a man of mystery. There are certain facts that everyone seems to agree on: He was born in France. He is 28 years old. He got his start as a graffiti writer, but has since morphed into a hybrid photographer/street artist. He refers to himself as a “poster artist.”
“When I was doing graffiti when I was 14, 15 years old, I was tagging my name — leaving my mark — but I stopped pasting my pictures and started pasting other peoples' photos and my whole world became about staying invisible and making others visible — and the street is the best medium for that,” JR explained.
JR is famous for putting up black-and-white photographs of faces on the sides of buildings — and for going big. Recent projects include “Face 2 Face,” which featured images of Israelis pasted on the homes and businesses of Palestinians in the Middle East and vice versa; and “Women are Heroes,” which showcased photos of women pasted on the walls and roofs of their homes in the slums of Kenya and favelas of Brazil.
When JR first arrived in Los Angeles about a month ago, he was not yet a household name. But after putting up more than a dozen murals everywhere from downtown to the beach, he has achieved rock-star status, leaving autographs in the form of giant murals throughout the city.
In Los Angles, JR was on a mission: To install the third and final segment of “The Wrinkles of the City,” a project that paired images of old people (thus the “wrinkles” of the title) with even older buildings in Cartagena, Spain and Shanghai. Thanks to L.A.'s lack of ruins, the project took on a different meaning here.

“'The Wrinkles of the City' is a project about history, memory, architecture, urbanism and, of course, most of all, people,” said Emile Abinal, a member of JR's crew, who is often described as his right-hand man. “The first two parts of the project were to contrast the history of the city with the memory of the people by putting the wrinkles of the people on the wrinkles of city, which are destroyed buildings, ruins, etc.”
“In Los Angeles, it is about image,” Abinal added. “What is your image when you are in the city of plastic surgery, of Hollywood, of youthfulness — where normally wrinkles are not allowed?”
REFERENCE:
Los Angeles Times. Keep on reading:

Friday, March 11, 2011

Music from cathedrals plans (Cathedral scan project)


Luebeck. Waveform and plan
As Carrington explains it, his project Cathedral Scan "translates the architectural plans of Gothic cathedrals into open-ended musical scores via custom software. Treating the plans as a kind of map, in the live performance Carrington navigates through them to create diverse rhythms, drones and textures."
Groups of scanners filling the sonic spectrum may act in synch, forming a single harmonically-dense rhythm, or they may scan the plans at different speeds, resulting in complex polyrhythms. Each plan is treated as a modular score, with a distinct rhythm and timbre of its own. Also, by varying the speed and intensity of each scanning group, drone-like sounds may emerge based on the “resonant frequency” of the black and white plan.
Of course, it's difficult not to wonder what this might sound like applied to radically other architectural styles and structural types, from, say, the Seagram Building or the Forth Bridge to troglodyte homes in Cappadocia. Further, it would be interesting to see this applied not just to plans or sections—not just to architectural representations—but to three-dimensional structures in real-time. Laser scans of old ruins turned from visual information to live sound, broadcast 24 hours a day on dedicated radio stations installed amidst the fallen walls of old temples, or acoustically rediscovering every frequency at which Mayan subwoofers once roared.
REFERENCE: text from
Read more about this project

Thursday, March 10, 2011

False Teeth Awning


A quick survey of Bethan Huws's work suggests that she's an artist who is hard to keep up with. Over the past couple of decades, her work has included architectural interventions (adding floors to otherwise empty galleries), films, sculptures, performances and watercolours – conceptual art with a humanising wit.
In 2009, Huws stencilled the words False Teeth on to the windows of an original seaside shelter in Margate (apparently where TS Eliot wrote some lines from The Waste Land), inviting us to imagine its 26 panes as a pretend set of teeth.

Wednesday, March 9, 2011

Architects try to save Le Corbusier´s Chandigarth building

The Chandigarh Legislative Assembly building, one of the city's many buildings designed by Le Corbusier. Photograph: Jophn Macdougall/AFP

It is a last-ditch effort to save a city built as a monument to modernity and hope but now threatened by neglect and the fierce demands of the global art market. Chandigarh, 180 miles north of Delhi, was built by Le Corbusier 60 years ago.
Since then, many of its finest buildings, recognised as modernist masterpieces, have been neglected. Recently, international art dealers have made substantial sums selling hundreds of chairs, tables, carvings and prints designed by Le Corbusier and his assistants but obtained at knockdown prices from officials often unaware of their value.
Now a group of local architects, art historians and officials are hoping to mobilise international help to prevent further damage to Le Corbusier's unique Indian legacy. A report commissioned by the government in Chandigarh has recommended a campaign targeting the UN heritage agency, Unesco, as well as foreign governments, especially in Europe where many of the items have been auctioned. Informal approaches to embassies in Delhi have failed, the unpublished report, seen by the Guardian, says.
Read the full article by Jason Burk for the Guardian:

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

Sex and the city

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:

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