Arch. Myriam B. Mahiques Curriculum Vitae

Tuesday, May 31, 2011

Una casa en el aire frente a la Casa Rosada como emblema de la crisis habitacional

Foto La Nación
No voy a opinar sobre este evento porque no conozco esta ONG, y tampoco sé acerca de los planes para adquirir estas viviendas. Reproduzco parte de esta nota de Mauricio Caminos para La Nación, por ser la falta de viviendas dignas una problemática importante, y no sólo en Argentina. Dejo el link para que los lectores vean la galería de fotos y lean la nota completa.
¨La Casa Rosada y la jefatura del gobierno porteño tienen desde ayer nuevos vecinos. Es que la ONG Un Techo para mi País Argentina (Utpmpa) instaló en el centro de la Plaza de Mayo una vivienda de madera a 12 metros de altura, réplica exacta de las que construye para familias que atraviesan necesidades habitacionales. La idea principal es llamar la atención sobre la precaria situación en la que viven miles de personas en la Argentina.
"El objetivo de la Casa en el Aire es concientizar y poner en agenda pública la emergencia habitacional que sufren miles de familias e invitar a toda la sociedad a sumarse para cambiar esta situación", detalló a La Nacion Agustín Algorta, director social nacional de Utpmpa.(...)
La Casa en el Aire también servirá como antesala a la próxima construcción de viviendas de emergencia que llevará a cabo Utpmpa en distintos asentamientos del conurbano bonaerense. Entre el 18 y el 20 de junio, se construirán 250 viviendas con la participación de unos 2500 voluntarios. Ayer se construyeron más de 30 viviendas en Salta y Río Cuarto, el próximo fin de semana se levantarán 50 casas en Córdoba y 20 en Misiones, y para diciembre esperan llegar a 2300 en todo el país.
Además, en la etapa de "Habilitación social", la sede de la Capital trabaja actualmente con vecinos de 25 asentamientos en planes de capacitación en oficios, microcréditos, salud y educación, entre otras temáticas. Para 2011 Utpmpa estima entregar 500 créditos y 600 diplomas en oficios.¨

Monday, May 30, 2011

Göbekli Tepe and the rising of civilization and cities

Pillars at Göbekli Tepe. From National Geographic.com
It´s important to remember that in his book ¨The city in history,¨ Lewis Mumford says that one of the reasons for the origin of cities is the human religious meetings, giving as an example a burial ceremony. Though, he doesn´t deny the theory of agriculture. The following excerpts from the article The Birth of Religion, about the temple of Göbekli Tepe, shows us that Mumford was not mistaken.
Göbekli Tepe animals carving. From ancient-wisdom.co.uk
Göbekli Tepe. From smithsonianmag.com

¨Known as Göbekli Tepe (pronounced Guh-behk-LEE TEH-peh), the site is vaguely reminiscent of Stonehenge, except that Göbekli Tepe was built much earlier and is made not from roughly hewn blocks but from cleanly carved limestone pillars splashed with bas-reliefs of animals—a cavalcade of gazelles, snakes, foxes, scorpions, and ferocious wild boars. The assemblage was built some 11,600 years ago, seven millennia before the Great Pyramid of Giza. It contains the oldest known temple. Indeed, Göbekli Tepe is the oldest known example of monumental architecture—the first structure human beings put together that was bigger and more complicated than a hut. When these pillars were erected, so far as we know, nothing of comparable scale existed in the world.
At the time of Göbekli Tepe's construction much of the human race lived in small nomadic bands that survived by foraging for plants and hunting wild animals. Construction of the site would have required more people coming together in one place than had likely occurred before. Amazingly, the temple's builders were able to cut, shape, and transport 16-ton stones hundreds of feet despite having no wheels or beasts of burden. The pilgrims who came to Göbekli Tepe lived in a world without writing, metal, or pottery; to those approaching the temple from below, its pillars must have loomed overhead like rigid giants, the animals on the stones shivering in the firelight—emissaries from a spiritual world that the human mind may have only begun to envision.
Archaeologists are still excavating Göbekli Tepe and debating its meaning. What they do know is that the site is the most significant in a volley of unexpected findings that have overturned earlier ideas about our species' deep past. Just 20 years ago most researchers believed they knew the time, place, and rough sequence of the Neolithic Revolution—the critical transition that resulted in the birth of agriculture, taking Homo sapiens from scattered groups of hunter-gatherers to farming villages and from there to technologically sophisticated societies with great temples and towers and kings and priests who directed the labor of their subjects and recorded their feats in written form. But in recent years multiple new discoveries, Göbekli Tepe preeminent among them, have begun forcing archaeologists to reconsider.
At first the Neolithic Revolution was viewed as a single event—a sudden flash of genius—that occurred in a single location, Mesopotamia, between the Tigris and Euphrates Rivers in what is now southern Iraq, then spread to India, Europe, and beyond. Most archaeologists believed this sudden blossoming of civilization was driven largely by environmental changes: a gradual warming as the Ice Age ended that allowed some people to begin cultivating plants and herding animals in abundance. The new research suggests that the "revolution" was actually carried out by many hands across a huge area and over thousands of years. And it may have been driven not by the environment but by something else entirely.(...)Most of the world's great religious centers, past and present, have been destinations for pilgrimages—think of the Vatican, Mecca, Jerusalem, Bodh Gaya (where Buddha was enlightened), or Cahokia (the enormous Native American complex near St. Louis). They are monuments for spiritual travelers, who often came great distances, to gawk at and be stirred by. Göbekli Tepe may be the first of all of them, the beginning of a pattern. What it suggests, at least to the archaeologists working there, is that the human sense of the sacred—and the human love of a good spectacle—may have given rise to civilization itself.(....)
As important as what the researchers found was what they did not find: any sign of habitation. Hundreds of people must have been required to carve and erect the pillars, but the site had no water source—the nearest stream was about three miles away. Those workers would have needed homes, but excavations have uncovered no sign of walls, hearths, or houses—no other buildings that Schmidt has interpreted as domestic. They would have had to be fed, but there is also no trace of agriculture. For that matter, Schmidt has found no mess kitchens or cooking fires. It was purely a ceremonial center. If anyone ever lived at this site, they were less its residents than its staff. To judge by the thousands of gazelle and aurochs bones found at the site, the workers seem to have been fed by constant shipments of game, brought from faraway hunts. All of this complex endeavor must have had organizers and overseers, but there is as yet no good evidence of a social hierarchy—no living area reserved for richer people, no tombs filled with elite goods, no sign of some people having better diets than others.(...)
—archaeologists had discovered settlements dating as far back as 13,000 B.C. Known as Natufian villages (the name comes from the first of these sites to be found), they sprang up across the Levant as the Ice Age was drawing to a close, ushering in a time when the region's climate became relatively warm and wet.The discovery of the Natufians was the first rock through the window of Childe's Neolithic Revolution. Childe had thought agriculture the necessary spark that led to villages and ignited civilization. Yet although the Natufians lived in permanent settlements of up to several hundred people, they were foragers, not farmers, hunting gazelles and gathering wild rye, barley, and wheat. (...)
And increasingly, archaeologists studying the origins of civilization in the Fertile Crescent are suspicious of any attempt to find a one-size-fits-all scenario, to single out one primary trigger. It is more as if the occupants of various archaeological sites were all playing with the building blocks of civilization, looking for combinations that worked. In one place agriculture may have been the foundation; in another, art and religion; and over there, population pressures or social organization and hierarchy. Eventually they all ended up in the same place. Perhaps there is no single path to civilization; instead it was arrived at by different means in different places.¨
3D rendering of Göbekli Tepe. From philipcoppens.com/
From National Geographic.com, article by Charles C. Mann
Read more about the temple:

Sunday, May 29, 2011

From the Burial of Rats (old Paris)

¨Leaving Paris by the Orleans road, cross the Enceinte, and, turning to the right, you find yourself in a somewhat wild and not at all savoury district. Right and left, before and behind, on every side rise great heaps of dust and waste accumulated by the process of time.
Paris has its night as well as its day life, and the sojourner who enters his hotel in the Rue de Rivoli or the Rue St. Honore late at night or leaves it early in the morning, can guess, in coming near Montrouge—if he has not done so already—the purpose of those great waggons that look like boilers on wheels which he finds halting everywhere as he passes.
Every city has its peculiar institutions created out of its own needs; and one of the most notable institutions of Paris is its rag-picking population. In the early morning—and Parisian life commences at an early hour—may be seen in most streets standing on the pathway opposite every court and alley and between every few houses, as still in some American cities, even in parts of New York, large wooden boxes into which the domestics or tenement-holders empty the accumulated dust of the past day. Round these boxes gather and pass on, when the work is done, to fresh fields of labour and pastures new, squalid hungry-looking men and women, the implements of whose craft consist of a coarse bag or basket slung over the shoulder and a little rake with which they turn over and probe and examine in the minutest manner the dustbins. They pick up and deposit in their baskets, by aid of their rakes, whatever they may find, with the same facility as a Chinaman uses his chopsticks.
Paris is a city of centralisation—and centralisation and classification are closely allied. In the early times, when centralisation is becoming a fact, its forerunner is classification. All things which are similar or analogous become grouped together, and from the grouping of groups rises one whole or central point. We see radiating many long arms with innumerable tentaculae, and in the centre rises a gigantic head with a comprehensive brain and keen eyes to look on every side and ears sensitive to hear—and a voracious mouth to swallow.
Other cities resemble all the birds and beasts and fishes whose appetites and digestions are normal. Paris alone is the analogical apotheosis of the octopus. Product of centralisation carried to an ad absurdum, it fairly represents the devil fish; and in no respects is the resemblance more curious than in the similarity of the digestive apparatus.
Those intelligent tourists who, having surrendered their individuality into the hands of Messrs. Cook or Gaze, 'do' Paris in three days, are often puzzled to know how it is that the dinner which in London would cost about six shillings, can be had for three francs in a café in the Palais Royal. They need have no more wonder if they will but consider the classification which is a theoretic speciality of Parisian life, and adopt all round the fact from which the chiffonier has his genesis.
The Paris of 1850 was not like the Paris of to-day, and those who see the Paris of Napoleon and Baron Hausseman can hardly realise the existence of the state of things forty-five years ago.
Amongst other things, however, which have not changed are those districts where the waste is gathered. Dust is dust all the world over, in every age, and the family likeness of dust-heaps is perfect. The traveller, therefore, who visits the environs of Montrouge can go go back in fancy without difficulty to the year 1850.¨


Paris - This engraving shows the French capital hemmed in by city walls, but instantly recognisable thanks to the Ile de la Cite, which straddles the Seine. The cartouche on the right describes the city as "most flourishing", boasting an "excellent university and a stupendous church of Notre Dame". From http://www.telegraph.co.uk/travel/picturegalleries/3776523/Cities-of-the-world.html?image=2
Paris´ rats at display. From http://sanditan.com/?p=118
From The Burial of Rats. By Bram Stoker. 1914
Read the full story/book:

Saturday, May 28, 2011

2011 Buckminster Fuller Challenge. Architecting the future


Architecting the Future:


June 8-10, 2011

Revealing the 2011 winner is part of a three-day series of events featuring finalists, special guests, members of our esteemed jury, and our colleagues from the BFI community.
Wednesday June 8th, from 6-8pm
More information:
http://bfi.org/news-events/architecting-future-june-8-10-new-york-city

Friday, May 27, 2011

The ¨shotgun¨ houses of New Orleans

Patty Gay, executive director of the Preservation Resource Center, takes us to the Irish Channel (a historically working-class neighborhood between the Mississippi River and the tawny Garden District) to explain this simple but adaptable, practical but occasionally flamboyant style of house.

Wednesday, May 25, 2011

LAPD Motor Transport Division + Main Street Parking John Friedman Alice Kimm Architects

This render doesn´t show the cars crowding the street, it looks weird, but nice anyway
See the dull buildings in the perspective. Still the cars are absent, but believe me, usually there is only a few walking in this street.


If there is a design that´s difficult to resolve when we think of aesthetics, it´s parking structures. In my city, Buenos Aires, they are built underground because we don´t have earthquakes. In California, most parkings structures are built above ground, as earthquakes are continuously shaking the cities.
Old parkings in Los Angeles are really awful, grey monsters spread everywhere. There´s a colorful one in Santa Monica, my favorite up till now that I´ve seen this project. I´m anxious to see the bright green panels, and I hope it´s not just an illusion for the night.
From architectural record:

¨The historic core of Downtown L.A. is on the upswing. Neglected commercial properties and prewar buildings abandoned during the latter half of the 20th century are being converted into residential lofts and art galleries, and St. Vibiana, the city’s former cathedral, which was damaged in the 1994 Northridge earthquake, has been restored and renovated into an elegant event space. Needless to say, the community was less than welcoming when they got wind of the LAPD’s plans to build a vehicular parking and maintenance facility on Main Street, the burgeoning Gallery Row, adjacent to the revamped church.
Taking their cues from the area’s cultural vibe, JFAK employed a whimsical combination of materiality, color, transparency, and light to minimize the impact of the 300,000-square-foot, five-story concrete structure. And although the architects incorporated an 800-car employee garage in addition to a mechanics shop, car wash, and refueling station for official vehicles, the program is subliminal.¨
Keep on reading:

Tuesday, May 24, 2011

Mitología y fundación de un pueblo o ciudad

Rómulo y Remo. Google images
¨Conforme a la interpretación tradicional, la cultura había nacido al producirse en Grecia el paso "del mito al logos", es decir, la sustitución de la mentalidad mítica y mágica por la racionalidad de la filosofía y la ciencia. En el siglo XX, se estaba describiendo el giro inverso: una crítica al "logos" occidental, que tenía mucho de vuelta al mito. Claro que el mito que se recupera entonces no es lo que un "logos" excesivamente seguro de sí mismo había imaginado que es: una aleación caprichosa de fantasías coloridas y sugerentes, pero completamente irracionales. Se descubre, por el contrario, que hay una verdad en el mito.(....)Esos cuentos folklóricos sobre héroes que realizan grandes hazañas o se enfrentan a monstruos legendarios no respetan la lógica, pero son racionales, bien que su racionalidad no es científica sino artística. Como el arte, los mitos seleccionan sus ingredientes de entre lo plural y fragmentario del mundo y, transformando el azar en necesidad, crean con ello la ficción de un orden significativo y unitario que integra lo meramente circunstancial de la experiencia humana en un todo comprensivo y legitimador. Por eso son siempre usados para explicar la fundación de una ciudad o de un pueblo, y por eso en el interior de nuestra conciencia flota también la mitología de nuestra identidad personal, satisfaciendo en nosotros la demanda de narraciones y colaborando con la obligada construcción narrativa de la realidad.¨
Javier Goma Lazon. Para El País.

Monday, May 23, 2011

The Majorelle gardens in Marrakech, Morocco

Majorelle gardens, Marrakech, Morocco. Picture by Alamy

Jacques Majorelle is born in 1886 in Nancy (France). In 1919 he settles in Marrakech to continue his career of painter, where he acquires a ground which was going to become the Majorelle garden. Since 1947 he opens his garden's doors to the public. Following a car accident, he returns to france, where he dies in 1962. in 1980 Pierre Bergé and Yves Saint Laurent repurchase the garden and restore it.
Majorelle gardens. Picture from  http://www.jardinmajorelle.com
Majorelle gardens. Picture from  http://www.jardinmajorelle.com
Contrasts, the colors, the light games seem go out of one of the pictures of Jacques Majorelle. It was one of the more important collectors of plants of his era, and this is in this spirit than enlarges itself from day to day the flore of the garden. Plants of the five continents are exposed in an enchanting framework. This that was the workshop of Jacques Majorelle, inspiration place and of contemplation, shelters today the magnificent art collection Islamic of Pierre Bergé and Yves Saint Laurent. The originality of these places lies in the combination of a luxurious végétation and architectural elements allying sobriété and traditional aesthetic Moroccan. The power of the blue Majorelle participates in the freshness impression and of quiétude.
REFERENCE

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