Arch. Myriam B. Mahiques Curriculum Vitae

Monday, November 5, 2012

The origins of the City of Asgard


Asgard. A shot from the movie Thor. Google images
¨Thor swung himself backwards and forwards, and threw stones in every possible direction. Tyr sat down on the top of a precipice, and defied the winds to displace him; whilst Baldur vainly endeavoured to comfort his poor mother, Frigga. But Odin stepped forth calm and unruffled, spread his arms towards the sky, and called out to the spirits of the wind, "Cease, strange Vanir (for that was the name by which they were called), cease your rough play, and tell us in what manner we have offended you that you serve us thus."
The winds laughed in a whispered chorus at the words of the brave king, and, after a few low titterings, sank into silence. But each sound in dying grew into a shape: one by one the strange, loose-limbed, uncertain forms stepped forth from caves, from gorges, dropped from the tree tops, or rose out of the grass—each wind-gust a separate Van.
Then Niörd, their leader, stood forward from the rest of them, and said, "We know, O mighty Odin how you and your company are truly the Æsir—that is to say, the lords of the whole earth—since you slew the huge, wicked giant. We, too, are lords, not of the earth, but of the sea and air, and we thought to have had glorious sport in fighting one against another; but if such be not your pleasure, let us, instead of that, shake hands." And, as he spoke, Niörd held out his long, cold hand, which was like a windbag to the touch. Odin grasped it heartily, as did all the Æsir; for they liked the appearance of the good-natured, gusty chief, whom they begged to become one of their company, and live henceforth with them.
To this Niörd consented, whistled good-bye to his kinsfolk, and strode cheerfully along amongst his new friends. After this they journeyed on and on steadily westward until they reached the summit of a lofty mountain, called the Meeting Hill. There they all sat round in a circle, and took a general survey of the surrounding neighbourhood.
As they sat talking together Baldur looked up suddenly, and said, "Is it not strange, Father Odin, that we do not find any traces of that giant who fled from us, and who escaped drowning in his father's blood?"
"Perhaps he has fallen into Niflheim, and so perished," remarked Thor.
But Niörd pointed northward, where the troubled ocean rolled, and said, "Yonder, beyond that sea, lies the snowy region of Jötunheim. It is there the giant lives, and builds cities and castles, and brings up his children—a more hideous brood even than the old one."
"How do you know that, Niörd?" asked Odin.
"I have seen him many times," answered Niörd, "both before I came to live with you, and also since then, at night, when I have not been able to sleep, and have made little journeys to Jötunheim, to pass the time away."
"This is indeed terrible news," said Frigga; "for the giants will come again out of Jötunheim and devastate the earth."
"Not so," answered Odin, "not so, my dear Frigga; for here, upon this very hill, we will build for ourselves a city, from which we will keep guard over the poor earth, with its weak men and women, and from whence we will go forth to make war upon Jötunheim."
"That is remarkably well said, Father Odin," observed Thor, laughing amidst his red beard.
Tyr shouted, and Vidar smiled, but said nothing; and then all the Æsir set to work with their whole strength and industry to build for themselves a glorious city on the summit of the mountain. For days, and weeks, and months, and years they worked, and never wearied; so strong a purpose was in them, so determined and powerful were they to fulfil it. Even Frigga and her ladies did not disdain to fetch stones in their marble wheelbarrows, or to draw water from the well in golden buckets, and then, with delicate hands, to mix the mortar upon silver plates. And so that city rose by beautiful degrees, stone above stone, tower above tower, height above height, until it crowned the hill.
Then all the Æsir stood at a little distance, and looked at it, and sighed from their great happiness. Towering at a giddy height in the centre of the city rose Odin's seat, called Air Throne, from whence he could see over the whole earth. On one side of Air Throne stood the Palace of Friends, where Frigga was to live; on the other rose the glittering Gladsheim, a palace roofed entirely with golden shields, and whose great hall, Valhalla, had a ceiling covered with spears, benches spread with coats of mail, and five hundred and forty entrance-gates, through each of which eight hundred men might ride abreast. There was also a large iron smithy, situated on the eastern side of the city, where the Æsir might forge their arms and shape their armour. That night they all supped in Valhalla, and drank to the health of their strong, new home, "The City of Asgard," as Bragi, their chief orator, said it ought to be called.¨
Excerpt from The Heroes of Asgar

TALES FROM SCANDINAVIAN MYTHOLOGY BY A. & E. KEARY
USA 1909
CHAPTER I.
THE ÆSIR- PART I. A GIANT—A COW—AND A HERO.
An otherworldly, shimmering citadel, surrounded by thousands of monuments to the uncontested might of the Norse gods, in a land where the weather is always perfect. Text and picture from 


Sunday, November 4, 2012

Premio Ñ a la Trayectoria para Clorindo Testa

En nombre de Clorindo Testa, Oscar Lorenti y Juan Fontana reciben el premio de manos de Juan Bedoian. Foto Revista Eñe

He tenido la oportunidad de conocer personalmente al arquitecto Clorindo Testa, a través de los concursos. Y bien recuerdo que algo nos inquietaba en las contiendas. Si bien son ¨anónimas,¨ los dibujos de Clorindo son reconocibles, tienen esa maravillosa marca personal. Imposible no saber qué proyecto pertenece a Clorindo. Mi preferido, el Banco de Londres. No me atrae la nueva sede del Museo del Libro y de la Lengua en Buenos Aires, que no he conocido aún, tal vez a futuro cambie de opinión.
Me ha alegrado saber que el maestro ha recibido un premio por su trayectoria:
De la revista Eñe de Cultura:

En su discurso, Juan Bedoian, editor general de Revista Ñ, eligió la palabra “maestro”. Fue para referirse al arquitecto y artista plástico Clorindo Testa, que ayer recibió el Premio Ñ a la Trayectoria. Testa, que nació en Nápoles en 1923 pero que vive en Buenos Aires desde antes de cumplir un año, no pudo asistir a la premiación por razones de salud, pero participó especialmente del video en el que se recorrió su obra. Allí contó cómo su propia madre le dijo que “de ningunísima manera” se dedicaría a la Medicina, como su padre. Eso lo acercó primero a la ingeniería naval –desde los 13 años diseñó maquetas de barcos–, luego a la civil y finalmente a la arquitectura. En ese mismo video, el artista plástico Eduardo Stupía señaló que el límite entre disciplinas nunca estuvo presente en la obra inconfundible de Testa”. El premio, en su nombre, lo recibieron sus colegas Juan Fontana y Oscar Lorenti. Según Bedoian, “Testa tiene todos los premios que se merece y lo que se hace aquí es decirle una vez más cuánto tienen de admirable su personalidad y su obra”. El arquitecto, coautor del proyecto de construcción del actual edificio de la Biblioteca Nacional, comparte ahora el galardón con Ricardo Piglia, Griselda Gambaro, Roberto Fontanarrosa, Tomas Eloy Martínez y Hermenegildo Sábat, entre otros. La de ayer fue la novena entrega de un premio que se instituyó junto al lanzamiento de la Revista Ñ. “Que Clorindo Testa haya logrado una coherencia creativa en el campo de la arquitectura y en el universo del arte, dos espacios en su caso inseparables, es un hecho admirable. Que lo haya hecho por más de 60 años, ya lo transforma en un hecho extraordinario”, concluyó Bedoian, y en la Usina del Arte, más de cuatrocientas personas coincidieron y estallaron en un aplauso para el gran “maestro”.

Thursday, November 1, 2012

Ingrid Siliakus´ multilayered sculptures


I knew Ingrid Siliakus´ multilayered sculptures, but I´ve lost track of them until I´ve come across this post at
Here it says: 
¨In architectural criticism (mainly from the early '90s), the term “paper architecture” is typically used to disparage architects whose schemes are so unrealistic they’re unbuildable. The phrase is also applied to the emergence of “paperless,” computer-driven design studios. A third, less polemical definition comes from Japan, where a Tokyo Institute of Technology architecture professor named Masahiro Chatani developed a technique for cutting and folding single pieces of paper into elaborate 3-D models, drawing on traditional Japanese card making and pop-up books.
Chatani died in 2008, but a number of artists have continued his Origamicwork, among them, Dutch artist Ingrid Siliakus. Siliakus studied Chatani’s work in pattern books for years before attempting her first cut, but since then, her work has appeared in dozens of exhibitions and on the covers of the New York Times Style Magazine and Wallpaper
Enjoy!





Thursday, October 25, 2012

Bee hives in New York: for honey or for concrete production?

The Rosslyn Chapel hives; photos courtesy of the Times

Amidst all type of solutions for urban farming, it disturbes me to image thousands of bees on the rooftops. More than this, there is an article about bees that could produce concrete, if they are manipulated as "special bees." See what I've found:
Organic rooftop farming is all the rage these days, with places like Roberta's and Brooklyn Grange growing vegetables and other produce just a few hundred feet above street level. And now it seems that one of the city's swankiest hotels is looking to get into the mix: the Waldorf-Astoria New York has recently installed beehives on its roof, with plans to harvest honey and help pollinate plants in midtown.
Sweet Lord!
The Episcopal bishop of New York welcomed the newest members of his congregation yesterday: a hive of 15,000 bees he hopes will provide a harvest of tasty honey and help pollinate gardens.
“May the sweetness of their honey remind us of the sweetness of your [God’s] love for them,” the Right Rev. Mark Sisk said in prayer yesterday as he blessed the hive at The Cathedral of St. John the Divine.



Last month, over at Scotland's Rosslyn Chapel, it was announced that "builders renovating the 600-year-old chapel have discovered two beehives carved within the stonework high on the pinnacles of the roof. They are thought to be the first man-made stone hives ever found."

    It appears the hives were carved into the roof when the chapel was built, with the entrance for the bees formed, appropriately, through the centre of an intricately carved stone flower. The hives were found when builders were dismantling and rebuilding the pinnacles for the first time in centuries.
As the article goes on to point out, "Although human beings have collected honey from wild bee colonies since time immemorial, at some point they began to domesticate wild bees in artificial hives, made from hollow logs, pottery, or woven straw baskets. The Egyptians kept bees in cylindrical hives, and pictures in temples show workers blowing smoke into the hives, and removing honeycombs. Sealed pots of honey were found in Tutankhamun’s tomb." 

But, combining all these stories, what about bees that make concrete honey, artificially bred and housed inside hives in the spires of buildings? Hives that they themselves have printed? 

High up on the roof of St. John the Divine sit six symmetrical stone hives, inside of which special bees now grow, tended by an architecture student at Columbia University; the bees are preparing their concrete to fix any flaw the building might have. No longer must you call in repair personnel to do the job; you simply tap the sides of your concrete-mixing beehives and living 3D printers fly out in a buzzing cloud, caulking broken arches and fixing the most delicate statuary. 

Nearby homeowners occasionally find lumps of concrete on their rooftops and under the eaves, as if new hives are beginning to form. 

Wednesday, October 24, 2012

Golden Moon. By LEAD archs


I'm sharing part of the great post at archdaily.com, an amazing temporary structure by LEAD archs.

Location: 

Architects: Kristof Crolla, Adam Fingrut
Year: 2012
Photographs: Kevin Ng, Grandy Lui, Pano Kalogeropoulos, Courtesy of , Courtesy of Hong Kong Tourism Board



" The Golden Moon is a temporary architectural structure that explores how Hong Kong’s unique building traditions and craftsmanship can be combined with contemporary design techniques in the creation of a highly expressive and captivating public event space. It is the 2012 Gold Award winning entry for the Lantern Wonderland design competition organised by the Hong Kong Tourism Board for the Mid-Autumn Festival and was on display for 6 days in Hong Kong’s Victoria Park." 

Friday, October 19, 2012

The Euro´s sculpture reflections

Trying to set aside the economic crisis, I´d like to share the beauty of the Euro´s sculpture reflections:

The European Central Bank (ECB) sculpture is reflected in a window in Frankfurt, Germany. Photographer: Hannelore Foerster/Bloomberg

The Euro sculpture is partially reflected in a puddle on a cobblestone pavement in front of the headquarters of the European Central Bank.—Reuters Photo

“Carrito”, en el Festival Internacional de Diseño. Buenos Aires


El proyecto Carrito realizado por Normal se articula en el marco del IVº Festival de Diseño de Buenos Aires 2012, organizado por el Centro Metropolitano de Diseño de la Ciudad Buenos Aires. El proyecto busca estudiar y redefinir lo que quizás es la tipología gastronómica porteña de mayor popularidad, El Carrito de Choripanes. Se podrá visitar del 19 al 21 de Octubre de 2012 en el CMD. Carrito un proyecto que busca estudiar y redefinir lo que quizás es la tipología gastronómica porteña de mayor popularidad, El Carrito de Choripanes. El proyecto la adopta para reaplicarla a nivel formal y funcional, buscando fomentar las disciplinas de diseño en el marco del Festival Internacional de Diseño de Buenos Aires, a llevarse a cabo en Octubre de 2012. 
Mediante el “tuneo” de un Carrito existente, se plantea desarrollar un móvil que recorra la ciudad, buscando impregnar el caracter popular del referente al fomento de las disciplinas del diseño local. El Carrito se transforma entonces en una plataforma móvil que lleva el diseño a la calle y por ende a la gente a través de una programación acorde a su contextura tipológica y formal.

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Wednesday, October 17, 2012

Brett Herbst´s maize landscape art vs Nazca Lines


These pictures posted at inhabitat.com (Via Wired) caught my attention. Being a fan of archaeology, they vaguely reminded me of the Lines of Nazca in Peru, with the exception of the technology. Let´s read some paragraphs of two different posts to compare:


Spotted over at Wired Design, Brett Herbst might just be the King of Corn. He made his first corn maze in 1996, and since then he’s created over 2,000 spectacularly elaborate labyrinths as the founder of the company MAiZE. Using computer software, GPS technology, and a heck of a lot of imagination, Herbst has reinvented the traditional, autumn pastime into a work of art. As the one-time holder of the Guinness World Record for largest corn maize and the mastermind behind hundreds of sites across the country, Herbst has proven that he is head and shoulders above the rest of his field. As a Master of Maize, Brett Herbst puts an incredible amount of thought into each of his amazing pieces. Beginning with GPS coordinates and CorelDRAW design software, he marks out fields on a grid system that ranges in size from anywhere between 8-60 acres. Once marked out with flags, he spray-paints dots on the ground to indicate where the cuts in the corn crop should be made. Herbst’s crew then carves out the pathways with rototillers and riding lawn mowers. As if gigantic vegetable portraits of President Obama or Star Wars scenes were not enough to impress, Herbst also features words in the overall design of his mazes. He sometimes even uses “reverse cuts” in which the cornstalks themselves form blocked letters, creating positive space in the overall image.



The Nazca Lines are a series of geoglyphs located in the Nazca Desert, a high arid plateau that stretches 53 miles or more than 80 kilometers between the towns of Nazca and Palpa on the Pampas de Jumana in Peru. They were created by the Nazca culture between 200 BC and AD 700. There are hundreds of individual figures, ranging in complexity from simple lines to stylized hummingbirds, spiders, monkeys and lizards. The Nazca lines cannot be recognized as coherent figures except from the air. Since it is presumed the Nazca people could never have seen their work from this vantage point, there has been much speculation on the builders' abilities and motivations.
(....) 
Since their discovery, various theories have been proposed regarding the methods and motivations underlying the lines' construction. The archaeological explanation as to who made them and how is widely accepted; namely that the Nazca people made the lines using simple tools and surveying equipment. Wooden stakes in the ground at the end of some lines (which were used to carbon-date the figures) and ceramics found on the surface support this theory. Furthermore, researchers such as Joe Nickell of the University of Kentucky, have reproduced the figures using the technology available to the Nazca Indians of the time without aerial supervision. With careful planning and simple technologies, a small team of individuals could recreate even the largest figures within a couple of days.

From:

Nazca Monkey. Picture by Maria Reiche

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