Arch. Myriam B. Mahiques Curriculum Vitae

Thursday, November 15, 2012

Three pictures from Venice flood

 People dressed in rain gear sit on chairs in a flooded St. Mark's Square in Venice earlier this month. Photograph by Manuel Silvestri, Reuters


 High floodwaters in Venice this weekend made the water levels in the city's canals and on the streets about even. Photograph by Manuel Silvestri, Reuters


 Venice flood. Photograph by Luigi Costantini, Associated Press


Shared from National Geographic.com 
Though the flood must be problematic, I think the pictures are beautiful. And it must be a great experience to walk the flooded streets, while it´s not dangerous.

Wednesday, November 14, 2012

SYMPOSIUM CALL FOR PAPERS INTERDISCIPLINARY STUDIES: THE NEXT 25 YEARS


HILTON, PASADENA, CALIFORNIA, USAAugust 1-4, 2013
     The Journal of Interdisciplinary Studies celebrates its 25th anniversary of modeling interdisciplinary integration of the liberal arts with a call to explore the relevance of interdisciplinary studies for the next 25 years. In the last two decades, interdisciplinary studies have blossomed into a challenging venue for innovation in teaching and research. Remarkably, the natural sciences have turned to interdisciplinary engagement by the inner logic of discovery more than deliberate design. The National Academy of Sciences’ Facilitating Interdisciplinary Research confirmed the need for interdisciplinary approaches as the most relevant methodology for addressing major dilemmas confronting humanity in the 21st century. The National Science Foundation and the Association of American Universities also encourage interdisciplinary research. But the greatest need for interdisciplinary integration is in the social sciences and humanities, which explore complex human interactions and designs for living, including socio-psychological, economic, political, cultural, and spiritual dimensions in an increasingly interconnected world. The bourgeoning science-ethics-religion dialogue reflects a growing realization of the interdependence of all phenomena. The outstanding question, then, is: What are the most promising interdisciplinary methodologies to reinvigorate teaching and research that can inspire the quest for new knowledge, problem-solving, and syntheses across all the arts and sciences, which would enhance our understanding of the human condition in the global village? The urgency of this task is heightened by rapid scientific and technological advances which seem at times to outpace the human capacities to manage them for the common good.

 INTERDISCIPLINARY  STUDIES  2013  SYMPOSIUM  GUIDELINES:
   INTERDISCIPLINARY STUDIES 2013 endeavorto bring together scholars from a wide range of disciplines and denominations for an exciting international conference which takes both scholarship and faith seriously. Symposium VenueIS 2013 is co-sponsored by IIR-ICSA-JIS in the City of the Roses--the world-famous Tournament of Roses--in sunny Southern California, with many cultural/sightseeing opportunities. Send Abstracts (250 words) by: April 15, 2013 to: Dr. O. Gruenwald, JIS Editor, 1065 Pine Bluff Dr., Pasadena, CA 91107, USA, per e-mail (no attachments) to: IS 2013 (click for e-mail). Include: Paper Title, First & Last Name, faculty or student, mailing address, phone & e-mail. Publication: Fully-developed papers will be considered for publication in the Journal of Interdisciplinary Studies XXVI 2014. Conference Web: www.JIS3.org/symposium2013.htm  Registration: Symposium participants must preregister: $75 by 15April 2013; $100 after 15 April 2013; $150 after 1 June 2013.

IS  2013  SYMPOSIUM  STRUCTURE:
     Check-In: Thursday, August 13:00 PM - 6:00 PM, Hilton Pasadena. Reception: Thursday, August 1, 7:00 PM - 8:00 PM. Main Symposium Program: Friday, August 2, 9:00 AM - 9:00 PM; Saturday, August 3, 9:00 AM - 6:00 PM. Sunday, August 4: Cultural/Ecclesial/Sightseeing. Format: Multidisciplinary panels and papers. Participants are encouraged to attend the entire conference to enhance dialogue, synergy, and synthesis, as well as fellowship. Presenting a paper is not a prerequisite for participation. Indicate if you prefer to serve as discussant. Family members enjoy the reduced student registration rate. Audio-Visual EquipmentBring laptop or flash drive if desired for PowerPoint presentation. Cultural/SightseeingBefore or after the conference. Optional Field Trip: Huntington Library, Pasadena.

READ MORE

Sunday, November 11, 2012

The exhibition Design without Borders – Creating Change

WHEELCHAIRS FOR CHILDREN: Design without Borders has collaborated with the Guatemalan foundation Transiciones on the development of a wheelchair for children in Guatemala. Photo: Norsk Form/Kjersti Gjems Vangberg


Location: DogA, Oslo
Thursday 20. September 2012 - Sunday 02. December 2012
Free admission

The exhibition Design without Borders – Creating Change shows how designers contribute to creating social change in developing countries. Mine clearing equipment, wheelchairs for children in Guatemala, ecological urinal for slum areas and computers for young people living in villages. Design without Borders has for more than ten years developed products for and with developing countries and connected designers from the South with Norwegian companies. The objective is to create good, inexpensive solutions that can be produced locally. The exhibition Design without borders – Creating Change presents the products and solutions in the local context for which they have been created. The ecological urinal has been placed in a slum setting, and the wheelchair can be tried out on a cobblestone street. You can try out the new mine-clearing equipment while actually searching for mines and inside an emergency shelter you will find an earthquake simulator. Just as important as the finished products is Design without Borders’ work method. Through text, photos, and videos the exhibition communicates the important design process that lies behind the products.

TOILET SOLUTION: The ecological urinal developed by Design without Borders and SuSan-Design is odor-free and hygienic. A family in the slums of Nairobi is testing the new urinal. Photo: Kjersti Gjems Vangberg

Keep on reading:

A proposed "greening" of Lower Manhattan to absorb storm surges, designed by Stephen 

Cassell, Adam Yarinski, and Susannah C. Drake for the exhibition Rising Currents, Museum 

of Modern Art, 2010. ARO/dlandstudio/Museum of Modern Art

" As we contemplate the horrific damage caused by Hurricane Sandy, the world of design may seem remote from our most immediate concerns. Yet the urgent needs that follow large-scale catastrophes—the need for shelter, clean water, alternative sources of power—can be particularly conducive to creative solutions. I recently observed that breakthroughs in architecture and industrial design have emerged during wartime; now a remarkable new exhibition in Oslo shows that the same can hold true for natural disasters as well.
Presented by Norsk Form, the Foundation for Design and Architecture in Norway, Design Without Borders (the title is an obvious nod to Médecins Sans Frontières) presents realistic mock-ups of fourteen problem-solving design initiatives—ranging from post-hurricane relief to land-mine removal—in Norsk Form’s DogA exhibition space, which occupies a cavernous turn-of-the-twentieth-century power station in Oslo. For example, a life-size replica of a post-disaster shelter features insulated walls made from empty plastic beverage bottles stacked and held in place with chicken wire within wooden frameworks.
According to Leif Verdu-Isachsen, who organized the exhibition and edited its engaging catalog with Truls Ramberg,
After a natural disaster, we have about a two-week window of opportunity in which to engage the global public before its attention shifts elsewhere, so what we do has to be implemented very quickly. Furthermore, we know that on average these shelters will need to be used for about three years before permanent housing can be built, so the combination of rapid assembly and relative durability is essential."
REFERENCE: Martin Filler. Design from Disasters
http://www.nybooks.com/blogs/nyrblog/2012/nov/05/design-from-natural-disasters/


Friday, November 9, 2012

Pictures from New York City

Christmas Decoration – New York City NYC knows how to celebrate…everything! (Photograph by Corey Barker, My Shot)
The view from the Top of the Rock (Rockefeller Center). (Photograph by Asterio Tecson, Flickr)

Brooklyn Bridge – New York City

Late afternoon on the Brooklyn Bridge. (Photograph by Steve Minor, Flickr)


From the post at National Geographic.com

I Heart My City: Annie Fitzsimmons’s NYC


Read about NYC beautiful places to visit and enjoy more pictures:

Thursday, November 8, 2012

Esthetics and Spirituality: Places of Interiority. CALL FOR PAPERS


Deadline: 1 December 2012

Conference

Esthetics and Spirituality: Places of Interiority

Katholieke Universiteit Leuven, Belgium

16 – 17 – 18 May 2013

In the contemporary Western European world traditional, institutionalized religions are losing ground, while alternative religions, literature and the arts, film and media, as well as commercial enterprises are offering alternatives. Old concepts, symbols and rituals are translated into new forms.  This is a recurrent phenomenon: as sensitivities change throughout the ages, the ways to express this changed “interiority” change and result in new manifestations of spirituality. 

This multi- and interdisciplinary Conference on Aesthetics and Spirituality looks at how, both in the past and the present, people devise(d) new ways of conceiving and manifesting interiority. In order to look at the forms “interiority” has received throughout the ages we use different approaches: literature, cultural studies, theology, art (iconography/iconology), history (of ideas) and architecture, anthropology, political sciences/sociology, psychology, philosophy...  

How do exteriority and interiority relate? What does it mean to be in a place, to be at home in the world or with oneself (cf Pierre Nora,Les lieux de mémoire)?  How can urban planning, public and private buildings, furniture and other material things, clothes, prescribed attitudes, etc. be conducive to interiorization (conscious or unconscious reflections, contemplation)? Or, conversely, how can material factors repress interiority (cf repressive political systems)? In order to imagine a topology of interiority that would draw on an inter-disciplinary field of studies and research we invite papers on the different kinds of language which translate outside to inside and vice versa.

 

If interiority is a question of presence and orientation we need to look at

(a) Bodily expressions: a religious community prescribed a certain body language which could bring about a spirituality (cf. nineteenth-century feminine congregations focusing on nursing, weaving and embroidering); manifold forms of biblical spirituality (Schneider et al) inspire the body, while psychology of religion and psychoanalysis develop ways of readingreligious bodies (Vergote, Lacan, Vasse, Moyaert et al). 

(b) Expressions through things, images (iconology), words

-changes in the attitude to relics, books, icons, devotional cards, rosaries, … 

-different links between theology, art and literature produce different forms: the “bondieuserie” in France (1850s) differed from Pre-Raphaelite depictions of the divine (criticized by Dickens), or from the Pilgrim’s Movement in Flanders; after the Great War Benedictine spirituality was revived, while Franciscan spirituality brought a new attention for nature and animals in literature; 21st-century ecocriticism brings a new attitude to representations of nature, as do gender studies to aspects of spirituality …

(c) Changes in Ritual, as a means to link physical and metaphysical aspects of experience: which forms of ritual are depicted, developed, in contemporary literature, to mark forgiveness, reconciliation, or other transitions (to adulthood, married life, divorce, healing from sickness, death,…) Which theories of performativity are used in liturgy these days? Which kind of poetics are used in contemporary prayer? How do contemporary political symbols (fail to) develop? (Cf. prevalence of Christian symbols in commemorations of British army casualties et al). Can ritual help in conflict situations, and how are new rituals validated? How do religious institutions relate to the secularization?       

(d) Contributions relating to or focusing on Irish topics will be especially welcomed. 

Are Celtic symbols still known, used, adapted?  How does Irish urbanization, architecture, make space for interiority? How is “interiority” conceived at all in contemporary art and philosophy? Which places, moments, figures, phenomena, concepts, does contemporary film, drama, poetry, fiction, art, hold in special reverence? Does nature (stone, plant, animal) still harbour something sacred, and if so, how? Do angels still figure? 

Are there still references to the Jewish, Greek, Christian stories? Is twentieth-century and contemporary art, literature and film reacting or indifferent to this tradition, does it translate archaic symbols (animals and trees, food and drink, textile and books, home and travel, …) into new forms, or does it divest these old icons of their symbolism?
The conference is hosted by the KU Leuven, the Faculties of the Arts, Theology and KADOC (Interfaculty Institute of the KU Leuven for Documentation and Research for Religion, Culture and Society) in cooperation with the Leuven Centre for Irish Studies (LCIS). It will take place in the newly refurbished Irish college in Leuven (the Leuven Institute for Ireland in Europe). The Scientific Committee consists of Barbara Baert (KU Leuven, Arts), Reimund Bieringer (KU Leuven, Theology), Ralph De Koninck (Université Catholique de Louvain, Arts), Jan De Maeyer (KADOC, KU Leuven, History/Heritage), Borbala Farago (Central European University Budapest, Gender Studies), Veerle Fraeters (U Antwerpen, Literature), Christine Göttler (Universität Bern, Arts), Hedwig Schwall (KU Leuven/Kortrijk, Literature), Paul Vandenbroeck (KU Leuven/ Anthropology/Social sciences), Henrik von Aachen (University of Bergen, Norway, Arts)


Papers should not exceed 2500-3000 words (20 minutes’ delivery). Proposals for papers (250 words) and a short biography should be sent by e-mail to 

Hedwig Schwall , Hedwig.schwall@arts.kuleuven.be 

You will be notified by 20 December.

More information about the conference will be posted on www.irishstudies.kuleuven.be/ <http://www.irishstudies.kuleuven.be/

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!





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