Arch. Myriam B. Mahiques Curriculum Vitae

Tuesday, December 4, 2012

What architects can do after a natural disaster?

Furnishings on the streets of Red Hook, which suffered extensive flooding. Architezer.com


I am sharing an excerpt from an article in Architizer.com, just to pick up up the attention of architects and/or designers.
I have been lucky of not being in a natural disaster, apart from the huge storms in Buenos Aires, but I´m conscious that in catastrophes we shouldn´t be up on a pedestal just watching others work while thinking on the next competitions about the reconstruction of cities.
Up till now, the best example I´ve seen is this one, architects from New York, after Hurricane Sandy, helping in the aftermath, like anybody else.
Though, I still have noticed this issue of the licenses. The article clearly divides ¨architect with license¨ and designer (and the word could mean architect without license in USA). In my opinion, if experience is needed in catastrophes the authorities should ask for CVs-proof of expertise instead of licenses. This issue is clear in the context of the article.


Can architects put their services to use in the days and weeks following a natural disaster? We look at the Sandy-ravaged New York region as a case study.
 By C. J. Hughes

 More than two weeks ago, on October 29, Hurricane Sandy barreled ashore in the New York region, destroying what could end up being thousands of homes. But architects eager to help rebuild have little to do, at least when it comes to anything requiring their professional skills. At some point, designers who can determine a home’s structural damage will be needed, according to organizers of the relief operations in hard-hit coastal areas. But for now, these areas need volunteers who can clear debris, deliver food, and help people up and down darkened stairs. “There are still boats in people’s living rooms. There are still photo albums that belong to grandmothers that need to be salvaged. And this phase isn’t going away anytime soon,” says Thomas Thomas, a founder of Staten Island Strong, a relief group that has brought about 500 volunteers each weekend since the storm hit Staten Island’s South Shore. Continue. Thomas, who normally works on fashion shows and other events, hasn’t kept track of how many architects are in his crews, though he plans to create a database of members’ occupations soon. However, he suggests that any architects interested in rebuilding register with the Federal Emergency Management Agency (FEMA) to get properly ID’ed, so as to streamline the rebuilding process when it starts. “I can’t have just anyone walking in with a sledgehammer and taking out a load-bearing wall,” he says. FEMA didn’t return a call for comment.

John Cary, a design consultant who cofounded the nonprofit Public Architecture and runs the site Public Interest Design, agrees. (Cary also is a juror for the Architizer A+ Awards.) “There is a real need for people on the ground right now, and there will be for months,” says Cary, who has spent two weekends with Staten Island Strong stripping down houses to their studs to remove soggy dry wall and protect against mold. One potential hitch: Architects aren’t legally allowed to perform damage assessments as volunteers; New York doesn’t currently have any “good Samaritan” laws to protect them against any future lawsuits, like many states do. But Cary, who isn’t a licensed architect, hopes designers still pitch in with related tasks. “I would hate to think architects are sitting around because of lack of Good Sam laws,” he says.

KEEP ON READING:
http://www.architizer.com/en_us/blog/dyn/63057/are-architects-useful-in-the-immediate-aftermath-of-natural-disasters/#.UL1caYNX1WI

Seaside Park, New Jersey. After Sandy's devastation. Photo by Jo Hendley.
This picture reminds me Ray Bradbury's stories. Impressive

Monday, December 3, 2012

A church or a landscape installation?


I´m sharing all these pictures by Filip Dujardin from archdaily.com because I´m absolutely delighted with this installation. Though, I´m still thinking if it is just landscape art or it could be a church.
I had a discussion about it with my architect husband, he said ¨it´s just art,¨  but I reminded him about all the Apocalypse movies we have seen, there´s always and empty or destroyed church and people is still feeling it as a church, because you have this feeling that this is still God´s house.



For example, here is a screen shot from the movie ¨End of days¨ (From http://getfilm.co.uk/film.php?id=9946). Arnold Schwarzenegger is finally praying and it will be a matter of seconds that you´ll see the church in flames, with explosions and the devil inside. But Arnold looks at the angel and he feels faith.


This is another example. The abandoned church with zombies inside (screen shot from theofantastique.com), from The Walking Dead, 1st episode of season 2. After killing them, one of the human mothers is praying to God to save her girl, it doesn´t matter the condition of the church.
So, examples apart, I´m thinking how I would feel inside a church that is mixed with the landscape, with only one cross on top, no images of Christ or Saints inside. Maybe it´s the great communion with the landscape what is needed to feel in peace.


From archdaily.com:

Architects: Gijs Van Vaerenbergh

Location: , Limburg, Belgium

Stability: Ney&partners

Execution: Cravero bvba (steel) / MEG (foundations)
Initiator: Provincie Limburg / Z33
Year: 2011
Photographs: Filip Dujardin





‘Reading between the lines’ is a project by the duo , a collaboration between young Belgian architects Pieterjan Gijs (Leuven, 1983) and Arnout Van Vaerenbergh (Leuven, 1983). Since 2007, they have been realizing projects in public space together that start from their architectural background, but have an artistic intention. Their projects do not always originate out of the initiative of a classical client, for example, and carry a large degree of autonomy. Their primary concerns are experiment, reflection, a physical involvement with the end result and the input of the viewer. 
‘Reading between the lines’ is part of ‘pit’, an artistic trajectory with works by some ten artists in the region of Borgloon-Heers (in the Flemish province of Limburg). ‘Pit’ will be the first part of the exhibition project Z-OUT, an initiative in which Z33, the contemporary art museum of the city of Hasselt, presents art in public space (see also www.z33.be). On September 24th, Gijs Van Vaerenbergh will reveal a construction in the rural landscape, by a cycle route, that’s based on the design of the local church. This ‘church’ consists of 30 tons of steel and 2000 columns, and is built on a fundament of armed concrete. Through the use of horizontal plates, the concept of the traditional church is transformed into a transparent object of art.¨






Sunday, December 2, 2012

When graphic designs shows architectural concepts


m sharing these minimalist pictures of book covers from Luis Maram´s blog. I was delighted to see, just a simple word meant so much, and could describe one of the main features of the city in the travel guide.
And the slogan, beautiful. ¨Travel with words, meet the world.¨ Perfect.
Penguin is a famous editorial for its paperback books, it was founded in 1935 by Allen Lane.
Here´s the link to read the article in full (in Spanish)



Friday, November 30, 2012

Frank Gehry´s Museo de la Biodiversidad in Panama





The design looks to me like Gehry´s first works. This is the first of Gehry´s designs for Latin America.
I´m sharing the pictures from Clarin Arquitectura and the article by Juan  Décima. Read about it:

Sunday, November 25, 2012

Un mapa psicodélico de Buenos Aires. Por Franz Ackermann



Fotos y texto compartidos desde la nota de Ana María Battistozzi:

 Después de caminar por las calles de la ciudad durante días, el alemán Franz Ackermann pintó en el Faena Arts Center un mural que representa su experiencia del paisaje porteño. (...)
El gran mural de 260 metros cuadrados que concibió específicamente para el FAC y llamó “Walking South” por sus caminatas en este remoto lugar del Sur, fue realizado entre Buenos Aires y Berlín a partir de diversos recorridos por la ciudad. Fotografías, pinturas y un equipo de asistentes fueron la piedra de toque en esta realización a gran escala que ocupa con despliegue de recursos, color y forma el generoso espacio de la Sala Molinos, en Puerto Madero. “Durante diez días hice caminatas diarias desde La Boca hasta Palermo –reveló el artista–, anduve en bicicleta junto al Río de la Plata. Tomé el tren hasta el final de la estación y volví caminando hasta donde me resultó interesante. No es que haya encontrado grandes cosas a cada momento: sólo la vida cotidiana –destacó de esa gimnasia diaria que le permitió ingresar en el paisaje–, me gusta esta forma de urbanismo en la que uno es sólo una parte de una situación muy compleja.” Justamente el carácter complejo de esa situación es lo que plasman sus pinturas concebidas como collages, violentas fugas espaciales, tramas y texturas que alimentan diversas estructuras formales a pleno color y sobre todo a gran escala. La situación, desde ya, no puede ser contenida en el formato cuadro y lo desborda en un impulso que caracteriza a una parte importante de la pintura contemporánea. (...)
La travesía en pos de situaciones de interés es parte esencial al proceso de producción de este artista, que ha sido vinculado con la deriva “situacionista” y la “psicogeografía”, dos instancias del vagabundeo sin rumbo fijo que proponen una síntesis entre lo que pasa afuera y el mundo de las emociones y los afectos.

Lea la nota completa:

Lea sobre psicogeografía: (texto en inglés, por favor use el traductor a la derecha del blog)

Friday, November 23, 2012

What is Biophilic Urbanism?

Image from biophiliccities.org

¨For Professor Heerwagen, biophilia is best defined by the amazing biologist E.O. Wilson, who came up with the actual concept. It relates to the “innate emotional connection of humans to all living things.” In cities, for example, this means that people are attracted to trees and will pay more to live in areas with them. People will pay more for hotel rooms with views of nature. “These are things we intuitively know. We chose places that are greener.” Dr. Richard Jackson, former head of environmental health at the CDC, also made a similar point but connected nature with physical and mental health. Heerwagen quoted him: “In medicine, where the body is really matters.” Health is essentially place-based.

Research on the Benefits of Nature
Heerwagen outlined some fascinating recent research: In a recent study that examined the impact of exercising in nature vs. working out in areas devoid of nature, researchers found that “green exercise” in natural spaces “lowered tension, anxiety, and blood pressure,” beyond the benefits of exercise itself.
For kids, playing out in nature also has big benefits: “nature play is more imaginative.” Kids playing in nature play longer and more collaboratively. In contrast, in a closed-off playground, the play was “more aggressive and shorter.” While playing in nature, kids are “particularly attracted to spaces that offer protection and safety,” or “prospect and refuge.”
Researchers in the Netherlands recently looked at the benefits of what they call “Vitamin G.” Examining 10,000 residents in a massive study, the researchers found that the amount of green space in a 5-km zone around a person really impacts their health. “A 20 percent increase in nearby green space was effectively equivalent to another 5 years of life.”
Nature, said Heerwagen, also promotes positive emotions, psychological resilience, and wellbeing. Pleasant environments, researchers have demonstrated, stimulate opioid receptors so we actually feel a sense of pleasure.
Excerpt from: 
THE POWER OF NATURE

Edward 0. Wilson, a Harvard myrmecologist and conservationist, in popularizing the term "biophilia," suggested that we need daily contact with nature to be healthy, productive individuals, partly because we have co-evolved with nature.  Specifically, Wilson describes biophilia as "the innately emotional affiliation of human beings to other living organisms. Innate means hereditary, and hence, part of ultimate human nature."  To Wilson, biophilia is a "complex of learning rules" developed over thousands of years of evolution and human-environment interaction:

For more than 99 percent of human history people have lived in hunter-gatherer bands totally and intimately involved with other organisms. During this period of deep history, and still farther back ... they depended on an exact learned knowledge of crucial aspects of natural history... In short, the brain evolved in a biocentric world, not a machine-regulated world. It would be therefore quite  extraordinary to find that all learning rules related to that world have been erased in a few thousand years, even in the tiny minority of peoples who have existed for more than one or two generations in wholly urban environments.

The empirical evidence of biophilia, and of social, psychological, pedagogical, and other benefits from direct and indirect exposure to nature, is mounting and impressive. Research has shown that a connection with nature has the ability to reduce stress, aid recovery from illness, enhance cognitive skills and academic performance, and aid in moderating the effects of ADHD, autism and other child illnesses. A recent study by MIND, a British mental health charity, compared the effects on mood of a walk in nature with a walk in a shopping mall."' The differences in the effects of these two walks are remarkable, though not unexpected. The study concluded that "green exercise has particular benefits for people experiencing mental distress. It directly benefits mental health (lowering stress and boosting self-esteem), improves physical health (lowering blood pressure and helping to tackle obesity), provides a source of meaning and purpose, and helps to develop skills and form social connections."' The results showed marked improvements in selfesteem following the outdoor nature walk (ninety percent improved), compared to much smaller improvements for those walking in the shopping center (seventeen percent improved).'" Indeed, a large percentage of the indoor walkers actually reported a decline in self-esteem (forty-four percent declined). Similarly, the green outdoor walk resulted in significant improvements in mood. (....)
Ideally, biophilic urbanism requires action on multiple geographic scales in a "rooftop to region" or "room to region" approach. Access to nature can occur in many different ways and through access to a range and variety of natural features. The type and extent of these features will vary in part depending on the scale of attention. Ideally, multi-scalar attention results in a nested set of natural features that move from building and site to region and bioregion, creating the conditions for biophilic living. This, in turn, results in an extensive biophilic design palette.

Excerpt from:
Biophilic Urbanism: Inviting Nature Back to Our Communities and Into Our Lives
Repository Citation
Timothy Beatley, Biophilic Urbanism: Inviting Nature Back to Our Communities and Into Our Lives, 34 Wm. & Mary Envtl. L. & Pol'y Rev. 209 (2009), http://scholarship.law.wm.edu/wmelpr/vol34/ iss1/6

A more specific definition:

  • Biophilic cities are cities of abundant nature in close proximity to large numbers of urbanites; biophilic cities are biodiverse cities, that value, protect and actively restore this biodiversity; biophilic cities are green and growing cities, organic and natureful;
  • In biophilic cities, residents feel a deep affinity with the unique flora, fauna and fungi found there, and with the climate, topography, and other special qualities of place and environment that serve to define the urban home; In biophilic cities citizens can easily recognize common species of trees, flowers, insects and birds (and in turn care deeply about them);
  • Biophilic cities are cities that provide abundant opportunities to be outside and to enjoy nature through strolling, hiking, bicycling, exploring; biophilic cities nudge us to spend more time amongst the trees, birds and sunlight.
  • Biophilic cities are rich multisensory environments, the where the sounds of nature (and other sensory experiences) are as appreciated as much as the visual or ocular experience; biophilic cities celebrate natural forms, shapes, and materials;
  • Biophilic cities place importance on education about nature and biodiversity, and on providing many and varied opportunities to learn about and directly experience nature; In biophilic cities there are many opportunities to join with others in learning about, enjoying, deeply connecting with, and helping to steward over nature, whether though a nature club, organized hikes, camping in city parks, or volunteering for nature restoration projects.
  • Biophilic cities invest in the social and physical infrastructure that helps to bring urbanites in closer connection and understanding of nature, whether through natural history museums, wildlife centers, school-based nature initiatives, or parks and recreation programs and projects, among many others;
  • Biophilic cities are globally responsible cities that recognize the importance of actions to limit the impact of resource use on nature and biodiversity beyond their urban borders; biophilic cities take steps to actively support the conservation global nature;
Excerpt from

Image from biophiliccities.org

Wednesday, November 21, 2012

Priorities in Conserving Community Murals


Excerpt from Priorities in Conserving Community Murals. By Timothy W. Drescher. 2003
Compilation of papers 2004. The J. Paul Getty Trust

The crucial point has nothing to do with the technical aspects of materials, surfaces, and exposure; nor is it a matter of incorporating the visual field, especially architecture, into the design; nor is it a matter of size, but of the “social field.” 
I have seen community “dance murals,” heard “word murals,” and witnessed artists holding up postcard-sized paintings that they called murals. What is going on here? It is this: community murals are primarily social. They exist at the interface of the social and the artistic, but insofar as conservation is concerned, the key fact is to recognize that they are part of an ongoing social process. We use the word community for this social field in which community murals exist. It refers to the daily audience of the mural as well as to its producers and to the painting itself. This combination, whose interests generated the mural (otherwise it is not a community mural), is the most important aspect of any conservation project. However, the fact is that over time people in communities, including artists, change their attitudes, their likes and dislikes. Their murals reflect this variability, this dynamism. This changeability presents unique problems for conservators. So for community mural conservation, the most important factors are the determinant social contexts surrounding each mural, the complex social field of which the mural is a dynamic acrylic symbol. 
Many murals preserve marginalized or devalued histories specific to particular locations that have become recognized as significant to the broader society. It is unclear to me whether or not civic and government agencies, other institutional bureaucracies, or, indeed, the conservation community itself fully understand and share this priority. This situation is one reason that collaboration is essential in the conservation of community murals. For conservators, conservation of murals requires a different approach than usual. The traditional conservator’s job has been to conserve a static object, but community murals are not static—or they are, but only in a very limited sense. 
This observation does not mean that conservators have no role in the restoration of community works. Conservators bring vast technical knowledge to any project, expertise that is invaluable to any successful conservation. The fact is, many muralists and communities would like a conservator to do the work with no changes in imagery. If there are no problems, fine. Obviously, collaboration among “the community” and its artists and conservators (and others) is the optimum basis of successful community mural preservation. But problems can arise. Differences between accepted conservators’ practices and a community muralist can be determined and then resolved only in conjunction with the community, as described below. The roles of the several participants in a proposed conservation project must be reconceived in light of a community mural’s distinctive characteristics—that is, considered not merely as an art object but, most importantly, as part of a social process. The conservation of a painted surface must conserve the social, creative process of the original work as well as the painting itself. I will use a new word for this: sociocreative. With community murals, the goal of conservation is to preserve the entire sociocreative project.

Read more essays, proceedings, research about conservation at the Getty Conservation Institute:
http://www.getty.edu/conservation/publications_resources/pdf_publications/index.html

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