Category Archives: Not Just Architecture

posts on topics not easily described by any of these other categories

US 7,540,120

US7540120 is a United States patent for a Multi-Level Apartment Building. Patent attorneys aren’t likely to be apartment plan geeks so I pity the one whose desk this landed on. Perhaps I shouldn’t, because patent attorneys are skilled in untangling real novelty from mere claims to it. They also understand the importance of precise language because patent language is designed to accurately describe all that’s unique about an invention but at the same time be sufficiently encompassing so that protection isn’t lost if someone else makes some minor improvement or change. Phrases such as substantially and arbitrarily occur often because their meaning is defined. The term disposed is used to mean placed or arranged. The term a plurality of is used to mean a few, several, or many.

The structure of a patent application is also defined. At the beginning is a list of patents to which the invention refers or relates to. Then comes the Abstract. The one for US Patent 7,540,120 doesn’t tell us much because we’re not used to imagining buildings from written descriptions. This particular abstract is an accurate and concise description of the invention – it has to be.

A multi-level apartment building includes vertically stacked sections each containing at least one pair of apartments, where each apartment of an apartment pair contains a stairway assembly coupled to a vertically extending stair support wall assembly that contains utility distribution conduits. The stairway assembly for each apartment connects four levels of function space. One apartment of the pair in a vertical section is rotated 180 degrees in plan in relation to the other apartment of the pair which is entered on the opposite side of a public corridor that provides access to the apartments of the pair. The apartments are vertically stacked in alignment where an apartment of a pair is mirrored in plan in relation to a vertically underlying or overlying apartment of another pair, and the stair support assemblies of the respectively vertically stacked apartments are vertically aligned.

What it doesn’t tell us is why somebody would want to do that. Next comes Description of the Invention. This is divided into sub-sections, the first of which is Field of the Invention.

The present invention relates generally to a multi-level structure and, more particularly, to a multi-level apartment building having a plurality of apartments, where each apartment includes a plurality of rooms on levels connected by a stairway system that is coupled to a stair support wall assembly for receiving vertically extending utility services.

There’s a certain comfort that comes from words meaning exactly what they say, and no more or less. 

Next comes Background of the Invention. This sub-section tells you what the existing problems were that led to the invention being proposed as a solution. This is where the case for the invention is made.

The invention itself is described in detail in Summary of the Invention and cross-referenced to Brief Description of the Drawings where each drawing is described in detail. It ought be possible for an architect to fully understand this building from these.

Finally comes the Claims in which everything unique about the invention and worthy of legal protection is isolated and listed in a structured sequence of claims and dependent (sub-) claims. Each claim is written as a single sentence and is not easy reading. Governmental patent offices in the home country and countries around the world make rulings on whether the invention described by the Claims are unique and thus deserving of protection. 

The invention of US 7,540,120 has been granted a patent because it solves some identified problem in a unique and novel manner. If only architecture could always be so clear, with the use of words such as unique, novel and innovative limited to legally recognised and precisely described solutions to specifically identified problems.

If a person can’t call themselves an architect without being legally recognized as such, then why not have a similar requirement for architecture?  

After all, a patent attorney (or any lawyer, for that matter) would be comfortable with the statement “All hatmakers make hats” but not with the statement “All architects create architecture.” And neither should we. Making architects legally liable for false claims to aesthetic innovation would certainly clear the air, eliminate much noise. We can speculate on this some other time because, for now, I want to find out what’s so special about this novel and innovative architectural invention. It’s not every day one comes along. From the section and plan above it seems like a scissor-plan variant.

For reference, here’s the scissor plan of the 1962 Corringham apartments in London Kenneth Frampton had a hand designing. Scissor plans are confusing, even for the people who made these diagrams trying to explain them. The key to the section says 1 is the living and 2 the entry but it’s the other way around. The plan numbering corresponds to its key but not to the section numbering, even when corrected.

Background to the Invention

Multi-level buildings are a favored form of residential construction because they provide for improved land use and a high density alternative to sprawl. The buildings usually include a plurality of apartments where each of the apart ments is occupied by several individuals, such as a family. Such apartments, however, usually do not include all of the features and amenities that are ordinarily present in a detached suburban home. The apartments typically do not include such detached home features as split level living room and dining room function space, duplex height in a living room function space, duplex height windows as part of the living room space and that provide natural lighting to remote interior portions of the apartment, bedrooms located on separate levels to afford privacy from each other and also communal activities, views on opposite sides of a building, through ventilation, an exposed interior duplex height stairway and balconies without shadows and overhangs. The absence of many of the features and amenities usually present in a detached residence makes conventional apartments unappealing to the more mobile class of residential purchasers. […] Therefore, a need exists for a multi-level apartment building that addresses the needs of sprawling development by containing a plurality of apartments that can be fabricated with relative ease and where each apartment creates the illusion of spaciousness while providing expected amenities and consuming a minimum of floor area.

Frankly, I expected more, but this is the problem the inventors have set themselves to solve and it was judged to be a real and valid one. Their problem was that apartments don’t feel housey enough and they intend to solve this by providing:

  1. a split level living room and dining room function space,
  2. duplex height in a living room function space,
  3. duplex height windows as part of the living room space,
  4. bedrooms on separate levels,
  5. views on both sides of a building,
  6. through ventilation,
  7. a dramatic stairway,
  8. a balcony some distance from the one above, and
  9. creating an apartment having the illusion of spaciousness but consuming a minimum of floor area.

Let’s see!

  1. An access corridor runs across the building and apartments either side are mirrored and reversed or, in CADspeak, a copy is horizontally rotated 180° [not vertically around 180° as per a unité].
  2. The kitchen/dining area is on the same level as the entrance.
  3. The living rooms are on a level slightly lower than the kitchen/dining, and have a ceiling height slightly higher.
  4. A staircase in the corner of the living rooms extends upwards to access a minor bedroom above the kitchen/dining of the apartment across the corridor.
  5. The same staircase extends downwards to access the master bedroom beneath the kitchen/dining of the apartment across the corridor.

This basic unit can be repeated horizontally any number of times, and vertically as well if vertically alternate units are reversed, interlocked and stacked an arbitrary number of times. Don’t forget that a patent application describes a general principle and doesn’t need to describe what happens at the end of the building where a living room is minus a kitchen/dining room, or at the other end of the building where the kitchen/dining room lacks corresponding bedrooms and living area.

US07540120-20090602-D00014
The German application for the invention includes the following two helpful diagrams.

Bathrooms of one unit and the kitchen of another are thus sandwiched between living rooms above and below and this is why the stairwell support wall must have services run through it.

US07540120-20090602-D00000

In a patent application, the variation described in most detail is called the preferred embodiment (manifestation) of the invention in order to exclude other inventions that are substantially identical. These are also anticipated in the descriptions of other embodiments. The ones listed all divide the minor bedroom to configure a three-bedroom apartment and also feature alternative arrangments for the staircase – presumably to get the service riser out of the living room.

The inventors have solved most of the problems they set out to solve.

  • There is a split-level living room and dining room.
  • The living room is double-storey height.
  • There are double-storey windows.
  • Bedrooms are on separate levels.
  • The apartment has views in two opposite directions.
  • Some degree of cross ventilation exists.
  • The staircase is indeed dramatic even if it only goes to a minor bedroom.
  • Vertically above and below each double-height living room are two bedroom levels and a kitchen level so there are five floors betwen [vertically adjacent] living room balconies.

However, I’m not sure they have succeeded in creating an apartment having the illusion of spaciousness but consuming a minimum of floor area because, for one, I don’t know how it would be possible to objectively evaluate the success of an illusion. I’m also not sure if it has been done consuming a minimum of floor area. The typical plan below shows how the space (indicated in red) above/below the corridor (green) is not being used for any purpose than to pass over/under the corridor and contrive a double-sided apartment. The solution thus solves one problem but creates another. There may be the illusion of spaciousness and certain amenities (including the benefit of inscrutability) but it can only be said to consume a minimum of floor area until somebody comes along and solves the same problem in less.

The inventors did succeed in what they set out to do but they did not set the bar very high.

  • Apartments might be more attractive to more people if they successfully create the illusion of being more like detached houses but is a split-level living room and dining room, or a dramatic staircase really the best way to go? And if not what is? For some people, for example, a house might be all about opening the kitchen door to let the dog in, or having a basement and an attic. Instead of creating the illusion of an apartment being more like a house, it might be more worthwhile to explore what advantages apartments have that detached houses don’t.
  • A first, I thought the configuration was a scissor plan variant but it turned out not to be so. Having all living rooms on a preferred side of the building was not a problem the invention aimed to solve. There is scope for some other, future invention to incorporate this feature and be a completely new invention. 
  • I also initially expected it would be possible to horizontally extend apartments by making appropriate openings (and/or closures) in party walls to enlarge or reduce the volume of the apartment but this is not the case. We still lack a multi-storey apartment building configuration with the potential to be arbitrarily extended horizontally by having wall openings that can be arbitrarily opened/closed to access different staircases and their adjacent spaces. Such a method of configuring apartments would use similar elements and spaces to configure apartments of varying sizes and shapes and thus have advantages for construction cost and time savings. The challenge would be to do it with a minimum of walls having only latent party wall functionality and, as ever, a minimum of circulation space.

Good luck and let me know how you get on!

Twelve Books On Architecture

Introducing Architectural Theory [issuu, amazon] is a book that gathers together pieces of writing on various themes in architecture for the purpose of getting people – mainly architecture students – to do the following.

theory

The first two, a. and b. – are absolutely necessary. So are the next two, c. and d. and must be passed through in order to get to e. have original thoughts.

The texts in the book are mostly well known and organized into functional groups such as Ornament & Austerity, Honesty & Deception, Function & Form and Natural & Constructed. But even if the selection of texts is balanced, the choice of functional groups is not. It implies they will continue to have relevance (for theory at least) and also that how we think about architecture in the future can be informed by how certain people thought about those aspects of it in the past. This isn’t necessarily true. You may as well go it alone and read whatever interests you, spice it up with whatever crosses your path, let it cook, and see what happens.

Here’s some I’ve read. It’s not an exhaustive list as some I haven’t yet finished and others haven’t yet arrived. Other books I’ve given away and some I’ve gifted, sometimes inadvertendly but I’ve learned something from each of the books in even this small selection. One of the things I learned is that just because a thought is original doesn’t mean it’s any good, although it may make it more likely to be taken, or mistaken, as such. Also worth remembering is that not all the writers were architects. For those that were, I’d recommend keeping in mind the difference between what they said and what they did.

• • •

Towards a New Architecture, 1923, Le Corbusier

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Always fun. Read how Le Corbusier praises engineers for their pure thinking and how they applied it to objects that defined the age. See how he takes that thinking, adds to it all that people of the time thought virtuous about the architecture of ancient Greece, and then calls it new. In the chapter “Eyes That Do Not See”, Le Corbusier looks at various machines but sees them only as metaphors for a new architecture obeying old rules, rather than the genuinely purposeful architecture that was sorely wanted at the time.

• • •

The International Style, 1932, Henry-Russel Hitchcock & Philip Johnson

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Another classic, whichever edition you have. Be appalled by the lack of argument, the shameless prejudice and the shallow, mean and self-serving agenda. When reading the image captions, be horrified by what the pair thought worthy of comment, and then by the comments themselves. It’s an ugly book and you’ll feel unclean after having read it but, unfortunately, that’s why it’s essential reading. It is wrong to claim The International Style was the first introduction to modern architecture for the US. Magazines such as Popular Mechanics introduced it first and to far more people. The difference is that Popular Mechanics introduced modern architecture as a new way of building, The International Style reduced it to art.

Related posts:
The International Style 1932
Architecture vs. Building
The Things Historians Do

• • •

The Minimum Dwelling, 1932, Karel Teige

TeigeThe Minimum Dwelling

The fact this translation came so late is a shame, for Teige’s is an actual voice from the past, contradicting the constructed narratives of historians. Karel Teige is Le Corbusier’s only contemporary critic we now know of because this 2002 book, originally published in 1932, was only translated into English seventy years later. Czech, German and Russian architects were blessed with architectural journals translating and communicating American and British developments but the lack of flow in the other direction implies occidental arrogance. You can read what architects of the time were really concerned about, and who actually said what at CIAM meetings. It’s dense with text and thoughts. When read in conjunction with the previous book, it’s shocking to see the difference between how modern architecture was understood in late ’20s/early ’30s Europe and how it came to be communicated.

Related post:
Architecture Misfit #9: Karel Teige

• • •

 Theory and Design in the First Machine Age, 1960, Reyner Banham

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Modern readers will find this book difficult as it’s not written in Banham’s later and more readable journalistic style. It’s still well worth reading though, because Banham is the teacher you wish you’d had. He’s scholarly in a  good way. He doesn’t make unverifiable statements or attribute ideas to people to fit his argument, or without a thorough assessment of what information they could conceivably had had access to. His conclusions as to who thought what and who was influenced by whom are often at odds with accepted histories. The book was written over fifty years ago but is now a refreshing look at the fifty years before that.

• • •

 The Victorian Country House, 1973, Mark Girouard

the victorian country house

This book reminds you why books exist. It tells the story of these huge houses and the people who commissioned them and why. You read about technological advances, their failures and their successes. You learn how social conventions and pretensions were embedded in house plans as well as manifesting themselves in building size, massing and facades. You will learn that these buildings were a product of the people of their time, their aspirations, vanities and pretensions. It’s a bit gloomy when you realise how little has changed but, to counter that, Girouard’s writing is a joy and that’s something you don’t come across very often in books on architecture.

Kept out of polite society through her mother’s second marriage to a drunken clergyman, Lady Charlotte Guest married Sir John Josiah Guest, the Welsh ironmaster, and used his great wealth with skill and determination to establish their social position.

Related posts:
The Maximum Dwelling
The Maximum Dwelling: RESPECT

• • •

Exploding The Myths of Modern Architecture, 2009, Malcolm Millais

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If you want to read what an engineer thinks about architecture and its myths, then Millais is your man. Millais’ rebuttal is founded in the realities of physical forces and so is better than most. Read it and then put Modern Architecture and its myths to rest. The real 20th century architectural crime against humanity is how the definition of architectural worth was shifted away from buildings aspiring to provide a real social utility, and towards buildings providing only the appearance of one.

Related posts:
Architecture Myths #23: Architecture
Architecture Myths #22: Biomimesis
Architecture Myths #21: Total Design
Architecture Myths #20: The Villa Savoye

• • •

 The Language of Post-Modern Architecture, 1973, Charles Jencks

I once read an academic paper written about the books of Charles Jencks. I quote from Taylor & Francis Online.

This paper will discuss Jencks’s historiography of Post-Modernism by looking at the seminal texts that he wrote from 1970 until 2007, beginning with Architecture 2000 and ending with Critical Modernism. The main focus of this article is critically to examine his major work, the Language of Post Modernism, and to trace its evolution as a means of evaluating his contribution to the development of this movement, as well as to architectural historiography.

First published in 1973, we’ve all grown up with some edition of The Language of Post Modern Architecture. A succession of covers and revisions created the appearance of prolonged relevance and pushed its rediscovery into the future, thus making space for something even more egregious.

• • •

Yes Is More, 2009 Bjarke Ingels

big_architects_book_b111109_1

The scary brilliance of BIG’s architecture is how it reduces buildings to easily comprehensible images. The scary brilliance of the book is how it reduces architecture to easily comprehensible images. Neither is a healthy development. The book spreads its simplistic message as efficiently and ruthlessly as the plague but do not think the book simplistic. It is a sophisticated and ruthless marketing tool for a hugely successful architecture and publicity machine. Its comic book format is not the first time text was used to ornament images but it hastens the death of language all the same.

Related posts:
YES MAN
Moneymaking Machines #4: 2 World Trade Center (14% More BIG)

• • •

The Autopoiesis of Architecture, 2011, Patrik Schumacher

If you don’t want to buy the book, let me know and I’ll give you my heavily annotated copy as soon as I finish reading it. I should warn you that I began reading Volume I in October 2012! But my offer stands. I’ll toss in a mint-condition Volume II.

• • •

The Architecture of Neoliberalism, 2017, Douglas Spencer

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The antidote to the previous three books or, if you haven’t yet read them, the vaccination.

• • •

Against Architecture, 2012, Franco La Cecla

“A passionate charge against the celebrities of the current architectural world: the “archistars.” La Cecla argues that architecture has lost its way and its true function, as the archistars mold cityscapes to build their brand with no regard for the public good.”  An interesting notion – I think La Cecla might be onto something!  

• • •

The Art of Shakespeare’s Sonnets, 1999, Helen Vendler

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This book has more to do with the guts of architecture than some of the others in this list. Vendler takes each of Shakespeare’s sonnets and identifies and analyzes the poetic devices and mechanisms by which Shakespeare managed to construct such breath and depth of poetic meaning and beauty. With some sonnets it’s their structure, with others their rhythm or onomatapaeia, and still others the strength or combinations of allusions, associations or imagery. They all work within the constraints of the sonnet and the conventions of Elizabthean language.

“During the nineteenth century, the study of Shakespeare’s sonnets was governed by a biographical agenda. Later, it was also governed by the “universal wisdom” agenda: the sonnets have been mined for the wisdom of friendship, the wisdom of the acquiescence to time, the wisdom of love. But I’m more interested in them as poems that work. They seem to me to work awfully well (though not everyone thinks so). And each one seems to work differently. Shakespeare was the most easily bored writer that ever lived, and once he had made a sonnet prove out in one way, he began to do something even more ingenious with the next sonnet. It was a kind of task that he set himself: within an invariant form, to do something different—structurally, lexically, rhythmically—in each poem. I thought each one deserved a little commentary of its own, so I’ve written a mini-essay on each one of the one hundred and fifty four.” [from Paris Review]

For her efforts, Vendler has been criticized as “clinical” and her analysis as “forensic”. These days, her book is marketed as a companion volume to understanding the sonnets in order to pacify those who prefer to worship the unknowable magic of creative genius, and whose only wish is that it stay unknowbale. However, for those wanting to see how one man mastered the techniques of his trade and put them to good use, I know no better textbook.

Related Posts:
Aesthetic Effect #3: COMBINE

 

Performance Beauty

It’s good to take a break from architecture every now and then. 

So one evening last week I powered down the laptop and fired up YouTube on the flatscreen. I was in the mood for opera!  “Sure,” you may say, “but opera’s still about organizing people and how they move and interact in and around a space!”  “True,” I would reply, “but it’s got music and singing and drama and merrymaking, all of which architecture tends not to.” I wanted modern staging with simple means employed to maximum effect. I’ve nothing against minimal stagings such as this one for The Metropolitan Opera‘s 2012 production of La Traviata

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but object to starchitect product placement presented as either news or art, such as with this Don Giovanni set design by Frank Gehry

or this Cosi fan Tutte set design by Zaha Hadid.

I settled down to watch this production of Mozart’s Cosi fan Tutte. It’s always inspiring to watch things done by people good at their game and Mozart was definitely one of those. 

It was jolly enough and the simple set worked well and didn’t get in the way. When it ended, I let YouTube suggest what next. It turned out to be Cosi fan Tutte again, but this time with a rotating set having three scenes. Now, the set itself became part of the action. It was interesting to see what two different directors and set designers can come up with when given the same brief of satisfying some necessary requirements yet at the same time make something seem new and fresh again.

For some years I’d been trying to identify a particular piece of music that turned out to be the Dance of the Blessed Spirits from Christophe Willibald Gluck‘s opera Orfeo ed Euridice. I wanted to check it out and now was that time. My first find was this from choreographer Pina Bausch’s 2008 production. Pina Bausch is another person good at their game but, awesome as this is, it’s about dance not opera.

Now. In 1755, Francesco Algarotti had written his Essay on the Opera, calling for its simplification and for the emphasis to be on the drama instead of the music, dance or staging. Gluck and his librettist Ranieri de’ Calzabigi were the first to make it work. If they hadn’t, Wolfgang Amadeus Mozart (1756-1791) would no doubt have.

Orefo and Euridice was first performed in Vienna in 1762. Mozart’s fourth opera, Mitridate – Re di Punto from 1770 still had lengthy recitative and continuo bridges and is not as musically inventive or dramatically tight. He was fourteen when he wrote it though, and he had written only four operas before.

Gluck’s reforms were controversial at the time but they were good and timely ones that would change opera forever. The most important was to simplify the music. Gluck did away with long recitatives separating virtuoso arias. He did away with virtuosity – it was no longer about the star singers. Conductor Sir Roger Norrington said of him,

“Gluck’s significance is deeper than just his attempts at musical revolution. Gluck’s influence arose from his melodic genius as much as from his reforming zeal.  The touching honesty of his arias gives them tremendous power. I admire the way Gluck risks great simplicity in his musical methods, at a time when elaboration and show were taken to such lengths…” 

Keeping the music going was a major step in the development of modern opera but, more importantly, Gluck kept the plot moving. In the third act we even see a glimpse of that thing Verdi was to later perfect – the simultaneous singing of plural psychologies for dramatic effect. With Orfeo ed Euridice, the art was now in the drama and not in the dramatization. It was the first modern opera. The first version I came across had Janet Baker as Orpheus at Glyndebourne in 1982. Its staging seemed over-contrived.

janet baker

“Overly-contrived” is an accusation frequently leveled at opera staging. The Metropolitan Opera’s 2011 production of Orfeo ed Euridice came in for a bashing on that count.

Orfeo_Dance650

A 2008 French production erred in the other direction, also mistaking inadequate illumination for darkness. Drama is only dramatic if we can see it.

If anything’s going to be dramatic, then the scene where Orpheus pleads to be allowed to pass through The Underworld must surely be one of those instances?


“O, have mercy on me!

Ye Furies! Ye spectres! Ye angry shades!
May my cruel grief
at least earn your pity!

“Like you, O troubled shades,
a thousand pangs I too suffer.
I carry my hell with me,
I feel it in the depths of my heart.”

This production got it right. Along with everything else.

ORFEO-poster-large

The film was shot entirely on location in the historic Baroque Theatre of the Český Krumlov Castle. The theatre dates from 1680, and maintains today the stage equipment and machinery from the 1765-66 renovation, making it one of the oldest functioning Baroque theatres in the world. It is a UNESCO World Heritage Site.

This is not a film of a staged opera production for a public audience. This is an opera production designed specifically for film. There was no audience, all takes were sung live, and the entire spectrum of the theatre was used, including the backstage space, the flyspace, hallways, cellars, and the auditorium itself.

It’s a joy. We get to wander around an old theatre, hear some wonderful singing and get our fill of drama. We also get to watch some people very good at their game. It’s a great night in.

  • The stage staging is genuine Baroque, not some trendy re-imagining. amore2
  • Another improvement Gluck would’ve approved of is the elimination of the extended dance sequences. Nobody knows for sure what Baroque dance actually looked like anyway. Dance of the Blessed Spirits, lovely as it must have been, had to go. This production is lean, fast, and more dramatic and drama is the currency of opera as we now know it thanks to Gluck.
  • The part of Orfeo was originally written for a haute-contra (high-tenor) voice popular in the Baroque era. It’s more common for the part of Orfeo to be sung by either a contralto, mezzo-soprano or castrato – all of which are, to my mind, cheating. This production restores the lead role to a high tenor voice known these days as a counter-tenor (a.k.a. contratenor) and the male equivalent of contralto.
  • Getting rid of the audience is another innovation. This production is sung live, but not for the benefit of an audience of theatre-goers but for us out here. Film’s immediacy and closeness intensify drama.
  • Every now and then, we’re jolted into modernity by a glance, smile, nod, hesitancy or shrug we can relate to. Drama isn’t dramatic if we can’t relate to it.
  • The Underworld seems human, The Furies a bit harsh at first but okay once you get to know them.
  • There’s no fire or gates in this production. Hell is other peoplethe only obstruction.

Hell

  • Elysium is made to seem as if it might become a bit tedious and start to get on our nerves after a while. This is nice to know.

Elysium

  • Amor (a.k.a. Cupid) seems to just to screw people around.
  • But poor Orpheus! He goes through Hell only to find two new types of it after he’s reunited with his wife.
  • At the end, Euridice gets her priorities wrong, enjoying her moment of media glory to much. Orpheus walks away, leaving her to it. True hero.

Much of this art must be due to the Director, Ondřej Havelka and to to Bejun Mehta who sang Orfeo and was also artistic advisor, but something like this is the result of many persons’ skill, time, teamwork and dedication.

  • LIGHTING DESIGN
    Much use is made of candles but modern lighting is also used to dramatic effect – lights are dimmed for intense feelings, colour of light emphasises the difference between the dead and the living and in the same frame.
  • SET DESIGN
    The Baroque sets have a simplicity that’s charming in their quiet inventiveness but, as Gluck would have liked, are not the main event.

    Act 3The second time around for Eurydice, she ends up in the same place as the scenery whose time ‘onstage’ is over. This isn’t accidental – somebody devised it to be so. Somewhere, someone is thinking beautiful thoughts about the power of scenery and moving it around. It’s both delightful and shocking to see such quiet creativity at work – to see that there even still is such a thing.

    treesAlso, in nearly every frame you can see the colours red, blue, green and yellow. I don’t know why, but this seems to generate subliminal feelings of warmth towards a frame. (The last time I saw such an awareness of drama by colour was Paris, Texas.) The proportions of the colours of course change to intensify the drama of the scene. Hell is mostly blue, but never completely. There’s not much blue in Elysium and we sense something lacking. Also.

  • COSTUME DESIGN
    Mehta’s costume is a balance of muted primaries – skin tone providing the yellow. The most striking colours in the entire performance are the ones most off balance. His red sash always denotes him on the stage as the most important character. Amor, as you would expect, is another important exception with her brilliant gold breastplate and bow.

An art of this kind is the result of a shared LOVE FOR THE ART – and working to produce a tribute to that art. As either architects or image consumers, we don’t get to see that very often.
The performance wears its art and its artifice lightly. We’re also unaccustomed to that. The power and – I will say it – beauty of this performance come not from some forced newness for the sake of it but from a respect for the fundamentals. It gets its priorities right.

• • •

The opera is on YouTube for me or anyone else to watch anytime. I don’t have a DVD player and don’t intend to get one but I purchased the DVD all the same. This won’t restore any sense of fair reward to the world, but these people already have my respect and admiration. I needed them to have my money as well.

Rocket Science

The Rocket Stove is the application of pure thought to solve a problem that affects the health and lives of about one third of the world’s population.


Smoke from cooking fires kills two million persons per year, mostly mothers and small children. Stoves and open fires are the primary means of cooking and heating for nearly three billion people. In India, some 400,000 people die each year from the toxic fumes. In Africa, 500,000 children under the age of five die from pneumonia attributable to indoor air pollution, according to the WHO. Most of these deaths are attributable to cooking indoors over a three-stone cooking fire.

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• • •

Aprovecho_Letterhead

The Aprovecho Research Center

For over 30 years, Aprovecho Research Center (ARC) consultants have been designing and implementing improved biomass cooking and heating technologies in more than 60 countries worldwide. The Center was formally established in 1976, and is dedicated to researching, developing and disseminating clean cookstove technologies for meeting the basic needs of refugees, impoverished people, and communities in the developing world. For decades, ARC has been the world’s leader in open source development of all aspects of improved cooking stoves.

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Dr. Larry Winiarski works for the Aprovecho Research Centre. He’s known as the inventor of The Rocket Stove but it’s more correct to say he identified the principles that a Rocket Stove makes use of to work as efficiently and elegantly as it does .

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  • Air flows in from the fuel intake and is pre-heated for better combustion
  • The fuel partially blocks the air intake, allowing for a better fuel/air ratio.
  • The intake air is preheated for more efficient combustion.
  • Fuel burns horizontally at the bottom of the combustion chamber. Any smoke is drawn upwards through a high temperature zone, ensuring more complete combustion.
  • More complete combustion means less smoke.

  • The stove can burn relatively green wood. Moisture near the surface of the wood turns to steam that, when it comes into contact with hot charcoal, forms CO and H2 which are both combustible. Their combustion reaction further increases the temperature of the high-temperature zone, to ensure even more complete combustion, and even less smokeDr. Winiarski explains the mechanisms of combustion and heat transfer in this paper.

“One of the first things to recognize is that solid or liquid material does not burn directly. It must be converted to gasses in order to burn. Most biomass is hydrocarbons which, when heated convert to oil and oil vapors of many different types. Some oils such as fragrances, turpentine are visible or smelled even before the biomass is heated. Green, wet wood may contain as much as its dry weight in water and, in order to burn water, must be evaporated. Up to about 1000 BTUs of energy is used to evaporate each pound of water. At sea level and atmospheric pressure, the temperature of boiling water is limited to 212 degrees fahrenheit.

“Similarly heat energy must be provided to evaporate or distill each of the hydrocarbons formed from the wood. The lighter hydrocarbons are easier to change to the gas phase, heavier hydrocarbons like creosote take more energy, however if too much fuel surface is heated and the gases cool before they can intermingle and ignite with hot air or oxygen they will condense back into a fog our cloud of oil droplets. This is the smoke we see. It is analogous to the fog or cloud that forms when water vapor condenses. Heat must re-evaporate the oil droplets before they can burn. After the many different types of oils are combusted only charcoal remains. The hot charcoal first reacts with oxygen to form gaseous carbon monoxide. Then the carbon monoxide burns with the air to make carbon dioxide. Carbon dioxide is the final result of a clean burn. Smoke and carbon monoxide are wasted fuel.”

  • Twigs and other types of low-grade wood scraps not normally classed as firewood have a proportionally larger surface area to supply fuel for these reactions.
  • Low-grade scrap wood works better than high-grade firewood.

  • The horizontal burning of the wood allows for better monitoring and tending.
  • The stove can be designed to have an angled gravity feed.
  • Variations can be made to have a secondary heating “element
  • The flue can be vented through a thermal mass element that functions as a heat storage device for space heating.

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  • The stove can be made for practically nothing. 

  • You can make one yourself out of three cans.

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  • Four concrete blocks.
  • About 30 bricks.

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  • You can make a rocket-stove inspired architectural feature if you like.

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  • But, judging by the size of that air/fuel opening and the type/size/shape of fuel, it won’t function as efficiently one made of mud and using twigs for fuel.

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• • •

ashden-awards

Dr. Larry Winiarski & The Aprovecho Research Center

for having an idea for an object that’s as perfect as an object can be
and for releasing it to the world to be used wherever it brings benefit

misfits salutes you!

Too Clever for Words

There’s a book – The Humument – by artist Tom Philips. What Philips did was take a book, The Human Monument (W H Mallock, 1892) and artistically deface it to make a new story with a new plot and new characters. More or less. It doesn’t matter. Each page is a joy.

[no title: p. 56] 1970 by Tom Phillips born 1937

I’m going to give The Humument treatment to Michael Sorkin’s article Critical Measure: Why Criticism Matters from the June 2014 issue of The Architectural Review. Here’s the full article. Like A Human Monument, it suffers from being a bit long, a bit longwinded, skewed by the author’s preoccupations and prejudices and – most damningly – having no illustrations.  

To me, the point of the article seems to be to position Mr. Sorkin as conscience consultant to the architectural profession. It had to happen I guess as part of the ongoing outsourcing of architectural skills, but what’ll become of those who can’t afford this service? More to the point, what’ll become of us because of those who can’t afford this service?! Will we be condemned to suffer shapes that haven’t passed Sorkin’s critical digestion? Will we even notice?

Another comical theme is to reprimand Zaha Hadid Architects for not setting a better example regarding sustainability.

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I’ve neither the humour nor Philips’ talent so what I’m going to do is just delete the bulk of the text and keep only what amuses me or otherwise suits my purposes.

DISCLAIMERS: For all you Post-Modernists out there, I must state that Mr. Sorkin did not embed any specific text for me to discover. He did though embed meanings but for the most part they eluded me and I’m not sure whose fault that was. But for all you Deconstructivists out there, I should mention that my generated text was never a subtext of any kind. It follows its own path at times contradictory and at times parallel. And finally, if there’s anyone who actually bought into the recent attempt to resuscitate AdHoc-ism, a dictionary does not say all there is to say. Are we good to go?

• • •

CRITICAL MEASURE-1

I began this exercise intending to ridicule excruciating paragraphs such as this next. Make of it what you will. It doesn’t seem a great way to argue for why criticism matters. Oh to be paid by the word!

OT1

Greek

In the course of writing this post, I read between and across the lines and paragraphs in more than one direction. I saw and tested many juxtapositions of words and meanings. Some I played for cheap laughs and some I twisted to my own agenda. Some paragraphs I inadvertently paraphrased. The original meanings did not go unnoticed. I agreed three times at least with Sorkin and this I did not expect.

The Great Filter

Here’s a quick fly-through of The Universe. It’s fairly awesome.


We’ve recently found The Universe to be a bit more awesome.


Ahem… so then, WHERE IS EVERYBODY?!

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This is the Fermi ParadoxThe apparent size and age of the universe suggests that many technologically advanced extraterrestrial civilizations ought to exist. However, this hypothesis seems inconsistent with the lack of observational evidence to support it. 

We here on Earth have been announcing our presence consciously since 1974 with messages such as the Arecibo Message that looked like this, colour added.

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It shows how intelligent we are by indicating

  1. We can count from (1) to ten (10)
  2. We know the numbers of protons of the elements in DNA
  3. We know the formulae for the sugars and bases in the nucleotides of DNA
  4. We know the number of nucleotides in DNA and how they form,
  5. A selfie of a human, the dimension (physical height) of an average man, and the human population of Earth
  6. A graphic of the Solar System indicating where the message is coming from
  7. A graphic of the Arecibo radio telescope and the dimension (the physical diameter) of the transmitting antenna dish

The message has ten-fingered DNA-centric written all over it but it doesn’t matter – by the time it gets to where it’s been sent, its intended destination will have moved – which is not so clever. [Perhaps other “intelligences” are trying and missing as well?] In any case, SETI, the Search for Extraterrestrial Intelligence hasn’t turned up anything. Nada. Niente. Nanimo. We seem to be, for all intents and purposes, alone in the universe.

In 1968, Erich von Däniken didn’t think so.

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His book Chariots of the Gods? suggested that the technologies and religions of many ancient civilizations were given to them by ancient astronauts who were welcomed as gods.

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And so on. I haven’t heard much of von Däniken’s “WHO ELSE BUT ALIENS COULD POSSIBLY HAVE DONE THIS!” jumpy conclusions recently so they’ve probably been debunked by later books such as this.

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In 1996, Robert Hanson returned to Fermi’s question of “Where are they then?” and gave it some thought. He concluded there must be something stopping life from spreading throughout the universe as we feel it ought to. His line of thinking went like this.

With no evidence of intelligent life other than ourselves, it appears that the process of starting with a star and ending with “advanced explosive lasting life” must be unlikely. This implies that at least one of the following steps must be improbable. 

  1. The right star system (including organics and potentially habitable planets)
  2. Reproductive molecules (e.g., RNA)
  3. Simple (prokaryotic) single-cell life
  4. Complex (archaeatic and eukaryotic) single-cell life
  5. Sexual reproduction
  6. Multi-cell life
  7. Tool-using animals with big brains
  8. Where we are now
  9. Colonization explosion.

He concluded:

This is bad news. Really bad.

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It means that instead of developing warp drive and boldly going, it’s more likely that intelligent life in the The Universe invariably discovers industry and destroys their environments out of greed and poisons themselves to extinction. Alternatively – and this is no better – they discover nuclear weapons without first overcoming their ideological and/or tribal differences and thus manage to annihilate themselves. Evidence? Well, we’ve nearly managed to do both in our short time on the planet.

It’s not all gloomy though. Glimmers of hope are provided by counterarguments relying on the “it’s just that we see no evidence” loophole in the Fermi Paradox. Absence of evidence isn’t evidence of absence, they say. It’s a weak argument, but possible. It might just take too much resources and time for any civilisation to colonise the Universe. Earth might be too far out of the way or not worth a visit. Earth might be considered too troublesome or primitive to bother. Or any or all of these. The only counterargument that really interests me is

“Truly intelligent life might just want to keep to itself.”

The idea that intelligent life would by definition want to endlessly explore and colonise as much as possible is typical of us projecting our own aggressive and colonial history upon other inhabitants of The Universe, driven by our belief that appropriating other people’s habitats and exploiting them is A GOOD THING.

This is our prehistory of human life spreading across this planet. It’s our documented history of civilisation, and it’s also our modern history of conflict and aggression. It’s all our histories but we can’t assume other intelligences might or might want to act in the same way. In fact, we scare ourselves when we do imagine it.

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1950s stories of alien visitors doing to us what we would most likely would have done to them are routinely interpreted as the Cold War fear of “The Other” with the added frisson of impending annihilation due to the doctrine of Mutually Assured Destruction (MAD).

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The 1996 reworking of 1984’s V was the most recent outing of our fears of being done unto.

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Friendly or otherwise, we seem programmed to not like people who are not like us.

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We don’t look forward to actual meetings but nevertheless continue to scan space for radio transmissions that don’t appear random. This is what SETI does. 

SETI@home_Multi-Beam_screensaver

Do we really expect a truly advanced society to want to build engineering mega-structures visible from other planets or galaxies? Surely a truly intelligent society would turn off unnecessary lights at night?

ISS-30_City_lights_of_Dubai,_United_Arab_Emirates

We can’t understand why a truly advanced society might not want to get to know us. We can’t comprehend that intelligence may be inward looking rather than outgoing, or more interested in quality over quantity, or value comprehensive performance over visual appearance. This is the position of Seth Shostak of the SETI Institute. He says

the possibly flawed assumption is when we say that highly visible construction projects are an inevitable outcome of intelligence. It could be that it’s the engineering of the small, rather than the large, that is inevitable. This follows from the laws of inertia (smaller machines are faster, and require less energy to function) as well as the speed of light (small computers have faster internal communication). It may be–and this is, of course, speculation–that advanced societies are building small technology and have little incentive or need to rearrange the stars in their neighbourhoods, for instance.

In other words, advanced societies might simply just get on with sustaining and improving their societies, keeping to themselves, and developing the technologies they need in order to function in harmony with their neighbours and in balance with their resourcesThis is difficult for us to comprehend. When we try to visualise it we tend to appropriate the look and feel of primitive societies we think achieved that,

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or, less convincingly, ancient civilizations

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or, more recently, the Amish.

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This last example is interesting. Check out those houses! The problem of shelter appears solved as best it can for available levels of technology and resources. This Divergent imagery makes a virtue out of not making of statements of fashion and individuality. It’s fiction, but encouraging nonetheless.

abnegationActually, It’s been what Misfits has been saying all along, but it’s good to see these ideas get out into society from a different angle. Consider this next photo from our collective image bank.

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To be fair, these buildings were once thought of as virtuous but, for many then and since, these were boring buildings and, by association, the people who lived in them were boring people for whom individuality and artistic sensitivity meant nothing. The surrealism of the Divergent imagery comes from wrongly assuming that human virtue is only possible in the presence of artistic architectural invention. This is the default position of many architects. It’s questionable.

We can accept an advanced society being defined as one that’s found a happy equilibrium between existence and resources, but we’re still not used to the idea that such a society could be achieved far easier than we can imagine and at a level of resource expenditure lower than we expect. But it’s a start. The idea has been planted. Once again.

Architecture still has a long way to go if it is going to improve our chances of surviving a Great Filter of the climate change sort. Even the words we use to talk about buildings mirror our colonialist, capitalist and militaristic mindset. All of the following are seen as for the GOOD. These are the words that change descriptions into narratives.

COLONIALIST
EXPLORE is the preferred verb to describe the act of finding solutions.
EXPLOIT is what the solution does, particularly with topography and views.

MILITARIST
STRATEGY is what a plan for achieving something is now known as.
INTERVENTION is something thought to be desperately needed, and that one feels one ought to be thanked for having done.
WAR on poverty, homelessness, etc.

CAPITALIST
DEVELOPMENT is always positive, a good thing
ADDING VALUE is losing its abstract shades of meaning.
STAKEHOLDER is gaining abstract shades of meaning.
TAKE ADVANTAGE OF is the clever application of knowledge and intelligence
VIBRANCE / VIBRANCY is the ambient bustle and hum of low-level commercial activity.

The very words we use to talk about architecture exemplify a mindset that might not be compatible with the long-term survival of the human race. This mindset is everywhere.

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The use of “we”, “our” and “America” makes this message no more than a local wish for a global problem. There’s the implication that the planet is somehow at fault and that the cause of its warming is external. As we know, anything external is threatening, and necessarily destructive. It is the mindset of war, once again. It’s like those nasty polluting Chinese are out to get us this time.

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Scaremonering? Of course. What I like about the concept of the Great Filter is how it forces us to focus. To talk of “saving” the planet for future generations misses the point. If the Great Filter exists, there won’t be future generations.

The Great Filter takes no prisoners. There’s no such thing as semi-annihilation. The concept of The Great Filter restates Pascal’s Wager for our times in terms of actions and consequences that have no ambiguity.

The Great Filter either exists or it doesn’t. If it exists, then it’d be prudent to do the right thing so we don’t get filtered out of existence. If it doesn’t exist we’ll never know and so we have no choice but to believe it does and to live accordingly. There’s nothing to lose except a few luxuries. 

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“… to live accordingly.” This is a philosophical justification for not only environmentally responsible building construction but for an environmentally responsible architectural aesthetic as well.

If the Great Filter exists, then it’s not that such an architecture will serve us better in the long run, but rather that it’ll help ensure there is a long run.

He

Let’s ignore dark matter – we don’t know what it is anyway. Let’s hear it for Helium! It’s the second most abundant element in THE Universe. So YAY! PARTY ON!, and etceteras. Helium is 24% of the mass of all elements. Most helium in the universe is helium-4 resulting not from the Big Bang but the nuclear fusion of hydrogen in stars – not unlike our own – also creates large amounts of new helium. Your voice would sound very funny on the surface of The Sun. Post a video. I dare you.

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Hydrogen is the only element lighter than helium and its increased buoyancy made hydrogen an economical choice for airships. In hindsight, this was not a good idea.

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The use of helium in more recent, smiley airships is well known. Hurrah!

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We have treehugger to thank for this rundown on what airship proposals are currently on offer. HybridAirVehicles are responsible for the Airlander.

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Worldwide Aeros Corp is also doing some good work. The attraction of these craft is that they require much less fuel to take off and stay airborne. Their disadvantage is that their necessarily less streamlined shape limits their speed.

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Greendiary presents us with some less-grounded visions of future airship transport but we’ll stop it there.

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One new use for helium is in hard drives. Solid state memories may one day make hard drives obsolete but, until then, helium-sealed hard drives have advantages over conventional ones.

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The lower density of helium lets the disk spin with less turbulence. Less turbulence means less vibration and less noise. Lower turbulence means less friction which means less heat which means less cooling which means lower power consumption. Nice.

Regardless, the currently most important use of Helium is to cool certain metals to the extremely low temperatures required for superconductivity. The Large Hadron Collider at CERN requires 96 metric tons of liquid helium to maintain its temperature at 1.9°K.

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The most vital example is the superconducting magnets used for magnetic resonance imaging (MRI). A typical MRI scanner uses 1,700 litres of liquid helium, which needs to be topped up periodically. You may need one of these one day.

Modern_3T_MRI

Helium is useful.

On our beloved planet, Helium is only 5.2 parts per million in the atmosphere. Helium-4 nucleii formed by the natural radioactive decay of mainly thorium and uranium are trapped with natural gas in concentrations of up to 7% by volume and extracted commercially by a process called fractional distillation. Like oil and gas, Helium is a finite resource and is one of the few elements with escape velocity, meaning that once released into the atmosphere, it escapes into space. Never knew that. It cannot be artificially synthesised.

A company called Cyrogenic has developed a way to use far less helium to cool superconducting magnets. Apparently.

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On the left side of the image above, you can see Helium produced by the decay of Uranium and Thorium. Much of this gets trapped in natural gas reserves and is extracted as a by-product when the natural gas is tapped. A natural gas source must contain at least 0.3% helium to be considered as a potential helium source.

helium-deposit-model

Helium Resources (Billion Cubic Meters)(from USGS Mineral Commodity Survey)

United States 20.6
Qatar 10.1
Algeria 8.2

Russia 6.8
Canada 2.0
China 1.1

Here’s where it is in the US.

primary_helium_activity

Here’s the trends for its extraction, production, export and consumption. It’s running out. We’re using it faster than the planet is making it. By 2050 there won’t be any more. I’m not the first to point this out, but I’m in good company.

Another Cambridge lecturer, William Nuttall, called for the establishment of an International Helium Agency to prevent squandering the resource.

Royal Institution’s 2012 Christmas Lectures, Peter Wothers, will use the series to argue against wasting valuable helium gas in party balloons.

Don’t want be a party pooper, but it might be an idea to save some.

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Whimsical media fillers aside, architecture has little dependence upon helium.

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