mammoth // building nothing out of something

emergency interventions


[One of the five sites for OPPTA's 2012 competition, "El Monton", "an accumulation of stratified waste classified as public space" by the city of Lima, in the impoverished riverbank neighborhood Márgen Izquierda del Río Rímac; images via OPPTA.]

OPPTA, the “observatorio panamericano”, is holding an international ideas competition under the theme of “emergency interventions”, looking for “technical, territorial, architectural, or infrastructural” responses to both “natural and anthropic” disasters on the American continents.  Five sites have been identified:

Petropolis. State of Rio de Janeiro. Brazil.
How to repopulate and reforest, respectively, an informal urban grid and an environmentally protected area, both under threat.

Puerto Saavedra. Región Araucanía. Chile.
How to recycle an urban grid which is under threat of natural disasters.

San Cristobel. Bolivar Department. Colombia.
How to manage the integral development of habitability in a territory affected by floods linked to climate change.

Chimalhuacán. State of Mexico. Mexico.
How to regenerate an urban grid resulting from accelerated processes of irregular settlement.

Cercado de Lima. Lima. Peru.
How to regenerate a non-planned settlement threatened by anthropic risks.

Registration for the competition is open now, and proposals are due April 16th; more information, including details on each of the sites, is available at the OPPTA website.

dredge @ studio-x nyc

We’re excited that we’ll have the opportunity in a couple weeks to do a live interview at Studio-X NYC:

For the first LI@SX of 2012, Studio-X NYC is delighted to welcome Rob Holmes and Stephen Becker of Mammoth and Tim Maly of Quiet Babylon, three-quarters of the Dredge Research Collaborative (with Brett Milligan of Free Association Design), for a short visual tour of hulking geotubes, silt fences, sensate geotextiles, and other monuments of the dredge cycle, followed by a lively Q&A and informal discussion on the unrecognized architectural possibilities of dredge.

While dredge is commonly considered a linear act of industrial engineering — a dredging machine arrives at a site, sucks up a great quantity of sediment, and deposits that sediment on some other site — we argue that dredging is better understood as a component of a wider network of anthropogenic sedimentary processes which generate a fascinating array of interconnected landscapes.  Fluid topographies are restrained by bright orange silt fences; dredging barges continuously empty shipping channels which are promptly re-filled with sediment disturbed by upstream farms and new subdivisions; sensate geotextiles monitor the stability of landscapes they are literally embedded in; hulking geo-tubes lay engorged with dredged sediments in streams on Filipino golf courses and along Mexican beaches and on the coastal dunescape of Virginian spaceports.  Silts, sands, and clays flow rapidly between these landscapes in liquid suspension, linking them and re-shaping the earth’s surface.  Collectively, the choreography of these landscapes embodies a vastly quickened counterpart to conventionally defined geologic cycles — the Dredge Cycle.

The Dredge Cycle is landscape design on a deliriously monumental scale, but unrecognized as an architecture. So far, it remains the domain of logistics, industry, and engineering, a soft successor to the elevated freeway interchanges and massive dams that captured the cultural imagination of the previous century, a new infrastructural vernacular for the self-aware Anthropocene.

At Studio-X, we’ll be talking both about what extant landscapes of dredge are like, and what potentials for design intervention they might offer.  The event, which is on January 24th from 6:30 pm to 8:30 pm, is free and open to the public; Studio-X NYC is 180 Varick Street, Suite 1610.

The evening’s conversation will serve as a prelude to a limited-ticket Festival of Dredge tour this summer, for which LI@SX attendees will be given reservation priority — look for more details on the Festival in the future.

everyday structures

Recommended reading: Alan Wiig’s “everyday structures”, a blog “explor[ing] the place of infrastructure in the urban landscape”, with a particular focus on “Hertzian space” and digital communications infrastructure. Wiig is studying geography at Temple University, so his blog most typically deals with landscapes in Philadelphia or its surrounds. Like many of mammoth‘s favorite things at the moment, “everyday structures” deals with the quotidian material conditions of landscape, posting both readings from Sanford Kwinter or Henri Lefebvre and snapshots of Pelton wheels or a homeless camp juxtaposed with broadband lines. In a recent conversation with a couple other landscape architects, I noted that I think geographers are, in many ways, doing a better job of conceptualizing landscape than landscape architects, particularly with relation to infrastructural conditions in the networked city — Wiig’s blog is an excellent example of that.

[Image at top is from the post "fiber along the road" on "everyday structures".  Wiig captions -- and I quote the full caption because it is the combination of image and caption that makes the typical snapshot on "everyday structures" fascinating -- "Automobiles turning, the fiber optic cable runs parallel to the road. Marlton Pike West, in the Garden State. That little white and orange marker in front of the "SO Cornell Ave -->" and "ALL TURNS -->" signs indicates the Internet and other forms of digital communication are flowing alongside the automotive and pedestrian traffic on this route."]

bracket [at extremes]

Bracket has issued a call for submissions for their third issue, [at extremes]:

Bracket 3 invites the submission of critical articles and unpublished design projects that investigate the potentials when situations extend beyond norms – into the extremities. We are conditioned, as designers of the built environment, towards the organization of people, programs and movement. Indeed the history of modern urbanism, architecture and building science has been predicated on an anti-entropic notion of programmatic and social order. But are there scenarios in which a state of extremity or imbalance is productive?

Ulrick Beck, in “Risk Society’s Cosmopolitan Moment” suggests that being at risk is the human condition at the beginning of the twenty-first century. While risk produces inequality and destabilization, he argues, it can be the catalyst for the construction of new institutions. The term extreme is defined as outermost, utmost, farthest, last or frontier. Bracket [at Extremes] seeks to understand what new spatial orders emerge in this liminal space. How might it be leveraged as an opportunity for invention?  What are the limits of wilderness and control, of the natural and artificial, the real and the virtual? What new landscapes, networks, and urban models might emerge in the wake of destabilized economic, social and environmental conditions?

Bracket [at Extremes] will examine architecture, infrastructure and technology as they operate in conditions of imbalance, negotiate tipping points and test limit states. In such conditions, the status quo is no longer possible; systems must extend performance and accommodate unpredictability. As new protocols emerge, new opportunities present themselves. Bracket [at Extremes] seeks innovative contributions interrogating extreme processes (technologies, operations) and extreme contexts (cultural, climatic). What is the breaking point of architecture at extremes?

The submission deadline is February 20, 2012; more details, including a typically stellar jury, available at the Bracket site.

[Image by Charles Negre, via but does it float.]

signs for naturalized areas


["Signs for Naturalized Areas", from Windsor, Ontario's Broken City Lab; the signs were installed in the summer of 2009, after a city workers' strike left various vacant lots unmowed and teeming with accidental plant communities.  The emergent flora were apparently commonly viewed negatively, as a symbol of the political conflict surrounding the workers' strike; the project aimed to invert that understanding, and suggest that citizens might instead view them as "wonderful additions to [the] urban landscape”.]

“Signs for Naturalized Areas” strike me as particularly interesting in light of my post from last week on “hypothetical signs”, as, like both the Hypothetical Development Organization and Gökçeoğlu’s mayoral campaign, these are also an example of signs-as-(landscape)-architecture.  The difference here, though, is that while both the HDO and Gökçeoğlu’s photoshops used signs as a means for publishing an architectural proposal — a story about how a place might be constructed differently — Broken City Lab used signs to advertise an extant but hitherto invisible quality of the landscape. These signs reveal, rather than inventing. (It is perhaps not a coincidence that the artists working in landscape utilize this mode of operation, while the HDO and Gökçeoğlu, working with buildings, operate in the other.)

dharavi: globalization and spontaneously mixed uses


[The following piece, on the surprising ways that the residents of the Mumbai settlement of Dharavi have integrated that urban agglomeration into global economic networks, and the value of the unique spatial formatting that both enables and results from that integration, is the second thoroughly-footnoted guest post we've run from Peter Nunns. (The first was "fecal politics".) After being on hiatus during the time when we published that first post, Peter is blogging again at Read after Burning.]

“The slum-dwellers,” he adds, “are experts at live-work space design. They spontaneously do mixed-use! We just have to learn from them.” [1]

When homes are also considered places of work – either unpaid housework or paid industrial homework – then the industrial geography of the city assumes new meanings. [2]

1 Mason 2011

2 Sassen 2001: 261

3 Patel and Arputham 2007, Fernando 2009

4 UN 2006: 37

Dharavi has been described as “Asia’s largest slum”. Between 600,000 and 1 million people live in 85 dense neighborhoods clustered on 2.4 square kilometers of low-lying, marshy land in the heart of Mumbai [3]. (Mumbai’s total population was estimated at 18.2 million in 2005 by UNDESA (2010).) It is one of the most overcrowded areas of Mumbai – and one of the worst-served by infrastructure. Dharavi contains an estimated 1,440 people for each toilet seat, meaning that “streets, lacking drainage, become channels for filthy water carrying human excrement” during the rainy season [4]. In many respects, it has become a byword for urban squalor and poverty.

5 Nijman 2009

6 Grant and Nijman 2003: 474

7 Patel 2010

8 Chalana 2010: 31

9 Benjamin 2008: 721

It’s also a chunk of incredibly valuable real estate. The relaxation of foreign investment rules brought an influx of capital into Mumbai in the 1990s, and land prices skyrocketed [5]. The city’s central business district was “the most expensive in the world” in the mid-90s, while “residential real estate prices spiralled up as well, in part in response to the influx of money from nonresident Indians” [6]. Dharavi, which lies between two of the main rail lines, with close access to the new financial district and the international airport [7], has been describes as the “Opportunity of the Millennium” for developers [8]. Remaking Dharavi would open up new territory for foreign direct investment and globally-linked industries that would benefit from proximity to the international airport and CBD. In the words of Solomon Benjamin, it would exorcise the “spectre of cities besieged by cancerous slums” by putting a “modernist spin on attracting economic development: ‘Bangalore transforming into a Singapore, Bombay [Mumbai] into a Shanghai, and Delhi into a London’!” [9]

10 Chalana 2010, Patel and Arputham 2007

11 The anticipated cost of the redevelopment rose to US $3 billion in the wake of the 2008 financial crisis.

12 Patel, Arputham, Burra and Savchuk 2009

The Dharavi Redevelopment Project (DRP), first proposed in 1996 by Mukesh Mehta, an American-trained architect working in Mumbai and started in 2004, is the latest attempt to capitalize upon inflated land values. It is intended to mix slum upgrading with the development of new office space and housing for Mumbai’s upper and middle classes [10]. The $2 billion DRP [11] calls for Dharavi to be divided into five zones, each of which would be designed and constructed by a separate property development firm. Residents who could prove their occupancy prior to 1995 (later extended to 2000) would be offered apartments on the same sites or new locations in exchange for their land [12]. A portion of profits from the sale of newly-constructed housing and commercial space would be used to finance upgraded housing for Dharavi’s low-income residents, while the rest would be returned to the city government and private developers.

13 Sanyal and Bhattacharya 2010, Nijman 2009

The purpose of the DRP is to globalize Mumbai; to create the sorts of “internationally competitive” living spaces and commercial areas required by globally-mobile businesses and workers in the “knowledge economy”. But this program ignores Dharavi’s actually-existing ties to the broader urban and global economies. The slum houses a wide range of informal enterprises that are integrated into globally disaggregated assembly lines through subcontracting arrangements. While we tend to think of slums as a form of low-income housing, Dharavi’s economic role is at least as important. Its living spaces often double as informal and unregulated production spaces – like many slums, it is a “spontaneous” form of mixed-use design [13].

14 Nijman 2009: 10, Fernando 2009

15 Sanyal and Bhattacharya 2010: 163

16 Nijman 2009: 10

17 Patel and Arputham 2007: 505

Roughly 70 to 80 percent of Dharavi’s residents work within the slum – an unusually high ratio compared with many other Indian slums [14]. It contains at least 5,000 industrial enterprises, which produce textiles, pottery and leather, jewellery, food products, and so on and so forth [15]. Its southwest corner “has a major cluster of plastic recycling factories, with some estimates of well over 500 units,” while many streets are “lined with retailing, food stands, kiosks, taxis, small restaurants, some hotels, etc.” [16]. These industries “provide incomes and livelihoods for hundreds of thousands of Mumbai citizens who would otherwise have no employment” [17]. Because they also entail a number of negative externalities – low wages, unsafe conditions, and high levels of air and water pollution – they rely upon the existence of flexible, unregulated space in the city center.

18 Fernando 2009

19 Sanyal and Bhattacharya 2010: 163

20 Harriss-White 2010: 131

Work done in Dharavi is a crucial part of the city’s economy [18]. Patel and Arputham observe that it “probably contributes far more to the Indian economy than most special economic zones.” Its annual turnover has been estimated at between $700 million and $1 billion [19]. And while Dharavi is somewhat unusual in the magnitude and diversity of its industries, it is part of a wider trend in India’s globalizing economy. According to Sudarshan et al, 30 to 40 percent of India’s exports now originate in the informal economy, which “includes entire industrial clusters making goods for export (metalware, machine tools, leatherware, textiles and garments, tools and equipment, and some IT services)” [20]. The expansion of India’s international trade is related to the growth of subcontracting networks and industrial homework.

21 Harriss-White and Sinha 2007, see also Frenkel and Kuruvilla 2002

22 Sudarshan et al 2007: 179

Over the past two decades, the country’s manufacturing sector has undergone parallel processes of upgrading and downgrading: businesses in the formal sector have become more capital intensive, displacing labor-intensive work into the decentralized and more flexible informal sector [21]. According to Sanyal and Bhattacharya, “sub-contracting from large firms to small firms has been increasing and consequently numbers of homeworkers, to whom small firms in turn sub-contract, are also increasing” (see also UNIFEM 2000). In 1999/2000, there were approximately 28 million homeworkers in the non-agricultural labor force, 30 percent of whom were located in urban areas [22]. The bottom reaches of subcontracting networks are predominantly female. Rani and Unni found that in 2000/01, “home-based [production] workers constituted about 81 percent of all female workers and about 46 percent of male workers.”

23 Sanyal and Bhattacharya 2010: 163

As the case of Dharavi demonstrates, these production arrangements also rely upon certain spatial arrangements. Slums are often ideal locations for combining living and work space – a fact that is often not appreciated by redevelopment projects. Consequently, the DRP is doubly problematic for residents: it threatens both their shelter and their livelihoods. Many of the central issues of contention relate to the preservation of Dharavi’s informal industries and mixed-use spaces. As a result, “the Dharavi resistance qualifies more as a ‘labour’ mobilization than slum dwellers’ resistance” [23].

24 Chalana 2010: 31

25 Chalana 2010: 32

The current master plan “entails building the rehabilitation housing zones on less than half of the original land, and allocating only 2 percent of the land to retain ‘‘non-polluting’’ industries” [24]. On the one hand, this would either increase density to an unsustainable level, or displace many of Dharavi’s residents. The project “would likely create additional homelessness, as some estimates suggest that about a quarter of the existing residents would not be eligible for rehabilitation based on the residency requirement,” which provides for resettlement only for households that can prove residency prior to 2000 [25].

26 Sanyal and Bhattacharya 2010: 163

On the other, the DRP proposes to replace existing shelters, which often mix domestic and industrial uses, with small residential spaces in high-rise buildings. As a consequence, the “entire business district as Dharavi is under threat because most of the enterprises do not have licences and so cannot find any place in the new redeveloped Dharavi [26]. Although “non-hazardous and non-polluting” workshops can potentially be rehoused, this will still mean closure of several important industries, such as pottery, leather goods, and recycling, and the loss (or displacement to the urban periphery) of tens or hundreds of thousands of jobs.

27 Patel and Arputham 2007, 2008, Patel, Arputham, Burra and Savchuk 2009, Arputham and Patel 2010

Two community organizations have contested the DRP, moving it into a “zone of negotiation” between inhabitants and city government. In a series of articles published in the academic journal Environment and Urbanization, the leaders of the Alliance have provided regular updates on political negotiations over the project [27].

28 Patel, Arputham, Burra and Savchuk 2009: 244

29 Patel, Arputham, Burra and Savchuk 2009, Chalana 2010

30 Patel, Arputham, Burra and Savchuk 2009: 244

31 Arputham and Patel 2010: 502

To date, residents’ activism has secured several important gains. First, proposed densities have been lowered significantly. New guidelines issued in October 2008 specified a maximum building height of eight or ten stories, as opposed to original plans for 20 to 30 story apartment buildings [28]. The size of rehabilitation apartments for eligible slum-dwellers has also been increased, from 225 square feet to between 250 and 300 square feet [29]. This will, of course, make them more livable – but it will also provide additional space for home-based industries. Likewise, there have been incremental improvements to the space available for work in Dharavi. The original plans called for 50 percent of the floor space offered for sale by developers to be used for upper/middle-class housing [30]. Guidelines released in 2008 specify that 80 percent be available for commercial use – although there are wide variations between the five proposed sectors [31].

The fate of Dharavi is likely to set a precedent for future slum redevelopment projects in India. Activists and developers are closely watching the case of Dharavi: if such a large, economically important space can be redeveloped without significant consultation with residents, it will open the door for similar efforts elsewhere. In their latest update, Arputham and Patel note that the DRP is already being considered as a model for the redevelopment of a 1.1 square kilometre slum adjoining the Mumbai International Airport, which currently houses 85,000 or more households on commercially-valuable land.

I suppose that I’m alluding to two different types of outcome here. The first is a social one – the DRP would make many current Dharavi residents worse off, or at any rate reduce their ability to make choices about the city in which they live. But leaving that aside (and it’s a large thing to set aside!), the DRP may be a flawed project even on purely macroeconomic terms. It’s an attempt to develop Mumbai as a global city that completely runs roughshod over the actually-existing globalization occurring there. In a sense, it’s a struggle over whether a type of informal mixed-use design, and a certain mode of global integration, is allowed to continue within Mumbai.

[On the topic of the DRP, this old Airoots post, which makes a similar argument for understanding Dharavi as a "self-generating post-industrial city", is also worth a read:

The inhabitants of Dharavi have a fantastic capacity to solve their own problems. For many, Dharavi has been a platform for social mobility to middle-classdoom. However, one problem the inhabitants cannot get their head around is the threat of a top down redevelopment plan backed by the state. This burdens the residents of Dharavi more than anything else. Not only does the state not help, it even comes in the way of self-development. Why would anyone invest in their homes or business if it risks being bulldozed in a few months or years?

What seems to separate Dharavi from the DRP more than anything else is a generational gap. In the age of user-generated content, open-source and P2P, the net generation connects intuitively with the archetype of the squatter, who, just like the hacker in another realm, delves in and strives to overcome loopholes leftover by the system, and uses community and social networking as its modus operandi. In fact, it makes total sense to understand Dharavi as a self-generating post-industrial city...

More than a master plan, Dharavi needs a liberation of the imagination. Lets drop the heavy CAD maps and GIS surveys and zoom in to the street level. All Dharavi needs is some creative photoshoping and less of a patronising colonial gaze. If allowed to develop through their own internal skills, if provided for with basic infrastructural and amenities, the hundreds of enclaves, will keep improving their conditions, as they have always done. While no one can imagine what the neighbourhood may look in a couple of decades, it is certain to represent the city’s spirit like nothing else.

Click through for the references for Peter's post.]

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hypothethical signs


[An image from Mehmet Ali Gökçeoğlu's mayoral campaign.]

This past summer on Places, Rob Walker, one of the artists behind the “Hypothetical Development Organization”, penned a brief history of architecture fiction and discussed the even-briefer history of that organization.  (The Hypothetical Development Organization was, if you are unfamiliar with it, a brief initiative which produced “hypothetical futures” for each of ten selected sites in New Orleans, with the proposals unbound “by rules relating to commercial potential, practical materials, or physics”.)  My favorite thing that Walker does in the essay is tracing the essential vein of weirdness that links the fiction produced by the Hypothetical Development Organization to the ordinary and common development signs that inspired the project:

“One day I went for a routine walk. My wife and I live in Savannah, GA, in an area that’s mostly residential, but interspersed with commercial and public buildings. It’s a nice stroll to an excellent bakery, my bank, a convenience store, the main branch of the public library.

Our neighborhood is the sort that people describe as “transitional,” and some of the property, both residential and commercial, is vacant. On one nearby commercial structure, vacant for the four-plus years we’ve lived in the area, I noticed a sign during this particular walk. You’ve seen similar signs, and I’d seen this one probably a hundred times, without ever really thinking about it. It was a rendering of a development, a future, involving a small, empty building. It suddenly struck me that, given how long this sign has been here, what it depicted was, at best, a hypothetical future — and arguably a fictitious one.

Since whenever this sign was first posted, the real estate market has collapsed, the old go-go economy has evaporated, and as it happens this building has been put up for sale. Any development that may take place some day would depend on someone buying it, and on what that party might want to do. Until then, it’s just another empty building that happens to have a sign on it. The disparity between the rendering and reality is considerable: In the rendering, in fact, the actual extant structure has been folded into a much bigger building, which in point of fact exists nowhere besides that rendering. In real life, it’s a vacant lot.

It further struck me that there are vacant buildings much like this one, with no definitive future, all over town — all over lots of towns. In a sense, then, our city streets are full of fiction, or something very much like it. The stories, mostly visual, are told in the form of colorful signs attached to drab or neglected structures, presenting speculations about how the very same physical place might look in some unspecified future. The abandoned office tower could house airy condos. The long-shuttered auto shop might morph into a gleaming boutique. The factory built for some bankrupt enterprise will, perhaps, burst with life again, its cheery mixed uses enjoyed by stock-image people representing a cross-section of pleasant citizenry. Sometimes these ideas are punctuated by the name of a development company and its Web address. But the story flows mostly from the beguiling picture, showing what could hypothetically happen, right here.”

This seems both fantastic — recognizing the strangeness of ordinary things examined closely — and exactly right to me — recognizing the fundamental similarity in genre between Archigram and Forest City, regardless of the massive differences in how they work within that genre.

It also reminds me of the story of the Turkish real estate agent Mehmet Ali Gökçeoğlu, who we read about in Emre Alturk’s contribution to Al Manakh 2, “Dubai, Copied and Pasted”.  You might say that, like Walker, Gökçeoğlu recognized something of the unrealized potential of the development sign as a fiction.  And, also like the story of the Hypothetical Development Organization, Gökçeoğlu’s story indicates the power of telling stories not as “a series of words”, but through “plans, schematics, models, renderings”.

Unlike Walker, though, Gökçeoğlu was not satisfied to let his pictures simply tell a story.  He ran for office on them:

“In January 2009, Mehmet Ali Gökçeoğlu, a local real estate agent running for mayor of Cesme, Turkey, publicized his campaign throughout the town in billboards and pamphlets.  His vision for the future of this Izmir borough was to make it the Dubai of Turkey, literally.  The imagery he deployed constituted aerial pictures of this touristic peninsula, fashioned with many projects previously proposed for Dubai including; an identical replica of the Palm Island, along with a tower of independently rotating floors to be the tallest in the world; a yacht marina, similarly to be the largest in the world; and an UFO shaped restaurant hovering meters above the ground.  It wasn’t long before the ‘most eccentric campaign of the elections’, as it was called by the media, made it to the national newspapers accompanied with snide remarks.  The imagery of the campaign circulated via email for weeks.  Eventually Gökçeoğlu wasn’t even close to securing the candidate post in his party — the ruling Justice and Development Party.  Enjoying a brief media attention, the campaign lived a short life in the absence of an endorsing sheik, money, public support, legislative basis and tax policies to attract desired foreign investment, or any substantial program for that matter.

There is hardly much to take seriously about the campaign.  But, wildly unfounded as it is, it does bring two things to mind.  First of all, it is striking that it caught a wide public attention at all.  Gökçeoğlu’s vision would have hardly found any audience beyond the small crowd that he is probably able to gather in a political rally, if it weren’t for the images.  It took him a — probably cracked — copy of Photoshop, some images pulled off the net, some hours of labor, and a modest capital to render this speculative agenda visible and palpable, thus mobilizing more attention and reaction…”

[Also on Places, the second installment in Mimi Zeiger's "The Interventionist's Toolkit" looked at the Hypothetical Development Organization as one of a series of "posters, pamphlets, and guides" occupying one niche in the world of "Provisional, Opportunistic, Ubiquitous, and Odd Tactics in Guerilla and DIY Practice and Urbanism".  (This niche is not unrelated to the nascent genre of the urban field manual.)  In BLDGBLOG post entitled "Urban Hypotheticals", Geoff Manaugh both describes the Hypothetical Development Organization and discusses more generally the potential uses and abuses of such speculative architectural projects.]

the network as industry


["Interior components of the cooling system" at a Facebook data center in Palo Alto; image via Alexis Madrigal's report for Domus on Facebook's Open Computer Project, which "describes in detail how to construct an energy-efficient data centre".]

“Secret Servers”, an article by James Bridle originally published in issue 099 of Icon magazine, looks at the relationship between architecture and the physical infrastructure of the internet. I found Bridle’s last few paragraphs particularly provocative:

“What is at stake is the way in which architects help to define and shape the image of the network to the general public. Datacenters are the outward embodiment of a huge range of public and private services, from banking to electronic voting, government bureaucracy to social networks. As such, they stand as a new form of civic architecture, at odds with their historical desire for anonymity.

Facebook’s largest facility is its new datacenter in Prineville, Oregon, tapping into the same cheap electricity which powers Google’s project in The Dalles. The social network of more than 600 million users is instantiated as a 307,000 square foot site currently employing over 1,000 construction workers—which will dwindle to just 35 jobs when operational. But in addition to the $110,000 a year Facebook has promised to local civic funds, and a franchise fee for power sold by the city, comes a new definition for datacenters and their workers, articulated by site manager Ken Patchett: “We’re the blue collar guys of the tech industry, and we’re really proud of that. This is a factory. It’s just a different kind of factory then you might be used to. It’s not a sawmill or a plywood mill, but it’s a factory nonetheless.”

This sentiment is echoed in McDonald’s description of “a new age industrial architecture”, of cities re-industrialised rather than trying to become “cultural cities”, a modern Milan emphasising the value of engineering and the craft and “making” inherent in information technology and digital real estate.

The role of the architect in the new digital real estate is to work at different levels, in Macdonald’s words “from planning and building design right down to cultural integration with other activities.” The cloud, the network, the “new heavy industry”, is reshaping the physical landscape, from the reconfiguration of Lower Manhattan to provide low-latency access to the New York Stock Exchange, to the tangles of transatlantic fiber cables coming ashore at Widemouth Bay, an old smuggler’s haunt on the Cornish coast. A formerly stealth sector is coming out into the open, revealing a tension between historical discretion and corporate projection, and bringing with it the opportunity to define a new architectural vocabulary for the digitised world.”

Though Bridle does not make this link explicit in the article, the idea of a potential “new architectural vocabulary” is clearly related to the “New Aesthetic” that Bridle began talking about this past May.  (I’ve always liked Matt Berg’s description of it as a “sensor vernacular”, and Robin Sloan’s “digital backwash aesthetic”.  I’m not sure either of those capture exactly what Bridle’s been talking about — more like pieces of it — but they all dance around the same set of things, or at least similar sets.)  Here’s Bridle’s original description, pinched together:

For so long we’ve stared up at space in wonder, but with cheap satellite imagery and cameras on kites and RC helicopters, we’re looking at the ground with new eyes, to see structures and infrastructures.

The map fragments, visible at different resolutions, accepting of differing hierarchies of objects.

Views of the landscape are superimposed on one another. Time itself dilates.

Representations of people and of technology begin to break down, to come apart not at the seams, but at the pixels.

The rough, pixelated, low-resolution edges of the screen are becoming in the world.

And when that — a new aesthetic vocabulary — gets linked to a “re-industrialization”, pulling together aesthetics, culture, economics, and politics, you’ve got a pretty significant project.  I’d like to talk about this at more length later, but for now I will just quote from Dan Hill’s fantastic 14 Cities project.  (Independent of the concerns in this post, the whole project is worth a read.)  This is the fourth of the fourteen fictional future cities Hill describes, “Re-industrial City”:

“The advances in various light manufacturing technologies throughout the early part of the 21st century — rapid prototyping, 3D printing and various local clean energy sources — enabled a return of industry to the city. Noise, pollution and other externalities were so low as to be insignificant, and allied to the nascent interest in digitally-enabled craft at the turn of the century, by the early 2020s suburbs had become light industrial zones once again.

Waterloo, Alexandria and the Inner West of Sydney through to Pyrmont once again became a thriving manufacturing centre, albeit on a domestic scale, as people were able to ‘micro-manufacture’ products from their backyard, or send designs to mass-manufacture hubs supported by logistics networks of electric delivery vans and trains. Melbourne had led the way through its nurturing of production in the creative industries and its existing built fabric.

In an ironic twist, former warehouses and factories are being partially converted from apartments back into warehouses and factories. Yet the domestic scale of the technologies means they can coexist with living spaces, actually suggesting a return to the craftsman’s studio model of the Middle Ages. The ‘faber’ movement — faber, to make — spread through most Australian cities, with the ‘re-industrial city’ as the result, a genuinely mixed-use productive place — with an identity.”

[For more on the New Aesthetic, read Rob Walker's recent interview with James Bridle at Design Observer.  It's also well-worth checking out the essay in Domus by Alexis Madrigal that the image at top is taken from.]

cellular confinement


[Cellular confinement systems were originally developed by the Army Corps of Engineers to facilitate the quick construction of temporary roads for heavy military vehicles; photograph from a Neoloy brochure.]

In a remote polar region, there is a small country that is rarely visited by outsiders.  On the advice of a rogue Army Corps of Engineers liason — who was attached to the American embassy there in the mid-seventies and forgotten when the embassy was closed a decade later, but who, through his close relationship with the country’s ruling party, has become the country’s Minister of Internal Improvements — all of the nation’s roads are constructed using built-to-fail cellular confinement systems.  What this means, of course, is that the nation’s roads are completely ephemeral, constantly appearing, disappearing, and re-appearing in response to the whims of commerce, the dictates of the Ministry, or even the happy mistakes of mis-directed or confused systems crews.  You drive in to lead a medical clinic, and two years later, when you go to leave, the road you came in on has disappeared.  Or zags northwest instead of northeast.

Maps of the nation’s roads are thus out of date as quickly as they are drawn, though it should be noted that clever cartographers have taken to color-coding the lines for roads based on their expected date of expiration.

low roads and architecture


[Building 20 at MIT, a "250,000-square foot wood building [that] hosted the development of many important research disciplines from Chomskyan linguistics to the new style of computing promoted by early hackers”.]

1. Alexis Madrigal writes about “Low Road” buildings:

…startup lore says that many companies were founded in garages, attics, and warehouses. Once word got around, companies started copying the formula. They stuck stylized cube farms into faux warehouses and figured that would work. The coolness of these operations would help them look cool and retain employees. Keep scaling that idea up and you get Apple’s ultrahip mega headquarters, which is part spaceship and part Apple Store.

But as Stewart Brand argued in his pathbreaking essay, “‘Nobody Cares What You Do in There’: The Low Road,” it’s not hip buildings that foster creativity but crappy ones.

“Low Road buildings are low-visibility, low-rent, no-style, high-turnover,” Brand wrote. “Most of the world’s work is done in Low Road buildings, and even in rich societies the most inventive creativity, especially youthful creativity, will be found in Low Road buildings taking full advantage of the license to try things.”

Brand’s essay originally appeared in his book, How Buildings Learn, and has just been re-released as part of The Innovator’s Cookbook, a new Steven Johnson-edited tome of great essays about inventing stuff. It couldn’t come at a better time. The aesthetic of innovation now dominates the startup scene, but it’s like the skeleton of a long-dead invention beast. The point of a Low Road building isn’t that it looks any particular way but rather that you could do anything with and in them. “It has to do with freedom,” as Brand put it.

While Madrigal is writing for the Atlantic‘s Technology channel, and is consequently concerned with Low Road buildings as the places in which technological innovation happens, the thing that interests me here is what the Low Road building says about architecture. That is,  if Building 20 is where innovation happens, but Apple’s megaheadquarters are where architects get involved, then is architecture’s relationship to innovation merely that architects get involved with an organization after it has lost the capacity to innovate? Is architecture’s relationship with innovative organizations primarily that it instantiates their ossification?

2. Or is there a role for architects to play in the spatial structuring of innovative and vibrant organizations? If so, what does this architecture look like? Madrigal and Brand suggest that, whatever this architecture might be, it certainly doesn’t look like Norman Foster and Frank Gehry — whatever the merits of their work may be.

Dan Hill speculates about such an architecture in an old City of Sound post:

“Brand uses this point about the endless productivity of these old spaces to reinforce one of Jane Jacobs: that new ideas generally can’t come from new buildings (The Death and Life of Great American Cities). However, if the Smithsons had attempted to design Sheffield University – a defiantly new building – with the characteristics Brand was looking for in old buildings, perhaps the situation is more subtle than Brand and Jacobs suggest? One hopes so, as much as it makes good sense to reuse suitable old built environment. There are strong ideas in Gehry’s building, in terms of creating ‘trading zones’ forcing disciplines together (more on this theme in a forthcoming entry on Richard MacCormac’s new Broadcasting House building) and it’s important to resist forgoing innovation and modernity in such buildings in favour of simply lobbing up portakabins for the sake of ongoing adaptability. Adaptability and modernity surely needn’t be mutually exclusive.”

(Another City of Sound post from the same time period discusses the Smithson’s work at Sheffield University.)

3. Commenting on Madrigal’s piece, Bill Woods adds a quote from C. Northcote Parkinson’s Parkinson’s Law:

It is now known that a perfection of planned layout is achieved only by institutions on the point of collapse. This apparently paradoxical conclusion is based upon a wealth of archaeological and historical research, … A study and comparison of these [buildings] has tended to prove that perfection of planning is a symptom of decay. During a period of exciting discovery or progress there is no time to plan the perfect headquarters. The time for that comes later, when all the important work has been done. Perfection, we know, is finality; and finality is death.

Satirical or not, it seems that there is a useful lesson for architects in this, as it would be terrifically sad if we defined architecture so that great architecture is possible only in an era of decay.

4. Finally, I’m reminded of a comment that Bryan Boyer made in an extended discussion at Rory Hyde’s blog at the beginning of the year. Boyer described his thesis work (which proposed a new capitol for the United States) as being an investigation into “the organizational consequences of spatial decisions made without any spatial understanding”. It seems to me that, if there is a role for architects to play in the life of organizations or institutions which find themselves in “a period of exciting discovery or progress”, it will almost certainly involve understanding the organizational consequences of spatial decisions — and being able to demonstrate convincingly that architects bring a kind of understanding to those decisions that will improve them as they are made.

“bundled, buried, and behind closed doors”

["Bundled, Buried, and Behind Closed Doors", a documentary short by Ben Mendelsohn and Alex Chohlas-Wood, looks at one of our favorite things -- the physical infrastructure of the internet -- and, in particular, the telco hotel at 60 Hudson Street. It's particularly fascinating to see how 60 Hudson Street exhibits the "tendency of communications infrastructure to retrofit pre-existing networks to suit the needs of new technologies": the building became a modern internet hub primarily because it was already a hub in earlier communications networks, permeated by pneumatic tubes, telegraph cables, and telephone lines, and thus easily suited to the running of fiber-optic cables. (This is important because it demonstrates the relative fixity of infrastructural geographies -- like the pattern of the cities they are embedded in, the positions of infrastructures tend to endure even as the infrastructures themselves decay and are replaced.)]

squirrel highways


["Squirrel Highways", a drawing by Denis Wood, Carter Crawford and Shaub Dunkley, from Denis Wood's Everything Sings: Maps for a Narrative Atlas, which Wood describes as a "cartographic poem" about the North Carolina neighborhood of Boylan Heights, where he lives.  Wood evidences a fantastic ability to animate prosaic terrain through the making of maps which are simple in conception,  deliberate in execution, and, I think, derive their power from the splendid isolation that they render each element of that terrain in -- power poles and power lines, traffic control signs, delivery routes, bus routes as choreography akin to ballet, etc.

Read more about Everything Sings and view a gallery of Wood's images at Places.]

soft landscapes

This week, I’ve organized a short (very short) lecture series for the students in my studio (well, the “Post-Natural Ecologies” half of the studio) at Virginia Tech’s Washington-Alexandria Architecture Center.

Tuesday at 5:15, Fred Scharmen (sevensixfive/the Working Group on Adaptive Systems) will give a talk entitled “Soft Sites”, examining four sites on the Middle Branch of the Patapsco River, which are “all located at the intersections of infrastructure, industry, and commerce”.  Though these sites are seemingly “castoffs”, Fred argues that “closer examination reveals a more complicated reality – [they] are in fact mirrors of their surroundings, visible evidence of the shifting political, economic, environmental and cultural interests that compete to determine the creation of new space and development”.

Friday at 4:00, Brett Milligan (Free Association Design) will speak on “Landscapes of Dredge: Cycles and Choreography”, looking at the industrial act of dredging as a component of a wider system of anthropogenically-accelerated sediment handling processes which generate a fascinating array of diverse and bizarre landscapes.  (Brett is based in Portland, Oregon, and will be joining us via the internet.)

While this is rather late notice, both of the lectures are free, so if you’re in the DC area either tomorrow (Tuesday 25 October) or Friday (28 October), feel free to stop by — as the poster above says, we’ll be in the Red Room of the WAAC (1001 Prince Street).

auckland volcanic field

Above and below, snapshots from “Auckland Volcanoes”, a map by Carl Douglas.

Carl’s map marks the location of each of the volcanic craters that dot the surface of Auckland.  The craters exhibit a fascinating variety: some have been heavily altered by mining operations (which particularly seek volcanic scoria, a type of rock suitable for use in landscaping and drainage construction); others have been “subsumed by suburbia”, as Carl puts it; still others are wholly or nearly wholly intact, protected by the 1915 “Reserves and Other Lands Disposal and Public Bodies Empowering Act” and their own insuitability for development.

A while ago, I wrote a post called “recreational volcanism”, about the possibility that there might be a

…city [which], being built atop dormant volcanoes, has reserved the most unstable districts of the city as municipal parks.  Whose landscape architects have been called upon to design access systems for these geological freakologies, these unstable geysers, mud pots, fumaroles, and hot springs which sit between broad avenues, kvartals, dense clusters of towering buildings, and whose citizens frequent its public parks not for bucolic relaxation but for sublime thrills.

Auckland isn’t quite that city; but, perched atop its still-active volcanic field, it’s the closest thing I’ve seen.

on blogging architecture

Geoff Manaugh contributes a series to Arbitare that looks at the history, equipment, content, audience, and future of architecture blogging.  Being “someone who has founded his entire present career through blogging”, Geoff obviously both brings serious qualifications and an innate (and admitted) bias to the topic; the resulting personal perspective of the series only serves to make it more interesting.

road ecologies

A nice slideshow by Laura Tepper on Places looks at the intersection of “wildlife habitat and highway design”, from “the six massive wildlife overpasses lining the Trans-Canada Highway in Banff National Park” to HNTB and Michael Van Valkenburgh’s winning entry to the recent ARC competition for Vail Pass, “Hypar-nature” (pictured above) and across the Atlantic to the long history of animal road crossings in France and comprehensive national highway landscape plans in the Netherlands.

unconventional intersections

At Slate, Tom Vanderbilt writes about the design of intersections to eliminate left-turns, which historically produced such oddities as the Jersey jughandle and the Michigan left, as well as more recent innovations like the diverging diamond interchange and continuous flow intersection.

quilian riano interviews chris reed

Quilian Riano interviews Chris Reed (Stoss Landscape Urbanism) for Places; the interview touches on a broad range of topics, including Stoss’s recent work, the importance of an expanded field for landscape architecture, and possibilities for inventing flexible alliances between design teams and collaborators in “related fields such as engineering, ecology, economics, etc.”:

“Within this expanded context, landscape architects are emerging as cultural leaders; in part this is because our field already deals with complexity at very large scales, with details at very small scales, and with time and change in both the short and long run. We also accept uncertainty as part of the life of a project — landscapes are beyond our full control. Cities and metropolitan regions — among the most complex of human inventions — require this mix of big, strategic thinking and tactical, on-the-ground agility. And they demand a comfort level in dealing with change, especially unanticipated change. Projects for large areas of existing cities — like the redevelopment of 300 acres of contaminated former portlands in Toronto, or of 5.5 miles of largely industrial riverfront in Minneapolis — will take decades to be realized, through a succession of economic highs and lows, political administrations, demographic shifts, environmental challenges (like major storms), and so on.

The strategies that landscape architects develop for such places should set out strong frameworks to initiate transformation, but also be able to absorb the kind of external changes I just described. So, rather than defining strict master plans for the Toronto and Minneapolis territories — master plans which try to limit change and prescribe physical or programmatic relationships — we chose to develop strong framework plans whose contents could shift or adjust to outside influences or even internal rules, but whose final results would only come through time. This is a very different way of thinking for designers and planners — but it is, in fact, the way landscapes and cities work anyway.”

Read the full interview at Places.

window washing


[Facade of Pharos Building, Hoofddorp, Vanessa van Dam, 2002 -- never realized.]

Given our recent thinking about the role of maintenance in urban design, I was quite interested when I noticed, in a couple-year-old copy of 306090, an article by Hilary Sample (of MOS) on the potential of maintenance in architecture.  The piece, “Towers, Maintenance, and the Desire for Effortless Performance”, is well-worth reading in full, but I’ll quote one section, which deals with the project pictured above:

“Architecture relies upon a never-ending regime of labor called maintenance.  The purpose of maintenance is to restore newness to architecture by offsetting the effects of climate, environment, and time — it is an ongoing and continuous act.  Within crowded urban environments, where maintenance is unavoidably public, it has become a spectacle in its own right, fuelled by new technologies and novel techniques.  This spectacle is especially evident at the site of large transparent exterior surfaces, where the distinct machines, apparatuses, materials, and techniques of maintenance have become part of the image of the city…

Artist Vanessa van Dam’s window washing installation at the Pharos Office Tower (2003) near Amsterdam by Kohn Pederson Fox Architects, offers one such critique on the anonymous glass office building.  To explore the relationship between architecture and maintenance, van Dam proposed the installation of 85 industrial-sized window wipers typically found on airplanes and lighthouses.  While the project was never built, the wipers were designed to respond to a programmed script activated by sensors in tune with shifting local weather conditions.  The synchronicity of the mechanical facade in action, ever vigilant against the effects of weather and dirt, embodies the modernist injunction of cleanliness in robotic hyperactivity.  The addition of the black and heavy arms on the light glass and aluminum facade brings maintenance to the foreground, revealed as an object of a mechanized fantasy that threatens to overtake the architecture itself.”

Of course, the relationship of maintenance to buildings and landscapes is potentially quite different.  Where, as Sample notes, maintenance has the potential to reveal architecture “at its most vulnerable: weak and prone to constant decay”, what has excited us about maintenance in relationship to landscape is just the opposite: the potential of maintenance, as an on-going act of intentional cultivation, to harness the capability of landscape to become more complex and more productive over time, rather than decaying inexorably.  (That the traditional landscape capital project typically follows, albeit at a slower pace — first building towards maturity, before entering decline — the same pathways as buildings is, in fact, entirely the point, because it is that trajectory that we set out find alternatives to.)  It is more difficult to imagine maintenance playing this role in relationship to buildings, but that does nothing to diminish the value of the investigations Sample suggests.

phantom stories


[Homes on the outskirts of Shanghai, via Google Maps.]

A recent report in the New York Times which looks at global marriage patterns from an economic perspective contains the following fascinating excerpt, which indicates that China’s one-child policy, “combined with a cultural preference for sons and technologies that permit selective abortion”, has indirectly produced a proliferation of phantom third floors on Chinese houses:

…evidence suggests that young Chinese women and their families have in fact become much more selective in recent years.

They appear, for example, to focus more critically on the earnings potential of prospective mates. Because house size is often assumed to be a reliable signal of wealth, a family can enhance its son’s marriage prospects by spending a larger fraction of its income on housing. (Other families can follow the same strategy, of course, but when all families do so, the resulting homes are still reliable indicators of relative wealth.) Such a shift appears to have occurred.

For example, when Shang-Jin Wei, an economist at Columbia University, and Xiaobo Zhang of the International Food Policy Research Institute examined the size distribution of Chinese homes, they found that families with sons built houses that were significantly larger than those built by families with daughters, even after controlling for family income and other factors. They also generally found that the higher a city’s male-to-female ratio, the bigger the average house size of families that have sons.

Mr. Wei reports that many families with sons have begun to add a phantom third story to their homes, one that looks normal from the outside but whose interior space remains completely unfinished.

“Marriage brokers are familiar with the tactic,” he reports, “yet many refuse to schedule meetings with a family’s son unless the family house has three stories.”

This — a kind of architectural extension of ritual courting displays — could be read as an odd corollary to the American predilection for viewing the home primarily as an investment strategy, which mammoth has previously written about.  In both cases, the home’s function as shelter (or machine for living) is subsumed by its financial potential, whether it serves to display wealth or produce it — and it would be quite interesting to learn if this shift in the function of the home has had the kind of bizarre side-effects in China that it has had in the States.