Traditionally Geographic Information System (GIS) have been exclusively run on the Windows platform. Only very few applications run on either cross platform or exclusively on the Mac. This is part two of a review and introduction to Cartographica, a Mac based GIS software. Find part one with a general introduction HERE and the working with section HERE. This third part is looking at the mobile version for your iPhone or the iPad.
The GIS software are generally quite heavy software packages and with all them functions packed in use a fair bit of processing power. A mobile client is not quite the first choice as a platform for such an app. However, the field is where you get your data from, check on changes or record problems. Having a powerful GIS bases system right there to record the information and look up details makes your life so much easier and quite a bit more fun.
With the new quite powerful handheld devices running iOS this has become a reality and both iPad and iPhone rund GIS packages. Cartographica is offering a Cartographica Mobile app, currently at version 1.1 available now from the itunes app store.
With it you can take data with you out into the field. This is as simple as dropping files into your itunes. It will natively read shape files for example. Each file can be accessed from the mobile app, including layers.
Testing this HERE is a download link for Boris Bike station locations in London from the Guardian Datastore. The data can then be droppend into itunes and opened on the iPad.
Image by urbanTick / Accessing the data on your iPad. Here showing the Boris Bike station location around London. As a background OSM is used by default.
You can then zoom in and get to the details that are stored with each data point. This is flexible and can be adjusted to the need even out in the field. As done here an field for photo is added and for each location an Photograph can be recorded and linked in directly form the iPad.
Image by urbanTick / Accessing the data on your iPad. Here showing the Boris Bike station location around London. The details can be accessed individually.
Beside looking at the data and access it new data points can be created. There is a plus button at the bottom of the screen or by keeping your finger on the screen also will bring up a zoom functions with witch a point can be manually located. Alternatively the GPS can be used to add a point at the current location.
Image by urbanTick / Adding data directly on your iPad. The cross zoom helps definitely place a new data point.
Image by urbanTick / Adding data directly on your iPad. The pop up dialoge lets you fill in the preset fields. Those can be manipulated on the go and new ones can be added or old ones deleted.
Image by urbanTick / Adding data directly on your iPad. Using the iPad camera to add photographs of the location, or anything else.
What can't be done on the go is any processing. The station platform of Cartographica offers a range of tools to analyse and visualise the data (see previous post HERE.) The mobile verson as of now does not include any of this. As such the mobile app goes as an addon rather than a replacement. It is intended to take the data with you check, extend or create and bring it back for analysis and further processing.
Nevertheless, Cartographica Mobile does integrate with a network and multiple users including live updating. This opens up possibility for collaborative work on the move and in the field. This is very need and helpful in many cases.
The Cartographica Mobile version is available from the itunes app store at a price of £54.99 or the equivalent of your currrency. It is available world wide. The Cartographica workstation software is available form the web store at a price of $495 and as an academic student license for only $99 for one year. This is tremendously good offer, especially if compared to some of the other packages prices.
The Cold War years are usually presented in terms of the military force and an ever expanding resource of military equipment. This of course includes foremost the nuclear weapons both sides the West lead by the U.S. and the NATO and the Communist East lead by Russia.
Architecture however, played an important role in cicvil defence and the preparation for a potential third world war. There was far less attention payed to the fact that all nations had programs running to prepare their societies for the case of escalation. Tensions there were enough.
Nuclear war was the ultimate danger and with images and evidence form Hiroshima and Nagasaki preparation was part of civil defence programs also in the U.S. In a new book Fallout Shelter: Designing for Civil Defence in the Cold War published by University of Minnesota Press, David Monteyne presents these U.S. programs from an architectural perspective. This detailed investigation ranges from the propaganda to built examples and examines closely the role of the architect as the middle man between government and civil society implementing a plan that is further reaching than simply the provision of shelter.
Image taken from etsy / DIY fallout shelter for your back garden.
As Monteyne points out in his introduction it effectively is a contract between citizens and government exchanging provision for shelter and quality of live for cooperative behaviour. He refers to Foucaults biopower as a political relationship. Essentially building shelters was and in some cases still is, as we'll discuss further on, the physical implementation of goals and powers of the welfare state.
The book explores in seven chapters the background, the planning, the implementation and the potential influence of shelter provision programs in the U.S. The programs were mostly about information and education but of course also aiming to build shelter provision. For this the architects were a key alley and the American Institute of Architects (AIA) launched a series of design competitions together with the Office for Civil Defense (OCD). The aim was to promote good planning and preparation for shelter provision. A series of designs were presented as winners, both built and as projects.
In the last chapter Monteyner goes a step further and applies his observations and investigations as an interpretation of an architectural style. He goes as far as arguing that this focus on shelter and bunker design has effectively led to an specific style, not a new one, but Brutalism?! Well thats something new and of course he has some evidence, the famous Boston City Hall. The basic argument is that Brutalist architecture looks a bit like bunk architecture so the origin of Brutalism is to be found in these government programs during the early Cold War times having shaped a whole generations concusses.
http://en.wikipedia.org/wiki/Brutalism
Image taken from Wikipedia / The Boston City Hall that serves as an example as to how bunker design has lead to the Brutalism movement.
Boston City Hall is at this point is the famous and widely debated example in the U.S. and serves well since it has implemented to some extend the requirements for fallout shelter. Interestingly the term Burtalism however is claimed to be coined by the Smithsons from the United Kingdom based on Le Corbusier in the context of CIAM. So not really an American connection there and all in all a bit too early for these programs that were run in the fifties and sixties mainly.
Reading the shelter guides these cold war programs produced and the resulting designs one can not help but smile. It amazing how naive the designs are and how improvised. For example there are guides on how to build a wooden shelter in your backyard and even the Boston City Hall project, the famous bunker style building has implemented shelter space on the eights floor?
It seemed to work and to some degree the American officials seemed to gain some sense of preparednes from these exercises. To everyone else these plans must immediately seem strange. If all you need to withstand a nuclear war is to build the entrance of a house not in line with the corridor to prevent fallout from penetrating deep into the house we ar all save.
American architecture is not generally well known for going deep underground and if possible basements are avoided at any cost. Very much so in terms of shelter and fall protection provision. Not even these programs have seriously considered building bunker underground, as the Boston City Hall projects demonstrates. Shelter can happily be provided on the eighth floor?!
The way this infrastructure of bunkers and shelters is described in the publication does echo practices for example in Switzerland. The small country in the heart of Europe is well known for its specific bunker infrastructure. On the military end this infrastructure was designed to guarantee the independence creating a réduit in the alps. On the civil side planning for large scale shelter infrastructure started a early as the 1930s. These efforts were geared towards the provision of shelter everyone in the country. Doring the 1980s this was achieved, making Switzerland arguably the leading provider of shelters.
It is a general requirement in Switzerland to built a shelter as part of every housing project ranging from a single family house to an entire block. Depending on the size of the project and number of inhabitants the shelter has to provide a certain capacity. Currently there are, according to the Swiss Federal Office for Civil Protection FOCP, about 360'000 individual shelters built as part of buildings and in addition some 2300 communal shelters. Hereby a shelter in general is a sort of mini bunker in the basement of every building constructed after 1963.
Image taken from Kanton Schwyz / Detailed section drawing showing the emergency exit from a standard single family house shelter space. Requirements including distances and dimensioning are based on standards applicable through out Switzerland. Note also the shown solution in case of high ground water.
There are clear guide lines for the construction of the shelter, the provisions and the equipment necessary. Every opening has to have a massive concrete door to completely seal the space. There is ventilation equipment required, designed to withstand gas and fall out. In addition there are simple bunk bed constructions and basic facilities such as dry toilets required.
Larger buildings such as community centres provide shelter for a larger number of people ranging from 30 to a few hundred. All are real bunkers constructed in full concrete, at least 25 cm in thickness with completely sealable openings, basic infrastructure equipment, toilets, beds and cooking facilities.
In addition infrastructure projects sometimes have been used to extend capacity of shelter place capacity. For examples the highway tunnel 'Sonnenbergtunnel' in Luzern was build with the capacity to transform into a massive bunker if required. It would have provided places for about 20'000 people. This includes sanitary facilities including a small hospital unit, large kitchens, ventilation infrastructure and bunk beds and so on. In case of emergency each tunnel entrance would be closed with a specially designed massive concrete gates to seal the entrance. The entire length of the tunnel be used for cubicles with bunk beds. It was calculated for 1m2 of floorspace per person.
Image taken from Luzernerzeitung / The large gates of the Sonnenbergtunnel shelter in Switzerland were last closed in 1987. The gate is constructed on sight and is curved to withstand great pressure.
Sonnenberg tunnel is since 2005 no longer in operation as a shelter unit. It can still be visited with a guided tour though. The city of Luzern has in connection to the complete renovation of the highway A2 developed a new Civil Defence concept and provides the capacity in shelter places elsewhere. However, through out switzerland a number of other such invisible underground civi defence infrastructure buildings are still being maintained in order to provide shelter in case of war or nuclear fall out.
Switzerland has in many ways optimised and multiplied the implementation of shelter provision for the civil population. Reading it under the aspects David Monteyne presents in the introduction to his publication the outreach of the state to discipline the population to good behaviour in exchange for welfare did work and still works very well. It can be argued that the Swiss population and the architects as the implementers of these outreach programs cooperate well. However, the implementation of the shelter infrastructure is taken much more serious in its mechanics in Switzerland than according to Monteyne it was in the US. And from a Swiss perspective to speak of a specific bunker style (believed to be brutalism) to emerge from the state requirements for shelter seems absurd. This is mainly dueto the fact that Swiss planners have always decided that shelter or bunker facilities only really make sense if they are implemented in the basement and never tried to somehow fit it in above ground. As such the shelter has never been visible and therefore did not influence the ascetics of the aboveground appearance necessarily.
Image taken from amazon / Map of the Sonnenberg highway tunnel near Luzern in Switzerland showing the location of the built shelter. The bunke was designed to provided space for 20'000 civilians in the case of war. Constructed between 1971 and 1976. The shelter was finally closed in 2005.
Details taken from: Heierli, W., Jundt, L. & Kessler, E., 1976. Die Zivilschutzanlage Sonnenbergtunnel in Luzern. Schweizerische Bauzeitung, 94(46), pp.689-699.
Building shelters underground could be an explanation why the required provision of shelter had and still has a much higher acceptance through out the civil population. Without it being constantly present in the everyday environment it is much more a background infrastructure than an style and other functions are not overloaded by the required provision of shelter but extended.
Nevertheless the book presents a very distinct characteristic of the last century and the period between 1950 and 1980. Whether it lead to a distinct architectural style can be debated. What is of specific interest is to compare the different approaches to the provision of shelter as well as what these approaches tell about how the civil society deals with chaos and order, the manipulation of the collective and the individual and the role of planning and architecture in a wider society context.
The UCL Urban Laboratory brings out a publication under the title Urban Constellations, summarising five years of work since the LAB was established in 2005. The LAB was set up as an interdisciplinary work group within UCL bringing together architecture, engineering, anthropology and film studies with a focus on urban. With urban Mattheew Gandy the Director of the urbanLAB and also editor of the publication sees encompassed far more than in the bounded term city. This is then also what the publications aims to achieve, drawing out and identifying critical themes and opening a discussion around them.
The collection explores themes such as new forms of political mobilisation, the effects of economic instability, the political ecology of urban nature and the presence of collective memory. The section Excursions documents artistic interventions in the urban context by 5 artists.
Image taken from othersights / Installation The Games are Open, with materials recycled from the 2010 Olympic & Paralympic Winter Games Athletes’ Village, by Köbberling & Kaltwasser, 2010.
The other four parts of the publication are Urban Lexicon outlining popular topics in the urban discurse, Crisis and Perturbations depicting strong influential shaping process, Places and Spaces as a showcase of concrete examples of urban studies and Projections linking the theoretical discussion to other fields such as art. A preview of sample page can be found on the publisher JOVIS website as a HERE.
Each essay, of which there area total of 42, is intentionally short. As Gandy outlines in his introduction, the aim was to create little vignettes of aspects. With this linking it to Sigfrid Kracauer's work and use of the term urban vignettes. Similarly is the link established to Walter Benjamin via the book title Urban Constellations which link to the use of constellations by Benjamin. With this Gandy aims to underpin a close attention to detail of everyday life.
The essays are written by a selection of mostly well known scholars. In most cases they are related to the context of UCL with for examples Jane Rendell and Ian Borden form the Bartlett School of Architecture.
The essays are of very good quality and interesting to read although as mentioned very short, at most four pages. However, the main aspect of the publication is how it highlights the current state of the urban discussion. And this is if there is one, but more likely there are many. As Gandy himself already summarises in the introduction the essays draw form the remains of the modernist planning umbrella to examine how the urban context managed to cope, both with the domination of a religious planning doctrine based on technology and the decline thereof.
Further more it highlights the shift in approaches with the disappearance of bullet-point lists and the replacement of solutions with possibilities. The field seems all very vague and there are very few topics or even cornerstones the community can take for granted.
This is a very tricky position for the professionals to be in as with a lack of operational directions of development other disciplines are threatening to take over urban planning. Of course it is once more technology and the quantitative sciences promising anything they can even think of under a new umbrella of Smart Cities. It is of course no coincidence that here again the terms city is pushed as it represents exactly what Gandy described as too restrictive.
Qualitative research into urban environments in general is currently mainly exploring the boundaries of structuring aspects of dogmas and predefinitions. This is of course essential to understand more about the nature and the complexity of the urban context. On the other hand it would be healthy to start directing these efforts towards a more applied and pragmatic practice. As such the publications makes an effort to actually apply such a practice and combine the dismantling of modernist's remains with a application of findings. Things can be taken from there.
Image taken from amazon / Urban Constellations book cover.
A publication is no longer just a publication. It can be many things and what we see is only the beginning. A book can be a magazine, an ebook a website or a comic. Different medias are being mixed to play with ways of presentation. New technology plays here are good part and enables some very new concepts to be tested.
The eReader platforms and especially the iPad promise new ways of publishing. Only last week Apple has announced, as part of the app ibooks 2, the publication of text books. Here they put the emphasis more than before on the integration of additional media like video for tutorials and explanations, interactive graphics (like the newly released E. O. Wilson's Life on Earth) and of course web links and so on. The animated and augmented book is only catching on a the moment.
Image taken from earchitect / Yes is More on the iPad.
The architectural monagraphy is a rather unlikely candidate to put forward such an interactive publication. One would expect it to be a heavy piece with nicely photoshopped images and and a thick cover. This is however a way of presentation for the old garde and if BIG represents the new generation of architects such an interactive option of presentation is the way to go. BIG has always been very much about telling a good story and producing a good show. The show of course is very subjective and this subject is two fold its the facts about the design and Bjarke Ingels the head of the Bjarke Ingels Group (This is what BIG stands for).
Their Yes is More: An archicomic on architectural evolution was originally published back in 2009 by Taschen and as such already wasn't the architectural monograph one might buy if it was Norman Foster or Richard Meier. BIG presented their work in a sort of comic they branded archicomic. It was however mostly well received even though few probably understood what Bjarke actually meant by Yes is more.
The one architectural monography ambitious architecture practices have to top if they really want to set a mark and the book that has dominated the style of architecture book for the last decades is S,M,L,XL by Rem Koolhass's OMA and AMO's Bruce Mau. It was published in 1995 by Monacelli Press.
BIG had a go at this with the comic. It was well received, but not quite enough to land in the hall of fame. It certainly did stir things a little and it fitted well with the self image Bjarke is building around his practice and the delivered projects. The advancing technology however meant new opportunities are opening up. BIG has been working more and more with new media, testing animation, 3d as well as augmented reality.
Now in 2011 the original book has been transformed into an app for the iPad as Yes is more! An Archicomic on Architectural Evolution by BIG. It is published by Taschen again and available on itunes. It is not exactly an ebook since it is as a comic mainly imagery based and now also integrated animations and movies. The comic comes to live with clips that play within the grid of images or in full screen mode. It's clear from the start that this format fits the stile. The publication really thrives with the media in this case.
Image taken from the app / Page spread 218-219 in landscape mode and page 219 in portrait mode. Both show at the bottom the navigation bar.
The app works both in portrait and in landscape mode. With the swipe of a finger one browses through the sequence of images learning about reasons and effects, but also a lot about Bjarke. Where he lives and what the view of his balcony looks like. Details can be zoomed in on, just like you are getting used to on your touch screen. A youtube like triangle symbolises clips and a click opens these additional medias in a small window or plays them at full screen at rather good resolution. Quality is ver good through out even if zoomed in on details.
Navigation is organised in a bar at the bottom that appears with a tab. To choose or jump to a new topic one can either use a slider of miniature pages or a selector roll. Of course individual pages can also be found by page number. However, the layout does not show any page numbers. They have been removed. In this sense the app is not at all a pure digital version of the paper based publication.
The app also offers a search box for key word search or a separate listing of all the clips if only moving images are of interest. The app offers the option to put bookmarks. There is no note option though, something a lot of ebook users probably have come to like from other platforms.
The experience the app offers is very good even though they have chosen not to the mimicked turn the page effect. It runs smooth the displayed material is qualitative very good with nice colours and sharp contours. Its what you get from other ebooks.
THe feel of the app has very little to do with a book any longer. The turn the page effect is missing, which to be fair, is a stupid thing, an purely visual imitation, but it comes the closest to turning a page and with it imitating the book. Then also the page numbers are missing, a very distinct design element of a paper based publication. This is not so much about the actual number but about orientation and progress. How far have I read and how many pages ago did the lead character last smile? Here we have no page numbers unless we choose to look at it in the bottom bar by tapping to activate it every time. There is however, a tiny bar appearing with each swipe of the page at the bottom indicating the position in the book, assuming the whole length of the screen is the entire book. This is very neat and practical. It would be nice if this little feature could also be draged and enable a sort of quick flip.
Currently there is no way to quickly flip through the book. the swipe response is quite slow and three quick swipes result in only one page shift. Similar the page numbers don't move you through the pages that quickly. If now this little bar could do such a thing, maybe even in combination with the thumbnail page preview it would make for a great navigation.
The sequence of pages are presented in linear fashion. There are for example no links within the book. The last chapter BIG City provides an overview of the BIG project grouping similar projects together to city districts. It would be nice if clickable and acting as hyperlinks to jump to the details. Or maybe select one of the groups and look at all these projects together. It being programmed as an independent app such options would be possible enabling more browser like handling with back and forth or even history options, where the linearity of the paper based publication would be unlocked. With out this and it feels a bit like a slide presentation and in terms of the linearity would represent a power point against a prezi.
Image taken from klatmagazine / Yes is More on the iPad.
To sum it up, navigation and experience are working fine. Every function you would need is there. Its just that most things have the feel of a computer based click with your mouse here sort of solution. At the same time the app designer have not really let go of the book and present it in a purely linear fashion. It remins a hybrid, and is as sort of ebook with its own app not quite defining a new category of interactive, reader driven, content platforms.
As it being an independent app there are is the downside that it does not link up with other publications. The thing about ebooks is that they still, at least in the term, link up and the same software is playing for all of them. Notes are taken across books, so are markings. This publication is a standalone thing and plays at most with the collection of apps, but not necessarily the books or ebooks in this case. This is more from a collectors perspective a point, but then if you are into architecture you want a whole bunch of similar publications to cover your entire field of interest. One single item doesn't really satisfy this and remains the odd one out. Bjarke doesn't mind to be the odd one out as long as he's being talked about.
Nevertheless its an interesting publication and an impressive one. Its not just a few swipes long, something you have swiped through in under five minutes. This is your proper comic you can read on the tube and the bus for an entire week of commuting. It comes along happily on you iPad and pops upen where you left it. It is currently priced at £6.99 which is nearly the price of the actual print, on amazon for £11.66 (on the Taschen website it is priced at £ 17.99, here the app a bit less than half). You can buy the app from HERE on itunes and the book from Taschen or amazon.
Image taken from the Yes is More app / Spread showing the project with the very poignant title Swept under the carpet. It is not a particularly famous BIG project, but it is one that summarises a lot about the approach. (click image to read the details) The introduction of the publication shows Bjarke with his feet on the table proclaiming his architecture paradigme is to say YES to everything. He claims that architecture can incorporate everything and still be progressive. In this very particular project, Swept under the carpet, he literally sweeps the pollution, this very project is built on a piece of land with polluted soil and the competition asked for solutions to deal with this fact, under the carpet with the argument: "Instead of cleaning up the mess we just cover it. We can spend the money required for cleaning the soil on my project and cover up." He in fact says NO, in this case to the environment and a longterm solution. Much rather, he lets the polluted soil continue to contamine the water around the community and sailing centre and lets the kids swim in the dirty waters, but everything is nicely covered up. Even though BIG claims for their working attitude to be about process the reflection stage is missing in their project. No critical questions are asked, there is often little attitude or actual opinion on things. Even though BIG is subjectivated and purely focused on the person of Bjarke Ingels it is a brand and not a person.
The comic style fits well with the experiment of a ebook hybrid. There isn't much to loose by putting it in an rather experimental form and it thrives on it. However the comic style dose not add anything to the content. It is however playful option to publish a book base don figure notes. Yes is More is a graphic novel taking the communication of architecture in visual terms to the extreme by not even attempting to talk about architecture in text form. The comic here is interpreted as annotated pictures and this fits perfectly with the way BIG explain projects, in simple steps explaining what is happening as if it were a DiY manual.
For BIG it's all about the presentation. They way the projects are presented makes the projects directly ind simply accessible, see video below. The media used are engaging, playful and fitting. The explanations are very simple making every move easily understandable even for a layperson. Interesting however is more how arguments are made and here BIG's background shines through. Everything is very much the famous and with this publication very much targeted form follows function. Following this paradigma the entire project is presented, throwing in here and there a few clever references and options, but essentially argumentation is very much founded on functionality.
Ingels, B., 2010. Yes is More: An Archicomic on Architectural Evolution, iPad App., Cologne: Taschen GmbH.
I am giving a presentation to the MRes course at CASA, UCL today. There are two part to this lecture. The first part is covering the PhD research with a focus on the city and an overview of the methods of investigation that have been used. It is organised along the main topics of Time, Space, Morphology and Networks, but also covers Ethics and Mental Maps or Identity as aspects.
The second part really is a tutorial explaining the production of the New City Landscape maps. It covers pretty much all the steps from the preparation of the raw CSV file to the export of the map from Illustrator. A large aspect is the data handling in ArcGIS and how to perform the analysis as well as the exporting and inter compatibility with other software. Arc just doesn't produce any pretty results so it is essential to extend the workflow to other software packages. Softwares used: TextEdit, ArcGIS, Illustrator, Google Earth, Cartographica.
Andy Hudson-Smith over at DigitalUrban will pick up with a third part and a second part to this tutorial talking through how he developed a 3D model of the landscape map and visualised it in Lumion. The result of this workflow is embedded below.
The dramatic events involving a sinking cruise ship in the Mediterranean Sea has all of a sudden brought the topic of large cruise ships back to the front pages of News Channels from around the world. Recently only the size could possibly get the ships into the news, but a disaster is always a good selling point.
The story that unfolded over the past days however, is more than only a sunken ship, but a real crazy entangling of very unfortunate events and, as it currently seems, poor judgement of the captain. The ship passed the coast of Giglio way too close and was not at all even meant to be there, but manually steered into the disaster.
It seems almost unbelievable that a nearly 300 meter luxury cruise liner can sink just like that. Even more so as it effectively happens only 100 meter from shore. On any News coverage, alway there is the save land not just on the horizon, but right next to the ship. It is only a 100 meter or so to shore. Even so the tragic events have claimed several lives with about 19 people still being missing at the time of writing.
Image taken from DigitalGlobe-Imagery / Aerial view of the Costa Concordia sunken of the coast of Giglio. The wreck has been mapped on OSM.
Large cruise ships don't just sink they go down with a dramatic story and this is another one of these events that bring about the mistic and special atmosphere surrounding the large passenger ships sailing the seas of the world. There are numerous stories and practices entangled in this picture of such large vessels, including the glamour and wealth on board all the way to the understood but not written down practice of 'women and children first' and the captain leaving the shop last. Examined in detail by the BBC.
Definitely the most famous Ocean Liner disaster is the Titanic disaster where the branded as unsinkable ship sinks after a collision with an iceberg in the North Atlantic Ocean during its maiden travel from England to America in 1912. Between then and now there are a few accidents recorded involving large cruise ships, but the industry was able to build up a very clean and save image for travels on large ocean liners.
Image taken from Maritimequest / The famous Titanic.
Size matters, especially in this business. Steadily the companies are building larger units, with Oasis of the Seas currently being e largest ship being in operation. It offers space for 6296 passengers and 2165 crew. Under construction are at the moment Project Sunshine 1 and 2 expected to have a total capacity of 5700. It is size and luxury in the form of entertainment and facilities offered as selling points to attract the passengers.
Modern liners offer a lot more than only the swimming pool and the tennis court. There are water slides, wave board pools, ice rinks, rock climbing, basketball court and so on. Guest can browse through boutiques and shops, visit several restaurants and bars, entertainments show or casinos and cinemas. There is around the clock entertainment from yoga classes to guided running sessions and wine tasting on offer. Plus of course the captains dinner is still the climax of every cruise.
Cruise liner are in heir nature self contained and built to carry all necessary support systems beside the entertainment facilities. In fact these large ocean liners are more like small cities in themselves capable of catering for as many as 8000 people over periods of more than a week, with many systems being able to run for at lest a week without calling at a port.
Image taken from khulsey / A line drawing using Illustrator for the ships documentation.
The key difference between the types of ships is between cruise ships an ocean liners. As the name indicates the two categories serve very different purpose. The liner is built for a linear connection ferrying passengers between ports traditionally between the old and new world from Plymouth to New York. Cruisers on the other hand traditionally have circular routs manly for pleasure travels returning to the port of departure. There are also technical differences setting the two categories apart. Liners are built for rougher seas running deeper making smaller ports inaccessible. Cruisers are built with more passenger space, focused entertainment and specially designed for higher numbers of outside cabines and fewer inside cabins.
By now however, the only dedicated ocean liner really is the prestigious Queen Marry 2. Since 2010 is she the last remaining ocean liner representative running between Southamton and New York. However even QM2 is equipped with specialised entertainment, and runs on cruise tours every now and then.
Image taken from iglucruise / The Queen Mary 2 upon leavning New York.
Cruise liners carry a special aura with them and were especially popular in the first half of the 20 century with especially the modernist movement. Famously the architect Le Corbusier stylised the ocean liner to become the ultimate triumph of technology and symbolised the ideal city as a self contained organism. Especially in his book 'Toward an Architecture' (). It's also the aspect of mobility / traveling that implies the freedom connected to the cruise tours. An perception of independence and sovereignty is what attracted and still continues to do so.
There are a number of famous floating city project dreamed of by architects since the modernist movement. The Triton City by Buckminster Fuller or the freedomship project. But of course cruise ships have also entered the virtual world and SS Galaxy is one of the really bog projects in Second Live with a handfull of people full-time playing the crew on a virtual deck.c
Image by Wayne Mazzotta taken from maritimematters / Red Dashboard: ’59 Cadillac and SS Conte Grande.
Technology is still today a major aspect of cruise line travels from the ship design, the build, the infrastructure and the built in technology. Machines are very powerful but at the same time capable of very fine manoeuvring amid, buy the size of the latest ships dwarf ports. Navigation is built on the latest technology covered by several backup and parallel systems. Even though the atmosphere is relaxed and definitely majestic, the equipment is built on very high safety standards, covering a whole range of applications and devices. The bridge of a cruise liner is a high technology command centre covering the complexity of the entire ship.
Besides all these aspects however, the spirit of innovation and conquering of nature using technological power has faded. For cruise ships are marketed not any longer to experience the power and genius of man, but to celebrate one self. Where in the days of the ocean liner passengers would be amazed by the sheer idea of traveling on such a ship across the Atlantic, admiring its power, today guests are demanding services and entertainment. The challenges for the ship and the crew is no longer the sea, but the parties on board, it's a matter of keeping alive a sensation.Unfortunately the tragical Accident involving the Costa Concordia and claiming several lives is most likely owed to such a
Image by Uaohk taken from maritimematters GNU Free Documentation License / The Costa Concordia as it lays on one side. COSTA CONCORDIA wreck off Isola del Giglio.
The floating city has become an fantasy entertainment park and is no longer pushing the boundaries of innovation nor is it representing progress. It has become the opposite and pretty surely the modernists would no longer see the floating amusement parks with "balcony-laden floating condominiums", as they are described in a Wikipedia article as a representation of their fascination.
A few days in the Swiss Alps around Saas Fee and on is completely drawn into a world of rough mountains and beautiful snow scenes. Its this time of the year again, its freezing cold and condensation collects at the windows through the night. Your breath is visible as you step outside, the air is thin and views are clear. Winter is finally here.
Video by Patryk Kizny showing amazing views of boiling clouds from the highest mountain peaks, landscapes of the glacier of SaasFee and other locations develop into much more abstract audio-visual form along with the weather changes. The film is also a tribute to free of light pollution places featuring fantastic views of the MilkyWay.
The short timelapse film “Altissimo” has been shot entirely in motion-controlled timelapse technique. The team shot over 45 000 single frames (over 700 GB of RAW data) using a few cameras in various locations of Switzerland during a one-week stay in Switzerland in May, 20111.
From sustainability to the new beauty in the following four books are put forward to start into 2012. The topics all address some of the concerns raised about cities in the past year or so and all contribute to the current discussion around changes in social and spatial organisation at large. With globalisation and technology social structures are changing requiring urban environments to be adapted. This will not happen tomorrow, nor is it a case of restarting in building it new from scratch. The only option is to keep transforming and by testing and engaging with the presented new thoughts and aspects we might take a step into this direction.
Not all cities are mega cities. In fact most of the cities are small to mid sized. According to the work Mike Batty had done together with Martin Austwick and Oliver O'Brian on Rank Clocks plotting city sizes in the US, only about 10% of the cities are mega or large. The rest of the cities are under 1 million in population size.
There are so many problems the smaller cities face. From long terms decline due to the faltering of industries, massive transport infrastructures slicing them into non workable urban islands and social struggles related to working poor and general poverty reminiscent of postcolonial squalor. The biggest struggle however is the fact that they are excluded from the general debate of urban planning and theoretical thinking. They all practice urban planning and development, but with only little recognition and background.
Tumber argues that due to the smaller sized, shorter distances and proximity to farmland and recreation these smaller cities have a lot of potential to implement sustainable concepts and start integrating those in everyday urban practice. Tumber especially points to renewable energies, such a wind, food production and local agriculture as well as manufacturing skills. Its all about producing and consuming locally.
These ideas are not new and sort of resonate with early garden cities ideas, especially in the praise of size and population density. This is not at all a negative association, but more a practical application. Since here it is not about setting up a new place to live, which can in itself not be sustainable, but about reprogramming an existing one sustainability is given an additional dimension.
Image taken from archpaper / Small, Gritty, and Green, book cover, part.
Does a city posses its very own spirit and identity? Daniel A. Bell and Avner de-Shalit argue in their new book The Spirit of Cities: Why the Identity of a City Matters in a Global Age published by Princeton University Press that actually they do. The authors draw on the ancient Greek concept of city spirit and argue for the rediscovery of the local urban spirits around the world especially in connection to todays globalisation.
Earlier publications have picked up on this topic and characterised cities in such a manner as to work out distinct identities. Saskia Sassen in Cities in a World Economy and more recently Martina Löw in Soziologie der Städte (sociology of cities). THe concept of the citiy spirit is, as Löw points out, closely entangled with the city marketing that has been very popular in the past fifteen years as a tool to distinguish, present and attract.
Bell and de-Shalit look specifically at nine modern cities: Jerusalem (religion), Montreal (language), Singapore (nation building), Hong Kong (materialism), Beijing (political power), Oxford (learning), Berlin (tolerance and intolerance), Paris (romance) and New York (ambition). Of course soe of them sound like external concepts. Especially Paris and the age old topic of romance, hey but never mind it shapes the place in a certain way and this identity hold the potential to develop something specific and relevant.
Each city is portrait in a lot of detail making good use of story telling as well as combining theoretical aspects with practical experience. A good read for travellers of thought.
Image taken from the Atlantic / The Spirit of Cities, book cover.
"We have to find our way back to beauty!" Lars Spuybroek argues in his new book The Sympathy of Things: Ruskin and the Ecology of Design, published by V2_publishing, for a revised approach to design culture moving away from the technological practice of modernism towards a more romantic notion of art in the sense that beauty always combines variations, imperfection and fragility. Spuybroek bases his arguments on John Ruskin's aesthetics. Overall the book is a project to wrest these topics out of the Victorian era into the present. This is achieved by combining the five central themes of Ruskin: the Gothic and work, ornament and matter, sympathy and abstraction, the picturesque and time and ecology and design in combination with more recent thoughts on aesthetics by philosophers such as William James and Bruno Latour.
It becomes a projection of a world of feeling and beauty in such a way as it completely does a way with the fundamentalism and absolutism of modernist conception of design.
The book is less about graphics than numbers, although graphics do play an important role. Similar to Dona M. Wong's Guide to Information Graphics and also like Tufte's Books The Visual Display of Information and Envisioning Information the correct representation is at the heart of the text. However, Wainer focuses more on the conditions and the explanations than the design.
Wainer is a longtime expert in statistical graphics who works as a research scientist for the National Board of Medical Examiners and as an adjunct professor of statistics at the Wharton School of the University of Pennsylvania.
The examples are discussed in detail in order to really get the reader to understand the points Wainer is to make. This has the advantage that for a number of the examples the reader also comes to finally understand the actual meaning of the graph probably well known to him. The book draws from a great range of examples including Charls Joseph Minard's plot of Napoleons Russian Campaign, Florence Nightingale's Diagram of Mortality and William Playfair's Wheat Prices graph to name a few.
The book is written in a very accessble language and takes time to explain the details as well as linking it with current facts and events that enlighten the presented problem further. Definitely a great read for data enthusiasts.
Image taken from Borders / Picturing the Uncertain World, book cover.
Gaming at large scale with the city as the play field has gathered pace with its community adapting new tools and technologies in the social networking domain. The likes of Twitter, Facebook and Foursquare are offering platforms additional gameplay ideas can extend upon.
In the past year or so a number of such a add ons to the Foursquare location based social networking platform have been developed.
World of Fourcraft is a New York based game that uses a NYC as a battle ground for borough teams to battle the grounds and fight over ownerships for territories. It is based on Foursquare check-ins and with each check-in territory can be gained.
The players sign up via a Foursquare and choose the borough they want to play for. After that each check-in counts towards the boroughs count of check-ins in a particular area. The area belongs to the team with the most check-ins.
Image taken from worldoffourcraft.com / The battle map of World of Fourcraft NYC. The different colours indicate the borough ownerships.
You can always check the battle map to keep up to date on how the grounds are won and lost. Its a bit like the strategy game Risk where territories can be won in battle. On this one it would be great to see a timeLapse on how the game board has developed over the past few month. Check out more on Mashable.
Oust.me is a platform to transform your places and check-ins into territories and defend them against invaders. The platform is run by a small team based somewhere in the Slovenian region and draws location data from Foursquare, Gowalla and Facebook Places.
Oust.me user Matija wrote a Short Guide how to build territory in 4 easy steps. You will need your mobile phone with your favorite check-in service: Foursquare, Gowalla or Facebook Places, a pair of walking shoes and some time.
Check your neighborhood in Oust.me (if there is already any territory)
Be sure that distances fits into 2km area between two locations
Start walking (use sports-tracker app for measuring distance)
Check-in into the locations on your way - or create new interesting ones
Voila - you have a territory in Oust.me
Image by Matija taken from Oust.me blog / Creating a territory on Oust.me using Foursquare check-ins in four easy steps.
In this manner I created my territory around Gatwick Airport with some m20 checkpoints and a total area of 1.08 km2. Of course there are a handfull of people invading near, but Oust.me keeps me up to date on their moves and send me a message if they are invading my territory. I am not quite sure how exactly the shapes are created and sometimes they can have some detached extensions (like my Basel, Davidsboden territory), but generally the area looks pretty good.
Image by urbanTick / My territory of 1.08 km2 around Gatwick Airport created with about 20 check-in points and multiple check-ins.
Less of a game but a useful tool for gaming is the crosspost service. It offers to transfer your check-ins from one service to another. If you check-in to a location on Foursquare it will automatically be transfered to your Facebook Places and you are checked in there too. For the games platform this can be quite useful as you get double check-ins.
The daily cycles of day and night influence the experience in a number of ways. The main visual information is, beside the amount of light, the quality of the light. There are very different temperatures from morning to midday to evening.
Generally from the light quality the time of day can be guessed quite accurately. These shades are of course heavily influenced by weather and time of year. This can lead to a confusion with heavy dark clouds pulling up in the afternoon and it can give a sense that time has jumped and it might at two o'clock like it is half five. On the other hand if spent a few hours indoors, in a dark corner of your house, and as you step out into the sunlight the quality of light can be confusing in terms of time of day.
Image taken from philipperahm.com / A rendering of the interior, above the night zone in blue and below the day zone in yellow.
The light is identified by scientists as an important factor to set the body clock or circadian rhythm. This has been tested in experiments where participants spent weeks in caves with no daylight. The human body is able to maintain the cycles without the daylight reference for a long period. It does not depend on it as essential, but it provides a guidance to keep on track.
With this background, the architect Philippe Rahm has proposed a café that mimics the light quality of different times of the day. In essence Split Times Cafe proposes a 24 hour coffee place where you can have day or night at any time of day. The different areas recreate daytime light and night time light quality.
Image taken from philipperahm.com / A rendering showing the cafe in context.
It is possible to dring the morning coffee in the night light condition area and have a beer in the bright daylight zone. The day light zone is showing the characteristic yellow light indicating bright sunshine. The night zone on the other hand is fulled with blue tone light referencing the blue dark moon light. The cafe also offers a third place that is proposed in clear glass and therefore being filled with the actual quality of the light at that very moment.
The light quality is achieved through the use of coloured glass. Yellow glass for the day and blue glass for the night. To support the atmosphere the furniture is distinct in the are the architects make use of the furniture. The day zone is organised horizontally where as the night zone's furniture is oriented vertically.
Image taken from philipperahm.com / The plan showing the three different zones.
Space for place defined by practice, where people live and breath is always contested. It is not just, it is to be made, remodelled and reshaped constantly through negotiation. The result is a mix of interests, desires and statements.
Aspects of violence as part of the social structure becomes an element of the process. With its imposing and shattering presence violence marks the territory, cutting lines and burning patches. It eats into the construction of place imposing its own kingdoms of subcultures.
Architecture as a form of spacial geometrification with functional provisions can be a driving ground for violence. Often architecture is the stage for violence, but it can also be a driving force in that it can be violent in itself. Violence might be part of architecture since it is always set in a cultural context which in turn is based on the same negotiation process.
Image taken from enroute / B 018, a bunker or bomb shelter night club at the fringe of the city of Beirut in the Quarantine district. The project is discussed in the book by Elie Haddad on page 93.
Bechir Kenzari has edited a new book Architecture and Violence with a selection of texts by a range of architectural theorists. It is published by ACTAR with contributions by Libero Andreotti , Annette Fierro , Elie Haddad , Dorita Hannah , Sarah Treadwell , Andrew Herscher , Bechir Kenzari , Donald Kunze , Nadir Lahiji , William B. Millard.
From the back of the book: From propaganda exhibitions to suburban residential complexes, from slaughterhouses to jails, from illegal settlements to governmental palaces, from separation walls to concentration camps, and finally, from actual, material environments to image-architecture performing through flickering media screens, not only is architecture able to sanction and legitimize violence, but also to give it a spatial ground to thrive.
NASA satellites are observing the wild fires around the world. From satellite images the occurrence and spreading of bush fires are clearly visible. In a summary of the fires over the last ten years
The visualisations show fire observations made by the MODerate Resolution Imaging Spectroradiometer, or MODIS, instruments onboard NASA's Terra and Aqua satellites. The data on fires is combined with satellite views of vegetation and snow cover to show how fires relate to seasonal changes. This is really the interesting part. The visualisation beautifully shows the change over a long time period and the movements in the landscape based on the shift, growth and burning of nature. Even though bush fires are devastating disasters the visualisation shows ohw they integrate with the other elements.
Cycle studies are the science of everyday life, as normal as it gets. Its focus is the daily routine, with its habits and rhythms as they occure in most citizens' lifes. It is the power of the normal that brings stability and the routine that ensures security. But is is the cycles's dynamic of flow and continuation that prevents life from freezing.
Cycles therefore stand for stability but are at the same time the engine of change.
With this blog the research on cycles and rhythms will be embedded in the most recent developments in technology, covering a range of areas with a focus on space-time related technologies.
The research is undertaken at CASA Centre for Advanced Spatial Analysis, UCL.
.
