Photographer Kris Graves has documented all of New York City’s 77 police precinct buildings. The architectural styles used evolved over the years, reflecting trends in architectural design as well as the police force’s evolving needs. During the 19th century, most precincts were built in the Romanesque or Classical Revival styles, By the 1960s, the buildings were largely un-ornamented.
Now, New York City’s police force is considering how their precinct buildings’ architecture impacts their relation to the community. While Brutalism may have its merits in the history of design and architecture, there is little doubt that a monolithic concrete building may fail to appear like anything other than a fortress. In a time when the tension between police and the communities they aim to serve has perhaps never been higher, precincts hope to convey an openness through the design of their buildings. The most recent proposals feature interior public spaces to allow community meetings and engagement.
This documentation was undertaken as part of an ongoing examination by Urban Omnibus and the Architectural League of New York entitled The Location of Justice. The project seeks to examine “the pervasive and often overlooked infrastructure of criminal justice in New York and the spaces that could serve a more just city.”
Source: Urban Omnibus
“Better together.” That’s the message this week as two photo sharing giants come together. SmugMug was founded in the early aughts by photographers who knew the digital age meant it was time to develop a way to share digital photos. Flickr was founded by a Canadian corporation in 2004 and quickly acquired by Yahoo, where it grew into a massive platform with more than 80 million users.
However, Flickr struggled to keep up as Facebook and Instagram revolutionized the way we share images on the Internet. Despite this, Flickr stayed popular with both amateur and professional photographers for its core functionality: the ability to browse, share and display high quality images with a community of peers. Additionally, Flickr offered free accounts, while SmugMug charged a small subscription fee.
SmugMug has stated that it intends to continue to operate both Flickr and SmugMug as separate platforms and services, and invest in both moving forward. SmugMug has also reassured dedicated Flickr users that their free accounts and thousands of photos aren’t going anywhere. Only time will tell what changes this move will have on the online photography community, but so far there has been great enthusiasm for the acquisition.
Source: The Guardian and SmugMug.
In the near future, there are few industries that 3D printing does not stand to change, if not revolutionize. Interior Design is one industry where 3D printing, also called additive manufacturing, is currently changing the game. The new Loft flagship store in Ginza, Tokyo is a prime example of this fact.
The architecture firm DUS has been using additive manufacturing in their architecture for several years, but is now implementing that expertise in its interior design work as well. For the Loft store, DUS was inspired by Japanese paper folding traditions, and incorporated complex geometric designs in furniture and merchandise displays. These were shapes and ideas that would have been nearly impossible to model or fabricate without digital technologies and additive manufacturing.
When it comes to model making, research has already begun to show that the opportunities presented by 3D printing are beginning to change the way designers think. A study undertaken with interior design students showed that access to 3D technology shifted the modeling process and resulted in quick prototypes with more consistently accurate scales, compared to model making by hand.
Source: Archipreneur and Emerald Insight
In 2011, Ben Austen—a journalist working for Harper’s Magazine—found himself watching the demolition of one of Cabrini-Green’s towering buildings. Beyond the building’s physical mass, he viewed the complex as a looming monolith that represented the story of public housing and its occupants not just in Chicago but elsewhere.
In an interview with CityLab, Austen points out that many of the arguments for the destruction of public housing projects like Cabrini-Green, and the infamous Pruitt-Igoe in St. Louis, echoed the arguments made in favor of their construction in the first place: to create safer, better accommodations. He argues that the failings of these projects gets disproportionally blamed on the architecture when in fact these large public housing complexes were an improvement over what they replaced. Since these public housing complexes have been demolished, poverty is less centralized and, Austen suggests, less visible but no less urgent. Read more about lessons learned and stories told in his book High-Risers: Cabrini-Green and the Fate of American Public Housing.
Source: Citylab and Chicago Tribune.
Passed in 1990, the Americans with Disabilities Act (ADA) marked the beginning of a new era for property owners and public works entities. The ADA outlines the minimum standards projects must meet in order to be safe and accessible, though many cities have chosen to adopt stricter policies. Cities like New York, where a large portion of the population uses public transit, and Portland, where steep grades and weather present challenges, have spent years studying and developing pedestrian strategies.
Currently, Austin’s Public Works Department is responsible for more than 2400 miles of sidewalk. According to the department, as of 2016, 80% of those sidewalks were in poor condition. They also estimate an additional 2500 miles of sidewalks still need to be constructed, with much of North Central and East Austin having an ‘Absent Sidewalk Score’ of more than 59 points. The updated Sidewalk Master Plan for Austin calls for 390 miles of those needed sidewalks in the next 10 years, prioritizing the areas around bus stops, schools and parks. Austin’s climate presents another challenge, and many areas with or without sidewalks lack tree cover and the micro-climate that makes traveling by foot possible on hotter days
Sidewalk-related issues came to the fore this week when the Austin Monitor published a photo of a newly constructed sidewalk taking several 90 degree turns in quick succession. According to the article, it appears that the unorthodox shape of the sidewalk was the result of the contractor attempting to keep the sidewalk’s grade, or rate of decent, at no more than 5%. City engineer Bill Hadley confirmed that the sidewalk appeared to adhere to the law as it is written. However, the National Center for Bicycling and Walking recommends a wider sidewalk on grades, allowing those in wheelchairs to travel in a zig-zag pattern. In addition, a wider sidewalk as opposed to a zig-zag shaped sidewalk, would ensure that visually impaired pedestrians would not be faced with navigating an unpredictable path.
It’s time for a frank conversation about pedestrian design as Austin is experiencing rapid expansion and is expected to spend $250 million on sidewalks over the next decade.
Sources: Austin Monitor and the National Center for Bicycling and Walking.
Photographer Reuben Wu has been using adapted drones to light-paint in natural environments, creating beautiful and otherworldly landscapes. His image series “Lux Noctis” transform natural landscapes into images that evoke ideas of extraterrestrial exploration and science fiction. Wu’s photos endeavor to explore unknown and hidden places and present them as if they were a memory of a foreign place.
Wu uses drones to create light trails around rock formations and to provide supplementary light from above. The long exposure images are ethereal, colorful, and otherworldly. His other work similarly blends landscape, futurism and architecture.
Source: Colossal and Rueben Wu
The Berlin Wall stood for 28 years, bifurcating the city into West and East Berlin respectively. Demolition of the wall began in 1990, and 28 years later, an exhibition at the Venice Biennale of Architecture 2018 will be exploring the question of what happens to the built environment when physical divides are torn down. The exhibition, titled “Unbuilding Walls,” will showcase 28 examples—one example for each year the Berlin Wall divided Berlin—of historic and contemporary walls, barriers and fences and their effect on or reaction to the landscape.
In 2012, astronaut André Kuipers documented one example of the wall’s divide still evident from space: the color difference in the street lights of and west and east sides of the city is clearly perceptible.
Source: Topos Magazine and the Washington Post.
Are you the type of person to stop and ogle a mid-century structure or admire the stark brutalism of a concrete wall? If you also have a sweet tooth, these Danish sweets might be just the thing for you.
Danish born designer and goldsmith Kia Utzon-Frank is not a baker by trade, but she began making flødeboller because she could not find the treat in the UK. As an artist, she couldn’t help but elevate them. The meringue and almond paste balls are covered in cocoa, and decorated with ingredients including charcoal, black sesame and cocoa butter to mimic the texture of concrete, granite or marble. She now runs a Kufcakes Geometric Flødeboller Masterclass at the London-based art center Barbican, and will be hosting a brutalist-edition on March 3rd, 2018.
Source: Mashable and KUF Studios.
Analog photography is getting a revamp. The first Single Lens Reflex (SLR) film camera designed since the 1990s was successfully backed on Kickstarter at the end of 2017. The project, simply titled Reflex, is on track to be available for sale in August 2018.
In many ways this camera takes everything back to the very basics: it requires one to manually focus the lens and advance the film. However, a few key features make this film camera a massive leap forward compared to the Pentax K1000 bodies still found on eBay. The Reflex team was determined to create as flexible and modular a tool as possible.
First, the interchangeable “I Plate” lens mount allows photographers to use lenses they already own from brands like Pentax, Minolta, Canon and Olympus. An interchangeable film back means changing from color to black and white film is easy, or from a fast film to a slow one. Bluetooth connectivity, while it might seem gratuitous on an analog camera, will allow photographers to quickly take notes on their shots as they compose them, and log their settings for future reference. Finally, Reflex is determined to allow open source development for their camera using 3D printing so individuals can create their own accessories.
While the price point will likely be comparable to an entry level Digital SLR, revived interests in almost-obsolete mediums like vinyl LPs have shown that people are willing to invest in keeping older formats alive. With the flexibility and the promise of open source development that Reflex offers, it’s hard to imagine they won’t have some enthusiastic adopters.
Source: Reflex Kickstarter and The Guardian.
The fluid and much discussed space between vandalism and art has now entered Earth’s orbit in the form of a large mirrored ball. Rocket Lab, a New Zealand company determined to “…remove barriers to commercial space,” launched what is essentially a massive disco ball into orbit on January 21st, 2018. Humanity Star, composed of carbon fiber and reflective panels, will orbit Earth every 90 minutes for 9 months until it enters Earth’s atmosphere and is destroyed. Until then, it can be tracked online via Rocket Lab’s website, and will be the brightest, flashiest object in the night sky.
However, like many artists and visionaries seeking to make their mark, Peter Beck and Rocket Lab didn’t seek permission before launching Rocket Lab. Astronomers have voiced concerns, as the bright object in orbit could interfere with research they are completing on actual stars. Those researchers see the satellite as nothing more than space graffiti. Others see Beck’s satellite as another encroachment on public space, the night sky being one of the few landscapes available to almost anyone, anywhere.
That universality was exactly the goal of the minds behind the Humanity Star. They simply hope Earthlings take a moment to look up and consider the space around them and their responsibility to Earth and its people.
Source: Rocket Lab and Dezeen.
Countries worldwide vie for the honor of hosting the Olympic games, seeking the international spectacle and the economic incentives. This year’s host, South Korea, has invested heavily in upgrading their transportation network and resort architecture in Pyeongchang. With the opening ceremony taking place on February 9, 2018, the conversation now turns to how the province will utilize the new infrastructure moving forward.
Even in densely populated former Olympic cities like Atlanta and London, deciding how to deal with multiple large venues following the close of the games is a challenge. These structures require constant maintenance, and if left unused are quick to deteriorate. The Olympic Complex in Athens—constructed for the 2004 Summer Olympics—is now best known for being essentially a ghost town. Pyeongchang province has a population of only about 45,000 people and bases its economy heavily on tourism. As of now, the arenas for speed skating, hockey and curling lack a specific use after the Olympics and Paralympics conclude. As for the 35,000 seat pentagonal arena that houses the Olympic torch, the plan is to demolish it after the closing ceremony after having been used a total of four times.
Source: Quartz and Reuters.
Photographer Tom Blachford’s series ‘Nihon Noir’ calls to mind futurism, science-fiction, film noir and yes, the 1982 cult classic film Blade Runner. Blachford was inspired by the Metabolism movement era architecture in Japan, and his images showcase its unique intersection of architecture and infrastructure.
Metabolism was a post-war movement brought to the international stage during the 1960 Tokyo World Design Conference. The designers behind the movement organized their vision into a manifesto entitled Metabolism: The Proposals for New Urbanism, which described a design ethos focused on meshing mega-structures with organic shapes. The most prolific member of the movement, Kenzo Tange, worked as a designer, architect, and urban planner until his death in 2005.
The images Blachford created were designed to showcase a neon futurism, and the buildings he featured were chosen because they combined brutalism and the principles of organic growth—the essence of this post war architectural movement. “Though these buildings are from the past,” he said, “they appear as if they have appeared from the distant future. My intention is for the viewer to ask not ‘where’ they were taken but ‘when.”