Escalators on the Move

A “hydraulic ladder,” or mobile escalator, has been developed for use in firefighting.

[Images: Illustrations by Kevin Hand for Popular Science].

According to Popular Science, the device is “a cross between a conveyer belt and a ladder,” and it “could help firefighters quickly shuttle victims out of burning buildings.”

In a rescue, firemen could extend Denison’s hydraulic ladder to windows as high as 113 feet. But rather than clamber up the ladder, the firefighter would hop on, and the rungs would roll up at 200 feet per minute—more than twice the average climbing speed of a firefighter weighed down by 130 pounds of gear. The firefighter would ride to a window, load unconscious victims into a rescue bag, hook the bag to the ladder, and shift it into reverse to bring the person to safety.

Extra “rungs” would be stored inside the firetruck down below, to be used as needed for reaching higher floors.

Beyond their role in firefighting, however, these escalators on the move—mechanical detachable staircases moving block to block—suggest interesting architectural possibilities for temporary diagonal passage through the city.

Landscape Futures Super-Dialogue

[Image: The electromagnetic infrastructure of Los Angeles; photo by the Center for Land Use Interpretation].

I’ve deliberately waited to the last minute to mention this event, simply because there will only be room for five or six people to join us, but the Landscape Futures Super-Workshop pops out in public today for a live event beginning at 1pm at the Center for Land Use Interpretation in Culver City.

It features, in order of appearance:

Matthew Coolidge, Center for Land Use Interpretation
David Gissen, Subnature / HTC Experiments / California College of the Arts
David Benjamin, The Living
Liam Young, Tomorrow’s Thoughts Today / Architectural Association
Mark Smout and Laura Allen, Smout Allen / Barlett School of Architecture
Elizabeth Ellsworth and Jamie Kruse, Smudge Studio / Friends of the Pleistocene

Students from the Arid Lands Institute will also have a casebook of research drawings on display, and the day will conclude with a panel discussion, kicking off at 4pm, featuring all of the above speakers in addition to Arid Lands Institute faculty and Los Angeles Times architecture critic Christopher Hawthorne.

[Image: “Topping-out ceremony” at the Onkalo nuclear-waste sequestration site, Finland; photo by Posiva/Jari Hakala, via Friends of the Pleistocene].

In addition to the work of each practitioner listed above, we’ll be discussing everything from the coastal-expansion infrastructures of Los Angeles, urban aridity, future climates and their spatial implications, and the architecture of dynamic landscapes to the cognitive difficulties associated with geologic time, the Super-Workshop‘s own recent experience of L.A., L.A. itself as a site for interventions both speculative and real, and the layered ecologies of the city.

Things kick off at 1pm at the Center for Land Use Interpretation. Due to the size of our own group, however, I should point out again that there will be limited space, and I’d thus suggest arriving early.

Books Received: Climate Futures List

A rash of recent books about the geographic implications of climate change have crossed my desk. In this themed supplement to BLDGBLOG’s ongoing Books Received series, I thought I’d group them together into one related list.

[Image: Courtesy of the Wall Street Journal].

What many of the books described in this post have in common—aside from their shared interest in what a climatically different earth will mean for the future of human civilization—is their use of short, fictionalized narratives set in specific future years or geographic regions as a way of illustrating larger points.

These narrative scenarios—diagnostic estimates of where we will be at some projected later date—come with chapter titles such as “Russia, 2019,” “China, 2042,” “Miami Beached,” and “Holland 2.0 Depolderized.” Among the various spatial and geopolitical side-effects of climate change outlined by these authors are a coming depopulation of the American Southwest; a massive demographic move north toward newly temperate Arctic settlements, economically spearheaded by the extraction industry and an invigorated global sea trade; border wars between an authoritarian Russia and a civil war-wracked China; and entire floating cities colonizing the waters of the north Atlantic as Holland aims to give up its terrestrial anchorage altogether, becoming truly a nation at sea.

“Will Manhattan Flood?” asks Matthew E. Kahn in his Climatopolis: How Our Cities Will Thrive in the Hotter Future. What will Greenland look like in the year 2215, with atmospheric carbon dioxide levels at 1300 parts per million, according to Peter Ward’s The Flooded Earth: Our Future In a World Without Ice Caps? Will a “New North” rise as the Arctic de-ices and today’s economic powerhouses, from Los Angeles to Shanghai, stagnate under killer droughts, coastal floods, and heat waves, as Laurence C. Smith suggests in The World in 2050: Four Forces Shaping Civilization’s Northern Future?

[Image: Modeling sea-level rise in Florida, courtesy of Penn State].

However, climate change is only one of the world-altering forces under discussion in each of these six books. Demography, oil scarcity, natural resources, public hygiene, and accelerating globalization all play roles, to different extents, in these authors’ thinking. In one case, in particular—Float!: Building on Water to Combat Urban Congestion and Climate Change, the most practical book described here—new construction technologies, with immediate implications for architectural design, also take center stage.

In all cases, though, these books offer further evidence of an irresistible popular urge to discuss the future, and to do so through what can very broadly described as fiction. The recent speculative tone taken by much of today’s architecture writing is only part of this trend; from “design fiction” to speculative foreign policy blogs, and from “the world without us” to future food, a compulsion to understand what might happen to human civilization, in both the near and distant future, using fictional scenarios and speculative hypotheses seems to be at a high point of trans-disciplinary appeal.

As Heidi Cullen writes in The Weather of the Future: Heat Waves, Extreme Storms, and Other Scenes from a Climate-Changed Planet, there is something inherently difficult in comprehending the scale of climate change—what effects it might have, what systems it might interrupt or ruin. She thus imports lessons from cognitive psychology to understand what it is about climate change that keeps it so widely misinterpreted (though a hefty dose of media criticism, I’d argue, is far more apropos). It is interesting, then, in light of the apparent incomprehensibility of climate change, that fictional scenarios have become so popular a means of explaining and illustrating what Cullen calls our “climate-changed planet.”

This emerging narrative portraiture of climate change—exemplified by most of the books under discussion here, whether they present us with Atlanta running out of freshwater, frantic Chinese troops diverting rivers on the border with India, or a governmentally-abandoned Miami given over to anarchism and mass flooding—offers an imperfect but highly effective way of making a multi-dimensional problem understandable.

After all, if stories are an effective means of communicating culturally valuable information—if stories are pedagogically useful—then why not tell more stories about future climate change—indeed, why not tell more stories about architecture and buildings and emerging technologies and the spaces of tomorrow’s geopolitics?

Perhaps this is why so much of architecture writing today, both on blogs and elsewhere, so willfully crosses over into science fiction: if architecture literally is the design and proposal of a different world—one that might exist tomorrow, next year, next decade—then it is conceptually coextensive with the genre of scifi.

The current speculative turn in architecture writing is thus both unsurprising and highly appropriate to its subject matter—something worth bearing in mind by anyone hoping to find a larger audience for architectural critique.

[Image: “London as Venice” by Robert Graves and Didier Madoc-Jones, based on a photo by Jason Hawkes (part of an image series well-critiqued by the Guardian)].

An obvious problem with these preceding statements, however, is that we might quickly find ourselves relying on fiction to present scientific ideas to a popular audience; in turn, this risks producing a public educated not by scientists themselves but by misleading plotlines and useless blockbusters, such as The Day After Tomorrow and State of Fear, where incorrect popular representations of scientific data become mistaken for reports of verified fact.

In a way, one of the books cited in the following short list unwittingly demonstrates this very risk; Climate Wars: The Fight for Survival as the World Overheats would certainly work to stimulate a morally animated conversation with your friends over coffee or drinks, but there is something about its militarized fantasies of Arctic tent cities and Asian governments collapsing in civil free-fall that can’t help but come across as over-excitable, opening the door to disbelief for cynics and providing ammunition for extreme political views.

Indeed, I’d argue, the extent to which contemporary political fantasies are being narratively projected onto the looming world of runaway climate change has yet to be fully analyzed. For instance, climate change will cause the European Union to disband, we read in one book cited here, leaving Britain an agriculturally self-sufficient (though under-employed) island-state of dense, pedestrian-friendly urban cores; the U.S. will close its foreign military bases en masse, bringing its troops home to concentrate on large-scale infrastructural improvements, such as urban seawalls, as the middle class moves to high-altitude safety in the Rocky Mountains where it will live much closer to nature; Africa, already suffering from political corruption and epidemic disease, will fail entirely, undergoing a horrific population crash; and China will implode, leaving the global north in control of world resources once again.

It is important to note that all of these scenarios represent explicit political goals for different groups located at different points on the political spectrum. Perversely, disastrous climate change scenarios actually offer certain societal forces a sense of future relief—however misguided or short-term that relief may be.

Elsewhere, I’ve written about what I call climate change escapism—or liberation hydrology—which is the idea that climate change, and its attendant rewriting of the world’s geography through floods, is being turned into a kind of one-stop shop, like the 2012 Mayan apocalypse, for people who long for radical escape from today’s terrestrial status quo but who can find no effective political means for rallying those they see as forming a united constituency. Climate change thus becomes a kind of a deus ex machina—a light at the end of the tunnel for those who hope to see the world stood abruptly on its head.

Indeed, we might ask here: what do we want from climate change? What world do we secretly hope climate change will create—and what details of this world can we glimpse in today’s speculative descriptions of the future? What explicit moral lessons do we hope climate change will teach our fellow human beings?

[Image: “London-on-Sea” by Practical Action].

Of course, the six books listed below are by no means the only ones worth reading on these topics; in fact, the emerging genre of what I’ll call climate futures is an absolutely fascinating one, and these books should be seen as a useful starting place. I would add, for instance, that Charles Emmerson’s recent Future History of the Arctic clearly belongs on this list—however, I covered it in an earlier installment of Books Received. Further, Forecast: The Consequences of Climate Change, from the Amazon to the Arctic, from Darfur to Napa Valley by Stephan Faris is a commendably concise and highly readable introduction to what global climate change might bring, and Elizabeth Kolbert’s Field Notes from a Catastrophe: Man, Nature, and Climate Change has become something of a minor classic in this emerging field.

So, without further ado, here are six new books about climate futures.

The World in 2050: Four Forces Shaping Civilization’s Northern Future by Laurence C. Smith (Dutton). Smith’s book is a virtuoso example of what I would call political science fiction, extrapolating from existing trends in demography, natural-resource depletion, globalization, and climate change to see what will happen to the eight nations of the Arctic Rim—what Smith alternately calls the New North and the Northern Rim. “I loosely define this ‘New North,'” Smith writes, “as all land and oceans lying 45º N latitude or higher currently held by the United States, Canada, Iceland, Greenland (Denmark), Norway, Sweden, Finland, and Russia.”

I should point out that the book’s cover art depicts downtown Los Angeles being over-run by the cracked earth of a featureless desert, as clear an indication as any that Smith’s New North will benefit from negative—indeed, sometimes catastrophic—effects elsewhere.

In an article-slash-book-excerpt published last month in the Wall Street Journal, Smith wrote: “Imagine the Arctic in 2050 as a frigid version of Nevada—an empty landscape dotted with gleaming boom towns. Gas pipelines fan across the tundra, fueling fast-growing cities to the south like Calgary and Moscow, the coveted destinations for millions of global immigrants. It’s a busy web for global commerce, as the world’s ships advance each summer as the seasonal sea ice retreats, or even briefly disappears.” Further:

If Florida coasts become uninsurable and California enters a long-term drought, might people consider moving to Minnesota or Alberta? Will Spaniards eye Sweden? Might Russia one day, its population falling and needful of immigrants, decide a smarter alternative to resurrecting old Soviet plans for a 1,600-mile Siberia-Aral canal is to simply invite former Kazakh and Uzbek cotton farmers to abandon their dusty fields and resettle Siberia, to work in the gas fields?

Being an unapologetic fan of rhetorical questions—will speculative Arctic infrastructure projects be, in the early 2010s, what floating architecture was to the mid-2000s?—the overall approach of Smith’s book maintains a strong appeal for me throughout. The final chapter, in which, as Smith writes, we “step out of the comfort zone” into more open speculation, caps the book off nicely.

The Flooded Earth: Our Future In a World Without Ice Caps by Peter D. Ward (Basic Books). Ward, a paleontologist, has produced a disturbing overview of how terrestrial ecosystems might be fundamentally changed as sea levels rise—and rise, and rise. Ward has the benefit of calling upon data taken from extremely distant phases of the earth’s history, almost all of which becomes highly alarming when transposed to the present and near-future earth. “This book is based on the fact that the earth has flooded before,” he writes, including phases in which seas rose globally at rates of up to 15 feet per century.

Ward successfully communicates the fact that the stakes of climate change are urgent and huge. Indeed, he writes, “The most extreme estimate suggests that within the next century we will reach the level [of carbon dioxide in the atmosphere] that existed in the Eocene Epoch of about 55 million to 34 million years ago, when carbon dioxide was about 800 to 1,000 ppm. This might be the last stop before a chain of mechanisms leads to wholesale oceanic changes that are not good for oxygen-loving life.” That is, a cascade of terrestrial side-effects and uncontrollable feedback loops could very well begin, ultimately extinguishing all oxygen-breathing organisms and kickstarting a new phase of life on earth. Whatever those future creatures might be, they will live, as Ward has written in another book, under the specter of a “green sky.” Brief fictional scenarios—including future bands of human “breeding pairs” wandering through flooded landscapes—pepper Ward’s book.

The Weather of the Future: Heat Waves, Extreme Storms, and Other Scenes from a Climate-Changed Planet by Heidi Cullen (Harper). Cullen’s book is the one title listed here with which I am least familiar, having read only the opening chapter. But it, too, is organized by region and time frame: the Great Barrier Reef, California’s Central Valley, the Sahel in Africa, Bangladesh, New York City, and so on. The shared references to these and other locations in almost all contemporary books on climate change suggests an emerging geography of hotspots—a kind of climate change tourism in which authors visit locations of projected extreme weather events before those storms arrive. Cullen’s book “re-frightened” Stephen Colbert, for whatever that’s worth; I only wish I had had more time to read it before assembling this list.

Float!: Building on Water to Combat Urban Congestion and Climate Change by Koen Olthuis and David Keuning (Frame). When David Keuning sent me a review copy of this book he joked that “offshore architecture has been relatively depleted of its novelty over the last few years”—an accurate statement, as images of floating buildings bring back strong memories of the architectural blogosphere circa 2005.

However, Keuning and Olthuis needn’t be worried about depleting the reader’s interest. A remarkably stimulating read, Float! falls somewhere between design textbook, aquatic manifesto, and environmental exhortation to explore architecture’s offshore future. Water-based urban redesign; public transportation over aquatic roadways; floating barge-farms (as well as floating prisons); maneuverable bridges; entire artificial archipelagoes: none of these are new ideas, but seeing them all in one place, in a crisply designed hardback, is an undeniable pleasure.

The book is occasionally hamstrung by its own optimism, claiming, for instance, that “Once a floating building has left its location, there will be nothing left to remind people of its former presence,” an environmentally ambitious goal, to be sure, but, without a clear focus on maritime waste management (from sewage to rubbish to excess fuel) such statements simply seem self-congratulatory. Having said that, Float! is an excellent resource for any design studio or seminar looking at the future of floating structures in an age of flooding cities.

Climatopolis: How Our Cities Will Thrive in the Hotter Future by Matthew E. Kahn (Basic Books). Kahn’s book is at once hopeful—that cities will energetically reconfigure themselves to function smoothly in a decarbonized global economy—and cautionary, warning that whole regions of the world might soon become uninhabitable.

Kahn’s early distinction between New York City and Salt Lake City—the former considered high-risk, due to coastal flooding and extreme weather events, the latter an example of what Kahn calls “safe cities”—is useful for understanding the overall, somewhat armchair tone of the book. Climatopolis is not hugely rigorous in its exploration of what makes a city “climate-safe,” and it overestimates the descriptive value of using “Al Gore” as a personality type, seeming to cite the politician at least once every few pages, but if your interests are more Planetizen than Popular Science, this is a useful overview of the urban effects of climate change over disparate cities and regions.

Climate Wars: The Fight for Survival as the World Overheats by Gwynne Dyer (Oneworld Publications). Dyer writes that his awareness of climate change was kicked off by two things: “One was the realization that the first and most important impact of climate change on human civilization will be an acute and permanent crisis of food supply.” The other “was a dawning awareness that, in a number of the great powers, climate-change scenarios are already playing a large and increasing role in the military planning process.” Putting two and two together, Dyer has hypothesized, based on a close reading of military documents outlining climate-change contingency plans, what he calls climate wars: wars over food, water, territory, and unrealistic lifestyle guarantees.

Dyer’s book utilizes the most explicitly fictionalized approach of all the books under discussion here—to the extent that I would perhaps have urged him literally to write a novel—and he is very quick to admit that the outcome of his various, geographically widespread scenarios often contradict one another. For those of you with a taste for the apocalypse, or at least a voyeuristic interest in extreme survivalism, this is a good one. For those of you not looking for what is effectively a military-themed science fiction novel in journalistic form, you would do better with one of the titles listed above.

* * *

All Books Received: August 2015, September 2013, December 2012, June 2012, December 2010 (“Climate Futures List”), May 2010, May 2009, and March 2009.

Stratigraphies of Infestation

In his book Rats, Robert Sullivan—an author whose work we previously reviewed here—offers a glimpse of how the city is seen through the eyes of the pest-control industry.

[Image: Rats by Robert Sullivan].

Effective rodent control requires a very specific kind of spatial knowledge, Sullivan suggests, one that often eludes architects and city planners.

Sullivan quotes one rat-control professional, for instance, who “foresees a day when he will be hired to analyze a building’s weaknesses, vis-à-vis pests and rodents… ‘They design buildings to support pigeons and for infiltration by rodents because they don’t think about it. Grand Central Station, right? They just renovated it, right? Who knows what they spend on that, right? You know how much they spend on pest control? You know how much they budgeted? Nothing. I did all the extra work there, but they had to pay us out of the emergency budget.'”

Pest control here becomes an explicitly architectural problem, something you can design both for and against. Imagine an entire degree program in infestation-resistant urban design.

Sullivan points out that a massive, urban-scale architectural intervention, in the form of a quarantine wall fortifying all of New York City against rats, was once tentatively planned: “There was a time in New York, in the 1920s,” he writes, “when scientists proposed a great wall along the waterfront to shut out rats completely, to seal out rats and, thus, forever end rat fear. Eventually, though, the idea was deemed implausible and abandoned: rats will always get through.”

But it’s the particular subset of urban knowledge that has been actively cultivated within the pest control industry that fascinates me here. Sullivan spends a bit of time with a man named Larry Adams, a municipal rodent control expert. “If you hang around Larry long enough,” Sullivan says, “you realize that he sees the city in a way that most people don’t—in layers.” And what follows is well worth quoting in full:

He sees the parks and the streets and then he sees the subways and the sewers and even the old tunnels underneath the sewers. He sees the city that is on the maps and the city that was on the maps—the city’s past, the city of hidden speakeasies and ancient tunnels, the inklings of old streams and hills.
“People don’t realize the subterranean conditions out there,” he likes to say. “People don’t realize the levels. People don’t realize that we got things down there from the Revolution. A lot of people don’t realize that there’s just layers of settlers here, that things just get bricked off, covered up and all. They’re not accessible to people, but they are to rats. And they have rats down there that have maybe never seen the surface. If they did, then they’d run people out. Like in the movies. You see, we only see the tail end of it. And we only see the weak rats, the ones that get forced out to look for food.”

The book’s wealth of rat-catching anecdotes are often unbelievable. “More than anything,” Sullivan reflects, “I have learned from exterminators that history is crucial in effective rat analysis.”

In fact, history is everything when it comes to looking at rats—though it is not the history that you generally read; it is the unwritten history. Rats wind up in the disused vaults, in long underground tunnels that aren’t necessarily going anywhere; they wind up in places that are neglected and overlooked, places with a story that has been forgotten for one reason or another. And to find a rat, a lot of times you have to look at what a place was. One exterminator I know tells the story of a job on the Lower East Side in an old building where rats kept appearing, nesting, multiplying, no matter how many were killed. The exterminator searched and searched. At last, he found an old tunnel covered by floorboards, a passageway that headed toward the East River. The tunnel was full of rats. Later, he discovered that the building had housed a speakeasy during Prohibition.

Or this disconcerting image of an infested basement that was never fully demolished—it was simply forgotten, walled off beneath the surface of the city. Here, Sullivan visits an abandoned lot with a rat-catching expert named Isaac, writing that, “just before we drove off, two men walked by and stopped at the fence; they looked into the abandoned lot and spoke with Isaac in Spanish.”

They told Isaac that they remembered when the lot was the site of an old wooden house that had become abandoned and filled with rats. They remembered the house being demolished and partially buried—the basement was still there, they said. They pointed to the ground, saying that the old home was still beneath it, still rat-infested.

What a perfectly haunting line: They pointed to the ground, saying that the old home was still beneath it, still rat-infested. (And if anyone out there has read The Rats by James Herbert, you might remember that the novel begins with a vaguely similar urban image).

[Image: A “rat king,” via Wikimedia].

Speaking later with Mike, another rat-control expert, Sullivan learns how the stratigraphy of the city takes shape in the mind of the exterminator: “I was getting ready to leave—Mike was just too busy. But then Mike was reminded of an aspect of the nature of rats in the city, and as he put down the phone, he said, ‘You know, I heard there are three layers of sewer lines.’ He counted them off on his fingers. ‘There are the ones from the 1800s, the ones from the 1700s, and the ones they don’t have maps for anymore. Once in a while, they use that old line, when they’re doing construction or something, and you read in the papers that there are hundreds of rats coming up. Well, those rats that are in the third line, they haven’t even seen man before.’”

These stratigraphies of infestation are wonderfully horrifying—but also perfectly and immediately available to the architect and urban planner as practical design challenges. How does one deal with “what was on the maps,” as Sullivan phrases it, while at the same time designing a pest-unfriendly metropolis?

Taking as their design target rats and other “unwanted inhabitants” of the city, as Sullivan phrases it, what inspired collaborations could we develop amongst public health inspectors, urban ecologists, pesticide manufacturers, historical cartographers, city archivists, materials scientists (Sullivan writes, for instance, that Larry Adams, mentioned earlier, has actually developed his own special mix of rat-resistant concrete: “With his expertise, Larry has developed his own rat-eradication techniques, such as concrete mixed with broken glass to keep the rats from gnawing through the concrete. ‘Sometimes, they’ll still cut through before the concrete hardens. So sometimes, I use glass and industrial-strength steel wool and put it in with the concrete and make one big goop with it’”), and, of course, architects and planners? How realistic—let alone ethical—a design challenge is the rodent-free metropolis?

Drylands Design

If I could go back in time, there are two things I would have prioritized this autumn, had I known about them earlier: 1) I would have stopped by the Out of Water: Innovative Technologies in Arid Climates exhibition, curated by Liat Margolis and Aziza Chouani, at the Arid Lands Institute of Woodbury University, and 2) I would have attended more of the accompanying lecture series. The whole thing sounds amazing.

Here’s a description of the lecture series:

Excavating Innovation: The History and Future of Drylands Design examines the role of water engineering in shaping public space and city form, by using arid and semi-arid sites in India, the Middle East, the Mediterranean, and the New World to explore how dryland water systems throughout history have formed and been formed by ritual, hygiene, gender, technology, governance, markets, and, perhaps above all, power.

The series “brings together historians, urbanists, and contemporary designers to selectively excavate global historical case studies and reveal relevance to contemporary design practice.”

The specific lectures sound almost too good to be true, including a forthcoming talk this Thursday, November 18, about the stepwells of India—fantastically gorgeous native hydrological structures I’ve returned to again and again in my own off-blog reading and research.

[Image: Stepwell at Chand Baori, courtesy of Wikipedia].

The series continues into 2011 with a lecture by Nan Ellin called “Canalscape: Ancient and Contemporary Infrastructures of Phoenix” (January 27) and one by Vinayak Bharne called “Indigenous Infrastructure and the Urban Water Crisis: Perspectives from Asia” (February 10).

Anyone interested in the idea of “drylands design” or arid-climate technologies should strongly consider picking up a copy of Fred Pearce’s excellent book When the Rivers Run Dry: Water, The Defining Crisis of the Twenty-first Century. In it, Pearce presents a huge variety of vernacular water-harvesting and storage architectures, from Chinese domestic cisterns and dew ponds in the English South Downs to fog-catching nets in Pacific South America. Two other quick suggestions, if you want to extend your reading, include Marc Reisner’s classic Cadillac Desert: The American West and Its Disappearing Water—an immensely interesting but often historically over-detailed book—and James Powell’s Dead Pool: Lake Powell, Global Warming, and the Future of Water in the West. The latter title I favorably reviewed a while back for the The Wilson Quarterly.

In fact, if you’re really into this stuff, another article I frequently recommend here is something published in the Chicago Reader back in 2006: “They need it, we waste it,” a provocative look at the future interstate politics of freshwater, projecting a time when cities like Phoenix, Las Vegas, and even L.A. might come, buckets in hand, begging for clean water from the Great Lakes. What impending hydro-political rearrangement of North America might we then see take shape?

(Follow the Arid Land Institute on Twitter. Earlier on BLDGBLOG: N.A.W.A.P.A.).

Vent Stack

[Image: The Holland Tunnel Land Ventilation Building, courtesy of Wikipedia].

As described in this PDF, Holland Tunnel has four ventilation structures:

The four ventilation buildings (two in New Jersey and two in New York) house a total of 84 fans, of which 42 are blower units, and 42 are exhaust units. They are capable, at full speed, of completely changing the tunnel air every 90 seconds.

David Gissen briefly explores the architecture of NYC tunnel vents in his book Subnature, opening a window onto the architecture of subterranean weather generation, where unseen machines suck whole atmospheres from the depths of the city. Perhaps we’ll even read someday that New York’s ongoing rash of tornadoes includes a few rogue climate systems belched forth from these vent stacks on the autumnal banks of the Hudson (or perhaps not).

An Invisible Empire of Sidewalks and Gutterspace

[Image: The Viele Map].

Because of a talk I’ll be giving tonight at the USC School of Architecture with Nicola Twilley of Edible Geography, I found myself re-reading an old post here about fishing in the basements of Manhattan.

[Image: The Viele Map].

Manhattan being an island once thoroughly criss-crossed by ponds and streams, almost all of which have been sealed in concrete and turned into sewers, this somewhat hallucinatory theory goes that some of those streams might still be accessible: just smash down through your building’s basement floor, uncover the island’s lost hydrology of well-braided rivers and streams, and an angling paradise will be accessible at your feet.

[Image: The Viele Map via Kottke.org].

But what really caught my eye, and what I’m actually posting about here, is a “gutterspace” reclamation project inaugurated by a man named Jack Gasnick, something I rediscovered today after following a link at the end of that post, which leads to the long-defunct blog Urbablurb by Giles Anthony.

[Image: From Gordon Matta-Clark’s Fake Estates, via Free Association Design].

This is how Anthony describes Gasnick’s project:

In the early 1970s—unbelievably, given how influential Gordon Matta-Clark has become in the last few years—Gasnick began buying and collecting “gutterspace,” or small slivers of land left over from zoning or surveying errors. He said that after a little while he couldn’t stop: “It’s like collecting stamps; once you’ve got the fever, you’ve got the fever.”

Accordingly, Gasnick “bought a slice in Corona just behind Louis Armstrong’s house,” Urbablurb continues, “a piece near Jamaica Bay where he once filled a pail with sea-horses, and yet another adjacent to the Fresh Kills landfill where he claims an abandoned sea Captain’s house still stood.” Gasnick then cultivated small patches of parkland and wilderness within those areas—a micro-wilding of the metropolis, one site at a time: “On the weekends, he would sometimes drive out to the tiny parcels and help the milkweed and laurel grow, tend to the turtles, and sit down for a picnic. ‘This jump of mine from flower pot to apple tree bears witness to the fact that it doesn’t cost much for an apartment-living guy to get a share of the good environment,’ he wrote in 1974. To be exact, it cost between $50 and $250. But the taxes he had to pay were enough of a hassle that he gave away (or otherwise lost track of) all the pieces by 1977.”

He “lost track” of them—the mind reels at the possibility that there is still a distributed Jack Gasnick estate somewhere, peppering the streets and gutters of New York City.

As Anthony suggests, this all has an uncanny parallel in Gordon Matta-Clark’s Fake Estates project. From Cabinet magazine:

In the early 1970s, Matta-Clark discovered that the City of New York periodically auctioned off “gutterspace”—unusably small slivers of land sliced from the city grid through anomalies in surveying, zoning, and public-works expansion. He purchased fifteen of these lots, fourteen in Queens and one in Staten Island. Over the next years, he collected the maps, deeds, and other bureaucratic documentation attached to the slivers; photographed, spoke, and wrote about them; and considered using them as sites for his unique brand of “anarchitectural” intervention into urban space.

So who is Jack Gasnick, that minor New Yorker who once “bought strange-shaped lots in every borough,” as the New York Times reported back in 1994, when Gasnick was still alive and 74 years old, and who once claimed to fish in the basements of Manhattan? Who knows.

(The BLDGBLOG/Edible Geography presentation tonight at USC is at 6pm in Harris Hall; it’s free and open to the public. We’ll be talking about buried rivers, artificial glaciers, and quarantine, among other shared topics of interest).

The Reforestation of the Thames Estuary

[Image: “The Dormant Workshop” by Tom Noonan, courtesy of the architect].

While studying at the Bartlett School of Architecture in London, recent graduate Tom Noonan produced a series of variably-sized hand-drawings to illustrate a fictional reforestation of the Thames estuary.

[Image: “Log Harvest 2041” by Tom Noonan, courtesy of the architect].

Stewarding, but also openly capitalizing on, this return of woodsy nature is the John Evelyn Institute of Arboreal Science, an imaginary trade organization (of which we will read more, below).

[Image: “Reforestation of the Thames Estuary” by Tom Noonan, courtesy of the architect].

The urban scenario thus outlined—imagining a “future timber and plantation industry” stretching “throughout London, and beyond”—is like something out of Roger Deakin’s extraordinary book Wildwood: A Journey Through Trees (previously described here) or even After London by Richard Jeffreys.

In that latter book, Jeffreys describes a thoroughly post-human London, as the ruined city is reconquered by forests, mudflats, aquatic grasses, and wild animals: “From an elevation, therefore,” Jeffreys writes, “there was nothing visible but endless forest and marsh. On the level ground and plains the view was limited to a short distance, because of the thickets and the saplings which had now become young trees… By degrees the trees of the vale seemed as it were to invade and march up the hills, and, as we see in our time, in many places the downs are hidden altogether with a stunted kind of forest.”

Noonan, in a clearly more domesticated sense—and it would have been interesting to see a more ambitious reforestation of all of southeast England in these images—has illustrated an economically useful version of Jeffreys’s eco-prophetic tale.

[Image: “Lecture Preparations” by Tom Noonan, courtesy of the architect].

From Noonan’s own project description:

The reforestation of the Thames Estuary sees the transformation of a city and its environment, in a future where timber is to become the City’s main building resource. Forests and plantations established around the Thames Estuary provide the source for the world’s only truly renewable building material. The river Thames once again becomes a working river, transporting timber throughout the city.

It is within these economic circumstances that the John Evelyn Institute of Arboreal Science can establish itself, Noonan suggests:

The John Evelyn Institute of Arboreal Scienc eat Deptford is the hub of this new industry. It is a centre for the development and promotion of the use of timber in the construction of London’s future architecture. Its primary aim is to reintroduce wood as a prominent material in construction. Through research, exploration and experimentation the Institute attempts to raise the visibility of wood for architects, engineers, the rest of the construction industry and public alike. Alongside programmes of education and learning, the landscape of the Institute houses the infrastructure required for the timber industry.

They are similar to an organization like a cross between TRADA and the Wooodland Trust, say.

[Image: “Urban Nature” by Tom Noonan, courtesy of the architect].

And the Institute requires, of course, its own architectural HQ.

[Image: “Timber Craft Workshop” by Tom Noonan, courtesy of the architect].

Noonan provides that, as well. He describes the Institute as “a landscape connecting Deptford with the river,” not quite a building at all. It is an “architecture that does not conform to the urban timeframe. Rather, its form and occupation is dependent on the cycles of nature.”

The architecture is created slowly—its first years devoid of great activity, as plantations mature. The undercroft of the landscape is used for education and administration. The landscape above becomes an extension of the river bank, returning the privatised spaces of the Thames to the public realm. Gaps and cuts into the landscape offer glimpses into the monumental storage halls and workshops below, which eagerly anticipate the first log harvest. 2041 sees the arrival of the first harvest. The landscape and river burst in a flurry of theatrical activity, reminiscent of centuries before. As the plantations grow and spread, new architectures, infrastructures and environments arise throughout London and the banks of the Thames, and beyond.

The drawings are extraordinary, and worth exploring in more detail, and—while Noonan’s vision of London transformed into a working forest plantation would have benefitted from some additional documentation, such as maps*—it is a delirious one.

[Image: “Thames Revival” by Tom Noonan, courtesy of the architect].

Considering the ongoing overdose of urban agriculture imagery passing through the architecture world these days, it is refreshing simply to see someone hit a slightly different note: to explore urban forestry in an aesthetically powerful way and to envision a world in which the future structural promise of cultivated plantlife comes to shape the city.

*I wrote this without realizing that the package of images sent to me did not include the entire project—which comes complete with maps.

Softcore

Just a quick reminder that you have till December 10 to submit to Bracket 2, published by Actar, Archinect, and InfraNet Lab:

Bracket 2 invites the submission of critical articles and unpublished design projects that investigate physical and virtual soft systems, as they pertain to infrastructure, ecologies, landscapes, environments, and networks… Bracket 2 seeks to critically position and define soft systems, in order to expand the scope and potential for new spatial networks, and new formats of architecture, urbanization and nature. From soft politics, soft power and soft spaces to fluid territories, software and soft programming, Bracket 2 questions the use and role of responsive, indeterminate, flexible, and immaterial systems in design. Bracket 2 invites designers, architects, theorists, ecologists, scientists, and landscape architects to position and leverage the role of soft systems and recuperate the development of the soft project.

Check out InfraNet Lab and the Bracket website for more info. Keep your eye out, as well, for InfraNet Lab‘s forthcoming Pamphlet Architecture installment, Coupling: Strategies for Infrastructural Opportunism.

Quadraturin and Other Architectural Expansionary Tales

While I’m announcing things, I also want to give a heads up to anyone in the Los Angeles area that I’ll be lecturing on Wednesday evening, October 13th, over at SCI-Arc, speaking on the subject of “Quadraturin and Other Architectural Expansionary Tales.” I’ll be delving into the long-running subtheme on this site of the role of architectural ideas in poetry, myth, comics, and fiction, from the ancient to extreme futurity.

From “trap streets” in London and the fiction of China Miéville to the folklore of The First Fossil Hunters and myths of Alexander’s Gates—to, of course, Quadraturin—by way of Franz Kafka, Mike Mignola, Rupert Thomson, 3D-printing bees, haunted skyscrapers, neutrino storms, the Cyclonopedia, and much more, the talk will be a quick rundown of both the narrative implications of architecture and the architectural implications of specific storylines.

It’s free and open to the public, and there’s an insane amount of parking, so hopefully I will see some of you there. Here’s a map. Things kick off at 7pm.

Urban Optometry

[Image: From The Solitary Life of Cranes by Eva Weber].

The Solitary Life of Cranes is a short film by Eva Weber about the work performed by construction crane operators in London. I’ve mentioned it many times in various talks I’ve given over the past year, but I realized last night that I never actually posted about it—so I thought I’d correct that. It’s a great film, and it’s worth seeking out. At only 27 minutes in length, as well, it’s also quick to watch.

[Image: From The Solitary Life of Cranes by Eva Weber].

As the film describes itself:

Part city symphony, part visual poem, The Solitary Life of Cranes explores the invisible life of a city, its patterns and hidden secrets, seen through the eyes of crane drivers working high above its streets. (…) From their elevated positions, crane drivers are the unsung chroniclers of our ever-changing metropolis: the bulk of their time is spent waiting, looking, observing the wind, the weather, and the people down below. From their airy towers, they do not only have the best overview of the construction site and some of the most impressive panoramic views of the city but also an unparalleled insight into any of the buildings surrounding them.

Looked at one way, Weber has made an oral history of crane operators: documenting where they work, what they think about, what they see, and—perhaps most interestingly—how they view the city.

[Image: From The Solitary Life of Cranes by Eva Weber].

These operators, I would suggest, have a view of the metropolis that architects and planners have little or no access to, an optical insight into city life that often gives their job an almost mystic feel. “Many people don’t know that there’s somebody up there, don’t even think that there’s somebody up there,” one of the operators suggests. “They’re quite surprised when you tell them, ‘yeah there’s a guy up there, you know and this guy is me’.”

There are moments of both inadvertent and advertent voyeurism in the process. “You see really private moments of people’s lives… because people can’t see you or aren’t aware of you.” Indeed, “There’s a couple of people in—how can I put this now without sounding like a voyeur? There are flats right opposite me with the same people in, every day, if you know what I mean, and they’re there, you cannot not look.”

“If you did meet the same person on the street,” one of them says, “then you’d think twice… you wouldn’t introduce yourself, but you stop and think and turn your head when they walk by, you know, as if to say, look I’m part of your life but you don’t know it.”

[Image: From The Solitary Life of Cranes by Eva Weber, like a shot from Michael Wolf’s book The Transparent City].

One of them even compares the experience to living and working inside a cloud: “Coming down… it’s like coming out of a cloud. You sort of come down it, and it just disappears and then you’re back on normal ground again. You think, ‘Jesus, what a different way of life down here than what it is up there’.”

This terrestrial dislocation is not necessarily a good thing: “We’re getting operators that we all call ‘cab happy’, and they just want to stay on the cab all the time. You know, it’s hard to get them out… I think all crane operators, to a certain degree, I think they’re ‘cab happy’—when you’re on the floor you always miss being in the crane.”

[Image: From The Solitary Life of Cranes by Eva Weber].

One of my favorite moments in the film is when we hear an operator talk about storms. “You can see a storm develop,” he says, looking out over the city, “sort of 10-15 miles away, you can see the cloud shapes, you know, you can watch the rain come in,” and we see moving fronts of English weather cross over the city, “and the rain physically comes in as a wall. You can see that curtain,” he says, “moving across the town, moving across the city.”

[Image: From The Solitary Life of Cranes by Eva Weber].

When I talked about this film at an event in New York City last winter, architect Ed Keller, the event’s host, compared these crane operators to Daedalus figures, looking down into the labyrinth that they themselves have built—only here the labyrinth is London, and the there is not one Daedalus but thousands, and they are awake all the time in overlapping shifts, keeping eyes on the city from above, in perpetuity.

[Image: From The Solitary Life of Cranes by Eva Weber; the building in the lower left of this image is actually the London office of Foster and Partners].

“The sky is full of stories,” as author Sukhdev Sandhu wrote in an essay for the book A Manual For the 21st Century Art Institution. Looking at the social, economic, and even narrative implicatons of architectural verticality in East London, Sandhu specifically cites Weber’s film:

These men, perched in their metal boxes, invisible to ground-bound Londoners, speak with precision and poetry about the beauty they are afforded by their enhanced perspectives—about the pale delicacy with which the sun rises above the city, the lush greenery of far-off hills, the way streets curve and snake into the distance. They are blessed with the opposite of tunnel vision, able to spot oncoming storms at a distance of fifteen miles, and witnesses to the teeming life that takes place above pavement level: roof-garden parties, office workers taking fag breaks, pigeon fanciers chatting to their birds. London, one of them observes, consists of a series of layers.

Sandhu calls for a need “to gaze out across the callous metropolis—and conjure forth connections,” taking advantage of these unprecedented viewpoints, perspectives on the city that were literally impossible before these buildings and cranes came along, to help fashion a new understanding of how the metropolis works, how people live within it, and where it might yet go. As if the building boom brought with it a new optics of the city—a new picturesque—an angled optometry of everyday space.

[Image: From The Solitary Life of Cranes by Eva Weber].

Briefly, I’m reminded of the story of Babu Sassi, a crane operator atop the Burj Dubai/Burj Khalifa who, the legend goes, didn’t come down to earth for a full year, as it would have taken too long to make the trip. You can read more about Babu at that earlier post, but the overall question would be the same: how does your understanding of the social world change after spending time inside these massive, temporary constructs without names or fixed addresses, as if only unofficially present in the built landscape that surrounds them? They are towers that disappear, never to be seen again in the same location, and you are perched there, like some rogue landscape theorist, at fantastic height above the very thing you both assemble and secretly study.

[Image: From The Solitary Life of Cranes by Eva Weber].

More information about the film can be found at its—unfortunately Flash-based—website, and the film itself is worth seeking out.