Landscape Futures

[Images: The cover of Landscape Futures; book design by Brooklyn’s Everything-Type-Company].

I’m enormously pleased to say that a book project long in the making will finally see the light of day later this month, a collaboration between ACTAR and the Nevada Museum of Art called Landscape Futures: Instruments, Devices and Architectural Inventions.

On a related note, I’m also happy to say simply, despite the painfully slow pace of posts here on the blog, going back at least the last six months or so, that many projects ticking away in the background are, at long last, coming to fruition, including Venue, and, now, the publication of Landscape Futures.

[Images: The opening spreads of Landscape Futures; book design by Everything-Type-Company].

Landscape Futures both documents and continues an exhibition of the same name that ran for a bit more than six months at the Nevada Museum of Art in Reno, from August 2011 to February 2012. The exhibition was my first solo commission as a curator and by far the largest project I had worked on to that point. It was an incredible opportunity, and I remain hugely excited by the physical quality and conceptual breadth of the work produced by the show’s participating artists and architects.

Best of all, I was able to commission brand new work from many of the contributors, including giving historian David Gissen a new opportunity to explore his ideas—on preservation, technology, and the environmental regulation of everyday urban space—in a series of wall-sized prints; finding a new genre—a fictional travelogue from a future lithium boom—with The Living; and setting aside nearly an entire room, the centerpiece of the 2,500-square-foot exhibition, for an immensely complicated piece of functioning machinery (plus documentary photographs, posters, study-models, an entire bound book of research, and much else besides) by London-based architects Smout Allen.

Those works joined pre-existing projects by Mason White & Lola Sheppard of Lateral Office and InfraNet Lab, whose project “Next North/The Active Layer” explored the emerging architectural conditions presented by climate-changed terrains in the far north; Chris Woebken & Kenichi Okada, whose widely exhibited “Animal Superpowers” added a colorful note to the exhibition’s second room; and architect-adventurer Liam Young, who brought his “Specimens of Unnatural History” successfully through international customs to model the warped future ecosystem of a genetically-enhanced Galapagos.

[Images: More spreads from Landscape Futures; book design by Everything-Type-Company].

But the book also expands on that core of both new and pre-existing work to include work by Rob Holmes, Alex Trevi (edited from their original appearance on Pruned), a travelogue through the lost lakes of the American West by Smudge Studio, a walking tour through the electromagnetic landscapes of Los Angeles by the Center for Land Use Interpretation, and a new short story by Pushcart Prize-winning author Scott Geiger.

These, in turn, join reprints of texts highly influential for the overall Landscape Futures project, including a short history of climate control technologies and weather warfare by historian James Fleming, David Gissen‘s excellent overview of the atmospheric preservation of artifacts in museums in New York City (specifically, the Temple of Dendur at the Metropolitan Museum of Art), and a classic article—from BLDGBLOG’s perspective, at least—originally published in New Scientist back in 1998, where geologist Jan Zalasiewicz suggests a number of possibilities for the large-scale fossilization of entire urban landscapes in the Earth’s far future.

Even that’s not the end of the book, however, which is then further augmented by a long look, in the curator’s essay, at the various technical and metaphoric implications of the instruments, devices, and architectural inventions of the book’s subtitle, from robot-readable geotextiles and military surveillance technologies to the future of remote-sensing in archaeology, and moving between scales as divergent as plate-tectonic tomography, radio astronomical installations in the the polar north, and speculative laser-jamming objects designed by ScanLAB Projects.

To wrap it all up and connect the conceptual dots set loose across the book, detailed interviews with all of the exhibition’s participating artists, writers, and architects fill out the book’s long middle—and, in all cases, I can’t wait to get these out there, as they are all conversations that deserve continuation in other formats. The responses from David Gissen alone could fuel an entire graduate seminar.

The spreads and images you see here all come directly from the book.

[Images: Spreads from Landscape Futures; book design by Everything-Type-Company].

Of course, the work itself also takes up a large section in the final third or so of the book; consisting mostly of photographs by Jamie Kingham and Dean Burton, these document the exhibition contents in their full, spatial context, including the double-height, naturally lit room in which the ceiling-mounted machinery of Smout Allen whirred away for six months. This is also where full-color spreads enter the book, offering a nice pop after all the pink that came before.

[Images: Installation shots from the Nevada Museum of Art, by Jamie Kingham and Dean Burton, including other views, from posters to renderings, from Landscape Futures; book design by Everything-Type-Company].

Which brings us, finally, to the Landscape Futures Sourcebook, the final thirty or forty pages of the book, filled with the guest essays, travelogues, walking tours, photographs, a speculative future course brief by Rob Holmes of Mammoth, and the aforementioned short story by Scott Geiger.

[Images: A few spreads from the Landscape Futures Sourcebook featured in Landscape Futures; book design by Everything-Type-Company].

Needless to say, I am absolutely thrilled with the incredible design work done by Everything-Type-Company—a new and rapidly rising design firm based in Brooklyn, founded by Kyle Blue and Geoff Halber—and I am also over the moon to think that this material will finally be out there for discussion elsewhere. It’s been a long, long time in the making.

In any case, shipping should begin later this month. Hopefully the above glimpses, and the huge list of people whose graphic, textual, or conceptual work is represented in the book, will entice you to support their effort with an order.

Enjoy!

(Thank you to all the people and organizations who made Landscape Futures possible, including the Nevada Museum of Art and ACTAR, supported generously by the Graham Foundation for Advanced Study in the Fine Arts, the National Endowment for the Arts, and the Andy Warhol Foundation for the Visual Arts).

Landscape Futures Super-Trip

I’m heading off soon on a road trip with Nicola Twilley, from Edible Geography, to visit some incredible sites (and sights) around the desert southwest, visiting places where architecture, astronomy, and the planetary sciences, to varying degrees, overlap.

[Image: The Very Large Array].

This will be an amazing trip! Our stops include the “world’s largest collection of optical telescopes,” including the great hypotenuse of the McMath-Pierce Solar Telescope, outside Tucson; the Very Large Array in west-central New Mexico; the Controlled Environment Agriculture Center at the University of Arizona, aka the “lunar greenhouse,” where “researchers are demonstrating that plants from Earth could be grown without soil on the moon or Mars, setting the table for astronauts who would find potatoes, peanuts, tomatoes, peppers and other vegetables awaiting their arrival”; the surreal encrustations of the Salton Sea, a site that, in the words of Kim Stringfellow, “provides an excellent example of the the growing overlap of humanmade and natural environments, and as such highlights the complex issues facing the management of ecosystems today”; the Fred Lawrence Whipple Observatory, with its automated scanning systems used for “robotic searches for variable stars and exoplanets” in the night sky, and its gamma-ray reflectors and “blazar lightcurves” flashing nearby; the Grand Canyon; Red Rocks, outside Sedona; the hermetic interiorities of Biosphere 2; White Sands National Monument and the Trinity Site marker, with its so-called bomb glass; the giant aircraft “boneyard” at the Pima Air & Space Museum; and, last but not least, the unbelievably fascinating Lunar Laser-ranging Experiment at Apache Point, New Mexico, where they shoot lasers at prismatic retroreflectors on the moon, testing theories of gravitation, arriving there by way of the nearby Dunn Solar Telescope.

[Image: The “Electric Aurora,” from Specimens of Unnatural History, by Liam Young].

The ulterior motive behind the trip—a kind of text-based, desert variation on Christian Houge’s study of instrumentation complexes in the Arctic—is to finish up my curator’s essay for the forthcoming Landscape Futures book.

That book documents a forthcoming exhibition at the Nevada Museum of Art called Landscape Futures: Instruments, Devices and Architectural Inventions, featuring work by David Benjamin & Soo-in Yang (The Living), Mark Smout & Laura Allen (Smout Allen), David Gissen, Mason White & Lola Sheppard (Lateral Office), Chris Woebken, and Liam Young.

Finally, Nicola and I will fall out of the car in a state of semi-delirium in La Jolla, California, where I’ll be presenting at a 2-day symposium on Designing Geopolitics, “an interdisciplinary symposium on computational jurisdictions, emergent governance, public ecologies,” organized by Benjamin Bratton, Daniel Rehn, and Tara Zepel.

That will be free and open to the public, for anyone in the San Diego area who might want to stop by, and it will also be streamed online in its entirety; the full schedule is available at the Designing Geopolitics site.

(Earlier on BLDGBLOG: Landscape Futures Super-Workshop, Landscape Futures Super-Dialogue, and Landscape Futures Super-Media).

Art + Environment, Landscape Futures, and a Million Reasons to Visit Reno

[Image: From Modeling the Universe by Linda Fleming, courtesy of the Nevada Museum of Art].

The Nevada Museum of Art’s Center for Art + Environment—which, three years after its founding, “remains the only research institute in the world devoted to the subject of creative interactions with natural, built, and virtual environments”—is hosting its second Art + Environment Conference this year.

The line-up is incredible. From 29 September-1 October, at the Nevada Museum of Art in Reno, expect to hear from Edward Burtynksy (whose extraordinary Oil series will be on display at the museum in 2012), Chris Jordan, Amy Franceschini, Fritz Haeg, Jorge Pardo, Alexander Rose of the Long Now Foundation, Newton & Helen Mayer Harrison, Leo Villareal, William L. Fox, and nearly two dozen others, including a panel featuring architects Liam Young, from Tomorrow’s Thoughts Today, and Mark Smout & Laura Allen, authors of Pamphlet Architecture #28: Augmented Landscapes, moderated by none other than Bruce Sterling.

Expect to hear about such topics as “Designing for Longevity,” “Designing the Wild and Cultivating the City,” “Designing Architectures for Environmental Change,” “Farming in the Future,” and “Altering the Landscape,” among many others, including an announcement from Nicola Twilley and I about a major cultural and landscape research project we will be undertaking together in 2012.

The Museum has also recently announced a discounted student rate for conference tickets, so definitely consider attending; Reno is presumably not a city you would otherwise find yourself passing through on a regular basis, but it’s not a bad drive up from San Francisco, Las Vegas, or even Los Angeles, and there will be tons to see and do.

Also on display at the Nevada Museum of Art during the conference, for instance, will be a massive show called The Altered Landscape: Photographs of a Changing Environment, whose gorgeous, full-color catalog published by Rizzoli and featuring contributions by Lucy Lippard and W.J.T. Mitchell, will also be available at the Conference.

[Image: The Altered Landscape: Photographs of a Changing Environment edited by Ann M. Wolfe].

You can then walk down the hall to see Fog Garden: The Architecture of Water. Quoting at length:

People have been using dew from fog as a source of drinking water for centuries, but it wasn’t until the 1950s that scientists in Chile and elsewhere began measuring the moisture content of clouds and designing structures to collect it.
During the last five years, several groups of architects have been testing small models of fog collectors in the Atacama Desert, a place where it has not rained in recorded history, and fog is the only source of moisture.
Working with the Atacama Desert Center and students from the Catholic University in Santiago, architect Rodrigo Pérez de Arce is overseeing the creation of models for a large-scale complex of structures, the Fog Garden, that would collect enough water to both support a garden and satisfy the needs of a nearby village. This exhibition is the first time these structures have been displayed, and along with sample building materials and documentation, form an archive that is important to artists, architects, and scientists.

And then onward from there to see Shirin Neshat’s film Passage

[Images: From Passage by Shirin Neshat, courtesy of the Nevada Museum of Art].

—before stopping in to see Linda Fleming’s awesomely intricate “models of the universe.”

[Image: From Modeling the Universe by Linda Fleming, courtesy of the Nevada Museum of Art].

And that’s barely half of what will be on display during the conference.

You’ll also be able to see Sierra Nevada: An Adaptation by Newton & Helen Mayer Harrison; that will consist of “a 30-foot-long map of the mountain range, topographical sketches of its seventeen principal watersheds, and aerial photographs of sites in the Truckee and Yuba watersheds.”

Australia’s Murray River, a “series of sustainable design solutions” exploring “overlaps and adjacencies between architecture and landscape” by conference presenter Richard Black, will also be on display nearby.

Not last—as there will be several smaller exhibitions up, as well—and, I hope, also not least, is Landscape Futures: Instruments, Devices and Architectural Inventions. Landscape Futures features work by a group of absolute all-stars:

—David Benjamin & Soo-in Yang from The Living
—Mark Smout & Laura Allen from Smout Allen
David Gissen
—Mason White & Lola Sheppard from Lateral Office & InfraNet Lab
Chris Woebken
Liam Young

[Image: “Electric Aurora” by Liam Young, from Specimens of Unnatural History].

I am especially honored to be the curator of this exhibition, able to have commissioned new work from many of the exhibitors, and to be the editor of a forthcoming book that will document the exhibition in full, including last winter’s Landscape Futures Super-Workshop. That book will feature several outside contributions, and is being designed by Atley G. Kasky of, among other things, but does it float.

I will be writing more about both the exhibition and the book soon, but keep it on your radar, if it sounds like something that might be of interest.

[Image: From The Active Layer by Lateral Office; photo by Michelle Litvin].

In any case, there are a million reasons to attend the Center for Art + Environment Conference this year, as I hope the above post makes clear; consider getting a group of friends or colleagues together to spend the weekend up in Reno, a city you might not otherwise be visiting any time soon (and where you can wear bald eagle t-shirts with abandon and gamble till the sun comes up—not to mention visit the National Bowling Stadium), and dive into an incredible range of exhibitions, talks, and programs.

Further, if you’re a student or educator, also think about the possibility of bringing a whole class to attend; between the conference participants and the museum’s exhibitions, think of it as a weekend super-workshop for art, architecture, and the global environment.

Read more at the conference website.

Infrastructural Opportunism

[Image: From Coupling: Strategies for Infrastructural Opportunism by Lateral Office/InfraNet Lab].

Going all the way back to the fall of 1997, my own interest in architecture was more or less reinvigorated—leading, by way of a long chain of future events, to the eventual start of BLDGBLOG—by Mary-Ann Ray’s installment in the great Pamphlet Architecture series, Seven Partly Underground Rooms and Buildings for Water, Ice, and Midgets.

To this day, the pamphlet format—short books, easily carried around town, packed with spatial ideas and constructive speculations—remains inspiring.

The 30th installment in this canonical series is thankfully a great one, authored by Lateral Office and InfraNet Lab, a design firm and its attendant research blog that I’ve been following for many years.

[Image: From Coupling: Strategies for Infrastructural Opportunism by Lateral Office/InfraNet Lab].

The premise of the work documented by their book, Coupling: Strategies for Infrastructural Opportunism, is to seek out moments in which architecturally dormant landscapes, from the Arctic Circle to the Salton Sea, can be activated by infrastructure and/or spatially reused. Their work is thus “opportunistic,” as the pamphlet’s title implies. It is architecture at the scale of infrastructure, and infrastructure at the scale of hemispheres and ecosystems—the becoming-continental of the architecture brief.

In the process, their proposed interventions are meant to augment processes already active in the terrain in question—processes that remain underutilized or, rather, below the threshold of spatial detection.

As the authors themselves describe it, these projects “double as landscape life support, creating new sites for production and recreation. The ambition is to supplement ecologies at risk rather than overhaul them.”

[Images: From Coupling: Strategies for Infrastructural Opportunism by Lateral Office/InfraNet Lab].

One of the highlights of the book for me is a section on the so-called “Next North.” Here, they offer “a series of proposals centered on the ecological and social empowerment of Canada’s unique Far North and its attendant networks.”

Throughout the twentieth century, the Canadian North had a sordid and unfortunate history of colonial enterprises, political maneuverings, and non-integrated development proposals that perpetuated sovereign control and economic development. Northern developments are intimately tied to the construction of infrastructure, though these projects are rarely conceived with a long-term, holistic vision. How might future infrastructures participate in cultivating and perpetuating ecosystems and local cultures, rather than threatening them? How might Arctic settlements respond more directly to the exigencies of this transforming climate and geography, and its ever-increasing pressures from the South? What is next for the North?

Three specific projects follow. One outlines the technical possibility of building “Ice Road Truck Stops.” These would use “intersecting meshes,” almost as a kind of cryotechnical rebar, inserted into the frozen surfaces of Arctic lakes to “address road reinforcement, energy capture, and aquatic ecologies.”

The mesh is installed at critical shorelines just below the water’s surface, serving to reinforce ice roads during the winter and invigorate lake ecologies during warmer seasons. As trucks travel over the ice road, a hydrodynamic wave forms below the ice, which the mesh captures and converts to energy through a proposed buoy network.

There is then a series of “Caribou Pivot Stations”—further proof that cross-species design is gathering strength in today’s zeitgeist—helping caribou to forage for food on their seasonal migrations; and a so-called “Liquid Commons,” which is a “malleable educational infrastructure composed of a series of boats that travel between the harbors of eleven adjacent communities.” It is a mobile, nomadic network bringing tax-funded educational opportunities to the residents of this emerging Next North.

[Images: From Coupling: Strategies for Infrastructural Opportunism by Lateral Office/InfraNet Lab].

Here, I should point out that the book has an air of earnestness—everything is very serious and technical and not to be laughed at—but the projects themselves often belie this attitude. It’s as if the authors are aware of, and even revel in, the speculative nature of their ideas, but seem somehow rhetorically unwilling to give away the game. But the implication that these projects are eminently buildable—shovel-ready projects just waiting for a financial green light to do things like “cultivate” ice in the Bering Strait (duly illustrated with a Photoshopped walrus) or “harvest” water from the Salton Sea—is a large part of what makes the book such an enjoyable read.

After all, does presenting speculative work as if it could happen tomorrow—as if it is anything but speculative—increase its architectural value? Or should such work always hold itself at an arm’s length from realizability, so as to highlight its provocative or polemical tone?

The projects featured in Coupling have an almost tongue-in-cheek buildability to them—such as recreational climbing walls on abandoned oil platforms in the Caspian Sea. This opens a whole slew of important questions about what rhetorical mode—what strategy of self-presentation—is most useful and appropriate for upstart architectural firms. (At the very least, this would make for a fascinating future discussion).

[Image: From Coupling: Strategies for Infrastructural Opportunism by Lateral Office/InfraNet Lab].

In any case, the book is loaded with diagrams, as you can see from the selections reproduced here, including a volumetric study (above) that runs through various courtyard typologies for a hypothetical mixed-use project in Iceland. For more on that particular work, see this older, heavily-illustrated BLDGBLOG post.

[Images: From Coupling: Strategies for Infrastructural Opportunism by Lateral Office/InfraNet Lab].

Essays by David Gissen, Keller Easterling, Charles Waldheim, and Christopher Hight round out the book’s content. It’s a solid pamphlet, both practical and imaginative—made even more provocative by its implied feasibility—and a fantastic choice for the 30th edition of this long-running series.

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.

The Museum of Speculative Archaeological Devices

Perhaps a short list of speculative mechanisms for future archaeological research would be interesting to produce.

[Image: A toy antique oscilloscope by Andrew Smith, courtesy of Gadget Master and otherwise unrelated to this post].

Ground-scanners, Transparent-Earth (PDF) eyeglasses, metal detectors, 4D earth-modeling environments used to visualize abandoned settlements, and giant magnets that pull buried cities from the earth.

Autonomous LIDAR drones over the jungles of South America. Fast, cheap, and out of control portable muon arrays. Driverless ground-penetrating radar trucks roving through the British landscape.

Or we could install upside-down periscopes on the sidewalks of NYC so pedestrians can peer into subterranean infrastructure, exploring subways, cellars, and buried streams. Franchise this to London, Istanbul, and Jerusalem, scanning back and forth through ruined foundations.

Holograph-bombs—ArchaeoGrenades™—that spark into life when you throw them, World of Warcraft-style, out into the landscape, and the blue-flickering ancient walls of missing buildings come to life like an old TV channel, hazy and distorted above the ground. Mechanisms of ancient light unfold to reveal lost architecture in the earth.

[Image: An LED cube by Pic Projects, otherwise unrelated to this post].

Or there could be football-field-sized milling machines that re-cut and sculpt muddy landscapes into the cities and towns that once stood above them. A peat-bog miller. Leave it operating for several years and it reconstructs whole Iron Age villages in situ.

Simultaneous milling/scanning devices that bring into being the very structures they claim to study. Ancient fortifications 3D-printed in realtime as you scan unreachable sites beneath your city’s streets.

Deep-earth projection equipment that impregnates the earth’s crust with holograms of missing cities, outlining three-dimensional sites a mile below ground; dazed miners stumble upon the shining walls of imaginary buildings like a laser show in the rocks around them.

Or a distributed iPhone app for registering and recording previously undiscovered archaeological sites (through gravitational anomalies, perhaps, or minor compass swerves caused by old iron nails, lost swords, and medieval dining tools embedded in the ground). Like SETI, but archaeological and directed back into the earth. As Steven Glaser writes in the PDF linked above, “We can image deep space and the formation of stars, but at present we have great difficulty imaging even tens of meters into the earth. We want to develop the Hubble into, not away from, the earth.”

Artificially geomagnetized flocks of migratory birds, like “GPS pigeons,” used as distributed earth-anomaly detectors in the name of experimental archaeology.

[Image: “GPS pigeons” by Beatriz da Costa, courtesy of Pruned].

So perhaps there could be two simultaneous goals here: to produce a list of such devices—impossible tools of future excavation—but also to design a museum for housing them.

What might a museum of speculative archaeological devices look like? A Mercer Museum for experimental excavation?

(Thanks to Rob Holmes and Alex Trevi for engaging with some of these ideas over email).

Concrete Honey and the Printing Room

[Image: “Beamer Bees” by Liam Young and Anab Jain].

I had an interesting and long conversation last week with John Becker, one of my students at Columbia’s GSAPP, about everything from the future of 3D printers, the possibility of permanently embedding such machines into the fabric of a building, and even the genetic manipulation of nonhuman species so that they could produce new, architecturally useful materials.

A few quick things about that conversation seem worth repeating here:

1) Famously, groups like Archigram proposed using construction cranes as permanent parts of their buildings. The crane could thus lift new modular rooms into place, add whole new floors to the perpetually incomplete structure, and otherwise act as a kind of functional ornament. The crane, “now considered part of the architectural ensemble,” Archigram’s Mike Webb wrote, would simply be embedded there, “lifting up and moving building components so as to alter the plan configuration, or replacing parts that had work out with a ‘better’ product.”

[Image: Plug-In City by Archigram/Warren Chalk, Peter Cook, Dennis Crompton; courtesy University of Westminster].

But 3D printers are the new cranes.

For instance, what if Enrico Dini’s sandstone-printing device—so interestingly profiled in Blueprint Magazine last month—could be installed somewhere at the heart of a building complex—or up on the roof, or ringed around the edge of a site—where it could left alone to print new rooms and corridors into existence, near-constantly, hooked up to massive piles of loose sand and liquid adhesives, creating infinite Knossic mazes? The building is never complete, because it’s always printing itself new rooms.

In fact, I think we’ll start to see more and more student projects featuring permanent 3D printers as part of the building envelope—and I can’t wait. A room inside your building that prints more rooms. It sounds awesome.

2) Several months ago, the Canadian Centre for Architecture, as part of their exhibition Actions: What You Can Do With the City, put up #77 in its list of things “you can do with the city”: they phrased it as Bees Make Concrete Honey.

My eyes practically fell out of my head when I saw that headline, imagining genetically modified bees that no longer produce honey, they produce concrete. They’d mix some strange new bio-aggregate inside their bellies. Instead of well-honeyed hives, you’d have apian knots of insectile concrete. Perhaps they could even print you readymade blocks of ornament: florid scrolls and gargoyle heads, printed into molds by a thousand bees buzzing full of concrete. Bee-printers.

Alas, it had nothing to do with apian concrete; it was simply a play on words: urban bees make urban honey… or concrete honey, if you want to be poetic. But no matter: using bees to create new forms of concrete—perhaps even new forms of sandstone (whole new geologies!)—is ethically horrific but absolutely extraordinary. After all, there are already bugs genetically modified to excrete oil, and even goats that have been made to produce spider silk.

What, though, are the architectural possibilities of concrete honey?

[Images: The Rosslyn Chapel hives; photos courtesy of the Times].

3) Last month, over at Scotland’s Rosslyn Chapel, it was announced that “builders renovating the 600-year-old chapel have discovered two beehives carved within the stonework high on the pinnacles of the roof. They are thought to be the first man-made stone hives ever found.”

It appears the hives were carved into the roof when the chapel was built, with the entrance for the bees formed, appropriately, through the centre of an intricately carved stone flower. The hives were found when builders were dismantling and rebuilding the pinnacles for the first time in centuries.

As the article goes on to point out, “Although human beings have collected honey from wild bee colonies since time immemorial, at some point they began to domesticate wild bees in artificial hives, made from hollow logs, pottery, or woven straw baskets. The Egyptians kept bees in cylindrical hives, and pictures in temples show workers blowing smoke into the hives, and removing honeycombs. Sealed pots of honey were found in Tutankhamun’s tomb.”

But, combining all these stories, what about bees that make concrete honey, artificially bred and housed inside hives in the spires of buildings? Hives that they themselves have printed?

High up on the roof of St. John the Divine sit six symmetrical stone hives, inside of which special bees now grow, tended by an architecture student at Columbia University; the bees are preparing their concrete to fix any flaw the building might have. No longer must you call in repair personnel to do the job; you simply tap the sides of your concrete-mixing beehives and living 3D printers fly out in a buzzing cloud, caulking broken arches and fixing the most delicate statuary.

Nearby homeowners occasionally find lumps of concrete on their rooftops and under the eaves, as if new hives are beginning to form.

4) In the opening image of this post, you see the so-called “Beamer Bees” that Liam Young, Anab Jain, and collaborators created for Power of 8. The beamer bees were “formulated by a community of biologists and hired bio-hackers to service under-pollinated trees, plants and vegetables due to the disappearance of honey bees.” And while the beamers don’t actually have much to do with the idea of mobile 3D-printing swarms, any post about designing with bees would be incomplete without them…

(Thanks to Steve Silberman for the Rosslyn Chapel hives link, and to John Becker for the conversation these ideas came from).

The Archigram Archive

[Image: From an “ongoing speculative proposal exploring the implications of cones of vision and their interaction with an existing neoclassical ‘temple’ on the River Thames in Henley, Berkshire,” by Archigram/Michael Webb].

As of roughly 16 hours ago, the Archigram Archival Project is finally online and ready to for browsing, courtesy of the University of Westminster: the archive “makes the work of the seminal architectural group Archigram available free online for public viewing and academic study.”

The newly launched site includes more than 200 projects; “this comprises projects done by members before they met, the Archigram magazines (grouped together at no. 100), the projects done by Archigram as a group between 1961 and 1974, and some later projects.” There are also brief biographies of each participating member of the collaborative group: Warren Chalk, Peter Cook, Dennis Crompton, David Greene, Ron Herron, and Michael Webb.

[Image: “Proposal for a series of inflatable dwellings as part of an exhibition for the Commonwealth Festival, located in the lodge of Cardiff Castle,” by Archigram/Ron Herron].

Even at their most surreal, it feels as if Archigram did, in fact, accurately foresee what the architectural world was coming to. After all, if Chalk & Co. had built the things around us, there would be electricity supplies in the middle of nowhere and drive-in housing amidst the sprawl; for good or for bad, we’d all be playing with gadgets like the Electronic Tomato, that perhaps would not have given the iPhone a run for its money but was a “mobile sensory stimulation device,” nonetheless. We might even live together on the outer fringes of “extreme suburbs,” constructed like concentric halos around minor airports, such as Peter Cook’s “Crater City,” an “earth sheltered hotel-type city around central park,” or “Hedgerow Village,” tiny clusters of houses like North Face tents “hidden in hedgerow strips.”

There would be temporary, inflatable additions to whole towns and cities; pyramidal diagrid megastructures squatting over dead neighborhoods like malls; dream cities like Rorschach blots stretched across the sky, toothed and angular Montreal Towers looming in the distance; plug-in universities and capsule homes in a computer-controlled city of automatic switches and micro-pneumatic infrastructure.

At its more bizarre, there would have been things like the Fabergram castle, as if the Teutonic Knights became an over-chimneyed race of factory-builders in an era of cheap LSD, reading Gormenghast in Disneyworld, or this proposal “for technology enabling underwater farming by scuba divers, including chambers, floats and tubes for walking and farm control.” After all, Archigram asked, why live in a house at all when you can live in a submarine? Why use airplanes when you can ride a magic carpet constructed from shining looms in a “‘reverse hovercraft’ facility where a body can be held at an adjustable point in space through the use of jets of air”?

[Image: “Speculative proposal showing use of the ‘Popular Pak’, a kit of architectural parts for ‘tuning-up’ existing buildings, applied to an invented suburb,” by Archigram/Ron Herron].

It might not be architects who have realized much of this fever dream of the world to come, but that doesn’t mean that these ideas have not, in many cases, been constructed. Archigram spoke of instant cities and easily deployed, reconfigurable megastructures—but the people more likely to own and operate such spaces today are Big Box retailers, with their clip-on ornaments, infinitely exchangeable modular shelving, and fleeting themes-of-the-week. Archigram’s flexible, just-in-time, climate-controlled interiors are not a sign of impending utopia, in other words, but of the reach of your neighborhood shopping mall—and the people airdropping instant cities into the middle of nowhere today are less likely to be algorithmically trained Rhino enthusiasts from architecture school, but the logistics support teams behind Bechtel and the U.S. military.

Another way of saying this is that Archigram’s ideas seem unbuilt—even unbuildable—but those ideas actually lend themselves surprisingly well to the environment in which we now live, full of “extreme suburbs,” drive-in everything, KFC-supplied army bases in the middle of foreign deserts, robot bank tellers, and huge, HVAC-dependent wonderlands on the exurban fringe.

The irony, for me, is that Archigram’s ideas have, in many ways, actually been constructed—but in most cases it was for the wrong reasons, in the wrong ways, and by the wrong people.

[Image: Proposal “fusing alternative and changing Archigram structures, amenities and facilities with traditional and nostalgic structures,” by Archigram/Peter Cook].

In any case, what was it about Archigram that promised on-demand self-transformation in an urban strobe of flashing lights but then got so easily realized as a kind of down-market Times Square? How did Archigram simply become the plug-in units of discount retail—or the Fun Palaces of forty years ago downgraded to Barnes & Noble outlets in the suburbs? How did the Walking City become Bremer Walls and Forward Operating Bases, where the Instant City meets Camp Bondsteel?

Archigram predicted a modular future propelled by cheap fuel, petrodollars, and a billion easy tons of unrecycled plastic—but, beneath that seamless gleam of artificial surfacing and extraterrestrial color combinations was a fizzy-lifting drink of human ideas—as many ideas as you could think of, sometimes imperfectly illustrated but illustrated nonetheless, and, thus, now canonical—all of it wrapped up in a dossier of new forms of planetary civilization. Archigram wasn’t just out on the prowl for better escalators or to make our buildings look like giant orchids and Venus Flytraps, where today’s avant-bust software formalism has unfortunately so far been mired; it wasn’t just bigger bank towers and the Burj Dubai.

Instead, Archigram suggested, we could all act differently if we had the right spaces in which to meet, love, and live, and what matters to me less here is whether or not they were right, or even if they were the only people saying such things (they weren’t)—what matters to me is the idea that architecture can reframe and inspire whole new anthropologies, new ways of being human on earth, new chances to do something more fun tomorrow (and later today). Architecture can reshape how we inhabit continents, the planet, and the solar system at large. Whether or not you even want inflatable attics, flying carpets, and underwater eel farms, the overwhelming impulse here is that if you don’t like the world you’ve been dropped into, then you should build the one you want.

In any case, the entire Archigram Archival Project is worth a look; even treated simply as an historical resource, its presence corrects what had been a sorely missing feature of online architecture culture: we can now finally link to, and see, Archigram’s work.

(Note: Part of the latter half of this post includes some re-edited bits from a comment I posted several months ago).

#glacier #island #storm

By way of a quick update, several fantastic new posts have joined this week’s ongoing series of linked conversations, part of the Glacier/Island/Storm studio at Columbia’s GSAPP.

[Image: Map showing a straight baseline separating internal waters from zones of maritime jurisdiction; via a456].

Here is a complete list so far, featuring the most recent posts and going backward in temporal order from there [note: this list has been updated as of February 26]. By all means, feel free to jump in with comments on any of them:

—Nick Sowers of UC-Berkeley/Archinect School Blog Project on “Super/Typhoon/Wall

—Stephen Becker and Rob Holmes of mammoth on “saharan miami,” “translation, machines, and embassies,” and “islands draw the clouds, and glaciers are wind-catchers

— Mason White, Maya Przybylski, Neeraj Bhatia, and Lola Sheppard of InfraNet Lab on “Particulate Swarms

—David Gissen of HTC Experiments on “A contribution, a mini-review, a plug

—Enrique Ramirez of a456 on “Baselines Straight and Normal

InfraNet Lab on “Islands of Speculation/Speculation on Islands: Spray Ice” (nice comments on this one)


[Video: #climatedata by by Michael Schieben; via Serial Consign].

—Greg J. Smith of Serial Consign on “Glacier/Island/Storm: Three Tangents” (interesting comments developing here)

mammoth on “Thilafushi” and “The North American Storm Control Authority” (enthusiastic comments thread on the latter link)

—Tim Maly of Quiet Babylon on “Islands in the Net” (interesting comments also developing here)

—Nicola Twilley of Edible Geography on “The Ice Program” (great comments here, too!)

mammoth on “A Glacier is a Very Long Event” (another interesting comment thread)

InfraNet Lab on “LandFab, or Manufacturing Terrain

—Nick Sowers on “Design to Fail

Finally, I was excited to see that Ethel Baraona Pohl and César Reyes Nájera have jumped into the conversation, adding their own thoughts over at dpr-barcelona; and Alexander Trevi of Pruned has also supplied a Glacier/Island/Storm-themed guide to his own archives in this hashtag switchboard. And that’s in addition to some ongoing posts here on BLDGBLOG.

It’s been a great week for new content, I think, and all of the above are worth reading in full.

Glacier / Island / Storm Online

[Image: From Modern Mechanix, thanks to a tip from Nicole Seekely].

For the next five days, if everything goes as planned, BLDGBLOG and eight other architecture, design, and technology blogs will be engaged in a series of linked posts and ongoing conversations about themes relevant to the “Glacier/Island/Storm” studio at Columbia University this Spring.

In the broadest terms, we will be exploring the architecture of large-scale natural processes; more specifically, this means studying artificial glaciers; organically-grown archipelagos and other artificial reef technologies; and the unintended climatic side-effects of architecture, including the possibility of “owning the weather.”

[Image: From Modern Mechanix].

The participating blogs are a456 (Enrique Ramirez), Edible Geography (Nicola Twilley), HTC Experiments (David Gissen), InfraNet Lab (Mason White, Maya Przybylski, Neeraj Bhatia, and Lola Sheppard), mammoth (Rob Holmes and Stephen Becker), Serial Consign (Greg J. Smith), Soundscrapers/UC-Berkeley Archinect School Blog Project (Nick Sowers), and Quiet Babylon (Tim Maly).

For my own part, I’ll be posting on a wide range of themes directly related to the studio, including summaries of visiting expert lectures and class field trips to local scientific institutions; but I will also be offering my own speculative thoughts on the matter. Also, in addition to each blogger commenting on one another’s posts when possible, or simply following up with their own response-posts, I will be maintaining a list of relevant links to keep the whole thing flowing.

So my students and I are off on a field trip for the rest of the day, but I will begin putting up posts this evening. Feel free to join in, leave comments, suggest further readings, and more. Thanks!