June 2010
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Month June 2010

Eames House

Via ArchDaily, by Adelyn Perez:

Originally known as Case Study House No. 8, the Eames House was such a spatially pleasant modern residence that it became the home of the architects themselves. Charles and Ray Eames began designing the house in 1945 for the Case Study House Program in Los Angeles’ Arts and Architecture Magazine published and built these case study homes that had to focus on the use of new materials and technologies developed during World War II. The intention was for the house to be made of prefabricated materials that would not interrupt the site, be easy to build, and exhibit a modern style.

The house is situated on a three-acre site on top of an 150-foot cliff that overlooks the Pacific Ocean. The site is a flat parcel on otherwise steep land that creates a retaining wall to the west. The response to this condition was a concrete retaining wall that ties together the two boxes separated by a courtyard that make up the parti of the residence.

The two boxes serve two different functions. One is for the residence itself and the other is a studio. Both provide double-height spaces at the corners and outer ends of both programs. This allows for a composition that breaks the space up rhythmetically, and is read on the exterior of the house with the exterior courtyard serving as a double-height space in between both boxes.

Along with the retaining concrete wall, a simple steel frame was used for the structure of the house. The steel frame used 4-inch H-columns for the walls and 12-inch deep web joists for the roof. The steel frame was filled in with different solid and transparent colored panels arranged to create a shifting light in the interior throughout the day. The importance given to light in the design, with the exterior arranged in this particular way, can be connected to Japanese influence. This attention to detail, however, did not hinder the aspect of displaying the idea prefabrication. The house was built largely of standard components, such as the windows which measure a standard width of 3-feet 4-inches.

Contrast to the cold steel framing that forms the structure, the interior of the house is warm and comforting with its wood-block floor and the soft light penetrating into each room through each day. Wooden staircases float effortlessly connecting the lower and upper levels. The use of natural materials on the interior bring the residence closer to nature, giving the appearance of the house resting softly on the earth. A row of eucalyptus trees was also planted at the front that provide shade and blend parts of the house with outdoors.

The Eames House is a beautiful continuation of space. The rooms are liberating, flowing into one another even between floors through the double-height spaces. Private and public spaces are not strictly divided. For example, the bedroom on the upper level overlooks the public living room with a short terrace that connects the rooms. There are no major divisions other than the separation of the two boxes, which still merge into one another with the courtyard. The house is an unrolling scroll of a Mondrian painting that exemplifies the use prefabricated materials to create beautiful endless space.

Architects: Charles and Ray Eames
Location: Los Angeles, California, USA
Project Year: 1945-1949
Photographs: Stephen Canon, and the Library of Congress

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Goce Satellite Views of Earth’s Gravity

Via BBC, by Jonathan Amos:

It is one of the most exquisite views we have ever had of the Earth.

This colourful new map traces the subtle but all pervasive influence the pull of gravity has across the globe.

Known as a geoid, it essentially defines where the level surface is on our planet; it tells us which way is “up” and which way is “down”.

It is drawn from delicate measurements made by Europe’s Goce satellite, which flies so low it comes perilously close to falling out of the sky.

Scientists say the data gathered by the spacecraft will have numerous applications.

One key beneficiary will be climate studies because the geoid can help researchers understand better how the great mass of ocean water is moving heat around the world.

The new map was presented here in Norway’s second city at a special Earth observation (EO) symposium dedicated to the data being acquired by Goce and other European Space Agency (Esa) missions.

Europe is currently in the midst of a huge programme of EO development which will see it launch some 20 missions worth nearly eight billion euros before the decade’s end.

The Gravity Field and Steady-State Ocean Circulation Explorer (Goce) is at the front of this armada of scientific and environmental monitoring spacecraft.

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Entrance Romance (it Felt Like a Kiss)

From Nowness

NASA Radar Images Show How Mexico Quake Deformed Earth

Via NASA:

NASA has released the first-ever airborne radar images of the deformation in Earth’s surface caused by a major earthquake — the magnitude 7.2 temblor that rocked Mexico’s state of Baja California and parts of the American Southwest on April 4.

The data reveal that in the area studied, the quake moved the Calexico, Calif., region in a downward and southerly direction up to 80 centimeters (31 inches). The maps can be seen at: http://www.nasa.gov/topics/earth/features/UAVSARimage20100623.html.

A science team at NASA’s Jet Propulsion Laboratory, Pasadena, Calif., used the JPL-developed Uninhabited Aerial Vehicle Synthetic Aperture Radar (UAVSAR) to measure surface deformation from the quake. The radar flies at an altitude of 12.5 kilometers (41,000 feet) on a Gulfstream-III aircraft from NASA’s Dryden Flight Research Center, Edwards, Calif.

The team used a technique that detects minute changes in the distance between the aircraft and the ground over repeated, GPS-guided flights. The team combined data from flights on Oct. 21, 2009, and April 13, 2010. The resulting maps are called interferograms.

The April 4, 2010, El Mayor-Cucapah quake was centered 52 kilometers (32 miles) south-southeast of Calexico, Calif., in northern Baja California. It occurred along a geologically complex segment of the boundary between the North American and Pacific tectonic plates. The quake, the region’s largest in nearly 120 years, was also felt in southern California and parts of Nevada and Arizona. It killed two, injured hundreds and caused substantial damage. There have been thousands of aftershocks, extending from near the northern tip of the Gulf of California to a few miles northwest of the U.S. border. The area northwest of the main rupture, along the trend of California’s Elsinore fault, has been especially active, and was the site of a large, magnitude 5.7 aftershock on June 14.

UAVSAR has mapped California’s San Andreas and other faults along the plate boundary from north of San Francisco to the Mexican border every six months since spring 2009, looking for ground motion and increased strain along faults. “The goal of the ongoing study is to understand the relative hazard of the San Andreas and faults to its west like the Elsinore and San Jacinto faults, and capture ground displacements from larger quakes,” said JPL geophysicist Andrea Donnellan, principal investigator of the UAVSAR project to map and assess seismic hazard in Southern California.

Each UAVSAR flight serves as a baseline for subsequent quake activity. The team estimates displacement for each region, with the goal of determining how strain is partitioned between faults. When quakes do occur during the project, the team will observe their associated ground motions and assess how they may redistribute strain to other nearby faults, potentially priming them to break. Data from the Baja quake are being integrated into JPL’s QuakeSim advanced computer models to better understand the fault systems that ruptured and potential impacts to nearby faults, such as the San Andreas, Elsinore and San Jacinto faults.

One figure (Figure 1) shows a UAVSAR interferogram swath measuring 110 by 20 kilometers (69 by 12.5 miles) overlaid atop a Google Earth image. Each colored contour, or fringe, of the interferogram represents 11.9 centimeters (4.7 inches) of surface displacement. Major fault lines are marked in red, and recent aftershocks are denoted by yellow, orange and red dots.

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Love Without Mercy

If it means anything today—culture, in this all pervasive sense of cultural studies and so on— cultures are social phenomenons towards which we precisely maintain a minimal distance; like religion, you’re supposed to believe in it, if not, then it turns into a cultural phenomenon.

Slavoj Žižek, Love Without Mercy, Deitch Projects, Lacanian Ink 21, March 10, 2003

Oldest Apostle Images Revealed by Laser

From National Geographic, by Brian Handwerk, photograph by Pier Paolo Cito, AP:

The Apostle John

A newfound painting of the Apostle John (pictured in an underground Roman tomb on Tuesday) is among the oldest known depictions of some of the original 12 Christian Apostles, experts say.

The Santa Tecla catacombs—situated beneath an office building in Rome’s Ostiense area—contain fourth-century-A.D. paintings of the Apostles Paul, Peter, John, and Andrew, who were early followers of Jesus Christ.

The ancient art was revealed by lasers that burned off inches of calcium carbonate, which had accumulated on the paintings over the centuries in the humid chamber, according to Italian news reports.

The two-year restoration effort cost the Vatican—which maintains the catacombs—some $73,400 (60,000 Euros).

Catacomb Painting

Paintings adorn the walls and ceiling of a Roman tomb (pictured Tuesday) where the oldest known icons of the Apostles were recently discovered.

Experts believe the Apostle depictions were painted to watch over the remains of a devout Roman noblewoman buried in the tomb, according to Italian news reports.

Early Christians—as well as other faiths—buried their dead in extensive networks of catacombs outside Rome.

Catacomb Fresco

Catacomb archaeological superintendent Fabrizio Bisconti describes frescoes found in the Santa Tecla catacombs on Tuesday.

In 2009 the Vatican announced that the oldest known icon of the Apostle Paul had been found on the catacomb’s ceiling.

New laser-restoration efforts have revealed that Paul’s image is part of a larger work that also includes the Apostles Peter, John, and Andrew—as well as Christ himself, depicted as the Good Shepherd, according to Italian news reports.

Restorers also discovered more artwork, including the frescoes.

“I think the way they’re positioned indicates a devotional dimension,” Bernard P. Prusak, chair of Theology and Religious Studies at Villanova University in Pennsylvania, said in an interview.

The Good Shepherd

An image of Christ as the Good Shepherd (pictured Tuesday) centers a square painting that also features iconic likenesses of four Apostles at its corners.

Villanova’s Prusak noted that these four Apostles represent a rather odd grouping because they’re not closely associated in the Gospels. But there’s no doubt why Peter and Paul were included.

“The two important figures for Rome were Peter and Paul, who were both said to have died in Rome,” he explained, “so [their images in the tomb] is a clear connection to the city.”

Film is About Rhythm

So how do you impact the viewer more deeply? Naturally, one of the possibilities is rhythm. Because basically, film is about rhythm. Its…For me, film is much closer to music than to literature.

Michael Haneke

Babylon

Music of Mountain Man; video by Yours Truly

No Day at the Beach

From National Geographic, photograph by Michael Spooneybarger, AP:

Jean Warren looks at oil darkening the shores of Pensacola Beach on Wednesday.

Heavier oil is expected to wash ashore farther east on the Florida coast in coming days, according to the Associated Press.

Kevin Reed weeps as he looks over the oil-coated shores of Pensacola Beach, Florida, on Wednesday.

“This will never be the same,” he told the Associated Press.

The popular beach became an attraction for another reason on Wednesday as many came out to see the oil, the news agency reported.

Sunrise

By Garance Doré

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