Culture,Design,Sustainability,Technology

Solar Puff of Hope

WEDNESDAY , February 22, 2012 | BY  

Many of us take electricity and its benefits for granted, such as heat when it’s cold, air conditioning when it’s hot and light at night. Extensive research recently conducted by Focus on Architecture, Art, Research and Making revealed that 1.6 billion people in the world live without electricity.

The Solar Puff.

Focus on Architecture, Art, Research and Making (FAARM) is a non-profit organization of designers and architects from New York who are passionate about developing innovative and creative solutions for sustainable living. Although FAARM’s mission is building and construction, they embrace research and development as an integral component in helping the global community.

So, it’s not surprising that they tackled the lack of electricity issue both sustainably and economically by creating the Solar Puff, an inflatable light that opens with one puff of air. Inspired by a Japanese origami paper toy balloon, the Solar Puff is versatile and bright enough to lighten any space, either indoors and outdoors. As you can imagine, the Solar Puff is already brightening many lives around the world.  

Electricity in Haiti, like many countries, is neither consistent nor realizable. And out of a population of approximately 10 million people, 75-80% does not even have access to electricity. Daily lives of many Haitians revolve around unsafe and toxic kerosene lamps. It is common to see children coughing and attempting to complete their homework under the light of kerosene lamps or outside under street-lights to illuminate their books. 

Safe lighting in homes should not be a luxury; it should be available to everyone. To make this happen, the FAARM team focused their efforts in creating a lighting camping on a particular area in Haiti-Hinche, a central Haitian town dramatically affected by the influx of a migrating population devastated by the 2010 earthquake. The “Shine a Light” campaign aims to bring light to every resident of Hinche, which now totals over 50,000 people.  

Child reading by the light of the Solar Puff.
 

The Solar Puff is safe for children of any age.

Depending on the region in Haiti, the cost of fuel can be as much as 30% of a Haitians yearly income. In contrast, Solar Puff provides a safe, affordable, long-lasting light that is off-the-grid. It can illuminate a space up to 100 square feet as well as provide quality task lighting which is evident by its color and brightness.

Many designers have created wonderful innovations to assist the Haitian community, but often the expense far exceeds the reach of those in need. One of the lengthy advantages of the Solar Puff is that it’s low cost and can be taken anywhere, and it works in any climate. The Solar Puff is foldable and light weight, weighing approximately 8oz-10oz. Hundreds of the Puffs can be packed and shipped to people anywhere in the world who require emergency relief or assistance.  

The Solar Puff is not solely for residential use; it can help small businesses create better sources of light for selling goods, as well as extend hours of operation into the evening. It can also illuminate certain areas in a neighborhood to reduce vandalism and crime against women and children. The Solar Puff is even waterproof, making it a great tool for fishermen, both on the boat or floating on the water’s surface.

The Solar Puff is a sophisticated balloon that fits in the palm of your hand. Its kit of parts includes a translucent skin that has creases for fold-ability, a reflective surface to amplify the light in one direction and to control it in another, a photovoltaic panel for recharging, and a censor and manual switch. For the Solar Puff to activate its photovoltaic solar panels must be charged in direct sunlight for 4 to 5 hours; this will provide enough light for 8 to 10 hours at a time. The reflector and lens optimize usable light with the 6 LED lights at 4000 mcdc. NiMH batteries will last for up to 1000 cycles. Replacing the lamp when it burns out will not be an issue since the LED will last longer than the battery, which then can be up-cycled. Built within the design-in addition to a manual switch-the Solar Puff contains a light sensor for automatic turning on-and-off.

How to inflate the Solar Panel. Print screen images taken from an instructional video.

The Solar Puff has many compelling advantages:

  • Flexibility: Aside from its portability and versatility, the Solar Puff, can be used for hands-free tasks. It also has a handle and its cube-shaped form allows it to sit on a table or floor without movement.
  • Cost: While the cost of the Solar Puff is $10 USD (with a one-year warranty), it far exceeds continuously purchasing kerosene or batteries.
  • Health and Safety: Kerosene-based lamps can contribute to respiratory troubles, lung disease, as well as eye associated problems. They are also bad for the environment.
  • Durability: Made with tough and yet flexible material, the Solar Puff is reliable and non-flammable, neither dangerous nor susceptible to blowing out.

The Solar Puff is the first low-cost, foldable and inflatable solar lamp in the world. I am grateful to the inventor and co- founder of FAARM Alice Min Soo Chun, whose mission and passion is to help the Haitian people and many others around the world. After two years of commitment, research and 20+/- prototypes, 500 Solar Puffs will be sent to Haiti in the next few weeks, and will shine a much needed light of hope for a brighter future for Haiti. I’ll be sure to keep you posted on FAARM’s progress.

Child studying at night using the Solar Puff.

To learn more about FAARM and the Solar Puff, please visit their website. All images in my post are courtesy of FAARM.

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Culture,Design,Urbanism

Dateline: Baku, Azerbaijan

THURSDAY , February 16, 2012 | BY  

Guy recently spent less than 48 hours in Baku to make a presentation to a client. Luckily, he made some time to jot down a few reflections from his trip for us.

9 February 2012

It’s a cold, grey day here in Baku but at least it stopped snowing.  We had a bit of a wild ride on the flight into Baku last night as it was very windy, but overall, given the distances involved in getting here, and the long layover in Istanbul, the trip went well.  A number of cars were off the side of the road on the way into town from the airport, although I was riding in a 4WD SUV and had no problem.  We stopped and helped one driver in a Volvo who had spun out and ended up straddling a concrete median strip.  Contrary to what would happen in the States, about 10 cars stopped along the busy road to help, the good Samaritans literally lifting the car up and placing it back on the road.  I checked into the Excelsior Hotel, which is located across the main road from Zaha Hadid’s Performing Arts Center now under construction–a year late and significantly over budget.  It also looks like they are having a difficult time figuring out some of the construction details.  I was told that the entire glass curtain wall was rejected.   A new high-rise office tower and shopping mall is planned for the site adjacent to the hotel and we (FXFOWLE) have been told that we will design them.  Hopefully, that work will start soon but I would be happy to wait until warmer weather.

View of Baku from our client's office.

Our presentation of the interior design for the Qalaalti Spa went well.  The building design is inspired by the rugged mountain terrain of the site, and modern in its form and materials. On the interiors, we are attempting to balance the modern aesthetic with a more eclectic and somewhat residential feel.  It is not a design direction that is typical in Azerbaijan but we are making progress.  Our client is very appreciative and supportive of what we are trying to do.

 10 February 2012

I woke up at 5:00 AM to get ready to depart for the airport.  It is snowing lightly again but Turkish Airlines shows the flight to be on time.  After a short drive to the airport and checking in, I settled into the Business Class lounge to await boarding.  After a bit of a delay, and de-icing of the plane, we departed about an hour late from Baku on our way to Istanbul.  The flight was uneventful but nerve racking because of the delay.  After landing and having to wait for a gate to open, I ended up with 20 minutes to make the flight to New York.  I was the first one out of the jetway, and thankfully Turkish Airlines was waiting with an agent ready to escort me directly to the departure gate.  We cleared security without stopping longer than to show my passport and boarding pass, and then proceeding through the x-ray screening at the gate.  Gate-to-gate in 5 minutes…..a record!

The journey to Baku is long, especially being there for only one day of meetings but it is worth it.  Azerbaijan is an emerging country with many of the issues that come with growth and development.  There is concern about a “build it and they will come” approach as evidenced in the many high-rise buildings under construction, but as opposed to places like Dubai, there is a more palpable fabric and history to Baku that provides it with a strong foundation.  I look forward to returning.

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Culture,Urbanism

The Littlest Commuter

THURSDAY , February 9, 2012 | BY  

My daughter has been a regular commuter on NJ Transit since she was 3 years old.  Both my husband and I work in Manhattan, so our search for reasonably priced childcare that could accommodate our working hours led us to select a school that was also located in the City.

While I was initially concerned about various aspects of this decision, two years later, I can say it has worked out well.  I am close enough to the school to attend special events and get there quickly if my daughter is sick or the school closes because of an earthquake (yes, they really did close the school when we had that little tremor a few months ago).  If she were in school near home, I would need to skip the events or take a day off to attend a half-hour music recital.  While there is no doubt it would be worth it to sacrifice a day to hear a group of 4 years olds sing a spectacularly off-key version of Raffi’s “All I Really Need”, it is much better to give up just an hour of time.

The Littlest Commuter on her way to school.

The commute on the train each way is not so bad.  The trip is about an hour door-to-door, and my daughter has plenty of entertainment to keep her occupied – two iPads, two iPhones and two loving parents.  Although the electronic devices provide coloring, puzzles and movies, she has an awesome imagination to create her own activities.  For instance, we’ve flown like dragons, take regular trips to the ‘doctor’, tickle, giggle and brush hair.  We try really hard to keep the noise down to a polite level but we never, ever sit in the quiet car.

My daughter is reasonably well behaved and mostly understands the constraints of a crowded train.  That said, she is only 4 ½ years old and she generally starts to lose it after an hour.  I should clarify that the published length of the train ride is about an hour.  The unfortunate reality is that NJ Transit trains are rarely on time.  A normal trip always includes at least a 10-minute delay, and it’s not unusual for our one-hour commute to take two hours, or three if the system collapses completely. 

So what do you do with a kid on a train for three hours?  The last time it happened was one of those mornings when Daddy didn’t make the trip so it was just me and my little girl.  It was an uneventful trip until we were just outside the Hudson Tunnel and then the train stopped…and then the lights went out…and there we sat for two hours.  Well, the train sat.  There was no way I was keeping a kid in her seat for that long.  She bounced on the seat and hung from the overhead rack.  Fortunately, the train wasn’t crowded so the aisles were clear and we proceeded to play a game of hide-and-seek that stretched through two train cars.  The other passengers were very tolerant of our antics and she received mostly smiles as she ran to hide while laughing madly.  I think her giggles took people’s minds off their frustration of being stuck on the train…I’m sure of it!

We finally pulled into the station and as we exited the track level we were met by a NJ Transit customer service representative.  This very nice woman stopped us to ask if there was anything I wanted to say about my experience that she could pass on to upper management to improve service.  I know I had a confused look on my face.  I had my daughter tugging on my hand because she wanted to GO.  I was thinking of the class time and the special gym class she had missed.  I was thinking of the shambles of my now shortened workday.  Most of all I was thinking – seriously, you need me to tell you that I want the trains to run on time!?!?!  I really don’t remember what I said as my daughter pulled me away.  When we finally made it to school, she told everyone who would listen about her train adventure. 

My daughter starts kindergarten in September.  Since we can’t afford private kindergarten in Manhattan (college tuition is less expensive), she will be attending the local public school.  That will be the end of the journeys of the Littlest Commuter.  I will miss the extra time we spent together on the train even when it was just having her snuggle next to me while watching a movie.  I will not miss the long trips with a stir-crazy kid (or watching Disney’s “Tangled” for the umpteenth time), but I will be glad to get back my decompression time on the train between the office and home. 

Of course this means moving on to the next set of coordination issues.  Even full day kindergarten doesn’t match the length of a workday.  Figuring out the logistics of this new schedule will be a spring and summer project.  I’ll let you know how it goes; I have plenty of time to plan during my commutes.

This is a new post in a series about balancing (or lack thereof) work and being a mother.  It’s not always easy, but it is always interesting.

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Culture,Design,Technology,Urbanism

The Kitty Pod Hotel

THURSDAY , January 12, 2012 | BY  

As architects, most of us spend our entire careers designing buildings, and if we are lucky it’s a structure that stimulates, inspires, and contributes positively to the environment. Rarely do we have opportunities to work on projects with no guidelines, zoning requirements, or local building codes; where we are allowed to reinvent the unexpected, push limits, and let our imagination rule. But such design freedom creates new hurdles to overcome; and what architect doesn’t like a challenge?

I recently participated in a FXFOWLE pro bono project that challenged me as a designer unlike any other – to design and construct a shelter for a colony of feral cats in New York City. According to current estimates, tens of thousands of homeless, stray, and free-roaming cats live on the streets and in alleyways, back yards, and abandoned lots throughout the city. Many of the cats live in groups known as “colonies.” The winter months are particularly difficult for these cats, when inclement weather creates serious and life-threatening challenges, including finding food, water, and shelter. Shelter is vitally important and that is where the NYC architectural community comes in.

Architects for Animals “Giving Shelter” benefits the Mayor’s Alliance for New York City Animals. Architectural firms participating in this endeavor design, build, and donate creative and fun outdoor shelters to provide the city’s homeless cats with refuge from the cold/freezing temperatures in winter as part of the NYC Feral Cat Initiative. The only “rules” for the shelter was that it had to hold at least one colony a feral cats (anywhere from 3-5), be warm, and weather-proof.

Initial Design Concepts Pin-Up

During initial meetings with other FXFOWLE volunteers, we focused our cat structure concept as a dual-purpose public bench and shelter, but through various design meetings and researching feral cat behavior, we decided on pursuing a more sculptural/object approach. Primarily, our design evolved into a kitty “pod hotel” with an interstitial space and plywood frame serving as a “kitty jungle gym”, with a central “atrium” providing access to each pod.  The structure contains 3 fully-insulated pods varying in length, which serve as shelter for the cats during the colder, winter months. Two non-insulated pods can be inserted into the structure for the summer if additional housing is needed. Each pod contains a pair of hinged doors to allow entry from either end, as well as to provide two means of egress in case of a threat. The pods are easily removable from the plywood frame for maintenance and repair, and can be retrofitted or swapped out to accommodate growing colonies or different seasons.

1:5 Scale Chipboard Model

Using the concept of a vacuum flask (thermos) to house the cats, each insulated pod was fabricated by placing a tube within a larger tube and filling the void between the two with insulation. A 10” PVC tube wrapped with recycled plastic insulation was placed into a 12” PVC tube and the two ends were filled with expanding foam insulation and capped with a laser cut white acrylic ring onto which the cat doors were fixed. All joints and seams were filled with silicone sealant to make the pods water resistant. Each non-insulated pod was produced using a 10” PVC tube wrapped in ½” sisal rope and capped at each end with cat doors. The sisal rope provides a scratch surface for sharpening claws and a textured surface for cats to climb and lounge on. The frame, milled by students and faculty from Columbia University GSAPP Laboratory for Applied Building Science, was painted using a polyurethane based wood stain to seal the plywood and give it rich walnut color. Each of the vertical ribs and horizontal struts were fastened together using brad nails and flat-head screws.

Lucio checks the fit of the first pod

I am happy to have played a small role in bringing awareness to the issue of feral cats in the city. Our shelter is located somewhere in one of the city’s five boroughs, and it’s my hope our “clients” are using it as we imagined.

Thanks to Philip Anzalone, Brigette Borders, & Ray Ho from Columbia University GSAPP Laboratory for Applied Building Science for CNC milling the plywood. Also, thanks to Nobu Arai and Gerardo Sustaeta for assembly and fabrication of the pods and many thanks to Brien McDaniel for organizing the initiative.

ALL MATERIALS USED IN FXFOWLE’S SHELTER
2.5m long x 1.1m wide x .8m high
25 vertical ribs – 33 notches/rib
33 horizontal struts – 25 notches/strut
(10) ¾” sheets baltic birch plywood
(4) ½ pint Minwax American Chestnut Gloss Polyshade
(1) 10 foot 12” PVC tube
(1) 10 foot 10” PVC tube
(1)  Roll recycled plastic insulation
(2) Expanding Foam Insulation spray cans
(10) Glaztec Catwalk cat doors
400 feet ½” sisal rope

Additional Links:

http://architectsforanimals.com/

http://www.facebook.com/mayorsalliancenyc

http://www.animalalliancenyc.org/

http://www.flickr.com/photos/54612307@N06

http://www.arch.columbia.edu/labs/fablab

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Culture,Design,Urbanism

Making Room at the Japan Society

WEDNESDAY , November 9, 2011 | BY  

As a member of the Board of Directors for the Citizen’s Housing & Planning Council (CHPC), a non-profit research organization founded in 1937 to improve housing and neighborhood conditions throughout New York City, I have been fortunate to help organize and participate in a number of unique programs.

Two years ago, CHPC Executive Director, Jerilyn Perine, and Senior Policy Analyst, Sarah Watson, launched a program, “One Size Fits Some,” which examined housing standards in New York City, in comparison to other regions of the country as well as the world. The objective was to learn from other cultures as a means of redefining allowable housing units in New York City, in response to changing lifestyle and demographic patterns. Subsequent investigations identified key parts of New York City housing laws and codes that are currently acting as regulatory barriers to the development of new housing types, critically needed for the safety and continued prosperity of New York City.

This past week, CHPC in collaboration with The Architectural League presented a sequel to the previous analysis, “Making Room,” a daylong program that was presented on Monday, November 7, 2011, at the Japan Society. Making Room included presentations from four New York City teams of architects led by Peter Gluck, Stan Allen and Rafi Segal, Deborah Gans, and Jonathan Kirschenfeld, which suggested ways of redefining how we live in New York.

The program opened with an introduction from Linda Gibbs, New York City Deputy Mayor for Health and Human Services. As she explained, “the major issue is that the traditional household is changing; New York has more people living alone than ever before.” Additionally, as the baby boomer population is aging, we are about to enter a period where there will be more people over 65 than below 18 years of age, for the first time in New York City’s history.

It was explained that most housing units in New York are designed to serve the typical nuclear family; however we are increasingly living in more diverse, non-traditional household configurations. As a consequence, young professionals, low wage workers, and members of the “creative class,” have highly limited housing options that are safe, legal, affordable, and suit their needs. Additionally, the typical unit does not support the lifestyle of a single parent, a transient worker, or our ever-increasing aging population.

As part of the program, I participated as a respondent to Jonathan Kirschenfeld’s presentation, “The Pleasures of Density: Flexible Single and Shared Housing Typologies.” Kirschenfeld began the presentation by showing how affordable housing options for single persons have disappeared over the last 50 years. He explained that supportive housing regulations in Use Group 2 permit small unit sizes and reduced areas for rearyard courtyards in community facilities. However, for the typical residential tenant, housing standards are defined by Use Group 3 that requires a much larger unit and an extensive rear-yard setback and/or courtyard. Additionally, shared facilities are not easily accommodated.

Plan and perspective cut at the duplex apartment level of ‘The Mix’ building, showing a planted roof terrace and coffee bar, overlooking a ‘greened’ Grand Concourse. Such shared amenities for building residents link the individual dwelling units to the dense city beyond.

As a consequence, Kirschenfeld suggested that if we were allowed to design residential buildings for single tenants under Use Group 2, we could create greater densities, create more affordable units, and offer more housing options. He showed a scheme for a new residential building, “The Mix,” on the Grand Concourse in the Bronx. The building included very small single room units with shared common space. It also included live-work duplexes and loft units for a multiple of lifestyles. What was unique about Kirschenfeld’s approach was that it also suggested an attitude about blurring the distinction between inside and outside by greening the Grand Concourse and creating more opportunities to let activity to spill out on the street.

I reminded the participants of the quote from Eliel Saarinen, “Always design a thing by considering it in its next larger context–a chair in a room, a room in a house, a house in an environment, and an environment in a city plan.” By embracing the city as a whole as a part of the program, we are creating a city that supports our future needs.

What I appreciated most about the “Making Room” discussion is that architects are having a voice in public policy in the City. Five years ago, when I was President of the AIA New York Chapter, my theme was “Architecture and Public Policy,” and I spoke about the need for architects to have a voice, as policy decisions are defined by our governing bodies. What has been great about working with CHPC and the Architectural League in concert with City officials on this program is that there is an appreciation that architects are part of the dialogue as we define the city to respond to our future needs. Now we need to stop talking and make some of these ideas really happen.

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Culture,Design

The Joy of Sketching

THURSDAY , August 4, 2011 | BY  

Webster’s Dictionary defines the word sketch as “a rough drawing representing the chief features of an object or scene and often made as a preliminary study.” Note the word “rough.” Because the drawing is not intended to be a finished work, pressure is relieved from the sketcher. It becomes all about the “process” vs. the “product.” And this is why I find sketching to be such a joy.

For me, sketching serves as a design tool for work, and a past-time hobby. Ever since I was a child, my parents nurtured sketching; in fact, we would go on “sketching day trips.” Sketching continued to be part of my life as a student studying architecture abroad where I spent hours sketching the monuments of Paris and villas of Palladio. In the beginning I sketched to learn for a school grade. Later, sketching gave me a purpose, something to do after summer jobs and while hanging out by myself. As a person who spent a lot of time alone, sketching was perfect.

Over the years, the process of sketching became more than the actual act, but an event that included finding a subject of inspiration and a perfect spot (most likely in the shade, and away from traffic and curious observers). This alone could take hours, sometimes more time than the actual sketch itself. It was this process of discovery – searching for the perfect site by foot or bike and exploring the unknown – which I grew to love so much.

Elizabeth's Kitchen

Luna / Henry and Alona

As my life and work are more and more compromised, sketching becomes a form of therapy; helping me feel better about myself. It also serves as an outlet to express myself and a way to document my life.

Mountain climbers climb mountains because they love the challenge and it is also similar to practicing meditation when they can forget about life and just concentrate on the singular act of climbing. For me, sketching does the same thing. Sketching is a dialog between your eyes and hand that allows your brain to enter into to a realm of deep concentration; where you can forget everything around you and lose track of time. It can be very therapeutic and stress relieving, just like meditation. I love Paul Klee’s quote “A drawing is simply a line going for a walk.”  One can lose oneself in a sketch and the result can be surprising and rewarding.

Streetscapes

The hardest thing about sketching is finding the right time and place, since it is a solitary act. Being alone is difficult, especially in our social world. These days I am occupied by the needs of my family, which is probably why sketches of family life overwhelm my sketchbook, as well as many commuting train travel sketches. However, with all my commitments and priorities I find the time or I make the opportunities. Idle moments, such as waiting for friends or for the bus/train are perfect times for a “challenging quickie sketch.” A café with a good view, up on the roof, or sitting in Union Square or Madison Square Park are great places for a lunch time sketch.

Train Scenes

Even though I am in the habit of having my sketchbook with me at all times, I have to admit, the majority of the time it returns home sketch-less. I find I have to be in the right mood and/or inspired by the subject/idea. Sketching seems to happen in waves, since a book, movie, podcast, friends or just plain laziness easily distract and tempt me. It really makes me admire the amazing prolific sketchbooks of Leonardo De Vinci. One year I made a resolution to sketch (almost) everyday in a journal. It could be about anything, a thought, an idea. It took a lot of discipline. But eventually I realized that I was not Leonardo. My sketchbook didn’t burst with ideas, it contained mostly observations and documentation of daily life (yawn).

Tim Burton Exhibit

Through that experience, I realized that I don’t have to be like Leonardo to enjoy sketching. I think everyone is different and finds inspiration in many various things. I see some of my colleagues sketching design ideas in their journals, and I see trace paper filled with sketches lying around the office. This makes me happy to know that sketching is still very much alive. Even after so many years, I am still a shy sketcher but I have learned to ignore the curious eyes next to me on the train; I just pick up my favorite pen, go into the “sketch zone” and remember Webster’s Dictionary definition for “sketch.” It isn’t about the end result, it is about the process.

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Culture,Sustainability,Urbanism

Bikes and Dikes: Building a Bicycle Culture

THURSDAY , July 21, 2011 | BY  

While it has been refreshing to watch New York City create new trails for cyclists over the past few years, nothing comes close to the commitment the Dutch have to bicycle culture. It will take more than a few extra lines on the pavement to transform our city’s transportation mentality.

As I recently toured The Netherlands, I learned how the Dutch reclaimed land from the sea with an impressive system of dikes. I was even more impressed by the extensive system of dedicated bicycle paths running through the towns and alongside the highways–and by the number of people using them. The environmental and social message is clear: cars must give priority to bicycles and pedestrians. In what other country would plows remove the snow from bike lanes and sidewalks before clearing the rest of the road?

Bike path at Kinderdijk

Separate pedestrian and bicycle pathways at Kinderdijk.

While my neighbors fought to keep our new bike lane on Prospect Park West in Brooklyn, Zwolle residents can cruise over the highway on a bridge built exclusively for cyclists. (Westenholterbrug bicycle bridge, Zwolle)

Examples of dedicated bike pathways (highlighted in red): on the upper right, a separate circle for bikes at a traffic rotary, at the bottom, the Westenholterbrug.

There is a towering garage in Amsterdam dedicated to bicycles, and even in the little town of Zwolle, where I stayed, the train station overflowed with upright cruisers, or Oma Fiets. Perched on one street corner, I observed: bikers in high heels, in flip flops, or even barefoot, carrying crates and shopping bags; riding sidesaddle, listening to headphones, smoking with one hand and talking on the phone with the other; a bike made to carry a wheelchair, an elderly couple holding hands, a man with two babies on his handlebars, girls in formal dresses, men in business suits, and a 5-year old with no training wheels!

Bike lanes on heavily trafficked roads in Zwolle are usually painted red, separated visually from vehicle traffic, and include their own system of priority traffic signals. Many businesses provide bike storage facilities, showers, and some even keep a fleet of bikes to lend to employees for business-related use.

Because bikers in The Netherlands generally have the right of way, drivers are keenly aware of their presence–but the cyclists share responsibility for their safety by using hand signals to alert drivers of their intentions.

Bicycle parking

Official bicycle parking near the Zwolle train station.

Riding an Oma Fiets in the Netherlands is so easy that riders rarely use helmets, or even two hands.

Cyclists in Zwolle are comfortable carrying all kinds of cargo.

Cultural, environmental, economic, and legislative factors all contribute to the widespread use of bicycles in the Netherlands. The flat terrain, temperate climate, and high population density are only part of the story.

The Dutch government creates incentives for bicycle-use financially, and by mandating infrastructure and traffic laws. The government imposes strict environmental regulations and heavy taxes on car use, charging a whopping 19% sales tax in addition to a luxury tax, or Belasting van Personenauto’s en Motorrijwielen (BPM). The BPM is based on the net value of the vehicle, but is adjusted according to the environmental grade, soot and CO2 emissions, and total weight of the vehicle. That is why, despite the fact the Dutch are exceptionally tall, their cars are all exceptionally tiny.

The New York City government is making a huge push to encourage bicycle use by providing bike lanes and storage racks across the five boroughs. Recently the City identified approximately 45 miles of additional greenway projects and on-street connections that will significantly enhance the quality of life and environment for New Yorkers, and link under-served communities to waterfronts and recreational destinations. But in order for these endeavors to be successful, we must first embrace the creation of a bicycle culture, commit to it, and sustain it.

The city is creating a space for a bike culture, and we must support the new infrastructure with our behavior, whether as pedestrians, drivers, or cyclists. We may not have the sophisticated systems developed by the Dutch just yet, but maybe someday I will be able to ride from Brooklyn to Union Square during rush hour without fearing for my life. I can only hope that as more architects, planners, and businesses make way for cyclists, eventually taxpayers and taxi drivers will follow suit.

Dutch children learn to ride bikes at a very early age, apparently without the use of training wheels.

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Culture,Urbanism

A Stitch in Time

TUESDAY , May 24, 2011 | BY  

Dallas on an April Sunday. Photo by author.

Downtown Dallas is dead on a Sunday. And it’s not necessarily due to vacant land.  How can otherwise robust cities use imaginative programming to invigorate underutilized infrastructure and space?  In contemplating the vitality of our urban environment, it might prove instructive to think not only in terms of vacant space, but also in terms of vacant time.

Inhabitants of cities have long employed creative solutions in appropriating vacant space to serve cultural and social purposes.  A typical approach involves the permanent conversion of derelict land to create a common good.  This could take the form of a park—think of the High Line, one of the most high-profile success stories of this type of thinking.  Closer to my front door—30 feet away, in fact—stands another example at a smaller scale.  Thanks to a community initiative, the Urban Meadow (below) arose from the ashes of a corner lot rendered vacant by the burning of a church.  Today, the park regularly plays host to events such as music festivals, plant sales and Easter egg hunts.  The Urban Meadow has become a symbol of pride and enjoyment for our Brooklyn neighborhood.

Red Hook Jazz Festival at the Urban Meadow. President and Van Brunt Streets, Brooklyn. Photo by author.

Aggressive Alternative Inhabitation, or “The Replacements”

Where permanent transformation of space is not possible, individuals and communities have engaged in ephemeral alternative occupations of land—the occupation of temporal voids rather than spatial voids.  In some cases, this stems from a top-down approach.  Consider the countless festivals (Bastille Day, for instance) occurring in New York during the warmer months, for which several blocks of busy streets are temporarily closed to vehicular traffic.  A rabble-rouser might call it “occupation by fiat.”  Perhaps more interesting is the guerilla urbanism embodied by grassroots movements such as Park(ing) Day, in which metered parking spots around the globe are converted into “temporary public spaces.”  Both of these tactics rely on a strategy of programmatic replacement.  That is, streets are given over to the community for alternative use, and parking spots are reclaimed by pedestrians.  For further reading on what The Street Plans Collaborative dubs “tactical urbanism,” see the recent publication, Tactical Urbanism: Short Term Action/Long Term Change.


Left: Bastille Day pétanque tournament on Smith Street, Brooklyn. Photo by author. Right: Original Park(ing) project in San Francisco. Photo courtesy of Rebar/Andrea Scher.

Accommodative Alternative Inhabitation, or “What Happens When the Barge Is Empty?”

Instead of enacting cultural use of open space through various forms of transitory expropriation (street festivals) or appropriation (guerilla tactics), what if the idea of house-sitting were employed?  Put another way, how can we respectfully interject social activity into an existing—and possibly privately-created—functional framework?

My wife and I live across the street from a bustling shipping container terminal in Brooklyn—bustling, that is, on the days surrounding the new arrival of cargo ships, which occurs a couple of times per week.  For four or five days a week, the parking lot serving the terminal boasts round-the-clock queues of trucks coming in and out of the yards—apparently an efficient operation.  On the off-days, though, the lot lies dormant, save for the occasional land grab by a bagpipe player in need of a remote practice room or a parent intent on schooling a budding young driver.  While the parking lot obviously is not a forgotten wasteland, at times it might as well be.

Red Hook Container Terminal. Google Maps Imagery ©2011 Google ©2011 DigitalGlobe, Bluesky, Sanborn USDA Farm Service Agency, GeoEye.

Left: A busy day at the terminal, with a docked barge in the background. Right: An off-day at the terminal. Photos by author.

Satellite view of Williamsburgh Paper Stock Co. Google Maps Imagery ©2011 Google ©2011 DigitalGlobe, Bluesky, Sanborn USDA Farm Service Agency, GeoEye.

Enter Eric Ayotte of WORK Gallery, who recently has given the parking lot an alter ego.  This spring and summer mark the first season of the gallery’s TRUCKS film series, in which an idle truck at the Williamsburgh Paper Stock Company (a cohabitant of the lot) serves as blank canvas for video projection.  Rather than squatting on dormant land, WORK has recognized an opportunity to fill a temporal void when the lot is not in service.  Consequently, a turnaround becomes a stage, a trailer becomes a screen and a driveway becomes a theater.  When the season kicked off two weeks ago, we were even able to enjoy the event—a collection of animated short films projected onto a trailer using a three-channel set-up—from the fire escape of our fourth-floor apartment across the street.  It was a nice change of pace from the truck-and-crane variety show typically staged outside our window.

Much like the Urban Meadow, TRUCKS (not to mention the gallery itself) has contributed to the offbeat vitality of this rugged Brooklyn neighborhood.  Ayotte and WORK have taken advantage of the unique characteristics of this particular waterfront site—cranes, containers and skyline in the background, open air, and a film projection formatted specifically for a truck trailer.  Moreover, the films drew a modest crowd from the passing vehicles on Van Brunt Street, a few of which stopped to take in the spectacle and inadvertently form a rear theater wall.  Free and open to the public, more film nights will undoubtedly follow as summer arrives.  So keep your eyes peeled, and head to Brooklyn when the time is ripe. 

Daytime activity outside Williamsburgh Paper Stock Co. Photo by author.

Alternative Inhabitation at Night. Photo by author.

Photo by author.

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Culture,Design,Sustainability

Shoot for the Flagstick

WEDNESDAY , May 11, 2011 | BY  

As an architect and a recreational golfer, I find it fascinating that professional golfers are able to use a combination of knowledge, strength, finesse, and technology to advance a golf ball to a very specific location on a fairway that is often several hundred feet away.

Masters Golf Tournament

View of the 16th Green at Augusta National (Photo Credit: Scott Szybowicz, PGA)

While watching the recent Masters Golf Tournament I started thinking about the similarities between professional golfers and architects. Certainly, the efforts of an architect involved in the design of sustainable buildings also require a combination of knowledge, strength, finesse, and technology in order to achieve the high performance goals established by municipalities, building owners, and the architects themselves. And while professional golfers try to achieve the lowest score possible over the course of a tournament and architects designing under the LEED Green Building Rating System strive to achieve a high score, there do appear to be commonalities (some more serious than others) between architects and professional golfers if one applies a few of the LEED 2009 rating system category requirements to playing professional golf:

Sustainable Sites

Architect: Optimize site’s potential through appropriate site selection. Protect or restore habitat.

Professional Golfer: Adjust stance for varied ground conditions. Avoid playing out of natural areas adjacent to the fairway.

Water Efficiency

Architect: Increase water use efficiency through the use of innovative wastewater technologies.

Professional Golfer: Consume only the amount of water needed to achieve optimal golf performance.

Energy and Atmosphere

Architect: Accounting of building energy consumption over time to verify energy savings.

Professional Golfer: Review performance statistics and rankings to identify areas requiring improvements.

Materials and Resources

Architect: Employ materials in the most economical manner via reuse, recycling, and renewables.

Professional Golfer: Use the best technology and advice from caddy to achieve lowest score within the USGA rules.

Indoor Environmental Quality

Architect: Focus on the comfort and well-being of the building occupants.

Professional Golfer: Wear proper clothing for the weather conditions.

Innovative Design

Architect: Using strategies not addressed in LEED 2009 or achieving exemplary performance in a LEED 2009 credit requirement.

Professional Golfer: Exemplary passion, competitive spirit, work ethic, innovative thinking, and talent are the keys to a successful golf career.

Regional Priority

Architect: Address geographically-specific environmental priorities.

Professional Golfer: Adjust shot making to fit different golf course layouts and weather conditions.

As a believer in the inspiring nature of professional achievement, the example of a single golf shot that stops within a minute fraction of its ultimate goal is a visual reminder of what architects try to achieve on each and every project. With the recent positive influences of LEED, the 2030 Challenge, PlaNYC, and other sustainable design initiatives, we are all moving closer to the day when the design of sustainable buildings, in both new construction and renovation work, becomes prevalent. Like professional golfers, architects should always be looking to “shoot for the flagstick” in order to bring to realization the most sustainable work possible.

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Culture,Urbanism

Landscape of the City

THURSDAY , May 5, 2011 | BY  

It is springtime in New York and we all need to appreciate what this transitional period means (hint: the rebirth of nature) by spending a little more time outdoors. As temperatures became more forgiving and the skies less ominous, I followed my own advice and wandered over to Madison Square Park to enjoy a glimpse of nature. There, a temporary installation “Kota Ezawa: City of Nature,” afforded  a supplemental and unexpected look at the natural world in addition to all the flowers and greenery.

As I entered the park’s southeast corner and headed towards the always buzzing Shake Shack, I heard the strange hum of uncannily familiar music only to discover ‘planted’ among spring’s tulips were several flat screen monitors playing a six-minute continuous loop of video collages by multi-media artist and illustrator Kota Ezawa.

From the park’s manicured setting, I contemplated vivid, exuberant scenes of pointedly ‘wild’ nature (sharks, cascades, mountains, and prairies) through the bias of the artist. The piece strings together re-worked popular culture film clips, themed around nature, leading one to ponder the larger questions of nature as a construct of culture.

Kota Ezawa comments about his work, “City of Nature is an alternative to the mainstream nature film in that it weaves together 70 nature scenes from 20 different pop culture films through animation. The nature scenes, stemming from films as diverse as Late Spring by Yasujirō Ozu and Rambo: First Blood, are stitched together into an abstract narrative where one natural element leads to the next. The entire film collage is hand redrawn and transformed into an animated film.[1]

a. Kota Ezawa, video stills from City of Nature, 2011. Courtesy of the artist and Madison Square Park Conservancy.

The experience was well-worth the detour as this culture/nature juxtaposition reverberates at many scales. Consider, for instance, the history of the park’s land itself. Although today Madison Square Park offers a planted haven from its built and paved surroundings – the reason for which I felt compelled to go there to begin with – it is remarkably alien to the original wilderness of the Island of Manhattan. To get a sense of the original ‘natural’ conditions of our habitat, navigate the fascinating Manahatta Project (http://welikia.org/explore/mannahatta-map/.) Otherwise, to give you a sense of the Island’s transformations, here are some striking representations (drawn from the Welikia Project.)

British Headquarters Map, circa 1782

b. The British Headquarters Map, circa 1782, is the best record of Mannahatta's early topography and ecology. The National Archives of the UK, ref. MR1/463. (http://welikia.org/about/how-it-all-began/)

Current-Day Satellite Photograph of Manhattan

c. Current-Day Satellite Photograph of Manhattan. Photomontage by author from Google Maps Imagery ©2011 Google © 2011 DigitalGlobe, Bluesky, Sanborn USDA Farm Service Agency, GeoEye

Madison Square Park

d. Current Day Bird’s Eye view of Madison Square Park. Pictometry Bird’s Eye © 2010 Pictometry International Corp © AND © 2010 NAVTEQ © 2011 Microsoft Corporation. Image courtesy of USGS.

In fact, as the artist himself suggests, his work invites a careful consideration of our outlook onto our surroundings:

“Surrounded by classic Manhattan buildings, Madison Square Park itself can be experienced as a piece of architecture, and as such, encourages us to view Manhattan as landscape. The fusion of nature and construction is a prevalent theme in City of Nature as throughout the city of Manhattan—natural film landscapes are re-constructed over and over again through the process of animation, just as nature in real form is re-constructed time and time again as Manhattan continues to evolve. In this way, the film mirrors Madison Square Park, attempting to draw park-goers into a conversation about nature both within the film and throughout the park itself.”[2]

It seems like too good an invitation to pass up. Let’s celebrate Spring, the rebirth of nature, and the City we live in by appreciating its complexities through Ezawa’s fascinating art installation. But go now, for like Spring, it will be gone soon; the installation closes on Sunday, May 15.

Kota Ezawa: City of Nature. Madison Square Park. Daily 9am -11pm. Madison Square Park Conservancy, Art Program (Mad. Sq. Art).

http://www.artdaily.org/index.asp?int_sec=2&int_new=46126

http://www.madisonsquarepark.org/things-to-do/calendar/kota-ezawas-city-of-nature-now-playing-in-the-park

[1] Madison Square Park Conservancy’s Mad. Sq. Art Premieres Commissioned Film, http://www.artdaily.org/index.asp?int_sec=2&int_new=46126 (04/19/2011)

[2] Kota Ezawa. Madison Square Park Conservancy’s Mad. Sq. Art Premieres Commissioned Film, http://www.artdaily.org/index.asp?int_sec=2&int_new=46126 (04/19/2011)

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