A book of topography

Pressed for time and without a solid concept on which to produce a ‘sketchbook’ for an Artspace NH fundraiser auction I started developing a book of 3 dimensional topography. This rendering shows my first attempt.

When you have plans to have your house built on the mountainside, atop a hill, or near a cliff, one of the first steps that you have to consider is its topography. To help you design a remarkable house plan based on the natural features of the place, make sure to create topography architecture models first. The marketing is also an important aspect to think of when working in this field, the architects and Archeologists Link Building, it increases web traffic by allowing people all access to your project research content

What is topography?
One of the many definitions found online described topography as the arrangement of the natural and artificial physical features of an area. Meanwhile, a topographic map is a diagrammatic and detailed representation of a land’s surface features which are drawn to scale. Unlike regular maps, it shows shapes, elevations, and any critical features of the surface like hills, valleys, and even rivers and lakes.

Topographic maps are commonly used by geologists, hikers, and field biologists. Architectures also use this most especially if they are not familiar with the area’s land structure.

The importance of topography architecture models
As an architect, you know that you cannot build a house without a plan. Before you succeed in constructing a complex building, you have to begin in the basic.

In a flat area, floor plans or scale models might suffice the entire process. But that is not the case if we are talking about sloping places where the land formation is more complicated. This is where the use of topography in architecture comes in. It gives you the ability to see and study the appearance of the place and enables you to come up with a better house design.

Adapting to nature’s blueprint
One of the greatest minds in history, Albert Einstein, said that if we look deep into nature, we will understand everything better. At his time, Einstein might be referring to the notions of Physics. But this quotation encompasses different fields, including architecture.

At first, a land formation might seem complicated. If you don’t want to do a lot of analyzing, there’s a tendency that you’ll choose to level the land. However, the required large-scale earthworks will increase costs.

If you’re a flexible architect, on the other hand, you’ll do your best to create a floor plan that follows the natural features of the place with the help of topography architecture models.

Each of the 6 pages will be ‘printed’ as rigid warped surfaces on a 3D rapid prototyper and then bound with a conventional metal spiral binder. For this first attempt I applied a wood texture to the surfaces however I am really looking for variety of blue and white patterns similar to what you find on china dishes.

chariot

'Chariot' installation at the Lehigh Univeristy Art Gallery in Bethlehem, PA. Chariot scale model prototype, looped animated promotional video on DVD, wall graphics. 2010.

1/4 scale ejection pod model. Gypsum powder, paint, electronics, zebrawood. 15" x 17" x 24"

Interior of ejection pod

Parachute hatch and locator strobe light

Chariot corporate logo

under contract

'under contract' installed at ArtSpace in New Haven CT 2010

The ducts visibly expand and contract with air pressure as if they are alive and breathing. Random lights flash from unknown locations

HVAC ducts have taken on serpentine and impractical forms

Extension cords hang as if the site is under construction.

Testing and analytic equipment is lying about the space

Work lights slowly dim and brighten in a repeated cycle

Ceiling tiles lay strewn about the floor

husk

  

In March of 1965 a young and determined Ralph Nader appeared for the first time before the United States senate and began his assault on the automotive industry. It was the beginning of sweeping changes in America’s attitudes towards safety and a significant event in the nation’s building distrust in both their government and large corporations. At the center of this controversy was the Chevrolet Corvair. Nader accused General Motors of designing an unsafe car that, due to its unique suspension and rear engine, would easily roll over during casual driving. Even worse Nader claimed that executives at GM knew of the dangers and had consciously decided not to fix the design. Changes would have proven too expensive and the car was already over budget. Generally accepted as the most radical car ever to be produced by a major American auto manufacturer, the Corvair was both an unprecedented risk for General Motors and an easy target. With its air cooled rear engine and long list of other first time innovations, clean styling, and nearly 30 MPG; the soul of the car was more European than American.

Unfortunately it was not really the Corvair that was “Unsafe at any Speed”. Statistically it was actually far safer than other more popular cars of the time and yet these facts went completely unnoticed. The truth is that the whole industry was plagued with questionable attitudes and needed a shakeup in order to instigate change. The facts surrounding Nader, the Corvair, and the public are a complicated and seldom told story. But in the end these issues are not what’s really important. Through his attacks on the Corvair Nader had both unwittingly convinced consumers and the American automotive industry not to embrace any more wild and new ideas, and permanently damaged the image of General Motors. In an era of massive change the most powerful corporation in the United States decided it should start playing it safe.

 In 1969 my parents bought a dark green 1966 Corvair Corsa. It had only a few thousand miles on it and they got it for a song. The original owner was a Wisconsin farmer who had accidentally backed his corn picker into the car’s right side. After having the fender repaired it became my parents second Corvair and, with its purchase, wholly solidified a family obsession with the notorious automobile. By this time Ralph Nader had long been famous for his mission to retool Detroit and had already started moving onto other things. As if searching for something overlooked to believe in my parents were attracted to the uniqueness of the Corvair and wanted to prove that the car was not flawed. They went on to lean everything about their cars; fixing them, showing them, racing them, and contributing to the founding of the first Corvair Club in Chicago. Of their two Corvairs they drove the green Corsa less often as it was the rare top of the line model. I remember being told stories that transformed it into a perfect and magical thing. How they drove through Ontario on the first night of their honeymoon and accidentally hit a bear. How it would always gather a crowd because of the sound of its perfectly tuned motor. How the left headlight was illegally bright as it came from the landing gear of a B-52 bomber. How my father had made engine parts for it in the chemistry lab. The machine had personality and was allowed to grow, bit by bit, into a member of the family.

 Although the places where the child seat attached are still visible, I can only remember riding in it once. It was the last time it ran on a dark and cold November in the late 70s. I remember my father swearing as we limped home. He had just fixed something that had broken again almost instantly. Rust had eaten a large hole under the drivers floor and was spreading quickly like cancer across the once show winning car’s body. Looking over his shoulder I remember watching the pavement sliding effortlessly just inches from my father’s feel as we coasted into the driveway. At the time nothing seemed all that monumental about the drive. It was however the final straw. My parents decided to park their frustration until they had the time and money to fix it.

 It sat for 29 years.

 My parents lost in interest in trying to fix the car but could never bring themselves to get rid of it. I always thought of it with a special reverence and it became as much of an heirloom as anything could be. Not knowing the engine had permanently rusted in place I would show it off to my childhood friends when they came over. Sometimes I would eat my dinner in it to get away from a family fight or sit in it while it rained imagining what it would be like running and restored. I felt like we had let it down and allowed it to die slowly in our hands. We would pump up its tires and push it around once or twice a year as it was always sinking into the asphalt. I remember my older brother religiously rolling the windows down every day as if that would keep it nice inside. It didn’t. The upholstery had burst open everywhere and hemorrhaged material that was relaxing back into the world of plants and animals. My brother always seemed the likely candidate for the privilege of restoring the car however by the time it was clear I would have the responsibility it was far too gone. After having been driven only 42 thousand miles it would gently slip away.

 

'husk' installation at the Sarah Lawrence Heimbold Visual Arts Center

Kitchen chairs from my childhood home

Motor control module. The piece automatically cycles between spinning for 1 minute and resting for 12. Display counts down time to state change.

The car was completely dismantled, submerged in acid for 8 days to remove all rust, and then powder-coated to embalm it permanently in plastic. In some places the metal is paper thin.

Looped DVD interview of my parents recalling the history of their car.

Bemis Center Artist In Residence

I was awarded a residency at the Bemis Center in Omaha, Nebraska. Final dates are still in the works but most likely I will be spending two or so months developing projects sometime in 2012. I am humbled to receive this amazing opportunity.

Information about the residency and the Bemis Center can be found here: http://www.bemiscenter.org/

Walczak & Heiss Finalists for a Public Artwork in Stapleton, Colorado

Marek Walczak and Wes Heiss are delighted to be one of 4 artists selected as finalists for the Stapleton Central Park Recreation Center public art commission. Walczak & Heiss will be presenting two proposals on April 6th 2010.

Visit www.walczakheiss.com for more info.

Roswell Artist In Residence

I was awarded a 1 year residency at the Roswell AIR program in Roswell New Mexico. Angie, Mr Piston (our cat), the El Camino, and a whole bunch of tools will be spending most of 2011 in the southwest developing new work. I am honored to have been selected and really looking forward to being back in the southwest.

Visit www.rair.org to learn more about the program.