With 9,036 Pieces, the Roman Colosseum Is the Largest Lego Set Ever

in Architecture | November 27th, 2020

“For a normal person back in the day,” says LEGO designer/architect Rok Kobe about the Colosseum in Rome, “You had never seen a building that was over a story high. And to be confronted with such an amazing piece of engineering that’s almost 200-meters wide and 50 meters tall, it was unprecedented.”

Similarly, any LEGO fan might feel this awe while greeting this month’s debut of the LEGO Colosseum. At 9036 pieces it has broken the record as the biggest LEGO set in existence, beating out the Star Wars’ Millennium Falcon (7,541 pieces) and the Taj Mahal (5,923 pieces). Every few years LEGO steps up its game, which might possibly end with a neighborhood-devouring replica of the Great Wall of China. But we’re getting ahead of ourselves.

The Colosseum’s facade has been faithfully recreated on all three levels, with the Doric columns at the bottom, the Ionic columns in the middle, and the Corinthian columns on top. And it also adds the contemporary part of the arena that has been rebuilt to show the original level of the arena in Roman times.

The original Colosseum was built over eight years between year 72 AD and 80 AD and between two emperors, Vespasian and Titus. And though we know it as a sandstone-colored structure these days, archeologists have determined it was also colored red, black, and azure. The LEGO version may not be so dramatic, but it does contain a bit more color than the real-life model.

Rok Kobe knows of what he speaks and models. Growing up in Ljubljana, capitol of Slovenia, he would play on the Roman ruins in the city center, especially the Roman Wall. “The five year old would be proud of the adult that got to design this LEGO set,” he says.

At $798, this is not a frivolous purchase. But it will bring an adult hours of fun and keep them occupied.

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Ted Mills is a freelance writer on the arts who currently hosts the Notes from the Shed podcast and is the producer of KCRW’s Curious Coast. You can also follow him on Twitter at @tedmills, and/or watch his films here.

by Ted Mills | Permalink | Make a Comment ( 1 ) |

A Glass Floor in a Dublin Grocery Store Lets Shoppers Look Down & Explore Medieval Ruins

in Architecture, History | October 28th, 2020

In South Korea, where I live, many recent buildings — the new Seoul City Hall, Zaha Hadid’s Dongdaemun Design Plaza — have incorporated the century-upon-century old ruins discovered on their sites. This makes literally visible, often through clear glass floors, the “5,000 years of unbroken history” about which one often hears boasts in Korea. But nor is Europe historically impoverished, and there the window-onto-the-past architectural technique has been applied in even less likely places: a new Dublin location, for instance, of German chain discount supermarket Lidl.

“Architects discovered the remains of an 11th-century house during the development of the site on Aungier Street,” says the video from Irish broadcaster RTÉ above. “The sunken-floored structure has been preserved and is displayed beneath the glass.” Archaeological site director Paul Duffy described the discovery as potentially having “functioned as many things, as a house or an extra space for the family. It’s a domestic structure, so you have to imagine that there would have been a suburb here of Hiberno-Norse Dubliners, who were effectively the ancestors of the Vikings.”

We’re a long way indeed from James Joyce’s Dubliners of 900 years later. But the new Lidl has put more than one formerly buried era of the city’s past on display: “A second glass panel near the checkout tills allows shoppers to glimpse an 18th-century ‘pit trap’ from the stage of the old Aungier Street Theatre,” writes Irish Central’s Shane O’Brien, pit traps being devices “used to bring an actor on stage as if by magic. Another working area under the building preserves “the foundations of the medieval parish church of St. Peter, which served parishioners for more than 600 years between 1050 AD and 1650 AD.”

In the RTÉ video, Dublin City Archaeologist Ruth Johnson frames this as a challenge to the speed-oriented construction model — “put up a hoarding, excavate a site, and then put up a development” — prevalent during Ireland’s recent “Celtic Tiger” period of economic growth. That and other factors have made the built environment of Dublin, a city of many charms, less interesting than it could be. In his recent book Trans-Europe Express’ chapter on Dublin, critic Owen Hatherley writes that “contemporary Irish architecture is marked by a striking parsimony, a cheapness and carelessness in construction.” Looking to the past isn’t always the answer, of course, but in this case Lidl has done well to take it literally.

via Colossal

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Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall, on Facebook, or on Instagram.

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Daisugi, the 600-Year-Old Japanese Technique of Growing Trees Out of Other Trees, Creating Perfectly Straight Lumber

in Architecture, History, Nature | October 23rd, 2020

Image by Wrath of Gnon

We’ve all admired the elegance of Japan’s traditional styles of architecture. Their development required the kind of dedicated craftsmanship that takes generations to cultivate — but also, more practically speaking, no small amount of wood. By the 15th century, Japan already faced a shortage of seedlings, as well as land on which to properly cultivate the trees in the first place. Necessity being the mother of invention, this led to the creation of an ingenious solution: daisugi, the growing of additional trees, in effect, out of existing trees — creating, in other words, a kind of giant bonsai.

“Written as 台杉 and literally meaning platform cedar, the technique resulted in a tree that resembled an open palm with multiple trees growing out if it, perfectly vertical,” writes Spoon and Tamago’s Johnny Waldman. “Done right, the technique can prevent deforestation and result in perfectly round and straight timber known as taruki, which are used in the roofs of Japanese teahouses.”

These teahouses are still prominent in Kyoto, a city still known for its traditional cultural heritage, and not coincidentally where daisugi first developed. “It’s said that it was Kyoto’s preeminent tea master, Sen-no-rikyu, who demanded perfection in the Kitayama cedar during the 16th century,” writes My Modern Met’s Jessica Stewart.

At the time “a form of very straight and stylized sukiya-zukuri architecture was high fashion, but there simply weren’t nearly enough raw materials to build these homes for every noble or samurai who wanted one,” says a thread by Twitter account Wrath of Gnon, which includes these and other photos of daisugi in action. “Hence this clever solution of using bonsai techniques on trees.” Aesthetics aside — as far aside as they ever get in Japan, at any rate — “the lumber produced in this method is 140% as flexible as standard cedar and 200% as dense/strong,” making it “absolutely perfect for rafters and roof timber.” And not only is daisugi’s product straight, slender, and typhoon-resistant, it’s marveled at around the world 600 years later. Of how many forestry techniques can we say the same?

via Spoon and Tamago

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Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall, on Facebook, or on Instagram.

by Colin Marshall | Permalink | Make a Comment ( 9 ) |

An Animated Video Shows the Building of a Medieval Bridge: 45 Years of Construction in 3 Minutes

in Architecture, History | October 22nd, 2020

Without massive feats of engineering we rarely notice anymore because they seem so commonplace, the built environments we navigate each day wouldn’t exist. When we do turn our attention to how the buildings get made, we are met with surprises, curiosities, puzzles, moments of wonder. How much more is this the case when learning about fixtures of cities that are hundreds or thousands of years old, constructed with what we would consider primitive methods, producing results that seem superior in durability and aesthetic quality to most modern structures?

Of course, while modern structures can take months or even weeks to finish, those of a more ancient or medieval age were constructed over decades and repaired, rebuilt, and restored over centuries. Consider the Charles Bridge, which crosses the Vltava (Moldau) river in Prague.

Construction began on the famous structure—nearly 1,700 feet (516 meters) long and 33 feet (10 meters) wide—in 1357 under King Charles IV. Forty-five years later, in 1402, the bridge was completed. It was damaged in the Thirty Years’ War, then repaired, damaged in floods in the 15th, 18th, and 19th centuries, and repaired, and updated with more modern appointments over time, such as gaslights. But its bones, as they say, stayed strong.

In the digitally animated video above, you can watch the initial construction process in fast-motion–nearly half a century condensed into 3 minutes. Built by architect Peter Parler, it was originally called Stone Bridge. It acquired the king’s name in 1870. “The low-lying medieval structure,” notes Google, who celebrated the 660th anniversary of the bridge in 2017, “is comprised of 16 shallow arches and three Gothic towers, and lined with 30 Baroque-style statues,” added some 200 years ago. Every building has its secrets, and the Charles Bridge no doubt has more than most. One of the first has nothing to do with hidden chambers or buried remains. Rather, “according to legend, during construction, masons added a secret ingredient that they thought would make it stronger: eggs!”

See more animated videos of vintage construction at the Praha Archeologicka channel on YouTube and learn much more about medieval Prague’s many architectural surprises at their site.

via Twisted Sifter

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Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

by Josh Jones | Permalink | Make a Comment ( 2 ) |

Take a Digital Drive Along Ed Ruscha’s Sunset Boulevard, the Famous Strip That the Artist Photographed from 1965 to 2007

in Architecture, History, Photography | October 20th, 2020

Ed Ruscha has lived nearly 65 years in Los Angeles, but he insists that he has no particular fascination with the place. Not everyone believes him: is disinterest among the many possible feelings that could motivate a painting like The Los Angeles County Museum on Fire? Nevertheless, the plainspoken Oklahoma-born artist has long stuck to his story, perhaps in order to let his often cryptic work speak for itself. Originally trained in commercial art, Ruscha has painted, printed, drawn, and taken photographs, the most celebrated fruit of that last pursuit being 1966’s Every Building on the Sunset Strip, a book that stitches his countless photographs of that famous boulevard — both sides of it — onto one long, continuous page.

Whatever you think of such a project, you can’t accuse it of a mismatch between form and substance. Nor can you call it a cynical one-off: between 1967 and 2007, Ruscha drove Sunset Boulevard with his camera no fewer than twelve times in order to photograph most or all of its buildings.

These include gas stations (an architectural form to which Ruscha has made the subject of its own photo book as well as one of his most famous paintings), drugstores, appliance dealers, Central American restaurants, karate schools, travel agencies, car washes, Modernist office towers, and two of the most characteristic structures of Los Angeles: low-rise, kitschily named “dingbat” apartment blocks and L‑shaped “La Mancha” strip malls.

The mix of the built environment varies greatly, of course, depending on where you choose to go on this 22-mile-long boulevard, only a short stretch of which constitutes the “Sunset Strip.” It also depends on when you choose to go: not which time of day, but which era, a choice put at your fingertips by the Getty Research Institute’s Ed Ruscha Streets of Los Angeles Project, and specifically its interactive feature 12 Sunsets. In it you can use your left and right arrow keys to “drive” east or west (in your choice between a van, a VW Beetle, or Ruscha’s own trusty Datsun pickup), and your up and down button to flip between the year of the photo shoots that make up the boulevard around you.

Many longtime Angelenos (or enthusiasts of Los Angeles culture) will motor straight to the intersection with Horn Avenue, location of the much-mythologized Sunset Strip Tower Records from which the very American musical zeitgeist once seemed to emanate. The Sacramento-founded store was actually a latecomer to Los Angeles compared to Ruscha himself, and the building first appears in his third photo shoot, of 1973. The next year the ever-changing posters on its exterior walls includes Billy Joel’s Piano Man. About a decade later appear the one-hit likes of Loverboy, and in the twilight of the 1990s the street elevation touts the Beastie Boys and Rob Zombie. In 2007, Tower’s signature red and yellow are all that remain, the chain itself having gone under (at least outside Japan) the year before.

12 Sunsets’ interface provides two different methods to get straight from one point to another: you can either type a specific place name into the “location search” box on the upper right, or click the map icon on the middle left to open up the line of the whole street clickable anywhere from downtown Los Angeles to the Pacific Ocean. This is a much easier way of making your way along Sunset Boulevard than actually driving it, even in the comparatively nonexistent traffic of 1965. Nevertheless, Ruscha continues to photographically document it and other Los Angeles streets, using the very same method he did 55 years ago. The buildings keep changing, but the city has never stopped exuding its characteristic normality so intensely as to become eccentricity (and vice versa). What artist worthy of the title wouldn’t be fascinated?

Explore the Getty Research Institute’s Ed Ruscha Streets of Los Angeles Project here.

via Austin Kleon

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Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall, on Facebook, or on Instagram.

by Colin Marshall | Permalink | Make a Comment ( 1 ) |

Denmark’s Utopian Garden City Built Entirely in Circles: See Astounding Aerial Views of Brøndby Haveby

in Architecture, Design | October 15th, 2020

View this post on Instagram

A post shared by Henry Do (@henry_do) on Aug 21, 2019 at 9:02am PDT

For decades, urban planners around the world have looked to the Danish capital of Copenhagen, with its low-rise high density and unparalleled culture of everyday cycling, as an example of how to design a city. But what of the Danish track record in designing suburbs? Recently, a photographer by the name of Henry Do brought the world’s attention to one such settlement, Brøndby Haveby or Garden City, with a series of aerial photographs posted to Instagram. “Unreal how my recent images from here went crazy viral,” Do writes in the caption of a follow-up drone video — “unreal” being just the word some have used to describe the place itself, composed as it is entirely out of circles.

Built in 1964 to the design of “genius landscape architect Erik Mygind,” Brøndby Haveby mimics “the traditional patterns of the 18th century Danish villages, where people would use the middle as a focal point for hanging out, mingle and social interchange between neighbors.”

This unusual form, more of which you can see in Do’s drone photos at Lonely Planet, suits the long-established Danish cabin culture, according to which every city-dwelling Dane with the means buys a smaller second home in the countryside as a retreat. (Though the houses in Brøndby Haveby are owned, the gardens are rented, and local zoning laws prevent anyone from occupying their properties for more than six months out of the year.)

Wherever it is, this cabin must be made hyggelige, an adjective often translated into English as “cozy” and that, in recent years, has become a byword for the love of small-scale contentment that sets Denmark apart. (Not everybody is sold on the concept: “With its relentless drive towards the middle ground and its dependence on keeping things light and breezy,” writes British Denmark expat Michael Booth, “hygge does get a bit boring sometimes.”) As Lenni Madsen, a Danish Quora user with a Brøndby Haveby house in the family, puts it, “Imagine your average small-time community, where everyone knows everyone else, you see each other across the hedge, perhaps sharing a beer or having coffee at each others’ houses.”

This seems a far cry from the alienation and depravity of the standard suburban cul-de-sac, at least as portrayed in American popular myth. And it isn’t hard to see the appeal for average urbanites, especially those looking to spend their generous vacation time in as different an environment as possible without having to go far. (Homeowners must already have a primary residence within 20 kilometers, which includes the city of Copenhagen.) The astonished reactions on social media would suggest that most of us have never seen a place like this before. But for the Danes, it’s just another chapter in their civilizational pursuit of all that is hyggelige.

via Messy Nessy

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Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall, on Facebook, or on Instagram.

by Colin Marshall | Permalink | Make a Comment ( 1 ) |

The Story Behind the Iconic Photograph of 11 Construction Workers Lunching 840 Feet Above New York City (1932)

in Architecture, History, Photography, Video - Arts & Culture | September 28th, 2020

Dorothea Lange’s “Migrant Mother”…

Nick Ut’s Pulitzer Prize-winning “The Terror of War”…

Richard Drew’s “The Falling Man”…

Throughout the years, a number of iconic photographs have tapped into the collective unconscious, shaping our view of historic events, sometimes to a degree that leads to social change.

These images are not dependent on knowing the subjects’ identities, though it’s always interesting when more context leaks out, often as the result of some serious sleuthing by reporters, archivists, or other interested parties.

1932’s “Lunch atop a Skyscraper (New York Construction Workers Lunching on a Crossbeam)” is one of the lighter-hearted photos to create such a lasting public impression.

Eleven workers are depicted enjoying their break, relaxing on a girder a dizzying 840-feet above New York City, unburdened by safety harnesses or other protective gear.

In the words of Rockefeller Center archivist Christina Roussel, who narrates the TIME Magazine 100 Photos episode above, they are the “unsung heroes of construction.”

The unusual designation may lead you to rack your brains for a sung hero of construction.

Grandpa’s cog-in-the-wheel contribution to the erection of an iconic landmark can be a source of anecdotal pride for families, but it rarely leads to greater renown.

Looming over this image is John D. Rockefeller, Jr, who masterminded a 22 acre complex of 14 commercial buildings in the Art Deco style. The project was a boost to the economy during the Great Depression, employing over 250,000 people—from truckers and quarrymen to glaziers and steelworkers and hundreds of other jobs in between. It created an enormous amount of goodwill and patriotic pride.

The Rockefeller organization capitalized on this positive reception, with a steady stream of staged publicity photos, including the daring eleven sharing a nosebleed seat on what was to become the 69th floor of the RCA Building (now known as 30 Rock.)

As film critic John Anderson, reviewing the documentary Men at Lunch in The New York Times, wrote:

The popularity of the picture, which has been colorized, satirized, burlesqued with the Muppets and turned into a life-size sculpture by Sergio Furnari, is partly about the casual recklessness of its subjects: The beam on which they sit seems suspended over an urban abyss, with the vastness of Central Park spread out behind them and nothing, seemingly below. But in fact a finished floor of 30 Rockefeller Plaza was probably just a few feet away.

The documentary helped confirm the identities of several of the men.

Irish immigrants Maddy O’Shaughnessy and Sonny Glynn hold down either end, as verified by their sons.

William Eckner, third from left, and Joe Curtis, third from right, were named in a similarly spirited annotated photo taken around the same time.

The man seated to Curtis’ right may or may not be John Charles Cook of the St. Regis Mohawk Reservation.

The photographer’s identity is also debatable. It’s most often credited to Charles C. Ebbets but Tom Kelley and William Leftwich were also on hand that day, leather satchels of glass plates slung across their backs, as they, too, defied gravity, documenting the completion of architect Raymond Hood’s master plan.

Yale Presents an Archive of 170,000 Photographs Documenting the Great Depression

Ayun Halliday is an author, illustrator, theater maker and Chief Primatologist of the East Village Inky zine. Follow her @AyunHalliday.

by Ayun Halliday | Permalink | Make a Comment ( 1 ) |

A Beautiful 1897 Illustrated Book Shows How Flowers Become Art Nouveau Designs

in Architecture, Art, Books, Design, Nature | August 28th, 2020

The art of drawing is not the art of observing forms and objects alone, it is not mere mimicry of these objects; it is the art of knowing how far and wherein, and with what just limitations, those forms and objects can be reproduced in a picture, or in a decorative work. — Eugène Grasset, 1896

Flowers loomed large in Art Nouveau, from the voluptuous floral headpieces that crowned Alphonse Mucha’s female figures to the stained glass roses favored by architect Charles Rennie Mackintosh.

Graphic designer Eugène Grasset’s 1897 book, Plants and Their Application to Ornament, vividly demonstrates the ways in which nature was distilled into popular decorative motifs at the end of the 19th-century.

Twenty-four flowering plants were selected for consideration, from humble specimens like dandelions and thistle to such Art Nouveau heavy hitters as poppies and irises.

Each flower is represented by a realistic botanical study, with two additional color plates in which its form is flattened out and mined for its decorative, stylistic elements.

The plates were rendered by Grasset’s students at the École Guérin, young artists whom he had “forbidden to condescend to the art of base and servile imitation”:

The art of drawing is not the art of observing forms and objects alone, it is not mere mimicry of these objects; it is the art of knowing how far and wherein, and with what just limitations, those forms and objects can be reproduced in a picture, or in a decorative work.

He also expected students to hone their powers of observation through intense study of the organic structures that would provide their inspiration, becoming intimately acquainted with the character of petal, leaf, and stem:

Beautiful lines are the foundation of all beauty. In a work of art, whatever it be, apparent or hidden symmetry is the visible or secret cause of the pleasure we feel. Everything that is created must have some repetition in its parts to be understood, retained in the memory, and perceived as a whole

When it came to adorning household implements such as vases and plates, Grasset insisted that decorative elements exist in harmony with their hosts, sniping that any artist who would distort form with ill considered flourishes should make a bas-relief instead.

Thusly do chrysanthemum stems provide logical-looking ballast for a chandelier, and a dandelion’s curved leaves hug the contours of a table leg.

Grasset’s best known student, Maurice Pillard Verneuil, whose career spanned Art Nouveau to Art Deco, absorbed and articulated the master’s teachings:

It is no longer the nature (artists) see that they represent, that they transcribe, but the nature that they aspire to see; nature more perfect and more beautiful and of which they have the interior vision.

View Eugène Grasset’s Plants and Their Application to Ornament as part of the New York Public Library’s Digital Collections here. Or find illustrations at RawPixel.

via The Public Domain Review

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Ayun Halliday is an author, illustrator, theater maker and Chief Primatologist of the East Village Inky zine. Follow her @AyunHalliday.

by Ayun Halliday | Permalink | Make a Comment ( None ) |

With 9,036 Pieces, the Roman Colosseum Is the Largest Lego Set Ever

A Glass Floor in a Dublin Grocery Store Lets Shoppers Look Down & Explore Medieval Ruins

Daisugi, the 600-Year-Old Japanese Technique of Growing Trees Out of Other Trees, Creating Perfectly Straight Lumber

An Animated Video Shows the Building of a Medieval Bridge: 45 Years of Construction in 3 Minutes

Take a Digital Drive Along Ed Ruscha’s Sunset Boulevard, the Famous Strip That the Artist Photographed from 1965 to 2007

Denmark’s Utopian Garden City Built Entirely in Circles: See Astounding Aerial Views of Brøndby Haveby

The Story Behind the Iconic Photograph of 11 Construction Workers Lunching 840 Feet Above New York City (1932)

A Beautiful 1897 Illustrated Book Shows How Flowers Become Art Nouveau Designs

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