Architecture Topics

New Name

2010-10-29T08:20:00.001-07:00

We've consolidated everything we do under one umbrella called SimpleTwig. Here's the breakdown:

SimpleTwig Architecture, was NJBArchitects
SimpleTwig Rendering, was The Drawing Studio

We also have a new forum where we can discuss Set In Stone egyptian topics.

SimpleTwig also offers simple hosting for start up businesses and small artist efforts. The 'twig' is in effect a branching of things of interest to me, with a side of a helping hand to others.

Our new motto: "Every nest starts with a simple twig."

Join us on our new forum: http://www.simpletwig.com

Egypt Blog Moving...

2009-01-15T11:49:00.000-08:00

UPDATE:
We have consolidated everything that Mr. Buccalo does on one site called SimpleTwig so that we can better manage everything that goes on. Only periodically will we post here, but instead will create a new blog centered around the SimpleTwig name.

Cheers and thanks for visiting.
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I will be moving my Egypt discussion to a new site: SETinSTONE.ning.com

The new site has so many features that make having discussions much easier. One is able to upload photos, videos and other documents, start forum a blog or simply leave comments that others can easily see and add to.

I will also easily be able to set up different discussions based on what topic it is focused on. Come over and sign up, it's easy and free. You'll be given a page for yourself, but more importantly, you'll be able to join in the discussion. Thanks to everyone who has left a comment here, I will probably move your wonderful comments over as well.

Also, this is evolving into a collaboration, that is, there are a couple of college professors making contributions on a site we set up at WikiVersity... check it out: Ancient Egyptian Monuments Project

The older posts on general architectural topics will remain here.

What's your opinion?

2009-01-09T18:07:00.000-08:00

What do I think so far about this process... I think there are so many theories out there that it will be hard for people to even bother reading about another theory. I think I'm going to special lengths to show things in a visual way, through videos and animations, because we don't really think visually in our modern world, yet the Egyptians did... for example our written language is based on phonics, that is when you read a word someone in California has created, there will be a good chance a person in New York will be able to pronounce it correctly. The Egyptian's used hieroglyphs... that is, they used PICTURES for words. Pictures of real world things. These pictures could describe something, like a circle for the Sun, and at the same time carry meaning. I think it is therefore extremely important to look at exactly how the early hieroglyphs were exactly, and I mean exactly carved. Because, clues to the meaning function of their 'picture words' are revealed with the details. The carving of the Ankh is an example, look at the 'reflection' as I like to call it. It looks like an obelisk profile. Considering that hieroglyphs weren't read for 1500 years, even by the Egyptians, and that our interpretation of them is based on our 'modern' ability to 'read' them, it stands that while the fundamentals of hieroglyphs are understood today for the most part, their subtleties of meaning may not be fully realized. What is ultimately and especially important is the ability to link different hieroglyphs to fully understand what is being said. More over, Ancient Egyptian Architecture was an extension of this visual language.

I have found this process and exploration to be totally fascinating. I feel like I am watching the tumblers of a locking mechanism fall into place and that I am on the verge of opening a wonderful door to truth and understanding of an important aspect of Ancient Egyptian life, that is why the Pyramids were created. After all, isn't that the most important question to answer about Ancient Egypt?

I have no doubt that pyramids would of been built without Imhotep, and why not, they were built in one form or another elsewhere around the world. But why did Egypt make them so smooth and unemblished? Why did they make them so large? Why was their form so perfect and rigid? Why did even tiny Pyramids keep this precision of form and detail?

And, I can even answer how the Pyramids were built... a question that seems to captivate the entire world. Here's the answer... ready??? : they stacked stones up one on top of the other.

hello? this is Lawrence calling.... anyone? anyone at all...

What will be my greatest disappointment? This entry alludes to it quite clearly. I know I can be impatient but I don't think I'll live forever, and considering one response to this revelation, which was in the form of writing lessons, all I can say is sorry but I communicate visually. That is my language.

Egyptian Horizon (Part 17)

2009-01-09T08:36:00.000-08:00

Akhet Hieroglyph: The hieroglyph sign akhet is composed of the Sun disk and the hieroglyph for mountain (Source: Maria C. Betro, Hieroglyphics the Writings of Ancient Egypt, p. 161, Abbeville Press Publishers, 1996.).

Topic has been moved to new Set In Stone website: http://setinstone.ning.com

Imhotep (Part 16)

2009-01-06T11:27:00.001-08:00

Update: January 10, 2009:

(click on image for full size and zoom). This image is from the Djoser complex. Source of base image: OdysseyAdventures. It shows, much like my top signature, 2 distinct 'reflections' (B) at the bottom, one, to me, representing the Sun from the East and the other for the West. I find it very interesting that my diagram expressed 2 halves before I saw this image.

'A' the horizon with balanced reflections on top and bottom as I would expect. Older versions of this symbol I believe wouldn't of been so 'full', that is, they'd be more like line drawings with emphasis being placed only on the ends. The Sun arc (A) is more like a line version than later jewelry versions that I've seen. Note 'D' which appears to be like a horizontal knot... I do not know what this represents and may put into question everything except that all the other elements seem to support my hypothesis quite readily. Update Jan. 11, 2009: This could be a representation of the hieroglyph N17 for Land, Earth, Eternity... it is a horizontal rectangle shape drawn at AncientEgyptOnline.co.uk with rounded corners. That would make sense.

Update, Jan 11, 2009: For those who are skeptical of this interpretation of the Ankh, lets look at it from a different point of view, from that of the ancient scribe who created it. Lets say he was given the task of creating a hieroglyph that embodied that which provided life to his desert land, namely the river and the Sun, and to combine those two elements into one simple to understand symbol. Additionally, the Sun cycle is deemed important as nothing grows at night, 'lives' at night (meaning to be productive, i.e. everyone sleeps including the land), etc. since this will be a 'life' symbol. Okay, go to it... what would you draw?

Okay, lets add one more element, that the sunrise and sunset are important and you'd like to emphasis these moments in time a bit. Now go, and let me see what you come up with...

Pyramid Geometry (Part 15)

2009-01-03T15:14:00.001-08:00

This post, regarding the Djoser Pyramid Geometry, has been moved to the website Set In Stone. You can find it in the Group: Pyramid Geometry.

Reconstruction Progress (Part 14)

2008-12-29T16:29:00.000-08:00

ANIMATION:

Diagram of Clerestory Design over 4 Set Colonnade. The spacing between the wall and the column sets is equal implying that the beams spanned over all column sets and into the wall, leaving 2 slivers of space open to the sky (as shown in the first slide). This sliver would be covered by 'beams' orientated in the opposite direction, providing an opportunity for a clerestory. In this case, because the main colonnade is at a higher elevation, the only place for 'windows' is on the interior as shown in the last slide.

Someone (Lehner?) had put 'wood beams-carved from stone' as the structure for the roof, assuming that the Egyptians would not want to risk spanning the space between piers (not knowing whether they intended actual wood) or that it was an aesthetic choice to mimic earlier structures (hence, carved stone made to look like wood beams). But I believe it would of been obvious that stone would do the trick, especially considering that they would of had stone mounted on the ground spanning between two blocks, to carve it, it would of been readily apparent that stone could easily span this distance. With this in mind, I will be redoing the roof structure of this model, removing the 'wood beams' and changing the overall dimensions. It seems obvious to me that the 'space' between columns was strictly adhered to further reinforcing the notion that stone was used.

Click on images for enlargement. These are 'In Progress' images and do not reflect the final model/renderings.

Stairs to Perimeter Wall: Note in the lower right corner of the above rendering, stairs that reach up to the 10.5 Meter high perimeter wall, and how each individual bastion is just large enough for one person. I can imagine a thousands soldiers marching in through the entrance in a long procession, turning left and ascending up to the top, and then marching around until all the positions were filled. Only then would the public be allowed in... The massive wall along with Egypt's greatest soldiers must of been an overwhelming sight of pure power and strength.

Note: I need to revise the location of this stair. Initially I kept it pulled back away from the center isle, afraid of the weight (at least thinking that the Egyptian builders might think that roof of the aisle below wouldn't be able to support the extra weight, but considering that the wall itself is over the aisle, and that moving the stair would center over this 'extra width' bastion, it seems reasonable to move it so that the top landing is centered over the aisle below, allowing the 'soldier procession' to make it's presence to the public on the outside, in a formal and symmetrical way.

I wonder if the inner Great Court wall was also lined with soldiers. Given the location of the Hed Sed Court, this might not of been possible, but depends on the design of the wall itself.

I am also curious if any 'sail-like' structures or banners were part of these exterior wall bastions. I would look for remnants of a pocket which could support a mast of sorts.

Note how I've rendered the Pyramid with wind and dust blowing past it's surface. Pyramids are known to cause wind turbulence. From the many tourists videos I've reviewed, I've noticed on several occasions that the person speaking can not be heard over the wind.

The Wave:

Noting how utterly smooth this surface is, and how most civilizations have a tendency to decorate surfaces, even the Egyptians with their bas-reliefs, it reinforces the notion that this surface was serving a purpose... that it is smooth like the water of the Nile, and that by polishing it, becomes reflective like the Nile.

Colonnade:

Even though I'm showing shafts of light, I don't think that this is possible. I will do a sun study soon to see if only indirect light could be seen from the interior.

Colonnade Clerestory Windows:

Note that I am showing 2 levels of windows. Understanding that the beams of the center isle would be perpendicular to those of the niches, it seems that this would be a distinct possibility.

Colonnade:

Dark and narrow passage which culminates in a very wide open, filled with sun light Great Court.

Great Court:

Overview with token palace on left showing some of the crowds that must of gathered. In reality during the 'burial' there were probably hundreds of thousands filling up this court, from morning to night.

Speculation about 'Boundry Caims' (Part 13-spec)

2008-12-27T16:31:00.000-08:00

This topic on Ancient Egypt has been moved to Set In Stone website.

Reconstruction Progress (Part 12)

2008-12-23T13:35:00.000-08:00

HedSed Court, part of 'Wave' Pyramid, complete with Ancient Egyptians. In progress.

I still can't find any CAD drawings of this site. I'm leaving the colonnade for last, but have started parts of it. The sketches I have found are truly inaccurate. Using photographs, I think I'll be able to get pretty close to what was built.

Regarding the areas that have an abundance of fill, I think this was used to build the ramps, to bring material up to the Pyramid, although the actual blocks used don't seem that large. Being that this was the first Pyramid, I think there are many clues about how Pyramids were constructed here. I hope to take the volume of fill and show how it was put to use as a ramp. Also, I think the Pyramids were built in a spiral from the center out, rather than having finished exterior and then 'suspending' ramps there, I think it was built by keeping the center the highest point and spiraling out from there allowing the exterior finishes to happen as they were approached by the ramp.

I think the beginning of the ramp might of been near the existing entrance to the colonnade and worked it's way around the Great Court. The culvert being a source for limestone as it too 'spirals'.

Progress: Putting in of textures including land, Pyramid, roofs. Adding of HedSed Court. To do: finish HedSed Court and Colonnade, refine texture on Pyramid.

I will post updates to my reconstruction of the Djozer Pyramid ('Step' Pyramid aka Wave Pyramid-:-)

Here I have completed the exterior perimeter wall at the correct scale.

The following are rough 'off-site' dimension calculations. The perimeter wall occupies an area of about 15 ha, is 1,645 Meters long (includes all 4 sides), is ± 10.5 M high; The 'bastions' project out from the main wall and are seperated by ± 4M from the next 'bastions'. They are ± 7.48 Meters center to center and 'project' about 2.8M. The 14 'fake' entrances align with the outside surface of the smaller 'bastions' but are the same width as the South West Entrance.

The SW Entrance is ± 10.38 Meters wide and projects from the main lateral wall by 5.040 Meters meaning it projects an additional ± 2.24 Meters beyond the face of the 'bastions'.

The tops of the 'bastions' are cut in such a way that one would expect it to be a 'guard' post or at least a ceremonial post of sorts, perhaps with a projecting banner. Since the tops of the original perimeter wall is no longer with us that will remain speculation, unless some other wall can be found with 'mounting blocks' remaining.

Bastions: The Architect and Builders went to a lot of trouble to build these bastions. Why? They didn't need them as the interior Great Court has none, therefore it wasn't a structural consideration. To me, they are sized just large enough for a ceremonial guard and perhaps a vertical banner. I will be curious if a banner is added at each station, if the view of the Pyramid is blocked, which might support the notion that the surrounding culvert was also used as part of the procession before entry into the Great Court.

Supportive Documentation (Part 11)

2008-12-22T10:32:00.000-08:00

Post moved to Set In Stone website.

Vessel to ferry the Pharaoh to the Afterlife (Part 10-supportative)

2008-12-21T13:25:00.000-08:00

Boats and boat pits...

This topic has been moved to the website: Set In Stone

"I have seen something truly great!" (Part 9)

2008-12-21T12:44:00.001-08:00

This topic has been moved to the website: Set In Stone

The Stars (Part 8)

2008-12-19T19:03:00.000-08:00

Moved to Set In Stone website...

'Step' Pyramid Description of Design (Part 7)

2008-12-19T14:59:00.000-08:00

Video: 'Step' Pyramid: description of it's form and meaning. Note the shape of the hieroglyph for water... looks like water. I would like to have this Pyramid renamed the Wave Pyramid. As anyone knows, 'steps' do not have sloped tops or sides... one can imagine steps into the heavens, yes, but to be honest with the intentions of the Pyramids design, Wave is appropriate.

Hieroglyph for Water... the 'wave'.

Also, if the Pyramid is a pathway of water, then the Pharaoh's spirit must travel on a vessel of sorts.

Mistake: I wrote "perhaps a place for a crown"; this should of been on it's own slide and pointing at the flat top surface only. It is a little confusing as stated in the video. It is obvious that the flat was intentional for a crowning piece that certainly was melted down and used elsewhere. Because of it's weight, there would be no need to anchor it to the stone portion of the Pyramid. It might also be noted that the crown might of had a sub-structure of wood and clad with a metal material as wood was used in earlier temples. In fact, this Pyramid was considered first in many things including the use of stone, and many of the stone details mimic the designs of their wood counter part.

Music: N. Buccalo :-)

Proper view of a Pyramid (Part 6)

2008-12-19T07:31:00.001-08:00

Outside the Sacred Precinct:

Upon approach, one is standing outside the sacred precinct... the view of the Pyramid does not count as you can see two sides of the Pyramid. Even up to the moment one enters the Entrance Colonnade, one can see two sides of the Pyramid. There may of been a procession around the entire precinct via a culvert, which would allow visitors to see all sides of the Pyramid before entering.

Entrance Colonnade: One enters through a covered passageway (see Entrance Colonnade lower right), so you can not see the Pyramid until you are in the correct location. The Colonnade has engaged columns, that is, columns that are physically tied to a wall that is itself attached to the main hall wall. I believe the resulting niches could be used for guard stations. Others speculate that statues of the Pharaoh could be placed here. There would of been hundreds of thousands of people proceeding into this temple. The hypostyle hall would be a deliberate constriction, physically and drastically darker than the exterior, so that mentally the public would have a feeling of being overwhelmed at the sight of the Pyramid. There would of been inscense burning, perhaps candles of sorts, traffic flowing in both directions in single file, etc. This colonnade was to prepare people, to get them in the right frame of mind, to quiet them down and get them focused as they were about to enter the sacred precinct to see the destination of their own God. The 'culvert' that surrounds this entire complex was also used for the same purpose, to funnel and allow to exit the tens and hundreds of thousand of visitors to the site. Offerings could of been placed along this culvert for the public or by priests in the sacred courtyard.

You exit the Entrance Colonnade and turn to the right, to see the Pyramid from the correct side, and at generally the correct distance. Obviously the 'exit' of this colonnade is aligned with the edge of the Pyramid meaning it would be more difficult to see the side of the Pyramid. In the Great Court, one can leave offerings, because one would be looking up to the passageway of the eternal kingdom and thus, looking at the residing place of one of Egypt's Pharaohs. In fact, it is like looking through a window through time and space, to the Pharaoh himself.

Two things stand out about the colonnade, one that its length isn't orthogonal to the precinct which could of been done to either direct people towards the back of the Great Court, or to prevent a direct view from the 'exterior' in towards the Great Court itself. The second smaller feature is the exit of the colonnade where a angled projection exists (see later blog post regarding this). Yet another feature is the vestibule which appears to be splayed in plan and has a niche on either side, possibly for a lowered gate to secure the precinct and entire complex, considering there is only one entrance to this entire complex it wouldn't surprise me that this might be the case in so much as it is obvious the Architect wanted to control who comes in and out. Why else build a 10.5 Meter high surrounding wall? Just to hold the fill from ramps? A wall which has projecting 'guard stations' just large enough for a single individual.

Token Palace (3): The living Pharaoh was given a special place (3) at the rear of the precinct to, in my mind, view his Pyramid, review progress and models. This viewing platform would of been refined after death as a small palace shrine in his honor, or generally left as is, removing of temporary structures to shade the Sun.

Great Court: The precinct walls themselves, those flanking the Great Court, reinforce the perspective, representing 'that of the earth', which transition to the Pyramid itself which is 'that of the sky' (limestone) and 'that of the heavens' (gold). They overlap the base of the Pyramid, so that you can't see too much of the side unless you really try by standing to the extreme right or left. As you enter the Great Court, it is my contention that the perspective of the side wall closely aligns with the hypothesis corner of the Pyramid. This would 'lead' the eye up to the very tip of the Pyramid and must of been a wonderful thing to experience. It would be dependent on the height of this wall as it would have to be below eye level in order for it to converge upward towards the horizon.

Under Construction: Future video sequence of Step Pyramid of Djoser showing the procession of the public to the Pyramid. Desperately looking for CAD drawings and elevation data. If you know of a source, please contact me. As principal of The Drawing Studio as well as my own architectural office, I certainly have the capabilities of doing a reconstruction, as I've done in the past. It has been said elsewhere that the 'steps' get smaller as they approach the peak. Hopefully the Japanese survey team who has recently scanned this Pyramid as of August 2008 will have data that supports this notion and will be able to provide accurate documentation of the entire complex.

Future Procession Relationships and Distances: This sequence, as described above, and distance to the base of the Pyramids changes depending on how large future Pyramids are. I would imagine that there is always a beginning point into the Sacred Precinct, a covered or 'view blocked' transition and an exit where you can walk towards the Pyramid single face and see it rise above you. The perspective of the Pyramid flattens as you approach its great pathway until you can imagine it as a pathway as grand as the Nile itself.

Southern Tomb (2): I am not surprised to learn about a smaller version of the underground temple on the south side. In fact I immediately was looking for a place where a model of the Pyramid itself would of sat and that South East corner looked especially fertile, where the Pharaoh could see the model while watching the actual Pyramid get built. This certainly would of been done as the Architect could then easily direct the workers on what needed to be accomplished as well as show the design to the Pharaoh. There is a little patch of rubble in the South West corner within the Great Court, but I have no idea what that little patch is... it could just be some stone workers today are using to make temporary repairs. The fact that it is loosely in a square shape certainly peeks my interest, but I must admit that they are probably salvaged stones.

If they are not, the 'rubble' on the ground near '3' between this location and the Pyramid itself reminds me of footing blocks that, if they are actual remnants of the excavation exactly where found, could of supported perhaps a wooden mockup of the Pyramid that when viewed from the correct angle would echo exactly the final Pyramid. That is, it would be an exact scale model of the Pyramid and would allow one to imagine what the final Pyramid would actually look like at full size in it's final location. Since I have not found a good photo of this stones, it is truly hard to say... as mentioned before, they are probably salvaged stone from a nearby wall.

To learn more about the precinct of Djoser and the Step Pyramid and for image credits, go HERE. (www.odysseyadventures.ca/articles/saqqara/saqqara_text.htm)

Good tour of site:

Was ImHotep smart enough? (Part 5)

2008-12-19T06:45:00.001-08:00

Topic moved to Set In Stone website

The Nile, Sun and a pathway to Eternity (Part 4)

2008-12-16T16:03:00.000-08:00

moved to SET IN STONE website

The Pharaoh and the Architect (Introduction)

2008-12-16T10:48:00.000-08:00

by Nicholas Buccalo, copyright 2008

The following story is what might of happened some 4700 years ago between a Pharaoh Djoser and an Architect Imhotep. Imhotep is considered by many throughout time to be the great Egyptian Architect, and created the 'Step Pyramid, the first of it's kind, for Djoser's tomb. It is well known that Imhotep was part of the inner court and probably just walked over to meet with the Pharaoh Djoser... but hey, my story of meeting on the Nile works in this context.

I think their meeting might of gone something like this: the Pharaoh Djoser, summons the great Architect Imhotep to come up with a concept worthy of his greatness and kingdom. The Architect rises early and hops on board a vessel traveling North on the river Nile, to the Pharaoh's residence, so they both can travel to the site of the King's future tomb. The Architect ponders about what he is going to present to his worship as he stands at the front of the vessel looking out over the Nile. The Sun has just begun to rise to his right.

Architect: Dear Pharaoh Djoser, my King, walk with me to the front of this great boat. I've been thinking hard in search of truth and I believe I have discovered something worthy of a King.

Pharaoh: I value your guidance, please continue.

Architect: As we look out across our beautiful and life-giving river Nile, the water fades away towards the horizon and we can see far off into the distance. I've noticed that the Nile seems like it is rising up to touch the sky. To me, it is like a pathway that goes on forever. This IS our great pathway on earth. Don't you agree?

Pharaoh: Yes, the Nile does provide us with all we need and keeps the desert at bay and, as I stand here looking at it stretched out to the horizon, I see what you mean, it does seem to go on forever.

Architect: Do you notice how the shores on either side seem to get smaller the further away they are from us? I think it looks something like two triangles on either side with the path of the Nile between them. And the Nile itself looks like one huge triangle with it's tip touching the sky, it's water reflecting the blue of the sky above. The smaller 'land' triangles seem like solids while the grand Nile triangle seems, transparent.

Pharaoh: Yes, I see what you mean.

Architect: I think our journey today must be something like the journey a Deity such as yourself must have to take when going to the after-life. Along a great pathway like our life giving Nile.

Architect: And notice our beautiful and life giving Sun. Every day it rises above from the direction of the East. And as it rises, to which we celebrate, it sheds it's light onto our land and reflects itself onto our pathway Nile. The reflection looks something like this.... (see illustration).

Architect: As the sun rises above our precious fertile land, it becomes brighter. The movement of this growth in the sky looks something like an upside down tear drop, in that while the sun is at the horizon, it is small and sheds little light, but as the day progresses, it becomes larger and stronger. Coupled with this is how the Sun arcs across the sky, from the shore of the East to the shore of the West.

Pharaoh: Interesting, please continue.

Architect: If we combine these four things: 1) the triangular path of the transparent river Nile rising up to touch the sky, as flanked by, 2) the triangular slivers of our land on either side, 3) the sheding of the light onto our life giving river and 4) the rising and arcing of the Sun itself which allows all life to grow, it comes together into a symbol which embodies the spirit of life here in Egypt. I call this symbol the Golden Ankh. It is my belief that all who carry it will show they have the powers of Life. I believe the Ankh will be Egypt's symbol and key to life, for it possesses our great pathway, here on earth.

Pharaoh: Yes, you are right, this symbol does hold the truth of our place on earth.

Architect: And since you embody the Sun itself, might I suggest a new head-dress designed to echo the rays of the sun from your face, and, below the line of your shoulder, rows of horizontal lines to echo the waves of the river Nile, and a beard to echo the reflection of the Sun onto our water, for it is you that holds the key to life for the people of Egypt and considering you are the son of the Sun, it seems truly fitting.

Architect: Also, your kilt front should be a triangle, like that of the Nile flowing into the distance, with a rippled reflection down it's center and rays emanating from the belt line. The back of which will be golden like the desert. And if we consider the belt line to be the horizon here on earth, your torso and head shall lie in the space of heavens, therefore their colors shall be predominately blue of the sky and gold of the sun. I'd also like to add a tail to this outfit, but I don't know why at this time... perhaps it shall represent the sliver of our fertile land ending at the Mediterranean Sea.

The Pharaoh accepts these new changes:

A young Pharaoh, holding the Ankh and wearing the new headdress and clothing, is one who embodies Egypt herself and is prepared to travel the eternal journey. Above the belt line are the colors of the sky and Sun. Below, that of the earthly realm.

"After Djoser of the third dynasty, pharaohs usually were depicted wearing the Nemes headdress, a false beard, and an ornate kilt." Source: wiki/Pharaoh.

Architect: And I feel that you are in need of a new burial chamber design to which our purpose lies today. One that is beyond that of the plain one story Mastaba design whose construction has been completed. Something that reflects on this new found truth and something that will help with your spirit's journey to the after-life. It is obvious to me that we need to recreate the path of the Nile itself, but, unlike the Nile which lies flat and reaches up only to the sky, to have it reach up to the heavens. The base of this pathway temple will touch the earth, and will stretch itself upwards to the heaven and stars.

Architect: And to harness the power of all of Egypt, there should be four earth bound paths pointing in each direction, East/West, North/South. As this path rises upward, it will be triangular in shape, like the flowing 'sky touching' river Nile. Using our latest 'sloped wall' building technology, it will work perfectly and seems to be harmoniously in tune with this new concept.

Architect: The tip and upper most part of this great sloped triangle and pathway, will be clad in gold, for this part will be your golden carpet pathway to the heavens and afterlife. It's shape, representing infinity, and a journey through infinity is eternal. Visually, it will extend itself from the earth all the way to the stars, which is where all Gods, like yourself, reside.

Pharoah: Wow.

Architect: We earth bound peoples will forever be able to look up this path from the base of this new structure and know that we are looking at your presence. And below the golden pathway of the heavens, the surface should be smooth yet undulating, perhaps reminiscent of waves of the Nile. And this lower earth bound surface should be made of limestone, our earthly material, and it should be polished to be reflective like the Nile.

Pharaoh: How will you build such a tall structure?

Architect: I will simply stack a variation of the Mastaba design, one on top of the other, setting each one back from the edge of the other to create the perfect wave like 'perspective' to infinity and eternity. For it is this shape, a pointed triangle, that looks like it can go on forever, and thus, reach the stars. It will look something like this.... (Architect creates a sketch-see photo below).

Pharaoh: Do the edges not look funny?

Architect: They will be like the waves on the shore of the sky and heavens. In fact, the whole structure will be like the raising of the Nile itself into the sky. This is why the undulation of the surface is important, to echo the waves of water like our hieroglyph for water, which is why the surface needs to be polished and reflective, perhaps it too will sparkle like water.

Architect: I can foresee that these future stacked Mastaba's being called 'Pyramids' and that they will be clad with limestone, and perhaps other materials like 'water' sparkling quartz and granite. And the waves will be much closer together like the real waves of the Nile. Whose top surfaces at each horizontal joint and course will have a different flatter slope while the face itself will echo the overall angle of the Pyramid. And there will be a time when we position these Pyramids in such a way to echo the placement of the stars themselves, for it is an obvious thing to do, because we all know that it is there that will be your destination for eternity. But I am getting ahead of myself...

Pharaoh: I don't get the Pyramid thing but I like everything else, so, let's get crackin, I'm no spring chicken... I'm 16 already!

Architect: Very good. While we are on the subject of Architecture, let me tell you about a thing I've called an Obelisk, and how it will, when positioned correctly, allow you to view the sun rising above it's tip, which will remind you of the reflection of the Sun upon the Nile, thus connecting the Nile and Sun to our land. It's so cool, it gives me goose bumps... it is tall and slender, and shaped like the reflection of the Sun in the water. I will have to travel to the Nile early in the morning, to take actual measurements of the reflection, so that I get it's size just right. I know that I will have to be at the height of the Sun as it rises above the horizon. I will then positoin a vertical measuring plane on the shore of the Nile to which I will look through to trace the reflection, but, what I'm not exactly sure of, is how far back I should stand, but this is a detail I will work out later. When built, an Obelisk will be like we are holding a water reflection of the Sun, on the land. How cool is that?

Pharaoh: I like the idea, but, since when has Egypt ever been cool except at night?

Pyramids: Architectural Forms (Part 3)

2008-12-15T14:26:00.000-08:00

Please read Part I & Part II before reading this part, so that you will follow the train of thought.

As this animation implies, I believe that the shape and overall dimensions of an Obelisk are based on the reflection of the Sun on the Nile.

The Obelisk, a column of water holding the reflection of the sun, here on land, becomes alive as the sun passes over it's tip. It's shape, that of a reflection in the water as the sun rises. It is not some 'solar column' or other odd and rarely seen event. If it was, the Architect would of had to seen it, and then been able to convince the Pharaoh that it existed. No, it was a plain and simple echo of the Sun's reflection in the Nile itself. A connection between the two most important life giving elements of Egypt.

Animation: Please refresh browser if image does not load.

View across the river looks like this. As mentioned before, I believe Imhotep placed a vertical plane on the banks of the Nile. Then he stood on a platform to be at an appropriate height to catch the rising of the sun as it reflected itself on the Nile, in order to trace the reflection onto the plane. It was probably at flood stage, as this was when the Nile would provide life to the land, allowing for the tallest Obelisk and best reflection. I would imagine it would be done at the location where ever the Obelisk would eventually be erected, perhaps causing the varying heights based on the width of the Nile and what ever mountains lied to the East that might block the Sun. I'm not totally sure of the distance he would have to stand back from the shore, but one could actually set this up in real life to find out if it corresponded to some special place.

Once the Obelisk was erected, the goal would be to view the sun over the top of the Obelisk at a certain distance at a particular time. The fact that the colonnade at Djoser was slightly tilted to the South West reinforces this theory if there was an Obelisk there. It seems obvious to me why Obelisk's were on the outside of Precincts as this was a gesture to the Sun. I would imagine most early ones lay towards the East of a Precinct or that the special viewing place lay to it's West.

I do not know why some sites would have 2 obelisks, at this time, unless there were 2 donors. I also think the Obelisk/Sun meaning was probably lost in later versions of the Obelisk, certainly in later periods outside Egyptian culture.

View down the river looks like this... not used because it would create the wrong porportions. I believe that the location was based on where the monument would be erected plus the location of the rising Sun, taking into account the lateral direction of the river, not longitudinal, as it is the lateral flooding that provides the life to the land.

The Culture of Building: If an Architect, such as the famous Imhotep, convinced an important Pharaoh such as 'Djoser' (actual name is different, but was called Djoser some 1000 years later by visitors to the site) that he should build the Pyramid, Obelisk, Anhk and other components, future builders and Architects would more or less follow suit with the goal of suggesting 'improvements' to the design. As the decades and centuries pass, many meanings are lost to time, what does continue is the fundamentals of a particular design. So while Imhotep might of been extremely deliberate with the placement of every component, others following him might not of understood the complexity of what he achieved and misplaced elements. This is why understanding this one complex, the Djoser Pyramid and complex is fundamentally important to understanding all Egyptian Architecture that follows, to see where deviations occur and if those deviations become part of the standardized building culture.

Architecture, through time, incrementally changes and evolves, typically to 'the ultimate expression' at which time designs change. Egypt Architecture is no different. It is just that the complexity, yet simplicity of concept that I feel Imhotep presented was so compelling that it influenced Egyptian Architecture for an extremely long time and since impressed all who have been born.

Pyramids: Hieroglyphs (Part 2)

2008-12-12T09:49:00.000-08:00

Note, this is under construction and elements may be out of sequence... sorry but I have a lot of ground to cover and am in the process of strengthening my arguments, gathering material and adding to each blog post that seems to be part of a particular topic.

ANIMATION: Sunrise with Sun 'skirting' over the horizon. Images by Rafal K. Komierowski1900

Echoes the path of the loop portion of the Ankh as it clears the horizon. The path at this time of day, looks like it is 'skirting' or sliding somewhat horizontally, before mid-day when it arcs across overhead. This movement can be clearly seen in the symbol of the Ankh. Animation: NBuccalo, copyright 2009.

Ankh (Source Wiki HERE): Autore: it:Utente:Hotepibre (Giuseppe);
Località e data: Valle dei Re, dicembre 2000;
Soggetto: particolare di rilievo dalla tomba di Ramses IV.

Arc above the Horizon: One can imagine the 'skirting' of the Sun over the horizon as it begins to rise and 'slide' from East to a Southerly direction and then rise in an overhead arcing motion only to repeat it's sliding motion on the West horizon until it is no longer seen.

Note how the two arms are symmetrical if one were to draw a horizontal line centered through these two arms. Above the horizon is land, below the horizon is an exact opposite reflection of the land in the water.

Please read Part I: Pyramids, What are they? below, in order to fully appreciate the following.

Refresh your browser if any of the images do not load.

ANIMATION:

Sphinx from the Louvre, Animation:

1 - Original Statue;

2 - Adding Beard (rough repair);

3 - Removing Face/Shadow to focus on perimeter elements;

4 - Enhancing image;

5 - Enhancing 'water' horizontal lines;

6 - Adding 'sun' and 'reflection' in 'waves';

7 - Adding radiating 'sun rays'.

NOTE: Not all statues have the same detailing as this one. This one in particular is reminiscent of the Ankh jewelry example, to me, it all seems to tie together.

In the case of the 'radiating rays of light', it is my contention that while they echo that of the sun, they are in fact radiating from the face as a whole. The more verticle 'rays' emphasizing the accession towards the heavens. There is also marker centered on the forehead 'pointing' up towards a circle. This marker I will conjecture to be a symbol for death pointing to a state of afterlife above.

Finally, if you look at the beard in natural light, without the lines, one can almost imagine a reflection in water as the curvatures of the beard itself create the conditions for some nice wave-like highlights.

Detail: Sphinx dan le Musee De Louvre.

A = Large Radiating Grooves, raised smaller ridge set against recessed larger space.

B = Small Horizontal Grooves, equal spacing.

C = Large 'Concave Cut' Grooves. They curve around the 'beard' but also curve into the groove itself.

Note: not all Sphinx's or statues have this exact pattern.

Ankh Symbol at Karnak. Here you can see the care taken to carve the horizontals with a double angle to represent the perspective of the shores. It is easy to imagine the Nile below and the rising sun above with the reflection fading to the horizon. Note how the vertical line, as it touches the horizontal, becomes an up-side-down V shape, much like the reflection of the first image in the original post on this subject. It also has the proportions of an obelisk... it makes you wonder if the shape of the obelisk is based on this reflection.

ANIMATION:

The Rising Sun, Animation: Why is this circular form have the shape of a tear-drop? As the sun rises, it is small and distant at the horizon, as it continues to move, it is perceived to get larger and 'closer' as it provides more light to the land. Another reason, used to connect the individual to the sun is, that it is the basic shape of the human head, but fundamentally, it is my contention that it has to do with the perception of the sun rising into the sky. To see the sun again, after darkness, was always a welcome sight as it symbolized rebirth, awakening and a new day.

Another interpretation of the up side down tear drop, is that the point at which the line touches the horizon on the right represents the rising of the sun, and as it arcs across the sky and sets, touches the horizon again on the left. Rising on the East (right) and setting in the West (left). Both interpretations could be working hand in hand. Both point to the Sun as an important factor.

Interactive Ankh: Because early Ankh symbols were carried in the hand, and because of their size, one could imagine them being viewed through, either towards the Sun in giving a blessing or to another person, such as a farmer, to give fruitful growth of their crops a blessing. As one would look at the Pharaoh through an Ankh, it would be like looking at the Sun itself... perhaps.

Question of origins: When was the first Ankh symbol recorded? It is said that many were seen after the 'Step' Pyramid.

'Rope' Hieroglyph Examples: The twisting of the rope is reminescent of the reflection in water, the loop and fan of the sun, and the triangle of the river. Here the twist lies above the horizon. Click for enlargement and photo credit. As one looks at more hieroglyph examples, it become readily apparent that the symbols are pictures of reality that are 'abstracted' in order to give meaning. Clearly a very early form of writing that is based on vision to create meaning rather than solely an abstract alphabet as one might expect from an early civilization.

Symbol for the Night Sky and Darkness. Source: Ancient Egypt Online. The vertical line represents the path of the sun... note that it is represented as a vertical line, like a string, lowering the sun from the sky as the sun sets.

Symbol for Heaven: Source: Ancient Egypt Online
Could reflect that there is a 'blanket' blocking out the suns light in that this symbol seems to cover all that is below it. To me it is like they are saying the sky cover is flat, but at the ends, where the sun rises and descends, the sky is blocked by the bending of this cover, much the same way a blanket lies on a bed. See next symbol to see how it might tie into a greater meaning.

Symbol of the path to the Heavens? (Note: I do not know the current interpretation of this symbol). Here, reading from bottom to top, triangle representing the Nile (earthly path), the horizontal represents the horizon (earth), the vertical line representing the spirit's rise to the heavens, and sky/heaven symbol representing the final destination. In the context of a Pyramid, the triangle is the Pyramid is the earthly path. Source: A section of the Papyrus of Ani showing cursive hieroglyphs. wiki/Egyptian_hieroglyph.

Pyramids, What are they? (Part I)

2008-12-12T08:52:00.000-08:00

Update Image: January 10, 2009.

First Dynasty Comb showing Anhk.

Source: TourEgypt.net.

Here you can see the perspective shape of the arms, the Nile below and what looks like two strings dangling could be the reflections of the Sun Path above the horizon, based on my interpretation of this symbol.

Note how these 'dangling strings' curve in towards the center as they approach the horizon in a similar fashion to the 'Sun Path' above the horizon, that is in a reflective fashion. While not exact, one is in the sky while the other upon the water. The fact that these 2 separate 'dangling strings' later merged into a single form that was more geometrical brings out the changes from early forms being more representative while later forms being more abstract and 'beautiful upon themselves'. There's also a practical matter if one was to make the Ankh to be carried the 'dangling strings' would be easier to build if merged together.

Original Post:

Update Jan. 2, 2009: Ankh Diagram Revised to take into account river flow to determine orientation of Sun, and the rising and setting of the Sun itself onto the horizon, which could be the reason for the 'curvilinear' portion of this piece of jewelry. It is such a unique shape, that one could imagine standing under it to watch the sun move overhead. To me this seems a bit more compelling than my first argument, but perhaps they worked in tandem, that is, one represents the path of the Sun while the other represents the up and down movement of the 'lightness of the sky turning into the darkness of the sky' as represented by the flat 'cover' hieroglyph posted elsewhere.

Maybe the two have distinct significance, but only for speculation purposes... the heavenly Sun is represented by the physical 'figure' teardrop while the perhaps earthly 'ground' opening of the teardrop represents the Deity which is a Sun god here on earth.

UPDATE Jan 9, 2009: I am more convinced every day that this upside down teardrop shape represents the path of the Sun, and that the East is on the right, West is left and we are looking North down the river Nile and South is behind us. If we were looking South, then the left would be east. This, according the the angle (in perspective) would mean that the Sun is traveling in a Northerly direction, which is impossible given the latitude of Egypt (approximately the same distance North as Florida, hence the Sun is to the South), that is, if the path of the rising Sun is represented by the left arm of the teardrop, then if looking at this arm in perspective it would appear to be approaching the observer, and since the observer is looking South in this example that would make the Sun appear to be traveling North, which is impossible; therefore, the observer is in fact looking North and the Sunrise is on the right, which makes the Ankh teardrop arms (those which spring from the horizon) correspond correctly with the movement of the Sun, which would be approaching the observer (think of the path of the Sun as a diagram while looking North, the Sun when it appears over the horizon will appear to skirt towards the South before looking like it achieves enough height to pass overhead. The same happens when the Sun sets.).

Image by Luca Gemell: Sun Reflection on Nile, reminiscent of the Ankh jewelry design. Note the shape of the reflection, it is like an up-side-down V at the shore, and then more of a shallow fan shape as it approaches the foreground. The shape of this reflection is reminiscent of an obelisk (reflection pointing to the sun above).

There they sit. Huge, undeniable, inspiring. But what inspired their shape? A simple idea struck me some years ago and only now have I decided to reveal my interpretation of why Pyramids are the way they are, after finally acknowledging that, as far as I can tell, no one has come out and said why they are specifically this particular shape. Most modern eyes focus on where the detail is, what's inside, what they said, what they did, but there was a time in civilized history when structures rose up towards the sky and took on a very particular form. In Egyptian culture, these are not some sort of abstract mountain used to touch the sky, there is something much more fundamental and true to the life of those who lived their lives daily in the Nile valley.

We all know that they represent their quest to 'reach the heavens' but unlike the Aztec's pyramids which allow one to literally 'stand in the space of the sky' the Egyptian pyramids were coated with smooth limestone preventing the accession to the summit. One is therefore forced to view them from the ground. For me, the Pyramids represent literally a 'road' as expressed by a one point perspective to infinity, a passageway to the after-life, to the heavens, which is beyond our visual ability to see from here on earth, unless you view them from the base of this pathway. I see it as a road which is tilted upward towards the heavens, to a place beyond our life on earth. They are like a window into the heavens that opens up with one's imagination. If you are having trouble with this concept, just squint your eyes to blur the details and see the form, and to see the perspective.

At the Pyramid of Khafre and the Great Sphinx of Giza, the causeway is situated frontally keeping people, who stream toward the Pyramid, orientated towards only one face. Imagine standing at it's base and looking up. What you could imagine is a massive pathway that reaches up towards infinity, ending in the glint of sunlight from it's cap. This is the viewpoint I believe Pyramid's were meant to be seen from. It is here at the base where one can stop and ponder the afterlife and be swept up in the scale of this edifice.

Understanding the history of the Pyramid, one acknowledges the Mastaba (one story sloped sided masses), followed by the Stepped Pyramid developed by Egyptian Architect Imhotep.

To the left is the stepped Pyramid of Djoser (Zoser) for the Pharaoh Djoser during the 27th century B.C. If viewed as a one point perspective, one can easily imagine that it is a road pointing towards the sky, the wavy sides reflecting the waves of the Nile itself as they hit the shore, which was Egypt's dominate earthly highway. My feeling is that Imhotep, while riding down the Nile with the Pharaoh drew a sketch of the river itself as a one point perspective and submitted the idea that by stacking the Mastaba's they could create a symbolic 'road to the heavens'.

Understanding how ancient people were truly connected to the earth, it doesn't take much imagination to acknowledge that this might of been the case. The drawing could of been a simple horizontal line (perhaps a wavy line) with 2 angled lines representing the shores of the river Nile.

While we often photograph the Pyramids today showing 2 sides, it is my belief that only one side was meant to be seen at a time. This was reinforced by the causeways which approach from one side and not from the corners, slightly off-center until one reached the base.

The smoothness of the original surface, reflecting the smoothness of water, also enhances the illusion as the eye is less likely to focus on the surface but instead travel to the pinnacle.

Today, one would have to squint in order to experience the pyramid as a whole to avoid focusing on the massive stones themselves. While the exterior veneer was made up of highly polishedd white limestone, the top was a special copper cast element. As seen as part of a road, this element would represent the final stage into the heavens. My inclination would be that there would be 3 parts to a Pyramid, base (earth), body (sky) and top (heavenly realm). This might be considered true for one Pyramid, the son of Djoser, who used granite for the base (but this might of been purely a structural and aesthetic consideration).

Unlike Aztec temples as shown here Chichen-Itza, where stepping was fundamental as a real means of accessing the realm above the earth to literally stand 'in the sky' in order to be physically closer to the Gods above, Egyptian Pyramids were more symbolic in nature, allowing the mind and spirit to do the traveling in an undoubtably monumental and easily recognizable gesture to the masses who must of envied that the Pharaoh could make such a journey.

Lets be clear, the Egyptian Pyramids are not some sort of arrow pointing to the sky or something that is trying to 'touch the sky'. What each one represents is a connection between humans which inhabit the earth and the heavens which are perceived to control natural events and are all powerful. The connection, in this case, is a symbolic path which bridges earth with the heavens. It doesn't have much to do with interior shafts as with the exterior form. This IS the connection with all who used to visit these monuments and was easily understood, some 5000 years ago. It is not just that the Pyramids are tall, it is that they have a particular shape, a concept further reinforced by Pyramids which utilized mountains of similar shape. It is the understanding of what humans see with their eyes, as early civilizations emphasized, that allowed them to come to this understanding and realization. It is a symbolic path to the after life.

In this photo, one can see how a Pyramid was to be experienced and the effect of a pathway stretching out towards infinity, an effect further enhanced with the smoothness of the original surface. Photo: Absco. It is this view point, albiet more centered, which I feel is how the Pyramids should be experienced as a symbol of the pathway to the heavens. It is in this area I believe offerings are given and worship must of been performed.

The size of Pyramids can also be associated with the experience of traveling on the Nile and specifically the width of the Nile. It is a relationship of experience and not of dimension as the Nile itself is much wider than the base of a Pyramid.

In this Ankh jewelry example, which is known to symbolize life (also called the Key of the Nile and a symbol of reincarnation), one can see the one point perspective clearly. In our modern minds, we might envision the shape of a human, but to the Egyptians, the human is less important than grasping what nature is all about. One can imagine the Nile, the two shores, the sun above the horizon, and the reflection of light on the water. While the Nile flows South to North, it is along this axis that travel is possible and therefore the most appropriate place for the sun, although the rising east sun has the most symbolic meaning in Egyptian culture. At the pinnacle of the Pyramid is places a metalic Pyramid that glimmers in the sunlight and here symbolizes eternal life at the end of the pathway to the heavens. The making of this piece of jewelry for the public makes perfect sense in this context. It allows the taking of the symbolism of the Pyramids with you and clearly, in my mind, connects the two in both context of creation and meaning.

The specifics of the Ankh jewelry reveal a hole, small at the bottom and larger at it's top, represent the rising of the sun. The hole itself is the sun defined by the arch of metal around it representing the glow or halo of the sun. Now, since it is a hole, when worn, the hole reveals the skin of the person beyond, creating a connection between the individual person and the sun. The reason the sun isn't portrayed as a solid is that the sun itself is not an earthly element, while all the other elements of the jewelry are. To fully understand the importance of both the Nile and the Sun, one only need to do a fly by using Google Earth. There one will understand the life giving resource the Nile is, with slivers of green on it's banks, surrounded by desert beyond one's imagination. And it is the sun, rising in the east, that is the second component of life for those who live in Egypt. These two components and their impact on an Egyptians ability to sustain life are undoubtably more important factors than any other, and the creation of a symbol that embodies these components would be matter of fact. The Ankh, a symbol of life = the River Nile + the Sun.

The Parthenon, a much later example of Greek Temples, also emphasizes the change of design based on what the human can perceive. This also holds true for the placement of structures on various Acropoli. Architecture was not based solely on an abstract notions, such as the grid is used today, but was also based on human experience as seen from the observer.

The Pyramid is the ultimate hieroglyph, a symbolic visual representation of a tilted pathway to the heavens.

_____________

To Be Discovered:

There are a few things I would like to discover:

First is discovering the meaning of various hieroglyphs which echoe a one point perspective, that is, a symbol of a horizontal line, much like the Ankh jewelry example, at it's center a point with two additional lines angled away (like an upside down V) and open towards the bottom. There is one in particular that has an additional vertical line with a 'house' type symbol over the entire hieroglyph.

The second is what is at the base of each Pyramid. I understand that priests preformed services at the base, but would like to know more of the specifics of where and what the surroundings specifically looked like, including the ground surface, i.e. was it completely flat or are there areas that slope counter to the slope of the Pyramid face.

And the third, the date of the earliest known piece of Ankh jewelry, it's history and how it was visually scribed. My theory is that it was presented to the Pharaoh of Djoser by the Architect Imhotep to give him a symbol of what he was creating, and to give the Pharaoh the power of the symbol itself.

___________

Large format photo of Pyramid at Khafre and the Great Sphinx which shows the procession of visitors.

Photo Credits for other photos from wikipedia: Khafre and Sphinx. Djoser.

Broadway Goes Green

2008-11-28T09:56:00.001-08:00

New Victory Theater

NJBAarchitecture: Planning of exterior and interior spaces. Primary Architect: HHPA, NYC.
______________________________________________
From: NowPublic: article: Broadway Goes Green
The lights on Broadway are not going out, but they will be turning 'green' soon.

The marquees in New York's Broadway Theatre District plan to save energy and the environment, and go a bit more green.

The 'Great White Way' where all the marquees are located, with all the billboard lights, will be the 'Great Green Way' according to Mayor Michael Bloomberg, as everyone tries to cut energy bills and lower the city's carbon output.

Already, 10 Broadway theaters have changed 10,000 exterior and interior bulbs to more energy efficient compact fluorescent bulbs as part of the initiative organized by the mayor, the Broadway League and the National Resources Defense Council.

Broadway theaters plan to do everything from washing their costumes in cold water to producing and disposing of sets in a more environmentally friendly way to lower the theater industry's carbon footprint, organizers said.

Several characters from Broadway shows made cameo appearances in support of the plan to lower carbon emissions.

Reporting by Rebekah Kebede; Editing by Cynthia Osterman. Source: Yahoo News: Broadway's "Great White Way" goes green

NJBA featured on the Environment Network

2008-11-26T17:34:00.000-08:00

The Environment Network is featuring NJBAarchitecture.

We write:
Creating sustainable Architecture is part detailing & materials (architecture that can maintain itself), and part design (architecture that engages the human spirit for generations). Self maintenance encompasses detailing that allows an architecture to survive over time and incorporates features that allow it to provide for itself like enhancing natural light, controlling heat, cooling and interior air flow, all which can be accomplished effectively in non-mechanical ways.

At NJBAarchitecture, we strive to incorporate all these factors: design, materials, detailing and sustainability, to make inspiring buildings for us humans to use into the future. Architecture is for our imagination, spirit and life.

Save money this winter...

2008-11-26T13:08:00.000-08:00

Here's a few tips to help you save money, help the environment and yes, help others (by conserving, you are helping keep prices lower which helps families in need).

1) AIR INFILTRATION: Air leaks are probably the bigest item a home owner should fix to save money. It will also make everyone feel more comfortable inside. Get a flash light and shine it around the edges of doors/windows, during the evening to see if light is coming through. If so you have cracks. Add sticky backed foam weather stripping, or whatever, to stop that air flow. You'll notice an improvement immediately.

2) AC UNITS: If you have window unit air-conditioners... take them out of the windows during the winter. Seems obvious but I see a lot of people who don't do this.

3) REFRIGERATORS: Refrigerators typically use more electricity than any other appliance. Keep the door closed. Let very hot items cool down a bit on a cooling rack before putting them into the Frig. Be sure the floor under the refrigerator is clean to allow air flow to the coils on the back.

4) LIGHTING: Use compact fluorescents or the new LCD lighting. The technology has improved dramatically, providing quality light at a fraction of the cost.

5) STORM WINDOWS: Use them if you have them. If not they make a easy to attach plastic that becomes taut when heated.

6) INSULATION: If you can, add insulation to your attic. Up to R-36 depending where you live in the country. They also make a fire-proof blown-in recycled paper insulation good for walls... i know many older buildings have no insulation. Those days are over, all houses need to be insulated.

7) FAMILY: Finally, get the whole family involved. Being effective at being energy efficient can be much more difficult if one parent doesn't contribute in some way as well. For instance, when one parent leaves all the lights on and then hopes in a car leaving the house empty, but lit up like a christmas tree. Or decides to open a window(s) in the middle of winter. It's kind of hard to be effective if the other partner isn't involved. Perhaps, in the same way house cleaning can be a family effort, so to can getting the house weather tight and talking about what else can be done...

Best of luck.

Music to read by...

2008-11-18T21:44:00.000-08:00

Poor decisions can cost big bucks.

2008-11-16T16:15:00.000-08:00

Regarding the small business owner, entrepreneur or building owner, there are things that seem simple to do but often I witness them not being implemented by people. What many don't realize is if you make a mistake in the design of your space you will loose money.

For instance, I recently found out about how a building owner incorrectly arranged an apartment they were renovating. Being short sighted and showing their lack of experience, they decided to leave the kitchen and bathroom where it was previously, keeping the apartment a one bedroom with the living room looking into the rear yard. Understanding the cost associated with new plumbing, my solution would of been to re-orientate the bathroom and link the kitchen to this, keeping the plumbing costs the same. The result would be that they could have a 2 bedroom apartment with the living room at the front of the building looking out over the downtown skyline. Obviously they could then easily of ask for another $500/month in rent (not only for the extra bedroom but for the views and overall layout) which translates to $6000 in extra income every year.... that's $60,000 in 10 years. Going rents in that area for a one bedroom average about $2300/month.

As an Architect, I look for simple solutions that yield the greatest impact for my clients. For me it is a balancing act, bringing all the parts of the puzzle into one coherent, inspirational work.

Gowanas Canal, how to influence change.

2008-11-15T08:48:00.000-08:00

What a single individual can do...

The city of New York held a competition in 1990 asking people for suggestions on how to improve the city. I entered it submitting my suggestion for returning water flow to the Gowanas Canal which was stagnate for decades. I had noticed that the canal stunk and was lifeless.

My proposal was to add several pipes to the sides of the canal at the average water line, to capture water from high tide and release it at the head of the canal during low tide, allowing it to simulate the action of a stream. Well, they didn't do that, but what it spurred was their realization that a pipe already existed that was equipped with a pump that wasn't working. Apparently a worker had dropped a hammer stopping the pump some 30 years before... they removed the hammer and the pump and water flow are working perfectly.

Today, you can actually see the bottom of the canal, along with crabs, fish, birds, butterflys, etc. etc. and people enjoying canoe rides. The smell is gone and thank goodness, because I walk across the bridge daily to and from my daughters school... I guess I was planning ahead, lol, but actually it seemed a real shame to see what could be a city asset, be totally neglected. Although no one, until now, knew what instigated the change, I still feel pretty good about making a real difference. It has also had an effect on Real Estate as once empty lots are being built on... this was my case to NYC, that economically making the canal viable would attract investment and tax revenue. And so it has... it has brought a flow of people who appreciate this little bit of nature in the heart of an urban area back into the area.

Solar Energy: What the future holds.

2008-11-12T08:06:00.000-08:00

The solar tower is amazing that it can generate enough upward wind power to spin a turbine. It essentially captures the suns heat which naturally rises. At the top there would be an observation tower and glass enclosed elevators for the public.

I was really impressed with what Germany is doing regarding farmers incorporating panels in their fields, where they can have sheep or other livestock grazing while at the same time producing power. Here's an image similar to what I remembered from a report a couple of years ago...

solar farm in Amstein, Germany

Here's another article on a solar farm going up in Canada as the idea is getting closer to home (US): Ontario Gets Monster Solar Farm

What's really exciting for us Architects is the development of flexible solar film that can be drapped around any form.... here's an example that shows how really flexible it is... like a piece of fabric:

Power Film and you can learn more about it in Science Daily HERE.

It's exciting because we architects can potentially use it as a finish surface material on any shape of structure. I personally am looking for one that has some transparency to it that can enhance a glass curtain wall, still allow light into the interior and at the same time generate energy. Considering how architecture is becoming more fluid, and how tensile structures are becoming more popular, this product may have a tremendous impact on architecture of the future. If it can be applied like draping fabric on a person, it has tremendous potential as a design element.

Solar Energy, what can we do now?

2008-11-11T11:13:00.000-08:00

How should solar energy be incorporated into our world?

The way I look at it is we're going to pay a price one way or another. Burning fossil fuels is worst than nuclear is worst than solar or other green technologies. While I can imagine an environmental impact of taking up large areas of land to cover it w/ solar panels, at least it doesn't damage the land it sits on and one can image that animal life probably wouldn't care less about it. The fact that we take up much larger areas for farming tells me that this is certainly a viable option.

I believe that making the investment to do it right always is the better solution than trying to save money in the short term.

Here's some alternative solutions:

Solar Tower Project

There's also a relatively new initiative regarding solar farming where farmers disperse solar panels along the edges of their farms... it is rapidly become popular in Europe where the government is supplimenting farmers who participate... many farmers looking at it as yet another crop they can make money on.
USDA Solar Farm

Here's some info on the world largest solar farm to date

There's one more place solar panels can go, on top of roofs. It may seem obvious, the 'land' is already available to us, that doesn't take up any additional unused land which I believe is a national asset.

Expecting individual families to foot the bill is another thing but I do believe that energy companies can provide incentives along with governments to make it a viable solution for many existing structures. It becomes a question of efficiency, how quickly can installations get completed in order to keep the cost down or, what steps can be taken during new construction to make all future homes ready to easily accept solar panels.... this is really the first step every country should be taking now... making all new roof structures solar panel compliant.

Helping Cities Grow: what to do.

2008-11-10T08:38:00.000-08:00

An important issue for many cities dealing with circumstances initiated by others in the past, like a blighted looking city filled with parking lot scars, etc. From my experience I've witnessed many cities do the wrong thing in order to encourage development. The point of this post is, if you do something, it could have a negative impact on your city, so make sure you do the right thing.

1) Keep existing building, do not tear them down unless totally necessary, that is, they are about to collapse. Do not assume that just because a Structural Engineer says it is about to collapse that, given corrective measures that the structure could be saved. Tearing down a building will leave a scar, which is ugly plain and simple. The good majority of engineers are not aesthetically in tune and quite frankly just don't get it.

2) Encourage 'city living' by bringing young professionals into the city. Many apartment complexes offer features like swimming pools, gyms, etc.... these amenities are there to entice young adults, who are now living on their own, to live in these developed communities where they can meet other 'cool' people. This is a life thing, to meet one's future wife/husband, to have friends, etc. The city core can do the same thing. In fact, loft living is considered very cool and an easy way to entice young adults which will infuse the streets with activity attracting more commercial components. City incentives are the key here.

3) Hide parking lots with berms, shrubbery, trees. They are a blight to a healthy looking city and impact ones perception.

4) Clean, level and plant grass in empty lots. This, in my experience, has always attracted Developers to purchase lots for new construction. Also, plant trees, especially along sidewalks. Given the time a lot can sit empty a tree can be a welcome feature... just don't plant so many that it blocks so much sun that the lot becomes a mud pit.

5) Keep curbs and sidewalks repaired and clean of gravel, trash, etc.... especially the entrances into the city which can be a persons first impression. I see that your streets do look very nice, just check the perimeter of the city too... ask yourself, what do you see when driving into the city?

6) If a building is totally abandoned, and is significant in it's presence, go ahead an clean the windows (makes a huge difference to see the sparkle of the sky in the reflection and cost next to nothing), repair the cornice, make the storefront look respectable... it's like planting grass on an empty lot, it will entice a developer to want to make something of it.

7) Waterfront and other open areas are always an asset in cities, it's too bad that infrastructure sometimes claims these areas (rail roads, highways, etc.). Always 'plan' to recover these areas whenever it is feasible. Begin to collect lots that can be used for future locations of infrastructure that do not impede on the quality of city life. Bring the river back into the community and neighborhood, it is a natural feature and always an asset to quality living.

Despite all these suggestions, I know that with a decreasing tax base it can be a struggle implementing anything of significance. There are ways to overcome this and initiate a positive change. For instance, looking at South Bend, Indiana their Art Museum has taken a very positive role in cleaning up their city with new art, murals, etc. that reflect a positive spirit.

"Learning from Las Vegas"

2008-11-07T08:45:00.000-08:00

Robert Venturi, Denise Brown and Steven Izen's book 'Learning from Las Vegas' makes an argument for finding order with in an apparently chaotic urban environment. It has been a long time since I read that book, but essentially he creates figure/ground diagrams of a variety of components about that city, like patterns made from cars, roads, telephone poles (actually I should be taking a quick look at the book to be sure of my examples, but hey, don't have the time). The impression the book gave was that 'disorder' can have an underlying order which is 'okay', opening opportunities for design.

The problem is, humans do not visually experience urban environments from a 'figure/ground' perspective and their experience is ultimately a cluttered and chaotic one. Most people will, in very chaotic environments, pick out landmarks... a sign, an intersection, etc. that they become familiar with and thus eliminate the chaos of that node in order to make sense of the rest of their context, so that they might continue. As environments become more chaotic with signage, telephone poles, advertisements, billboards, un-defined roads, etc. one has the tendency to 'speed up' in order to get to one's destination safely and thus feel assured of the success of their 'travel'. This is not the role of an Architect or Urban Planner, to accept chaos as part of a 'good urban experience'. In fact, these environments are typically considered disposable as time proves when edifice after edifice gets torn down and rebuilt.

The role of Architect is to help people make sense of their environment... to create order. They must understand the responsibility of their project to the community, that is, is their project a context building or a focal point building. As a context building it is important to enhance the existing context which reinforces the identity of a neighborhood or community. As a 'focal point' building, it is important to stand out as a representative of the communities spirit. While both context and focal point buildings can have elements of each, it is fundamentally important that they fulfill their roles in bringing order, enhancing our human experience, instilling pride and providing balance within our built environments. It is these qualities that will yield more enduring architecture and enhance our life's experience.

Landmarks has moved towards reinforcing our 'context' structure of our communities. This is a good thing but even here, there should be a fundamental understanding that even in Landmarks districts there is a need for counter points and juxtapositions. Boston is proof that balancing high quality architecture, whether old or new can yield a healthy city life and a community proud to be a part of it.

A Waste...

2008-11-06T19:35:00.000-08:00

What do I mean by designs that are a waste? Well, some projects waste time, money and resources. One can imagine a project that isn't financially successful, has wasted resources, as the longevity and usefulness of the building will be diminished. I've witnessed where a renovation is completed and in 2 years, after the tenant moves out the space is re-renovated. Materials are wasted too, in this day when there are environmental concerns, what's the point of designing and building something that gets torn down in a couple of years?

Time is also wasted. An owner of a property invests his time as well as contractors and professionals time and when the effort is tossed, all time is lost as well. These first two components obviously leads us to money. If you put things in the wrong functional relationships, use tacky looking materials, incorporate poor proportions, don't detail and install properly to prevent maintenance issues, you'll end up with something that will have to be rebuilt... all costing money. The most obvious impact is when, if you're able to get a tenant, they leave after only a short period of time and you're confronted with a high turn over rate, if you're able to lease in the first place.

It's sad for me to watch people take large amounts of money to make a project a reality and essentially throw it away by trying to save what amounts to a small percentage of the total cost by hiring Structural Engineers or drafts people to do the architectural work, assuming that hiring an Architect would cost more up front. The loss comes over time when the owner struggles to manage something that shouldn't of been.

The above image is for my blog: What a Waste. It is an example of a developer who hires a structural engineer to design and build this new building. It looks fine, except one thing, it covers the entire lot which means it doesn't follow zoning and the required FAR. This means the building can not be occupied. It has sat empty for 3 years now.

Above you can see how a Developer ignored Zoning causing this project to be stopped in it's tracks leaving an eye sore for the entire community. The Developer used a Structural Engineer to design his building.

Saving a Community from a Blunder.

2008-11-06T17:04:00.000-08:00

Above: I step in to avert a disaster from happening in my neighborhood... this is an example, given the context, of what to do. The alternative as proposed by the developer was a one story white box with a large red sign over the entrance.

There are way to many examples of what not to do when it comes to Architecture and Urban Planning. My first series of examples, that I'll post on later, will focus on the home/property owner and will scale up with additional entries to projects that have an impact in the community. From there I will focus on large projects that help define a cities image.

Architectural magazines and public buzz always centers around what's the greatest works being produced today and so it should, but I see in so many, perhaps the majority of other projects, a waste of time, money and energy on designs, and in some cases plain ignorance to the variety of issues Architects must comprehend and answer to, that, I feel it is time to say something.

For instance, in my residential neighborhood, there are two projects, one complete and the other one stopped in the middle of construction where Property Owners ignored the code and zoning, leaving the community with empty buildings and I'm sure their wallets empty. In another circumstance I witnessed a Property Owner convert a beautiful brick building with large windows into a white dryvited, small windowed condos that looked more like a 1960's 'Project'.

In a last example quick example, I was able to step in where a Property Owner was selling the rights to a corner lot next to a public park, to a pharmacy who's only interest was to build a 1 story white box. With some quick sketches, I was able to convince the Property Owner that he could make more money and improve the neighborhood at the same time. Above are the examples of that effort. Did the Developer say 'thanks for the suggestions'... no. But at least I can, along with the rest of the neighborhood, enjoy our community without a eyesore.

Regarding the 'corner lot' project, during the first community meeting about the project the community was totally up in arms. But after taking my suggestions and representing to the community, there was silence in the audience. It was quite a turn around of opinion and the Developer almost looked stunned afterward.