September 16th, 2009 § Olga
On July 2009 Kolbe and Kolbe Window Manufactory invited our office to Wisconsin. They were not only so kind as to take us to their factory, but also schedule a number of interesting events for our brief visit. Among these were: a tour of Frank Lloyd Wright’s Taliesin, a visit to Aldo Leopold Foundation Headquarters (the first LEED-platinum certified building) and the Cardinal floating glass factory.
These pictures of the glass factory capture some moments along its assembly line: A mound of sand and cullets waiting to be fed to the furnace, its transformation to molding glass and its division into panels to name a few.
This assembly line has been running continuously for 12 years and for its optimized performance this continuity has not been broken. All the glass produced in this factory has been cut from a single stretched sheet of glass. One of the processes that particularly called my attention along this trajectory was the moment in which the glass is cut. The mechanisms of this machinery respond to the seemingly simple necessity of cutting straight edge panels from a moving ribbon.
After being transformed into molding glass, a long tongue of glass stretches out from the furnace. This hot taffy-like material is carried on a conveyor by rubber wheels. As this continuity is to be maintained, to achieve a right angle panel the blade is set at a particular angle to accommodate the speed at which the glass travels. In other words, to achieve a rectangular panel the blade cuts the moving glass at a diagonal.
Interesting facts from our guide: Glass is never in a true solid state. The inert medium in which the glass is suspended is liquid nitrogen. As mentioned before, the furnace has not been shut down in 12 years making its maintenance cumbersome as the molding glass is frozen in order to repair the damaged sections.
July 29th, 2009 § Jack
Over the past two years 3six0 Architecture has been participating in the mentor program of Providence’s Met school. The Met School, short for Metropolitan Regional Career and Technical Center, is a state-funded school district that serves 690 high school students. The school was created under the direction of Doctors Dennis Littky and Elliot Washor who were given the opportunity by the state of RI to create a “school of the 21st century” that would involve “hands and minds.” The Met is divided into six smaller schools, with four of them sharing a campus on Providence’s South Side. The schools are intentionally kept small at 120 students and the curriculum focuses on “Authentic Experiences”.
“Education research tells us schools need to be smaller, with more parent involvement and more personalized curricula. Brain Research shows people learn by making sense of information, by connecting things, and learning by real context. Learning theory asserts the value of hands-on experiences. Development psychology says kids are fragile and must be nurtured by adult mentors to thrive. Gang research tells young people need to feel a part of a culture, something larger than themselves. The Met incorporated all of these notions and opened its doors in the fall of 1996 with 50 freshman in the Shepherd Building in downtown Providence.” The Met School
Alejandra Vidal, Met school junior, interned at our office this past January to June. Brandee Lapisky, her Met advisor, introduced Alejandra to us when she expressed a desire to learn about green architecture practices. Alejandra and I decided to divide her internship into two parts, with the first part focusing on research into passive methods of heating, cooling and shading used in the design of structures to create comfortable environments and reduced dependence on energy. The second portion of the internship would be her own design proposal involving both a real client and a project that would be ultimately constructed.
Jack Ryan and Alejandra Vidal at 3six0 office (center photo)
The mentoring experience has proved to be a rewarding experience for both Alejandra and 3six0.
To learn more about the Met school or about becoming a mentor, visit: www.themetschool.org
January 28th, 2009 § Chris
From the New York Times, January 28, 2009
And in Florida, not far from the Palm Beach clubs where Mr. Madoff wooed some of his investors, George L. Theodule, a Haitian immigrant and professed “man of God,” promised churchgoers in a Haitian-American community that he could double their money within 90 days.
He accepted only cash, and despite the too-good-to-be-true sales pitch, he found plenty of investors willing to turn over tens of thousands of dollars.
“The offices were beautiful, and I was told it was a limited liability corporation,” said Reggie Roseme, a deliveryman in Wellington, Fla., who lost his entire savings of $35,000 and now faces foreclosure on his home.
This brings to mind the question of authenticity. Ponzi schemes, shams that we can believe in, until the truth comes out, prey on our desires and weaknesses. Our willingness to rely on appearances for signs of authenticity (The offices were beautiful) points to questions about architecture’s role in such deceptions.
It’s been said that ”Art is a lie that tells the truth” . The history of architecture, reflects an ambivalence about “truth”. Architecture operates like language, representing but not necessarily embodying, and architecture is a constructed embodied, materialized phenomenon that is primarily experienced. We read and experience architecture simultaneously. Geometry, space, materials, tectonics order form, form an order which we would hope is revelatory, engaging and celebrating our humanity , rather than deceitful, obscuring and controlling.
The predominance of vision has effected the way we think about materials. As more and more communities employ “stampcrete” and if they can’t afford that, “stamphalt” in public spaces, the erosion of values is painfully obvious. The attitude of “as long as that stuff looks like brick, it’s OK” is exactly what got the ponzi scheme victims into trouble. Actually all the use of fake materials is sort of like a ponzi scheme–you simply put the day of reckoning off until the whole thing fails and at great expense you end up doing what you should have done the first time around. Materials carry memory, and the replacement of materials with facsimiles destroys memory, with it the hard won truths and values of our society. As an example I’ve posted two images of bricks one of painted stamped asphalt and the other of 19th century brick pavers.
The inadvertent marks of the makers, of the hands that handled the wet clay can be seen in the lower image, the memory of the lives that made these bricks. The moss growing between each brick reveals an unanticipated symbiosis of inert and living matter. the bricks, slightly uneven gently accommodate the pushing of tree roots below without cracking or failing. The stamphalt has none of this capacity to hold time and life–no capacity for memory and for that matter, imagination. The fact that it is unsustainable and unrecyclable is no coincidence. Whenever we remove the dimension of time and the capacity to remember from materials, we fall prey to appearances and hidden costs, not only economic and environmental but cultural and societal.
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November 7th, 2008 § Karynn
3six0 is proud to boast two premiere educational institutions as its neighbors; RISD, the Rhode Island School of Design, is a block from our office, and Brown University is right up the hill from downtown. This weekend Brown and RISD have come together to put on A Better World by Design conference. Over the next 3 days, students, educators, and professionals will examine the intersections of design and technology and look at ways in which the two are being married to improve our world and solve economic, environmental, and social problems.