Sunday, November 29, 2009


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The Destructive Power of Individual Bicycle Haters

The Destructive Power of Individual Bicycle Haters: "Solo Conversation
It takes the appearance of many cyclists on the urban landscape to start changing the perception of societies about the role of the bicycle as an accepted, respected and feasible transport form.

All too often, it only takes one anti-bicycle individual on a personal crusade to ruin it for everybody.

The Crown Prince of Anti-Bicycle LandAlthou has to be Rob Andersen, of San Francisco. He has succesfully halted all implementation of bicycle infrastructure in that city for almost three years. The San Francisco Chronicle is reporting today, however, that there is hope on the horizon. The city has 45 projects ready to go and they were given green lights today for starting them - as long as they can easily be reversed, since another hearing is scheduled for June 2010.

Mr Comedy, R. Emmett Tyrrell Jr.'s verbal bowel movement has attained cult status since we posted his piece from 1980. Although he's so silly that it's hard to take him seriously.

Toronto has an elected official on a crusade called Councillor Michael Walker to thank for negative bicycle intiatives. Thanks to him the tide risks being reversed in that city.

Philadelphia's Mayor Nutter is on the right [cycle] track, but he's now up against Councilman Frank DiCicco, who is making right-wing noise and launching his personal war on bikes by wanting bicycle registration.

Philip L. Graitcer
is a one-man wrecking ball. He has managed to completely split the World Health Organisation with his eagerness to promote helmets. Half of the WHO would rather promote public health but he has been vocal in swinging it the other way. His connections to the auto industry certainly don't help his street cred.

We even have such individuals here in Denmark, in positions of influence at the car-centric Danish Road Safety Council, happily manipulating statistics and the press.

The power of the individual is usually a force that can be transferred into strengthening the Common Good but it's quite amazing to see how so many of these individuals gain so much influence and use it against increasing the modal share for bicycles and all the benefits to be gained from doing so.

Not surprisingly, most of them seem to be men, but there may be exceptions.

Feel free to add your personal favourite to the Anti-Bicycle Hall of Shame in the comments.
Copenhagenize the planet. And have a lovely day.

New Bicycle Bridges Over Copenhagen Harbour

New Bicycle Bridges Over Copenhagen Harbour: "
The winning design for a new bicycle bridge over Copenhagen's Inner Harbour.

The current efforts of the city of Copenhagen to encourage more citizens to choose the bicycle have given us a lot of new, exciting infrastructure, not least in the form of bridges. Now there are four new bridges on the way exclusively for bicycles and pedestrians.
Another Bicycle Bridge Bridging a Gap
For example above, at left, is Åbuen, a bicycle/pedestrian bridge over the busy Å Boulevard which is part of the Green Path bicycle motorway. At right is Bryggebroen, the bridge over the harbour from the Vesterbro neighbourhood to Iceland Quay. The latter features almost 10,000 cyclists a day and that's expected to increase when the infrastructure link to the existing bicycle lanes is completed on the north side.

There are, of course, main bridges over the harbour. Langebro and Knippels Bridge both have over 20,000 cyclists a day each on the bike lanes parallel to the car lanes but the two bicycle/pedestrian bridges pictured above have created increased mobility and short cuts for bicycles and shortened travel times by bike for thousands and thousands of cyclists.

The harbour was decommercialized a decade or so ago and the city is now revitalizing this newly-won real estate. The harbour is cleaned up and Copenhageners now swim in it. It really has changed the face of the city this harbour liberation.

Earlier this year The City of Copenhagen launched a invitation only design competition for a network of new bicyle/pedestrian bridges over the ancient harbour of the city and the winners were announced last month.

What the city needs is access across the harbour farther east, closer to the city centre on the Inner Harbour. Our new Opera and the former military area called Holmen, which now features the National Film School, School of Architecture, National Theatre School and others, as well as new flats would benefit greatly from increased access.

As you can see on the map, a network of bridges is needed. A long bridge over the inner harbour and shorter bridges over some of the canals to link up the places mentioned above.

This being Copenhagen, a bicycle bridge was the first and only thought. Funnily, in the Danish press the bridges are almost always referred to as 'bicycle bridges' even though we all know they are for pedestrians, too. Such is the status and role of the bicycle in this city. Call it a 'pedestrian bridge' and it sounds recreational - something you promenade on. Call it a 'bicycle bridge' and suddenly everyone gets it. They think commuting, quicker route to work, shorter travel time, etc.

The Inner Harbour Bridge

The jury of the design competition ended up selecting different winners. One for the long section over the harbour and another for the short canal bridges. Here's the winning entry for the Inner Harbour Bridge from the consortium of Flint & Neill and Studio Bednarski.

A Danish journalist was quick to dub it The Kissing Bridge and the name seems to be sticking. It's a rare form of bridge in that it is retractable - as opposed to a swing bridge or a drawbridge. It looks like two tongues reaching out for each other.

The bridge is 180 m. long, with decks that are 7 m. wide and it opens for ships with a sliding mechanism, allowing for a 50 m. wide opening.

The jury was unanimous in choosing The Kissing Bridge as the winner. They said, among other things:

'... a compelling overall concept and an attractive design that will help form the identity of the site in the future. This horizontal span into the harbour space is beautifully conceived and magical in use. The bridge forms a horizontal movement that is both figuratively and physically dependent on the use of the bridge and on the perceptions of its beholders, a movement that strengthens identification of the horizontal aspect of the harbour space as it is today.'

The Canal Bridges

The winning design for the Canal Bridges was won by WTM with Dietmar Feichtinger Architects.

The jury's conclusion included these words:
'The lightness of the bridge design seems very well founded in the urban context, with its apparent connection with the simplicity we would normally associate with landing stages in harbours. It's an exemplary natural expression in a minimalist functionality. The idiom is so small in scale that there is no hint of monumentality whatsoever, in complete contrast to the urban landscape, but in this way it adapts itself in the best possible way to the contextual whole.'

There are many high-masted sailboats in the canals so these bridges have to be openable as well. And praising this design by saying 'no hint of monumentality whatsoever' really speaks volumes about the Danish design culture and tradition. We don't fancy monumentality. We want elegance and functionality, thank you very much.

The bridges are expected to be completed by Spring 2012.

The full Jury report about the finalists is availabe as a pdf on The City of Copenhagen's website for the architecture-minded among us. You can see the other finalists as well, including some world-class architects. As architecture competitions go, the Danish tradition of transparency applies here as well. You can see how many points the bids got, what the jury thought and really feel as though you're part of the selection process. Not at all secretive or elitist. Refreshing, really.
Copenhagenize the planet. And have a lovely day.

Sürdürülebilir Şehri Bölgelemek

Sürdürülebilir Şehri Bölgelemek: "Yaklaşık 1 hafta önce Seçim Günü, Bloomberg Yönetimi ilki 2002'de gerçekleşen 100. bölgeleme değişimini duyurdu. New York şehrinde bölgeleme sistemi, şehrin konut alanlarının, çalışanlarının ve turistlerin yaşam kalitelerini arttırmak ve kentin sürdürülebilirliğini sağlamak için en önemli düzenleyici araçlardan biri."

Çevre raporu

Çevre raporu: "Dünyanın üçüncü büyük tohum gen bankası Türkiye'de!"

İstanbul'un "son 100 yılı" hakkında kısa bir değerlendirme

İstanbul'un "son 100 yılı" hakkında kısa bir değerlendirme: "Upuzun tarihi geçmişi içinde 'güzel İstanbul'umuz, belki de en yoksul, en hüzünlü, en zor günlerini erken 20.y.yılın, yani 1900'lü yılların ilk dönemlerinde yaşamıştı."

decaARCHITECTURE - Aloni House

decaARCHITECTURE - Aloni House: "Greek design firm decaARCHITECTURE has won the Piranesi Award with their Aloni House in Antiparos, Greece. The house fills the void between two retaining walls that bridge a 'saddle' between adjacent hills. The landscape of the hill flows cleanly over the house, blending in seamlessly. Four courtyards bring light into the living spaces.


Revitalization, Without Gentrification

Revitalization, Without Gentrification: "

That's the trick architect Gregory Henriquez is trying to pull off in a rundown section of Vancouver, in one of the biggest redevelopment projects the city has seen yet.

read more


The Totalitarianism of Le Corbusier

The Totalitarianism of Le Corbusier: "

Le Corbusier's influence as an architect has spanned generations. Theodore Dalrymple argues he is more appropriately classified as a totalitarian.

read more


New pedestrian crossings in town

New pedestrian crossings in town: "Source: Planning Livable Communities

  • 3 posts in 24 hours : 5 posts in 4 weeks


Stunning Stereoviews: Historical Photos Show Past in 3D

Stunning Stereoviews: Historical Photos Show Past in 3D: "


[Whoops! Double-WU Jeopardy: Also See: This Just Published]

The opportunity to catch a glimpse at life in a long-ago era in 3D is rare indeed, but thanks to the stereoviews taken by photographer T. Enami, Meiji Japan in the early 1900s momentarily appears vivid and immediate. Enami was Japan’s most prolific stereo-photographer, and his stereoviews have appeared in National Geographic Magazine and many books.


Each pair of images captured by Enami, ranging from landscapes and sedate scenes of country life to humorous photographs of beefy men bathing nude, has been assembled in a Flickr gallery by Okinawa Soba and transformed into animated GIFs by Pink Tentacle.


In traditional stereoscopic photography, a three-dimensional illusion is created from a pair of 2-D photographs that represent two slightly different perspectives of the same object or scene. The deviation between the two photographs is similar to the perspectives that both eyes naturally receive in binocular vision.


Such images are normally viewed in 3-D using a stereoscope, but ‘freeviewing’ is also possible, with a process that involves putting one’s eyes directly over the images and slowly backing away while focusing on the single merged, out-of-focus picture that appears.


Enami was an enigmatic figure for many decades after his death, but information provided by his descendents in 2006 helped bring together a stunning collection of work. The online archive of his photographs represents only a small fraction of his remarkable legacy.

Creative Photogram and Pinhole Photography

Some of the most amazing photography doesn't use a camera at all. These incredible images were produced using ancient methods - no lenses required. Click Here to See More




I was looking through my books about Noguchi, searching for references to his Bamboo Basket Chair (I knew I’d seen a black and white photograph of it somewhere years ago). Here’s what I learned about this beautiful piece of modernism:

The [August 1950] Mitsukoshi show also included a chair with a woven-bamboo seat backrest. Noguchi designed this piece for export, with the bamboo elements — produced in the same way as traditional fish baskets — to be fabricated in Japan and shipped to the United States. There they would be attached to bent-metal frames, manufactured in America. The chair remained a unique prototype, but the next year Noguchi was able to realize his ambition of encouraging local production through the export of modern design.

– Bruce Altshuler. Noguchi. Abbeville Modern Masters. New York: Abbeville , 1994, p. 58

When I finally found the reference (I love that chair!), what was especially interesting was the text immediately above and below this particular picture. It tells how Noguchi began the process of realizing his “ambiton” via the design of his Akari for production in Gifu, near Lake Biwa in Kansai.

It was on his way to Hiroshima to discuss his bridge proposal that Noguchi first visited the town of Gifu, known for its manufacture of umbrellas and lanterns from mulberry-bark paper. Having heard of his design work, the mayor asked him to create contemporary  lamps using the traditional bamboo-and-paper construction. That evening Noguchi sketched his first two Akari (the word means “light as illumination) light sculptures … He viewed each Akari basically as two sculptures, one when light was reflected off it, and another when light was emitted from it.

– Bruce Altshuler. Noguchi. Abbeville Modern Masters. New York: Abbeville , 1994, p. 58

From that evening, Noguchi went on to design and produce more than 100 Akari designs. They must have felt like children to him.

I’ve always said no home is complete without at least one Akari (IKEA knockoffs don’t count). I know they’re ridiculously expensive in North America (all those middle-people), but if you’re ever in Japan, stock up: they’re priced just right over there.

Isamu Noguchi. Memorial to the dead, Hiroshima, 1952. Model showing section through underground (projected to be built of black granite); proposed height above ground: 6 metres. Proposal rejected.

The four photographs above a from Isamu Noguchi. Text by Sam Hunter. New York: Abbeville Press, 1978:

While Noguchi was overseeing his two bridge railings in Hiroshima, the other giant of twentieth-century Japanese design, Kenzo Tange, was nearby working on his Hiroshima Peace Memorial Museum and other works in Hiroshima.

It was here, in the early 1950s, that modern Japan began.

Kenzo Tange, Hiroshima Peace Memorial Museum, Hiroshima, 1952.

Isamu Noguchi (second from left) and Kenzo Tange (third from left), visit the West Peace Bridge [Yuku] to supervise construction, 1951.

Courtesy of Chugoku Shimbun.




killing us softly – advertising’ s image of women

killing us softly – advertising’ s image of women: "

1971- 2004 yıllarını kapsayan bir araştırmaya göre reklamların yüzde 12,7’sinde kadınların fiziksel görünüşü endişeli, yüzde 11,5’inde seks objesi, yüzde 15,5’inde ise dekoratif bir unsur olarak kullanılıyor.

Reklamda cinsel öğelerin kullanımı üzerine bugüne kadar pek çok çalışma yapılmıştır. Reklamda kullanılan cinselliğin etkileri üzerine yapılan çalışmalardan elde edilen sonuçlar, cinselliğin tüketicilerin satın alma motivasyonu ve arzularını ateşlemede işe yaradığını ortaya koymuştur. Reichert, bazı vakalarda, reklamda cinselliğin güçlü, canlı ve uzun ömürlü markaların yaratılmasında katkıda bulunduğunu söylemektedir.

Christiane Schmerl reklamlarda tespit edilen bütün bu kılavuzluk fonksiyonlarının gençler üzerindeki etkisinden korkmakta ve şöyle ilave etmektedir: “Reklam spesifik cinsiyet sosyalizasyonunu şart koşar. Milyonlarca kez kullanılan basmakalıplar ile etkisini güçlendirir -daha çok tutucu yönde-, her yerdeki duvarlarda, radyoda ya da televizyonda, bütün dergilerde olmak suretiyle yalnızca çocuklara değil, bilakis özellikle gençler ve yetişkinlere hitap eder. Bu kişiler hitap edilen alıcı olarak, ürünün ismi olmaksızın otomatikman kılavuz resimlere ait olan stereotipleri “gerçek kadın” “gerçek erkek” olarak öğrenirler.

Kadın bedeni bir zorlamayla karşı karşıya, reklamlarda kilolu ya da güzel olmayan bir kadının problem olarak gösterilmesi, bu beden değişmeli başka yolu yok ifadesi ile sunulması istenilen ve istenilmeyen kadın imajını ortaya koyuyor.

Kadın cinselliğinin öne çıkarıldığı bir reklam, sadece erkekler için değil, farklı şekillerde ve yönlerde kadınları da etki altına alabiliyor. Bunun ilk basamağı olarak gerek genç kızlar, gerek yetişkin kadınlar için ideal ve örnek alınacak kadın tipleri öne çıkarılıyor; adeta “her kadının düşlerini süsleyen,” zengin, bakımlı, gösterişli, güzel ve genç kadın tipleri şuuraltına yerleştiriliyor. Hemen ardından, doğrudan veya dolaylı olarak “siz de böyle birisi olun” mesajı veriliyor. Bu tür reklam bombardımanı altında kalan pek çok kadın, o ürünü almakla kendisini öyle hissedebiliyor. Kendini ilgilendiren bir ürün reklamını gören kadın tüketici, reklamdaki sunulan gerçekliğe inanmasa bile sunulan ürüne dikkat ederek, reklamda rol alan rüya kadınla özdeşleşme yoluna gidiyor. Bu yöndeki reklamların en çok kullanıldığı ürünlerin markalı ve pahalı ürünler olması ayrı bir sömürü uygulamasını daha ortaya çıkarıyor.

Seyirci konumundaki geniş halk kitleleri, üreten firma patronlarının daha fazla tükettirme emelleriyle, insanlara o ürünleri tükettirebildiği oranda para ve gelir elde eden reklamcıların acımasızca taarruzlarına hedef oluyor. Bu zayıf damarı büyük bir “keşif” yapmışçasına ve hesapsızca kullanan patron-reklamcı ittifakının piyasaya sürdüğü her bir reklam, adeta bir öncekini aratır seviyede kadın cinselliğini kullanıyor.

Cinsel içerikli reklamlar birçok farklı şekilde olabiliyor. Örneğin çift anlamlı sözler, imalı ifadeler, bilinçaltının algısına yönelik cinsel imgeler ve cinsellikle ilgili vaadler kullanılabiliyor.

Yüklenen videoda jean kilbourne tarafından verilen,  reklamlar ve ataerkil toplumda kadın sembolü uzerinde duran ders/ konferansı izleyebilirsiniz.

Reklamlarda kadının bir metaya indirgenmesi ve cinsel öğelerin reklamlarda kullanılması hakkında daha fazlasını okumak isteyebilecekler için, başlangıç olarak, aşağıdaki lisansüstü çalışması önerilebilir:

Jean Kilbourne’s pioneering work helped develop and popularize the study of gender representation in advertising. Her award-winning Killing us Softly films have influenced millions of college and high school students across two generations and on an international scale. In this important new film, Kilbourne reviews if and how the image of women in advertising has changed over the last 20 years. With wit and warmth, Kilbourne uses over 160 ads and TV commercials to critique advertising’s image of women. By fostering creative and productive dialogue, she invites viewers to look at familiar images in a new way, that moves and empowers them to take action.


indir ( 280 mb. ) / download ( 280 mb. ):