elemente issue 17 (draft 0928)

a c o l l e c t i o n o f [ c r e at i v e ] c u lt i vat i o n s

CALGARY redesigned . frank about MCLAREN . martian CURIOSITY . inside lamborghini . botanicals . random architecturals

.table of contents

THOM MAYNE

PRITZKER, LOS ANGELES, ARCHITECT, trouble maker, MORPHOSIS founding, REBELLIOUS, BEARDED, WHITE MALE, ACCRETIONAL, INNOVATIVE, GENIUS

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NORWAY FANTASTIC

PANZERFAUST

TEMPLAR’S DEN

Striding through Europe’s architectural wastelands comes a group of Norwegian architects bent on challenging the mundane

The classic Peter Pan tale gets a WWII makeover courtesy of Calgary’s own Blacksheep Studios &

Toronto’s new Templar Hotel delivers a luxurious, subconsciously eclectic experience for crusading types

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METROPOL PARASOL Jurgen Meyer architects presents the world’s largest wooden waffle-walk to the good people of Seville, Spain

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RIP moebius

An indepth look at the life and works of the iconic French cartoon artist that was Moebius

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TA TA MEGAPIXEL

India’s rebellious automarker brings a new hybrid micro-sample to the pixelated market

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inside LAMBORGHINI Up close and personal as we celebrate 50 years of Lamborghini with Sant’Agatas most favourite exotic son .......................................................... [ PAGE 203 ]

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our galactic CURIOSITY what better way to celebrate creative curiosity than to feature NASA’s much beloved Martian space reporter as only elemente can do .......................................................... [ PAGE 105 ]

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spark the CURIOSITY what better way to celebrate creative curiosity than to feature NASA’s much beloved Martian space reporter as only elemente can do .......................................................... [ PAGE 105 ]

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re-envisioning King Edward Born on a bald headed Calgary hill in 1912 the King Edward School turns 100 and with it receives a new life .......................................................... [ PAGE 129 ]

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masthead

Editor-in-Chief: Angus MacKenzie

Creative Agency: Farm Media Inc.

Creative Director: Angus MacKenzie

Feature Writers: Leslie Todd, Angus MacKenzie, Shaniqua Beckerleg, Scarlett Johanson,

Feature Photographers: Olivier Ouadah, Angus MacKenzie, David Franck & Fernando Aldo, , and others????????????

Publisher: FARM MEDIA INC.

Director, Sales & Marketing: Angus MacKenzie

Advertising Inquiries: Calgary, AB, Canada advertising@elementemagazine.com

www.elementemagazine.com

Letters: Send letters & suggestions to angus@elementemagazine.com

Find Us Online via: www.elementemagazine.com Socialize: Follow us on

CopyrightŠ2012 FARM MEDIA INC. All rights reserved. Nothing in this publication may be copied or reprinted without the written consent of the publisher. elemente magazine is published 6 times a year. All material is compiled from sources believed to be reliable, but published without responsibility for errors or omissions. elemente magazine assumes no responsibility for unsolicited manuscripts or photos.

T [403] 290 0145

T [403] 290 0145 e 14 a5060@yahoo.ca 1224A Ninth Avenue SE Calgary AB circa5060@yahoo.ca 1224A Ninth Avenue SE Calgary AB T2G 0T1

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C e n t u r y

m o d e r n

403-290-0145 www.circa5060.ca | 1224A - 9th Avenue S.E. | Calgary, AB e 15

ARCHIVED ISSUES PC/ANDROID

editor’s note | ISSUE #17

As in so mAny plAces in developing world At the time, there wAs An unbroken belief in progress And A greAt optimism. if you look bAck to the 60’s, when i wAs growing up, it wAs A moment of nAtion-building, there wAs A lot of emphAsis on Architecture, not only in the ArAb world but Also in south AmericA And AsiA. it wAs A similAr moment to whAt it is now – there wAs A renewed pride in the structure of the city. these ideAs of chAnge, liberAtion, And freedom of this erA were criticAl to my development. my fAther’s generAtion wAs sent AbroAd - And he went to the london school of economics to study under lAskiAn And fAbiAn. there wAs incredible moment of sociAl reform everywhere. this V03 #03 ideology w As import Ant t o m e . w e tV03 r A#03 velled 03 w i d e l y . t hJuly/August e s e 09 tCAN/US h i$n gs 8.00 d o h A v e A n i m p A c t03 o n y o u — o n e0 ’ s56698 e d27848 u c A1t i o n is importAnt, in Any 0 56698 27848 1 world.

c a n a d a ’ s o t h e r d e s i g n m a g a z i n et h e

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The ruling sovereign of archiTecTure zaha hadid speaks To her public persona, her career, The economic maelsTrom & her unswerving force of will

nI os NeAol f I N T e RsNeAT

Display until sept. 15

The deSI gn+arch ITecTure ISS ue

Oh hi. Long time no magazine. Two years according to my daytimer. So we missed you. We of the elemente missed each and every one of our readers, strategic partners, our many fine attractive advertisers, and our many industry contacts from about the globe. Group hug, oh wait, I don’t hug.

So why the two year hiatus? Well first I’d like to thank Greece, Italy, Spain, USA, Ireland, Wall Street, the quants, and the one economist who came up with that perfect economic formula that helped financially sex us all. Thanks for that. But on Chinese New Years, the decision was made to restart the redesigned publication currently in front of you in low definition, hyperstereophonic 2D. And rather than focus on the materialistic side of the conversation, a decision to explore a wider creative mandate, focusing on processes, successes, failures, enigmatic individuals, unconventional ideas, and innovation was made – essentially cultivating ideas that feed the curiousity. Because creative people, from all avenues and disciplines, require inspiration from an expansive array of sources and influences to keep the shite real. Yo. And so, in the new issue we’ve looked to cover an extensive, diverse array of creative bases, retaining some of the finer points of elemente v1.0 whilst implementing v2.0 directives. Content includes; the influential legendary cartoonist Moebius, local comic book Peter Pan remakers, the latest urban micro-vehicle from India, Pritzker prize winning architect Thom Mayne, a 4D Korean park, an eclectic design hotel in

Toronto, light painted photography, and of course the world’s largest waffle art in Spain.

But so hey, why the digital? Well back in 2010, key innovations had not yet evolved sufficiently to deliver a meaningful digital experience. Much like the battle of digital photography vs film, previous online magazines were clunky, slow loading; Flash based flippy things that enjoyed the thrill of the crash and Mesozoic loading times. But thanks to the Apple kids, the iPad has forced an experiential change of digital magnitude across the publishing & vendour landscapes. And with it, the perceived value of pixelated content.

The question now remains: should a publication only be allowed to become a reality if it can only afford the pesos to print? Or, should it be allowed to fight for its existence in the new digital realm, while delivering a unique, interactive editorial experience, at a third the cost? Please, don’t get me wrong. I still enjoy a well done, high quality print publication, but comparative economic realities are hard to ignore, especially in this quant-tainted landscape (little bastards).

In this new economic environment, as in nature, those that can remain lean, adaptive and flexible will be the ones to survive – of course, access to excessive working capital like that of Conde Nast never hurt.

So it appears you’re going to have to put up with us and the new elemente, because we’re not going anywhere until we’re done cultivating as much of the creative as the tractor can manage…or until a similarly

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On the Cover: LA CHASSE AU MAJOR, 2009 Acrylic on Canvas 90 x 130 cm Moebius a c o l l e c t i v e o f c r e at i v e c u lt i vat i o n s

digital busking?

a c o l l e c t i o n o f [ c r e at i v e ] c u lt i vat i o n s

elemente is a free online production, available to all creative & curious types, but like most things of substance (print or digital) it requires much time, effort & hard work to make possible...like PBS but different.

This publication, that you type in front of you is done out of a creative desire by one slightly malnourished Scotsman (cough). In it’s 5th year, elemente is essentially a labour of love, providing a Canadian perspective on the creative. Show your appreciation for quality publications like elemente by spending $2.95 via PAYPAL on this issue. Think of it as online busking, but without the annoying guitar or cat juggling.

Monies go towards ongoing editorial development & renewed haggis utensils.

Thanks for your support.

Angus

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ost effective Looking for a c ke-minded li h c a re lp e h medium to ss the creative ro c a ls a u id iv d in ente’s proven expanse? elem 00+ gives ,0 5 2 f o ip h rs e creative read t audience. c le e s a to re u e you expos vehicle to rais t c e rf e p a is elemente n your existing o d il u b & s s e awaren are es. Operators v ti ia it in g n ti e mark standing by. azine.com

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tly orld is constan w e v ti a re c e h T ting to new p a d a & g in h rp mo ants your help w te n e m le e . environments s. al opportunitie ri o it d e y e k fy ti to iden l ludes: industria c in t s re te in f o Content , ation solutions rt o p s n a tr , n ig s de n or design, urba ri te in , re tu c e it arch innovations, y g lo o n h c te , g plannin n, artististic o ti a tr s lu il y, h p photogra concepts, etc. .com

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oking for elemente is lo ers to strategic partn e & develop c n a h n e r e h rt fu within our s ie it n u rt o p p o munities. respective com discuss Contact us to nd raisers, fu , ts n e v e g in upcom s, editorial n ig a p m a c s s awarene , duct launches ro p , s g n ri e n rt pa etc. om

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CONTACt. ear from you. h to e v lo ’d e W e looking to Whether you’r h-five, we complain or hig om you. We fr r a e h to t n a w ions & want in p o r u o y e lu a v where we can & w o h w o n k to azine with g a m e th e v ro imp every issue. magazine.com

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‘Cultivate the Creative’ for farm media by award winning CDN illustrator Gary Taxali e 19

Cut Up it

There are surf boards, ironing boards, paddle boards, directorial boards, etc, but nowhere in the world is the board more important than in the world of the charcuterie.

The deliverer of fine meats and cheeses, this much taken for granted piece of forest is to the culinary experience what the glass is to the martini.

And who better to provide buttery smooth boards of walnutey goodness but St. Albert dwellers Geoffrey Lilge & Cindy Lazarenko of OnOurTable designs. Tasked with outfitting Cindy’s award winning

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restaurant, Geoffrey the designer sought to create items that were ‘enduring, beautiful and sustainable’.

Aside from making great graphic faces OOT’s cutting boards as much works of art as they are functional meat & cheese delivery platforms. The ‘Hole Slab’ series that started it all are the foundation of the business. These walnut boards of buttery beeswax & mineral oil finished goodness are created in an amusing variety of shapes that allow charcuterie persons to best match their meaty personalities.

Buy Canadian at www.onourtable.ca

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the bike of (e) AUDI’S NEW E-POWERED PROTOTYPE STREET BIKE SHOWS OFF ITS WATTS IN GERMANY

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e-bike, draft 1, not proofed or approved Not comfortable with their success in the performance auto market, Audi decided to take a few wheels off an R8 and venture out into the open air world of the electric bike.

Designed primarily as a street/stunt/BMX bike, Audi’s new e-bike is years ahead of its next-gen biking brethren. Ultra-light at just 46 lbs makes the e-bike one of the slimmest rides in its category. And with a 2300 watt generator and top speed of 80 kph the bike starts to enter electric motorcycle territory.

The critical driving element and placement on the e-bike, by Clean Mobile, is unlike other electric bikes. Whereas most e-powered bikes generator is placed at the arse of the bike, Audi’s design has the motor located in the center of the frame. This not only delivers better handling and balance but also permits the motor to operate at a more optimized efficiency. To further reduce weight, and increase battery duration, the bike employs customized carbon fibre wheels and a full suspension carbon fibre frame.

To further set the e-bike apart, a built-in smartphone app serves as an optional electronic control system. Just like a game app the systems onboard computer receives inputs from a smartphone enabling the rider to cycle through five modes: Pure, Pedelec, eGrip, Power Wheelie, and Balanced Wheelie. Unable to pull a wheelie without flipping your noggin on to the asphalt? No problem. The e-bike’s torque sensors, in combination with the app command, will properly measure and adjust power based on the rider’s pedaling. And to protect your $20k investment, an e-lock locks the rear wheel and sets a motion alarm if the bike is moved.

Unfortunately the Audi e-bike is concept only at this stage. So its manually controlled wheelies on your purple banana-seated one speed for you mister.

CHECK OUT THE e-bike in action jackson HERE

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Goats who stare at lights Fantastical illuminational offerings from the playful Australian goats at Yellow Goat Designs Images. Yellow Goat Design / Copy.Angus MacKenzie

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Yellow goats, draft 1, sept 5 (use this copy for editing) In the movie ‘men who stare at goats’ George Clooney kills a goat with just his eyes. The lighting designers at Yellow Goat Designs hope to never meet this George Clooney, killer of goats. They would however welcome Ewen McGregor for tea.

Founded in 1997 by a family of wandering Australian goats (maybe) YGD specializes in over the top customized, commercial lighting designs. Considered as one of the lighting world’s most unique designers, YGD’s irreverent style and playful personality are noticeable throughout. With product names like Fuzzy Jr., Thai Soup, Bustiere, The Kinks and Grubb only reinforces their frisky goat-like demeanours.

Regular collaboration with designers and architects gives YGD the opportunity to not only better understand a project’s design brief, and work within its parameters accordingly, but to also deliver finished designs befitting of the client’s aesthetic requirements. Each one of YGD’s designs visually articulates its own personality via a range of material and lighting accessories.

Despite their fantastical luminous creations, I will always think of Yellow Goat as those jaundiced, down-under designers of extreme talent and cloven hoof. And in their spare time YGD also designs architectural screens, to keep that Clooney fellow out of course. www.yellowgoat.com.au

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FUZZY JR

Cousin of the award winning ‘Fat Fuzzy Thing’. Jr is a lovely, water ballooning shape built from small curved pieces of opal acrylic clicked into place on the outside and inside. e 29

ELYSEE

A stunning collection of hexagonal shaped elements gathered around a mirror polished core. The external skin is made up of a variety of different metals, acrylics and finishes, some silver chrome, some bronze, some clear and all are suspended in this tear drop shaped jewel. Design Conrad Johnsson.

grubb

Its what you see when you look at bacteria under a microscope. Named ‘Grubb’, with an extra ‘b’ so as not to insult the innocent creatures.

PADDLE POPS

Built from panels of Lyten steel fixed to a structural frame this architectural divider can also be lit internally by waterproof LED’s.

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elemente

SHAGGY DOG

Thousands of frosted polycarbonate rod, all caught in the middle of a 10mm thick clear acrylic panel. Run your hand along the shag for a warm shaggy feeling.

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infinitely

Lotus

SCULPTOR EXTRAOR0INAIRE GERRY JUDAH PAYS HOMAGE TO LOTUS THROUGH AN AUTOMOTIVE INFINITY LOOP Images. DAVID BARBOUR / Copy. Angus MacKenzie

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First draft, Aug 23 I remember when I was little with the HotWheels. The 24� inch strips of orange, suitable for both elementary track day set ups and for whipping your brother, or Pete Young. The tongue in groove purple connectors held those miles and miles of orange together throughout every inch of the house.

The sound of fantastically coloured cars skirting about, flying off into walls at 245 kph thanks to uneducated arguments betwixt gravity and physics. The sound of

paint/furniture chipping always brought a smile, or yelling to my mom’s face.

For hours and days we would arrange elaborate Laguna Seca trackdays over sofas, around tables, up walls, around poodles, behind coloured televisions, across multi-speckled laminate flooring and back onto tightly wound monochromatic brown rugs. Dad would be forever tripping over and saying something about Shaganappi and Paskapoo under his breath. But it e 35

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was the cars that held the attention. Now collectors items of varying values, these wee early day concept vehicles were what initially brought about my now avid car fancier like ways.

Sculpturist extraordinaire, Gerry Judah, however took his fascination with Hotwheels influenced art to an extreme.

In the UK, Goodwood is one of the holy grails of automotive gatherings and each year one automotive manufacturer is featured. It is here that Judah, and UK Car manufacturer Lotus, worked to create a larger than life design.

“What you see in the structure is the track, but inside it is 98% empty space,” says Juddah. “In automobile terms, this would be a monocoque body, a tribute to the legendary designer and Lotus founder Colin Chapman’s introduction of monocoque chassis construction to automobile racing.”

The sculpture, designed to capture the essence of Lotus from early days to present, was premised around a 3D infinity loop.

Working closely with Lord March and Lotus, the 150-metrelong curvilinear track (similar to a fishermen’s knot) metaphorically represents Lotus’ race-bred environment.

On its surfaces rest some of Lotus’ most famous racecars: Jim Clark’s 1965Type 32B, Graham Hill’s Type 49, Emerson Fittipaldi’s JPS-liveried Type 72, a yellow Lotus 99T driven by the legendary Ayrton Senna, Mario Andretti’s black gold world title winner and the current Lotus grand prix car as driven by Kimi Raikkonen and Romain Grosjean.

Multiple cranes were used to erect the installation and place six significant Lotus cars onto its surface.

When the festival is over, the sculpture will be dismantled and taken to Lotus’s Norfolk headquarters. Cars will be removed and returned to Clive Chapman’s Classic Team Lotus workshop and to the Lotus F1 Team. The oversized Hotwheel sculpture will then be moved to my basement… or…to Hethel’s test track for permanent residency.

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curioscity C Rover boldy goes where aliens are sure to summer Images courtesy: NASA/JPL-Caltech | Copy Angus ‘Buzzdrin’ MacKenzie

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CURIOSITY, DRAFT 1, September 6

spacenerdlings than the entire NFL salary for ten

The location, one Mara Lake. The time, July 1969.

seasons. For you can run up and down the grid iron

The boy, only just 6 years old. The shirt, red with #10 emblazoned across his tiny frame. The television,

the end zone…don’t matter shit, because they didn’t

black and white, maybe 19 inches, placed at the back

put a 2-ton space vehicle on a planet 150 million

of the confectionary store/bait shop/shuffleboard

CULTIVATING THE

rental place. The event, one Neil ‘Moonwalker’ Armstrong placing his silver/white size 14 moonboots on one distant luna object.

Not since Sizzlers were invented had there been anything more exciting or confounding to a near six year old Scottish lad than man’s first steps on the moon. Was I excited, was I sure what the moon really was, was it made of camembert or Wemsleydale, or was it just one very large conspiracy by the ‘man’ to one-up the Russians? But based on the reaction from the elders you could tell it was indeed a big deal.

Flash forward to 2012. One slightly taller, slightly older, highly intelligent, really good looking Scotsman watches again in disbelief as a ‘kid’ with a pseudoRoad Warrior styled haircut attempts to Playstation a $2.5 billion dollar super rover on Mars.

I remember playing a very early-days video game called ‘Lunar Lander’. Simple premise: land the lunar lander on the highlighted landing pads on the planet.

Simple enough, except for the addition of gravity, diagonal descent trajectory, limited fuel, and landing pads not much larger the lander. Roughly 87% of the time the 8-bit screen would scold me for crashing and splaying $100 million dollar spacecrafts across the lunar surface. Uh yeah Buzz, we’re gonna need more quarters.

Forward to NASA and one faux-hawks attempt to put Curiosity on Mars using similar Colecovision skillsets. I don’t care how much money that kid made, but whatever it was, it was worth more to us

http://seb.ly/games/moonlander/ e 40

all day, dropping balls, catching balls, jazz handing in

miles away. Because for this, there were no resets, no extra quarters for the next game. This in space land was the ‘show’.

By now we’ve all seen hi res images relayed back from Curiosity and its orbiting wingman showing the ultra-wicked-awesome hi speed entry. The deploying of the speed-brake chute at around 900 mph, followed by the ejection of the much beloved heat shield. Oh heat shield, it would have been so crispy tostado without you. (cue Bono)And the eventual jet pack assisted touchdown. I mean holy shit people. I watched this live, with the super brained NASA types on the interwebs from my kitchen table. They’re like my space BFFs now.

Curiosity continues to send back surreal images, morse code signals, and laser blasted rock deets from the red dusty wastelands of Mars. And with each image, all those spatial nerdlings amongst us, experience a tiny episode in their NASA approved space pants. I might have been one of those.

So given that elemente’s revised tagline is ‘Cultivation of the Curious’ we felt it only fitting to feature the Martian SUV and some of the details/visuals that made it possible. Personally I could have done an entire issue on the thing but then where would I put the cutting boards and McLaren story?

THE CURIOsity

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< left. testing out Curiosityâ&#x20AC;&#x2122;s hi-def, Martian friendly parachute in one big ass wind tunnel >below. polishing up the bling in the event C runs into any hot alien rovers...chickabow

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> right. Câ&#x20AC;&#x2122;s six big wheels crush previous venturers wee tiny rolling bits > inset. In-studio, C tries out his articulated legs & performance rated Martian movers

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nerdilocity x 1,000,000 Illustrated phasing shows atmosphere entry to parachute deploy to separation to rocket tethered touchdown

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in diameter, supply the pressurized propellant. Aerojet built the thrusters at its redmond, Wash., facility. On both the cruise stage and descent stage, fuel tanks are from AtK space systems, inc., Commerce, Calif.; and pressurant tanks are from Arde, inc., Carlstadt, N.J.

that attachment is severed within the first hour after launch. the other surface of the cruise stage attaches to the top of the aeroshell. that attachment is severed 10 minutes before the spacecraft enters Mars’ atmosphere. During the roughly eight months between those

Cruise Stage Back Shell Interface Plate Parachute Support Structure Back Shell Parachute

Hazard avoidance can be supplemented with visual odometry. Visual odometry uses navigation camera images made with the cameras pointed to the side of the route being driven. By pausing at intervals during the drive to take these images, the rover can compare the before-and-after situation for each segment of the drive. it can recognize features in the images and calculate how far it has actually traveled during the Bridle intervening driveUmbilical segment. Any difference between that distance and the distance indicated from wheel rotaDevice tion is an indication that the wheels are slipping against the ground. in the day’s set of driving commands, rover planners can set the intervals at which the rover pauses for visual-odometry checks, as suited to the type of terrain being traversed. A slip limit can be set so that if the rover calculates that it is slipping in excess of that amount, it will stop driving for the day. the mode of using visual odometry checks at intervals several times the rover’s own length is called slip-check, to differentiate it from full-time visual odometry with sideways-looking stops as frequently as a fraction of the rover’s length.

Mars Science Laboratory flight system, expanded view

Navigation modes differ significantly in the fraction of time spent with wheels in motion versus stopped for imaging and analysis of the images.

Mars Science Laboratory Launch

Curiosity can incorporate other safety features in each drive, such as tilt limits. the rover’s inertial measurement unit, which incorporates gyroscopes, provides information about changes in tilt. this and other information about the rover’s attitude, or orientation, serve Descentand Stage in use of the arm and the science instruments, in pointing the high-gain antenna, as well as in navigation.

Rover Thermal

the rover’s heat rejection system has a pumpedfluid loop that can deliver heat from the multi-mission radioisotope thermoelectric generator when the core electronics need heating and take heat away from the 37 core if the rover is becoming too warm. Pacific Design technologies inc., Goleta, Calif., built the pump.

Press Kit

the top of Mars’ atmosphere is actually a gradual transition to interplanetary space, not a sharp boundary. the atmospheric entry interface point — the aim point for the flight to Mars — is set at 2,188.6 miles (3,522.2 kilometers) from the center of Mars. that altitude is 81.46 miles (131.1 kilometers) above the ground elevation of the landing site at Gale Crater, though the entry point is not directly above the landing site.

the final five days of the approach phase include activities in preparation for the spacecraft’s atmospheric entry, descent and landing. these include preheating of some components and enabling others. the schedule includes four opportunities to update parameters for the autonomous software controlling events during the entry, descent and landing.

ten minutes before the spacecraft enters the atmoLarger than Cruise & less Scientologically slanted, at 9 feet long 5’7”science tall sphere,Citmeasures sheds thein cruise stage. the by Mars Entry, Mars Descent andTom Landing Science Laboratory Launch 46 Press Kit Laboratory entry Descent and Landing instrument (MeDLi) suite begins taking measurements. the data the intense period called the entry, descent and landing MeDLi provides about the atmosphere and about the (eDL) phase of the mission begins when the spacecraft heat shield’s performance will aid in design of future reaches the Mars atmosphere, traveling at about 13,200 Mars landings. miles per hour (5,900 meters per second). it ends about

Rover Separation

Sky Crane Detail

Altitude: ~66 feet (~20 meters) Velocity: ~1.7 mph (~0.75 meter/sec) Time: Entry + ~390 sec

Cruise Stage Separation Time: Entry - 10 min

Mobility Deploy

Cruise Balance Devices Separation Time: Entry - ~8 min

Touchdown

Entry Interface

Altitude: ~78 miles (~125 km) Velocity: ~13,200 mph (~5,900 meters/sec) Time: Entry + 0 sec

Heat Shield Separation

Altitude: 0 Velocity: ~1.7 mph (~0.75 meter/sec) Time: Entry + ~403 sec

Altitude: ~5 miles (~8 km) Velocity: ~280 mph (~125 meters/sec) Time: Entry + ~279 sec

Altitude: ~1 mile (~1.6 km) Velocity: ~180 mph (~80 meters/sec) Time: Entry + ~350 sec

Parachute Deploy

Altitude: ~7 miles (~11 km) Velocity: ~900 mph (~405 meters/sec) Time: Entry + ~255 sec

Radar Data Collection Powered Descent

Sky Crane Flyaway

Profile of entry, descent and landing events, for one typical case. Exact timing will be determined by atmospheric conditions on landing day.

Mars Science Laboratory Launch

hardly a martian toaster, Curiosity is roughly the size of a small Japanese SUV

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1982 lbs. heftiest of the landers, C weighs in just under a ton, making a bubble wrap landing a no-go

354,000,000 mi. distance C commuted to reach it’s red rock destination...similar drive to grandmas in Saskatchewan

Flyaway

Back Shell Separation Hypersonic Aero-maneuvering

9’ 10”

seven minutes later with the rover and descent stage stationary on the surface — one about to begin its mission and the other with its job completed.

All of the spacecraft’s science instruments get health checks during the cruise phase. One, the radiation Assessment Detector, will be used on a power-available basis to collect information about the radiation environment near earth and between earth and Mars.

Peak Deceleration

amount of nuclear torque available to each of the six, individually powered wheels

Curiosity’s thermal control system was designed to enable the rover to operate far from the equator so that the mission would have a choice of landing sites based Rover on science criteria. in a range of Mars surface temperatures from minus 207 degrees Fahrenheit (minus 133 degrees Celsius) to 81 degrees Fahrenheit (27 degrees Heat Shield Celsius), the temperature-sensitive components inside the rover can be maintained between minus 40 degrees Fahrenheit (minus 40 degrees Celsius) and 122 degrees Fahrenheit (50 degrees Celsius).

Rover size, compared with a 5-foot, 8-inch man

Peak Heating

2000 ft. lbs.

Entry Vehicle System

Press Kit

$2.5 billion total cost of C’s entire program, including travel visa, lunches, nuclear materials, tires...or roughly $10 billion Ferengi pesos

A tale of two mars-bots

Comparing Two Mars Rover Projects Mars Science Laboratory

Mars Exploration Rovers

Rovers

1 (Curiosity)

2 (spirit and Opportunity)

Launch vehicle

Atlas V

Delta ii

Heat shield diameter

14.8 feet (4.5 meters)

8.7 feet (2.65 meters)

Design mission life on Mars

1 Mars year (98 weeks)

90 Mars sols (13 weeks)

Science Payload

10 instruments, 165 pounds (75 kilograms)

5 instruments, 11 pounds (5 kilograms)

Rover mass

1,982 pounds (899 kilograms)

374 pounds (170 kilograms)

Rover size (excluding arm)

Length 10 feet (3 meters); width 9 feet (2.7 meters); height 7 feet (2.2 meters)

Length 5.2 feet (1.6 meters); width 7.5 feet (2.3 meters); height 4.9 feet (1.5 meters)

Robotic arm

7 feet (2.1 meters) long, deploys two instruments, collects powdered samples from rocks, scoops soil, prepares and delivers samples for analytic instruments, brushes surfaces

2.5 feet (0.8 meter) long, deploys three instruments, removes surfaces of rocks, brushes surfaces

Entry, descent and landing

Guided entry, sky crane

Ballistic entry, air bags

Landing ellipse (99-percent confidence area)

15.5 miles (25 kilometers) long

50 miles (80 kilometers) long

Power supply on Mars

Multi-mission radioisotope thermoelectric generator (about 2,700 watt hours per sol)

solar photovoltaic panels (less than 1,000 watt hours per sol)

Computer

redundant pair, 200 megahertz, 250 MB of rAM, 2 GB of flash memory

single, 20 megahertz, 128 MB of rAM, 256 MB of flash memory

Source: Mars Science Lab Launch PDF (NASA)

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• – – – / • – – • / • – • •) MORSE CODE Wondering why holes in C’s tire tracks? Well it appears those weren’t Pirelli looking to make a galactic statement.

The straight lines in Curiosity’s zigzag track marks are in fact Morse code for JPL, short for NASA’s Jet Propulsion Laboratory in Pasadena, Calif., where the rover was built.

The “footprint” is more than an homage to the rover’s builders, however. It is an important reference mark that the rover can use to drive more precisely via a system called visual odometry. The Morse code, on all six wheels, is: .--(J), .--. (P), and .-.. (L) Using this odometry, C can figure out how far he/she has gone, or more importantly how much slippage has occurred in more difficult terrain. NASA can then evaluate track marks and adjust its route accordingly. dot dot dash dot

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CURIOSITY’S ARM The left eye of the Mast Camera (Mastcam) on NASA’s Mars rover Curiosity took this image of the camera on the rover’s arm, the Mars Hand Lens Imager (MAHLI), during the 30th Martian day, or sol, of the rover’s mission on Mars MAHLI is one of the tools on a turret at the end of the rover’s robotic arm.

The Mastcam’s left eye has a 34-millimeter focal length lens.

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Sandcrawler This view of the three left wheels of NASA’s Mars rover Curiosity combines two images taken by the rover’s Mars Hand Lens Imager (MAHLI) during the 34th Martian day, or sol, on Mars. In the distance, the lower slope of Mount Sharp. The camera is located in the turret of tools at the end of Curiosity’s robotic arm.

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stop. rest. goat.

J. Mayer H. pulls out all the Azerbaijanian rest stops on this one Photography: Jesko M. Johnsson-Zahn

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Sectional Drawing scale 1:500

ROUGH COPY. In 2009 Head of Roads Department of Georgia commissioned J. MAYER H. to design a system of Rest Stops for the new highway, which will run through Georgia and connect the Republic of Azerbaijan with the Republic of Turkey. The new rest stops are located on select scenic viewpoints along the route and serve as activators for their area and neighbouring cities, including not only a nearby gas stations and supermarket, but also a farmers market and a cultural space for local arts and crafts.

ADD DESIGN RATIONALE

Siteplan scale 1:500

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where demons reside Team Molo seeks to house Aomoriâ&#x20AC;&#x2122;s famed Nebuta demons Images. Iwan Baan & molo design

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▲

NEBUTA HOUSE, DRAFT 1, September 12, 2012 Nebuta Matsuri, one of the largest and most famous festivals in Japan, is a form of storytelling in which hyper-saturated heroes, demons and creatures from history and myth come to life as large-scale paper lanterns (Nebuta) illuminated from within. But where to house demons of such gigantic and fragile proportions?

Finished in 2011 by Vancouver’s molo design, Japan’s Nebuta House now provides sufficient

dwelling for these mythical beings in which to reside. Located in front of the Aomori train station the institution is meant to share the tradition, archive the history and nurture the future of the culturally unique art form.

Each year the five best Nebuta, selected for their creative artistry and craftsmanship, will take the place of the five Nebuta selected from the previous year.

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Around the faรงade, vibrant ribbons of red twisted steel skin the space providing a bio-morphic-like experience of metallic grasses moving with the wind.

Shaped to create variation and visual movement the openings provide varying light, areas of opacity, changing views, and pedestrian circulation.

act throughout the building during day, the bottom of each ribbon was set and twisted to a unique and specific angle.

Some of the ribbons follow a natural curve while others have further bending and shaping in order to create larger openings, and further encourage the abstract expression of wind.

Premised on how sunlight would re-

In interpreting the images from the 1:50

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scale model steelworkers had to execute tremendous skill and judgment. Tiny ribbons of paper now needed to be re-interpreted into 820, 12 metre high ribbons of steel.

With this craftsman styled approach each ribbon had to be individually crafted during prefabrication, then manually adjusted on-site during installation. No part of the finished screen was computer-aided, and like all things handmade, the human aspect enlivens both functionality and expression.

Engawa…I’m good, thanks for asking. Engawa would be the ribbon screen façade that creates a sheltered outdoor perimeter space.

The spatial concept that originated with traditional Japanese houses is now the dwelling for giant paper heroes, demons and creatures.

The engawa acts as a threshold between the contemporary world of the city and the world of history and myth. Shadows cast on the walls and floor through the ribbons give the effect of creating another e 69

â&#x20AC;&#x153;The engawa acts as a threshold between the contemporary world of the city and the world of history and myth.â&#x20AC;?

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screen â&#x20AC;&#x201C; the convergence of material, light, shadow and reflection change with the sun and weather.

Despite the challenges of designing a building of this cultural significance, the evolution of the buildingâ&#x20AC;&#x2122;s type and functionality represents a symbolic opportunity for future creative possibilities. Programming has already demonstrated a broad range of uses: workshops, conferences and new cultural events are taking place.

With this new mythical residence in place the hope is to carry forward the time-honoured tradition of Nebuta into the contemporary era, and offer a place to share ideas and bring creative minds together.

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Hawaii 5

Georgia Jurgen Mayer Architects new Mestia Police Station in Georgia pays homage to the regions medieval tower Images. Jurgen Mayer Architects

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moo

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House of Justice/ Civic Centre The House of Justice serves as a two storey civic centre for the people of Mestia, a village with a strong cultural heritage. Its concrete structure frames the spectacular landscape of the Caucasian Mountains. The building is part of an ensemble of new public buildings around the main central public plaza.

Mestia Police Station, Georgia The project, situated in the heart of the old town of Mestia, next to the newly built cityhall. towerlike shape pays homage to the medieval stone towers which are traditional to Mestiaâ&#x20AC;&#x2122;s mountainside region.

The facade is comprised of prefabricated textured concrete, whereas the expansive bio-morphic windows offer a maximum of transparency and ambient light. section scale 1:250

section scale 1:250

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botanical gardens Vancouverâ&#x20AC;&#x2122;s new VanDusen Botanical Gardenâ&#x20AC;&#x2122;s Visitor Centre is a sustainable, bio-morphic wonder Images Courtesy of Perkins+Will Canada Architects Co.

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When most designers and architects talk about sustainability...

VAN DUSEN BOTANICAL GARDENS, draft 1, September 13, 2012 ...they at times tend to see a zero-scaped entrance as the critical element, or a grey water toilet made from recycled Starbucks vente latte cups. Very few make the statement a living reality, except in this case.

Designed by the firm of Perkins+Will, in partner

with the city of Vancouver and the VanDusen Botanical Gardens, the newly created space truly and seamlessly blends the line between balance of architecture and nature.

From a visual perspective the entire form is inspired by that of the orchid. Undulating green roof petals float above concrete finishes and rammed earth walls, occasionally arching down into the

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landscape providing bio-morphic segmentation of spaces. Petals are connected by a ‘vegetated land ramp’ that links the roof to the ground. This connection not only provides added heating and cooling insulation but also allows the form to naturally morph into the environment.

Housing a café, expanded library, volunteer facilities, garden shop, the centre also houses flexible space for classroom education and meeting spaces for private functions or workshops.

From an ecological perspective the centre was designed to just ever so slightly exceed LEED Platinum ratings.

And this is where the centre exceeds, pushing the boundaries of sustainability. Designed to be ‘net-zero’ energy on an ongoing basis the Garden has targeted the ‘International Living Future Institutes’ Living Building Challenge’ of meeting the most advanced level of sustainability possible. Geo-thermal bore holes and solar hot water tubes are integrated into the system to manage heating requirements and meet the net-zero goal.

Given the west coast location, and goal of a carbon neutral site, it was only natural to use wood as the primary building material. Wood design elements are omnipresent throughout. Wooden slatted soffits line the underside of flowing petal cornices that extend out e 82

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â&#x20AC;&#x153;In an urban environment people n surrounding themse Cornelia Hahn Oberlander,

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FLOWER AS METAPHOR Rooted in place and yetâ&#x20AC;Ś harvests all its own energy + water is adapted to climate + site operates pollution free promotes health + well-being comprised of integrated systems embodies beauty

0 10

25

PROGRAM The 1,765 SM facility houses a cafe, an expanded library and volunteer facilities, a new garden shop, administration and flexible classroom space.

CONTEXT Located at Oak and 37th Street, VanDusen is less than 5 km from downtown Vancouver and is looking to draw visitors from an increased street presence.

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RHINO SOFTWARE was used to design and 3D model the undulating roof forms.

The complex petal ROOF STRUCTURE utilizes a glulam post-and-beam assembly.

An operable GLAZED OCULUS with a solar heat sink allows for passive ventilation.

landscape architect

Only MATERIALS that efficiently utilize resources are used in the project.

need to refresh their souls by elves in natureâ&#x20AC;?

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over walkways. Ceilings, walls, solar chimneys all flow from slatted custom wood insets throughout the space.

Rainwater is filtered and used as greywater throughout the facility, whereas the evil ‘blackwater’ is treated onsite via a bioreactor, then released into a ‘percolation field’ and garden. Ventilation is assisted by an aesthetically beautiful solar chimney that is composed of an operational glazed oculus and aluminum heatsink. The heatsink converts solar to convection energy, which is fed back into the system.

And just like the orchid for which the space is inspired, the soaring solar chimney is strategically placed at the exact centre of the site, where the petals radiate from.

structure exactly alike. (pullquote) Cornelia Hahn Oberlander, landscape architect, was asked to assist with the design of the centre she went to her library and started rummaging through books of nature. One book in particular stood out – The Alphabet of Plants by Karl Blosfeldt, focusing on plant photography circa 1928. It was here that Cornelia found a black and white image of the leaf of an orchid.

“In an urban environment people need to refresh their souls by surrounding themselves in nature,” says Cornelia. To that end, key design features throughout the site were specifically included in order to bring beauty and inspiration to all visitors.

Surrounding native plant landscaping, including the green roof, feature select grasses and plants ideally adapted for Vancouver’s moisture challenged climate.

Finished in 2011, with a footprint of 183,000 sq.ft. and at a cost of just over $22 million dollars, Vancouver’s VanDusen Botanical Garden Centre has redefined the line where aesthetics and sustainability can intermingle like an orchid on the forest floor.

Like the BC Orchid, advanced bio-mimicry aspects influence throughout with no two pieces of

YOUTUBE http://youtu.be/qGusZFiZ41I e 87

of voids & spirals

hanrahanMeyers architects zen-like Buddhist retreat emphasizes architectural and spiritual balance Photos. Michael Moran/ ottoarchive.com

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WON DHARMA RETREAT hanrahan , draft1, September 10, 2012 In upstate New York resides a very zen-like, and most un-New York-like retreat. Developed by New Yorkâ&#x20AC;&#x2122;s hanrahan Meyers architects, the recently completed 35,000 sq.ft Won Dharma Centre is an open aired meditation and recreation site highly influenced by the Korean Buddist concept of the open circle.

The retreat site, a 500-acre property located on a hill east of the Catskill Mountains is comprised of three residential dormitories, an administration building, and a meditation hall at the south of the site.

The clientâ&#x20AC;&#x2122;s belief system (a Korean Buddhist sect) drove the design mandate with an emphasis on balance in daily life and a focus on nature. The clients requested their new retreat use as many natural

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materials as possible to keep harmony with the rural character of the region. Wood was selected as the best material to address the clientâ&#x20AC;&#x2122;s philosophy.

Designed as a net zero-carbon footprint project Won Dharma utilizes a heating and cooling system that includes geo-thermal wells for HVAC, a photo-voltaic array sized to provide 100% of the yearly electrical needs; solar thermal roof panels for hot water; and a central bio-mass boiler for heat.

Courtyards provide passive cooling, and promote cross ventilation. Like the meditation hall, the residential courtyard buildings are wood and shaded to the west and south to allow natural day-lighting without excessive heat gain. The buildings employ state-of-the-art construction systems, including low-e glass insulated windows, and a radiant in-floor heating system to minimize energy costs, and use of carbon fuels for year-round occupancy.

A critical factor in the creative process was the Buddhist organizations symbol â&#x20AC;&#x201C; the open circle. The symbol suggests a void without absence and infinite return. The retreat buildings are organized around these concepts of void and spiral. Void refers to Buddhist meditation, the focus of the retreat experience, wherein Spiral refers to the practice of walking meditation. Walking

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â&#x20AC;&#x153;Buildings are organized around the Buddhist concept of void & spiral.

Void = Buddhist meditation, the focus of the retreat, Spiral = practice of walking meditation.â&#x20AC;?

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0’

50’

N

8 tree courtyard

4 drive

7 guest residence 2

3 administration building

6 guest residence 1

2 meditation hall

5 permanent residence

1 lawn 1 7

8 5 6 4 3 1

2

meditations include paths linking the retreat buildings into the site’s 350acre nature preserve.

Won Dharma’s 3,000 square-foot meditation hall is a precise, rectangular void and a lightweight frame to the natural surroundings. Its wood structure is exposed on three sides to form entrance and viewing porches, while the interior offers views of the mountains from the meditation space.

The administration building is linked to the meditation hall by a series of porches designed to accommodate formal walking from administration to meditation.

The design of the residential buildings and administration building are premised off traditional grass-roofed Korean farm-houses, loosely clustered and organized internally around central courtyards. The roof shapes of these buildings transform in section around a spiral organization, from a simple slope in section to a complex triangulated geometry at the entrance porches. The internal organization of each courtyard building is influenced by the Spiral with silent walking meditation in and around the inner courtyards, outdoor porches and open spaces.

The ‘permanent residence’ building is designed with small apartments, and provides lodging for twenty-four retired ministers. Two guest residences provide lodging for up to 80 retreat visitors. Rooms are designed with custom designed furnishings complementing the architectural design.

The Buddist sects’ on-going remediation and site planting will include a mixture of wooded areas mixed with meadows to foster local wildlife habitats and extend the area of the site’s nature preserve into the zone of Center itself. e 96

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towerdu aquatique Belgian designer Mauro Brigham transforms a former water-tower/Nazi watchtower into a vertically contemporized residential space Words. Angus MacKenzie + bham studios e 98

Images. Jasmine_Van_Hevel & Mauro Brigham

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In a small PLOT OF BELGIAN LAND RISES a 1938 era water tower built by the village of Steenokkerzeel. THAT WAS THEN...

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ANGUS, DRAFT 1, 0905 Rising up out of the Belgian plains like a watchtower (coincidentally used by certain Nazis during WWII) resides the vertically transformed residence of Chateau dâ&#x20AC;&#x2122;eau.

Commissioned in 2004 by the Belgian Royal Committee for National Heritage Sites, the site was set for historical protection with renovations beginning in 2007. The result is one of the most exclusive, contemporized vertical spaces in Europe.

Overseen by Belgian interior architect, Mauro Brigham of BHAM design studios, this elevated living space was designed to provide as user friendly a living experience as possible but with current day design elements and amenities.

To avoid overcrowding and to optimize available space, each floor was allocated its own singular purpose. On the ground floor a double garage and the houseâ&#x20AC;&#x2122;s entrance. The first floor is allocated for storage, mechanical and utilities. For corporate events and guests dedicated guest room with bathroom and office is located on the second floor. Up on level 3 is one of the projects key design centrepieces - the main bathroom. With a 15 ft high shower raining down on black stepped tiles, gives this room the floor solely unto itself.

A spacious master bedroom with custom spiral staircase leads up from the fourth floor to the main living area on the sixth where the kitchen and dining areas are found. To access the sixth floor residents take the spiral staircase from the kitchen (hidden by a large barrel shaped feature), cross a walkway, climb 11 stairs, and pop the roof hatch. Then their thighs and calves can enjoy a much deserved glass of Sauvignon Blanc on the panoramic terrace rooftop. ....

meow

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â&#x20AC;&#x153;Buildings are organized around the Buddhist concept of void & spiral.

Void = Buddhist meditation, the focus of the retreat, Spiral = practice of walking meditation.â&#x20AC;?

Living room, kitchen, dining room Impressive by its circular shape and large surface, the top floor affords incredible vistas to the airplanes landing on the national airport a quarter of a kilometer away.

The elevator block integrates a rest room, a library, the all important cat house and a cloak room.

Above the sculptural kitchen furniture, a steel bridge takes you to the terrace.

BATHroom A central 4.5 meter high shower was created in the bathroom in order to maximize the water flow experience. Black tainted glass walls surround the walk in shower increasing the sense of intimacy.

Textile as visual separation from the cupboards was introduced to create a balance with the other ‘hard’ materials and to enhance the room’s acoustics.

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BEDROOM A circular room featuring a domed ceiling hosts revolving stairs that lead to the upper floor. A full monolithic mirror dressing witch reflects the Belgian surroundings back into the space.

To help warm the coldish nature of the mirrored surfaces WengĂŠ wood flooring is used to bring reddish tones into the room.

A unique user program for the site was also developed. On the one hand, the owner lives and resides in the tower on a daily basis. But a few times a month, a section of the building is rented out for exclusive events. Companies looking for a unique space for corporate events can bring clients from the nearby airport to experience first-hand this vertical brick experience. All event rooms are equipped with the latest IT technology, domotics and the opportunity to install projectors on the top floor.

The preservation of existing concrete elements such as the main water conduct, concrete ceilings, concrete stairs and the 250.000 liters concrete water basin were essential to preserve the strong identity of the building.

Again on the inside, every visible concrete element was painted dark grey in order to mark the old from the new; the colour choice, to enhance and play off the dark and light contrasts.

The exterior of the tower was fully renovated to its initial state. Damaged concrete columns were repaired and painted, brick joints were completely removed and replaced, and top floor windows enlarged to increase light volumes. e 106

GUEST ROOM/OFFICE An envelope inside the envelope. The combination of vertical and horizontal wengĂŠ surfaces delineates the guestâ&#x20AC;&#x2122;s bedroom area with its own bathroom.

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| URBAN FEATURE

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elemente

re.design elemente checks Calgaryâ&#x20AC;&#x2122;s new urban design mandate, public works projects & an inner-city arts incubator they hope will finally evolve the cityâ&#x20AC;&#x2122;s tired design facade e 109 e 109

shimmer me this

Calgary Stampedeâ&#x20AC;&#x2122;s new-wave underpassage melds 80â&#x20AC;&#x2122;s neon with biomorphic shimmer plating Photos by Angus MacKenzie

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STAMPEDE UNDERPASS, draft 1,

will not only allow ease of access

sept 8

to the new village population but

Given the usual apathy for most

will also provide access to the up-

things underpass, we’re probably wondering why now. Well maybe because its shimmery with 80’s laser beams tattooed on its walkways. Yes, shimmery and Star

the north side of the tracks. So instead of dividing north from south, the new corridor now opens up migratory routes for urban dwellers

Wars laser light show all in one un-

to experience future events.

derpass. I know!

Opened in October of 2011, Cal-

Located near Calgary’s Stampede

gary’s Marshall Tittemore Archi-

Park, the new underpass was initiated to enhance traffic flow between the newly revitalized East Village and Stampede grounds.

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coming Cantos Music Centre on

tects and the newly developed ‘Urban Design’ team took cues from ancient creek beds that ran through the area and the areas re-

The East Village’s upcoming mixed

vitalized future.

use plan will see extensive popula-

The pedestrian friendly underpass

tion growth and development, and

employs wide walkways, dedicat-

with it increased traffic and pedes-

ed bikelanes and state-of-the-art

trian needs. The $70 million project

LED lighting in its walls and hand-

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rails to make the space lighter and more inviting. The underpass also fe

unique kinetic artwork installation in its canopy. Hundreds of aluminum

set within a galvanized meal armature, fastened by pivots. These shim metallic tiles allow each fin to move with the wind or a passing train to space below and create a fluid, reflective visual to the space. e 114

eatures a

The new inner-city mercenary Urban Design team was created to help The

m fins are

City meet their objectives of achieving urban design excellence in Calgary. Very

mmering

much welcome in a city that to this point, has seriously lacked in fine examples

light the

of urban architectural excellence. The disco laser elements I believe to be a direct George Lucas and Pink Floyd influence. e 115

sports hall oâ&#x20AC;&#x2122;fame Canadaâ&#x20AC;&#x2122;s Sports Hall of Fame celebrates one year of accomplished design & style Photos / Copy. Angus MacKenzie

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SPORTS HALL OF FAME, draft 1,

the meager simplicity of the other

September 24, 2012

hall. Hockey moved down to Front

The whole sports hall of fame thing

Street so it could be closer to the

was the original brainchild of one Harry Price, way back in 1947. Took

sports arena. Aren’t we cool.

the guy 8 years of travelling across

So it was for 15 years that the origi-

the country to achieve the interest

nal halls extensive treasures sat in

and funds needed for the venture.

dusty boxes, unseen and forgotten.

And where better to put a Sports

It’s like Toy Story 2 but with skates

Hall of Fame but the sports capital

and helmets instead of slinky dogs.

of the world, Toronto. Cough. The

Sad. But in 2008 the CSHF Board

hockey kids came along with their

of Governors launched a process

own hall of fame concept in 1957.

to rejuvenate the country’s sporting

At that time the two forces joined

history and find a new home for the

to create a super league of sports

sadly forgotten sports memorabilia.

hall of fameness styled place. The

Calgary wins! Not quite sure how

two lived in perfect harmony until in 1993 hockey decided it needed a place of its own as it was feeling smothered and held back by

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Gardiner Expressway and that big

they beat out the Toronto but good on them for selecting a context relevant location at COP. At 44,000 sq.ft. the Hall of Fame

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houses 11 exhibit galleries, representing 58 sports.

Sporting artifacts, photo and video collections, and 50 interactive elements provide visitors a complete historical experience. Itâ&#x20AC;&#x2122;s like being an athlete, but without having to actually do windsprints.

But it is on the outside that visitors are treated to two very large red and white boxes. Think of them as shoeboxes of Canadiana architectural relevance. The rise of the exhibit hall box is tilted on an angle, away from the white base/shoebox. The effect allows for exhibits to be tiered, which forces visitors to slowly increase altitude as they rise the length of the space. It is this metaphorical rise that is meant to represent the challenge athletes face on their path to the Olympics. The elevational increase is also intended to give visitors their own platform-like ascension experience as they move from one impressive collection of Canadiana sports memorabilia to another. And then you can get your ass kicked by Lennox Lewisâ&#x20AC;&#x2122; shadow.

An obvious excess of

red

white

and

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saturates the facilities exterior causing visitors to

cafeteria and office space. Connecting the two spac-

break out in impromptu flash mobs and the singing

es, a two and a half storey atrium delivering ambi-

of O’ Canada. On profile the upward rising red box

ent light into the main entrance and creating a glass

brings with it a dynamic energy, reflective of the hall’s

hinged break in the space.

mandate. Enzo Vicenzino, Senior Principal with Stan-

Wayfinding design and associated graphics are top

tec Design speaks of the structure’s approach as not trying to compete with existing structures but to be seen as an ‘object in space’. The rising red, cantilevered box appears to rest delicately on a smaller, inset glass box.

drawer. Type treatments and graphics work nicely in partner with the rising, meandering path that leads visitors throughout the space. But as impressive as the use of Helvetica 75 bold is, it doesn’t compare to the outstanding collection of Olympic torches and

Vertical red and white window slats that populate

rollerskates.

the shoe box are not designed explicitly to aid in-

The hall is not just about Olympic athletes and related

terior lighting, rather they are meant to metaphorically represent the Olympic rings…via a slimmed down, stretched rectangular narrative. Metaphorically speaking of course. We like it as it helps to draw the eye vertically and assists in breaking up the horizontal, freight car massing.

On the west side of the facility would be the yang to the red boxes yin. Anchoring the facility, all dressed in its best whites, is housed the all important gift shop,

paraphernalia, but rather about the celebration of Canadian sports heroes across the years. Once you’ve walked through the hall and fully digested the scope and depth of its history, only then will you realize how proud we should be of our athletes oh these many years.

The accompanying architectural design and execution…I give it a bronze medal. e 123

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Please bridge

After much delay, budget overruns, & acres of criticism, Calgaryâ&#x20AC;&#x2122;s Peace Bridge opened for business Images. Angus MacKenzie

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Okay to be clear... we love Santiago Calatrava.

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So we’re good. So the problem with our friend the ‘Peace Bridge’ isn’t in essence with the architect per se, it’s with the director and executive producer. It’s like when Johnny Depp gets dropped into a bad movie. For the most part, not his fault. This phenomenon is I believe what we’re seeing in the Peace Bridge. Seems competent enough on paper, despite the overt heaviness of the design and its assinine placement. But aye boy, there’s the rub...the placement.

The bridge neither works to solve or refine existing pedestrian traffic on the street side of the river. Nor does

it align with contributing walkways on the Island side. So why would we drop a 100 megaton red beasty of a snake like thing in betwixt two completely competent bridges? I believe the answer may lay in the wallet of our former mayor, one Mr. Dave Sprawlconnier. Friend and lover of the UDI, and urban developers everywhere, Mr. Bronconnier’s participation in the placement is up for debate. However, that the bridge aligns rather neatly with one Mr. Restaurant owner/major political contributor’s eatery on the south side of the river does smell of grassy

knoll.

That said, the thing is visually impressive at night with its opaque insets and red xmas trim. Photographs rather nicely too. People, they seem to like it, said one survey. It does add to the architectural diversity of the city, a much welcomed addition. Its just so damn poorly placed...and red. Oh Santiago, where were your sculptural flying sail bridges when we needed them?

Personally, I think it should be renamed the ‘Dave Bronconnier Bridge for Kids that don’t understand context so good’ bridge.

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ma n e e lag f u o cam

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e s s ma

amp C h t al e H h t e u d o S w o faca e n ’s cam c i h t i Calgary l o mon

us’

nzie acKe M s u Ang tos. o h P

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SOUTH CALGARY HEALTH CAMPUS, draft 1, September 12 She rises out of the south Calgary suburban blandscape like a Star-Warsian snowwalker, in countrified camo-pants. This monstrous massing of health regeneration exterior was skinned by the rather talented façade folks at Kasian Architects.

Merging from gold wheat hues up to sky ward blues the skin is designed Iâ&#x20AC;&#x2122;m guessing to ninja its extensive sizing into the landscape. A task made difficult by its hugeness when placed in context to the nearby sublurblah residential compounds of mediocre masked taupes that surround it.

But I do like it. For it does in fact lighten the visual massing at least working within the existing landscape. And that it moves away from what could have been an extensive array of creamed taupe.

Still does nothing to solve the lack of a hospital in the downtown core but that would be another political discussion.

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inogeek Calgaryâ&#x20AC;&#x2122;s new SPARK Science Centre opens its sciencey doors to illuminate & cultivate the creative & the curious Copy. Leslie Todd

/ Photos. Angus MacKenzie

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SPARK TELUS

SCIENCE

CENTRE, draft 1, September 17, 2012 With hyper-saturated neon glowy-ness off Deerfoot Trail, Calgary’s new science centre pops out of the reclaimed landscape like one of those hidden European rave warehouse. If we listen carefully we can almost hear the sound of glow-sticks and binkies in the distance. But this is no e-den of 256 bpm inequities, this is the newest facility of all things science and good.

It’s a Libeskind-esque fortress of solitude whose shardlets jut from the ground like a crystalline experiment. It is the new Telus Spark Science Centre and its mandate is to make science cool again…hear that Harper. Leave the scientists alone. Ass. Anyways, SPARK was designed to be a catalyst for the curious, in a nerdly, geeky like way for all ages. According to the official press release ‘Spark is meant to ignite a sense of wonder & fuel the imagination’. Other sparky superlatives like; flashes of inspiration, illuminating, and brilliant all work to drive home the verbological concept of the centre as a vehicle to educate and inspire. So there’s inspiration twice so I guess it works.

Finished in 2011 on reclaimed land, and replacing the fondly remembered and literally designed downtown science centre, SPARK at 153,000 sq. ft. provides more than enough space for future scientist and innovators to blow shit up.

This $160 million dollar project was built as a joint venture project between the city, province and federal governments. One possible reason that Canada is possibly falling behind e 136

the world in inno-

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â&#x20AC;&#x153;Buildings are organized around the Buddhist concept of void & spiral.

Void = Buddhist meditation, the focus of the retreat, Spiral = practice of walking meditation.â&#x20AC;?

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vators and

innovation

could be attributed to the fact SPARK is the first new science centre in 30 years. Innovation?

Who needs innovation, we have oily gassy mineral deposits to last us one billion years.

In designing content, focus groups were invited to participate in sessions. From these sessions culminated four approaches: Open Studio, Being Human, Energy & Innovation, and Earth & Sky. Most likely the blowing shit up sessions would occur in the ‘Being Human’ exhibit.

Angley and pokey in certain aspects, veiled and cloaky in others, the exterior design of SPARK is certainly frenetic, but still manages to flow rather well aesthetically. According to the press release, the building is largely built of steel. Yes. Yes it is.

Corrugated crystalline sections protrude from the ground providing a break from the west sides rather voluminous massing.

To help lighten the massing and provide additional visual personality to the space an encasing metallic exo-skin wraps the majority of the vertical surfaces. Solar shaded and protected with ‘scrim’ spaced roughly 2 metres from the main building, the skin is broken by rectangular nega-

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tive spaces across regular intervals.

At a distance the openings give the impression of oversized windows, backlit by metallic surface treatments.

Lighting inset between the skin and building varies the personality of the space across an RGB Moodring spectrum.

Inside away from the raving light sh

the space opens up dramatically w

wooden panels and voluminous rising c

ings. The main walkway from the seco floor exhibits to offices and cafeteria is

architectural highlight of the interior. J

taposed angles and sandlewood cove

panels criss-cross each other in an eff

to stay true to the centre’s ‘sciencey’ a innovative mandate.

The cool nerd out science geek stuff is

course what the centre is all about. Ha

on interactive exhibits like ‘open stud

challenge visitors to question establish

assumptions and redefine creative thi

ing via smashing, light painting, sympho colour composition, shadow dance simply blow shit up. Okay, no blowing here, smash only.

In Being Human, you learn how slow y

reflexes are, or how bad your memory

getting or whether the date you’re w

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is compatible or a deadend. Super. This

vation oil companies use their sponsor-

one is better left to the younger folks who

ship opportunities to ‘explore the proper-

haven’t had a chance to properly form egos

ties of petroleum’. In this exhibit visitors

or their identity yet.

can learn to build a pipeline from the north

In ‘Earth, Wind & Fire’ a talented band of

to the BC coast, then carefully maneuver

young musicians, totaling 34 in all, throw out

tiny single-hulled oil tankers through the

some of the best disco, soul, R&B and funk

ghost islands without running aground and

of the era. There’s also miniaturized ava-

killing thousands of seabirds and indig-

lanches, constellation staring, landscape

enous wildlife. And there’s a wind turbine.

erosion exercises and other stuff.

The creative kid’s museum will be the

In Energy & Inno-

highlight for the wee ones. I give it 5 interactive waterfalls out of 5.

It is evident the amount of work and thought went into the project.

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Architectural aspects from an exterior perspective are better appreciated at night as the space seems to shift visually with the changing light. The stolen shard elements are a nice breaking touch, if not overly plagiaristic.

So given SPARK’s mandate of igniting creativity and sparking curiosity (pun) I’d have to say they’ve succeeded in providing a facility to foster future thinker types. e 145

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All Hail King Edward

Calgaryâ&#x20AC;&#x2122;s iconic King Edward School turns 100 this year...and with it a new life Photos / Copy. Angus MacKenzie

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do i stutter In the Oscar winning ‘The King’s Speech’ the role of Guy Pearce was played by an arrogant playboy named Edward. Now Edward had a penchant for being a bit of a black sheep in the royal family, think Prince Harry circa 1935.

He married a female of questionable repute ie. divorced (twice) and did not stutter. His brother Albert Frederick Arthur George, the Reluctant King, did however stutter but won an Oscar for his performance with the help of Geoffrey Rush. Now King Edward the VIII, who reigned over the UK and other British dominion regions in the early 1900s also did not stutter. Nor did he marry a twice divorced woman. King Edward was also so cool they named an era after him ie. The Edwardian Era, or e2. King Eddy was seen as an important figure in reforming and reorganizing the army, medical services and developing a newfound relationship with those snotty French types across the Channel.

So it ‘twas that in 1912, in the foundling city of Calgary that a fine school of sandstone, wood and glass was built on the bald headed prairie in honour of this King Edward the VII. Sandstone, native to the Calgary region was seen as an ideal building material for the school for its durability and accessibility. In all 5 schools throughout the city e 148

employed this stoney-sandy-stone material in their build.

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Rising up out of the bald headed prairie like an

Germans and that whole WWI thing. Following

institutional monolith the King Edward was the

the big one the school went back to its mandate

tallest structure on the block with the only thing

as a learning institution until 2001. From 2001

impeding the view was one cow, a tree and a

to 2005 the school was leased out to film maker

smattering of small English children attempting to

types and a French language institution. Since

tip said cow.

that time it has sat empty but has performed

Built initially as an educational institution the

beautifully as an impromptu skateboard/snow-

school shortly became a cadet training facility and social service centre in 1914 thanks to the

board park and rollerblade video shooting facility.

Attempts by the CBE to sell the school to certain

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evil developer types who might

proud; where people would rather

have turned the space into over-

drive 217 kms each day from

priced leaky condo units failed

blando-burbs in their silvery son-

miserably due to lack of commu-

net SUVs than live in the inner-

nity support. Aww, what a shame.

city for fear they would lose their

But then in 2010, a unique, very

self-defining bonus rooms; where

un-Calgary ‘let’s tear down the historical’ thing happened, a partnership was formed between The Calgary Foundation and Calgary Arts Development with the concept, to re-develop and repurpose

NIMBY mentalities remain as pervasive as any other city, etc. This is the city in Canada that is going to full on disprove all this and repurpose a historical space into a non-profit thing of architectural

out the space as an Arts Incuba-

and cultural inner city beauty?

tor. Say who the what who?? This

Nice work Calgary. Way to change

is Calgary, not Vancouver. Calgary,

it up and shake off that embar-

where oil and gas determines your

rassing zombie mono-cultural

social/economic and cultural sta-

stigma that I keep pasting on your

tus; where turbo-diesel 4x4s with

pastey white foreheads.

20” lift kits, replete with gilded

So the vision mandate for this

bovine cajones hang delicately from whence trailer hitches should be; where Stephen Harper was born and we’re all just so darned

Juilliard-styled incubator defines it as “An integrated, mixed-use ‘hub’ providing a dynamic and collaborative gathering place foe 153

the ARTS INCUBATOR A futuristic glimpse into the incubator, post-redesign/repurpose. Anchor tenants will occupy the top floor of the school, while various coffee shops and miscellaneous other shops will provide retail throughout the space. The schoolâ&#x20AC;&#x2122;s massive classrooms provide outstanding ambient light throughout for all incubatees.

The space is made of up 3 commons: Learning, Creative and Community Commons. Learning provides the physical, social and digital spaces for which to foster the collision of ideas and innovation.

Creative commons is comprised of production, rehearsal & creative spaces for artists & non-profit.

Community commons is public realm where weed smoking may or may not occur. Intended as a spillover space for public art, events, community gatherings, etc.

9 TYPICAL TOWNHOUSE UNITS (PRIVATE SECTOR)

COMMUNITY OPEN SPACE (CITY OF CALGARY) 13 ARTIST LIVE/WORK UNITS (cSPACE)

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SHARED/ COMMON SPACE (cSPACE)

2 FLEXIBLE STUDIO PAVILIONS (cSPACE)

145 MULTI-RESIDENCE UNITS WITH BELOW GRADE PARKING (PRIVATE SECTOR) ARTS HUB AND INCUBATOR INCLUDING: OFFICE, STUDIO, EXHIBITION, REHEARSAL, CAFE AND MEETING SPACE (cSPACE)

THE LEARNING COMMONS The connective tissue of the building’s working community – these are the physical, social and digital spaces that provide fertile ground for the collision of ideas, innovation and community building.

THE CREATIVE COMMONS The backbone of the facility – a portfolio of production, rehearsal and creative spaces for local artists and non-profit organizations to generate new work, innovate in their mission and accelerate their impact in Calgary and beyond.

THE COMMUNITY COMMONS Is the public realm that connects the diverse activity percolating from the heritage school to the local community. It is intended as a spillover place that delivers diverse opportunities for public art, innovative open space, community gatherings, heritage interpretation and interaction with the arts.

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cusing on the incubation and advancement of professional arts practice, social innovation and community development in South Calgary.” South Calgary being inner city, not Bridlewood.

The facility will house a range of affordable office, programming and collaboration spaces for community and non-profit arts organizations. Former school rooms will be redesigned and repurposed into dedicated studio spaces for artists and creative entrepreneur types. I call dibs on the Lego room.

The incubator is designed to provide a community styled haven for artists and tenants, thus encouraging a communal space to further foster the mandate. This in turn will provide a multi-layered experience via programming and mentorship that will hopefully develop individual capacities and advance the goal of becoming successful entrepreneurs.

So that’s the inside artsy stuff, what about the outside and architectural refinements? Well while the core operations of the multi-tenant arts incubator will be housed in the original 1912 sandstone school building and subsequent phased additions, it is envisioned the remainder of the site will be redeveloped for mixed-income residential use. Conceptually the plan will see private owned townhouses on one end of the grounds next to artist live/work units and flexible studio pavilions. On the east side of the school the plan is to develop 145 residential units, forming an L and enclosing the school from my view.

These residential spaces, amenities and public spaces are designed to reinforce the incubator’s purpose, enhance the sustainability, and anchor the facility into the community. Our kudos go out to cSpace, the Calgary Foundation, and Calgary Arts Development for making this whole Edwardian thing shake forward..and they didn’t even stutter.

To learn more visit www.cspaceprojects.com

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ca l g a ry s tampede

100 corndogs on

photo-editorial TAKE ON the ‘Greatest OUTDOOR Show on Earth’s 100 bday Photos / copy. Angus MacKenzie

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Calgary stampede turns 100 \ Draft 1, September 5 After 100 years of corndogs, 73,000 mini-donuts, $18,500 on Whack-mymole and 134,500 rings tossed the Calgary Stampede turns a cool one hundred years old.

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Was about this time in 1912 ago that some Weadick fellow (insert joke) and some ranchers felt there just wasn’t enough corn dogs available during the summer months. Apparently the corndog growing season only runs until May 31st. So Guy and the other guys got around the bar drinking the hooch and eating humbugs and decided to put together a horse bonking, cattle wrestling type affair. There would be beef as far as the mouth could eat, sasparrilla (sp) for the various poke types and wagons of chuck to enthrall the drunken, well mannered masses.

at various carney populated games, drink again, win large stuffed Panda, go to corporate event, eat midnight pancakes (whilst imbibing in various forms of hooch), wear special one time a year clothing, plus hat, in order to fit in. Repeat for ten days.

Mosey on ahead 100 years and the focus of the Stampede remains relatively the same – get drunk, ride a horse, eat beef, lose monies

elemente tries to capture some of that unique tequila, BBQ sauced experience in this photo feature.

Tagged as the ‘greatest outdoor show on earth’ may have rung true years ago, but in comparison to events in New Orleans, Trinidad and Rio I think they may want to reconfigure the line. Perhaps something along the lines of the ‘Greatest Outdoor Drunk on Earth…in Wranglers’.

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to be frank McLarenâ&#x20AC;&#x2122;s Frank Stephenson ideates about the design influence of fish & falcons going fast Images. McLaren Copy. Angus MacKenzie

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why did the falcon hold its nose during the dive?

Meet me at Hall 5.1 at 5:45 on the 27th. This was the invitation from my new BFF for a month, Frank Stephenson, Design Director for McLaren. Frank had magnanimously invited me to the launch event for the much anticipated successor to the F1, the new P1.

Felt this was a great time to meet with the award winning designer, whose credentials include such designs as the; Maserati MC12, Ferrari F430, FXX, Enzo, some Fiat stuff, and most recently the MP4-12C and 12C Spyder.

The guy has skills. Oh and he was responsible for the redesign of a lesser known miniature icon in early 2000s: the Mini. So 17:45 hours, at the McLaren boothâ&#x20AC;Śin Paris. F*ck. e 177

I wasn’t going to be in Paris, my passport had expired and, you get the point. sigh.

But beyond my inability to be a francais attendee for the Parisian Auto Show I did manage to do the unthinkable and pull hi-res images of the P1 off the interwebs. It’s just like being there, in Paris, but without all the Paris, and culture, and exotic car-wares…phhhhtttt.

Since 1963, the year yours truly was dropped head first onto this planet, McLaren Racing has been recognized as one of the most successful and groundbreaking teams in Grand Prix racing. e 178

â&#x20AC;&#x153;Biomimicry is an inspiration that I find important in design, because in nature there is no room for excess. Any design related elements are there for function and efficiency, not for excess or show.â&#x20AC;?

Frank Stephenson, McLaren Design Director

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elemente

660 HP 575 ft.lb

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The firm has created some of the most iconic Formula 1 cars in the game with more than a few wins on track.

Now comes along the P1, as it sits at Hall 5.1 is not in fact a production version but rather a ‘design study’ concept vehicle. Hyper exaggerated side scalloping looks to assist high performance brake venting and engine oxygenation/cooling, an F1 influenced low arcing roofline melds nicely into an extended engine basin that envelope pushing powerplant. Oh and there’s what would appear to be more copious amounts of carbon fibre, but the single most important design elemente on the P1 - the colour. That’s right, the colour. For burnt farking orange is not only my favourite colour but also the breakfast choice of champions. Okay perhaps not, but it’s my typewriter so orange off.

According to Stephenson the designer he’s always looking for design inspiration; in the street, in nature and in existing technologies. Always sketching Stephenson says his inspirations range from ‘things on the sidewalk’ to a ‘sailfish’ to the toys in his office. Apparently his office at McLaren be chock full of toys. You can’t not like this guy. When asked about influences Frank goes old school on your ass. “My favourite car designs for the most part came from the 1950s and 60s when cars were seen as works of art and not as regimented to bureaucratic standards as today.” Here here! I second what the young man with the toy chest said.

“The nature of a designer requires they in essence have e 182

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“My favourite car designs for the most part came from the 1950s and 60s when cars were seen as works of art and not as regimented to bureaucratic standards as today.”

Frank Stephenson, McLaren Design Director

a toy shop around them,” claims Stephenson,

of 80 mph in the water, and so what we at

who literally keeps toys in his office. With a

McLaren try to do again is bring specific

deep passion and curiosity for biology and

evolutionary aspects into say the engine duct

evolution Stephenson looks to nature for

work to reduce drag while also optimizing

inspiration in the form of ‘biomimicry’. For

engine cooling.”

those unfamiliar, biomimicry is a relatively new

Stephenson goes on to note “Biomimicry is

science that analyzes select design aspects in

an inspiration that I find important in design,

nature and works to best emulate and repro-

because in nature there is no room for ex-

duce key traits in real world applications.

cess. Any design related elements are there

Cueing off some of nature’s fastest animals,

for function and efficiency, not for excess or

birds and fish Frank closely follows the teach-

show.” Excess and show. Hmmm. Surely this

ings of this biomimicry kung fu. “For instance

practice doesn’t exist in today’s automotive

the Peregrine Falcon can reach 200 mph in a

design world. Cough.

dive by changing its wing formation, closing

In the 12Cs this evolutionary influence is

nostril passages, optical membranes cover

evident, but nowhere near the extreme of the

the eyes, all in the name of increasing speed

P1. McLaren’s goal with the P1 is to not only

and reducing drag,” says Stephenson. “The

make it the fastest production car on the road

sailfish on the other hand can reach speeds

but also the quickest series production car on

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track according to Managing Director, Antony Sheriff. Drawing on the company’s long-standing Formula 1 experience in its concept and development, the 12C is promoted as lighter, faster, more powerful, more fuel efficient than its key competition. That’s what the marketing speaks says so we’ll take it with a grain of salt until we actually get to throw it around against a 458 or Aventador.

Now with the 12C Spider, in order to maintain legendary performance characteristics, and stay lean, certain design requirements had to be met. “By adding stiffness to the 12Cs carbon fibre tub you increase torsional rigidity, and reduce scuttle shake, the unfortunate byproduct of cutting the roof off.” Because with a lightweight, twin-turbo V8 developing a ridiculous 616 bhp the last thing you want at speed is an embarrassing case of scuttle shake. I had scuttle shake once, a rather painful inflammation of the scuttle, cured only by a diet high in select carbon fibre root.

A unique molded one-piece carbon chassis is brought on board the 12C via a new production method. This method apparently delivers high performance architecture to the game at a third

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of the price.

Power is delivered via a mid-engine conflagration hooked to a 7 Speed SSG dual-clutch transmission. Zero to 60 times be blisteringly quick at 3.1 seconds. To 100 mph/160 kph will cost you another 3.0 seconds. You do the math genius cuz damn, that is quick! 329 kph be the most speed McLaren says drivers can do between Calgary and Canmore, which coincidentally aligns with the vehicles top speed Other unique design related infographics include a performance RHT folding roof system. “We minimized the fold up roof requirement in order to save or attain luggage space, of which the car does come with a custom bespoke designed set,” notes Stephenson. “To retain body integrity we only had to add another 40 kg to the car via a carbon fibre roof mechanism, as the carbon fibre tub already has inherent stiffness qualities.” Taking less than 17 seconds to raise or lower, the 12C’s roof can be operated while the car is moving at speeds of up to 30 kph. When asked about visual aesthetics and budgetary concerns Frank points out that, “It takes just as much money to make a car look ugly as it does to make it look beautiful.” Not sure about that Frank as the price point for the 12C Spider will set your Interac back the high side of $260,000 scuttles.

The P1, due to hit production later next year is set to scuttle your wallet out at around the $850k price point. Maybe. In the meantime, Frank Stephenson will be in his office looking to refine the hyper-exotic via sailfish, falcons and post-war Dinky Toys. e 189

FX

35

angus mackenzie gets up close & personal with Infiniti’s tasty FX35 via Whistler’s Sea to Sky Highway KODAKS + story. Angus MacKenzie

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squirrel!

The lunar low-rider has landed In the world of SUVs there are box-U-vees and there are curvilinear SUVs. SUV is supposed to stand for Sport Utility vehicle, but in the case of most manufacturers their finished designs are about as close to the definition of ‘sport’ as Rush Limbaugh is to being a synchronized swimmer.

Now let me take you back to a time when the MacKenzies owned one 1977 Chevy Suburban. Black with red cloth bench seating defined SUV before the term became all the rage.

We affectionately referred to this early-adopter SUV experience as the ‘Hutterite Truck’ for its understated blackness, extensive footprint and ability to carry 147 chickens, 11 soccer kids, 3 hockey bags and 62 bushels of corn. Today however, most SUVs have more than their share of ‘70s Suburban genetics than they do with anything resembling a sporty DNA makeup.

Rectilinear boxes with marginal design variations and

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curvilinear surfaces are strictly out.

space and 3:2 hip to cabin ratio. I

The proportion of design ingenuity

don’t know if it’s actually 3:2, but it

to functionality stands at a ratio of

sounds good on paper. The Infiniti’s

1:1, which is fine, if utilitarian and

wide stance not only helps to en-

bushel transport are your priorities.

hance its handling attributes, but

Infiniti’s 2012 FX series completely

also works to further define its enig-

derides the box argument in favour

matic shape. The rear presents the

of the singular caress of a Japa-

most defining design element where

nese calligraphic brush stroke. We

the arcing glasswork flows seam-

in marketing refer to this as ‘being

lessly into the C pillar.

on brand’.

The big 21/245/45 tire package fur-

My bias towards the FX35 has been

ther accentuates the ride’s perfor-

at play for some time. Ever since this

mance mandate. Narrowed, sculpt-

‘bionic cheetah’s design inception in

ed headlights and side markers

2003, critics have thrown kudos and

wrap around to the FX’s rising, mus-

accolades its way for a brilliant blend

cular front haunches. The design is

of sports coupe aggressiveness and

‘described’ as purposeful and bal-

forward thinking utilitarianism.

anced, but with its contemporized

I affectionately refer to the design

urban-assault vehicle execution I

as lunar-lander meets South Central low rider for its futuristic raked cabin

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would place it as stylish fashionista over purposeful chicken getter any day.

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Despite its wide stance and ample size the FX’s inner city

The FX, as equipped, features a console mounted SAT-

driving abilities and maneuverability is excellent. Ride is

NAV, excellent for foreigners finding their way from East

firm but not sports car unwieldy. Steering feel is ideal at

Hastings to Whistler. A nice religious touch that activates

low speeds while firming up as needed for spirited driving.

when backing up is ‘God view’ mode. God and his om-

Up under the flowing hood lines lays Infiniti’s much loved

nipresent 4 wide-angle cameras (2 side mirror mounted,

and much lauded 3.5-litre V6, with 303 horsepower and 262 lb-ft of torque in FX duty. Attached to a beautifully concocted 7-speed auto box, the FX35 can hit 100 km/h in 6.0 seconds while still dispensing excellent about town

and one front and rear) provide an omniscient over-watching view that presents the driver with 360-degree visibility around the vehicle. This feature is very much welcome as rear three-quarter visibility is reduced with the tapering

drivability. Power is linear throughout, with Infiniti’s signa-

design.

ture ‘angry can of bees’ exhaust note at the ready. On

Futuristic Hutterites will also enjoy the individualistic cli-

the highway, you become aware of the 1,900-plus kilos

mate control system – handy for keeping the chickens

of stylized metal beneath your trousers. But through the

warm and the eggs cool. And the BOSE premium sound

miracle of the manual autobox offerings and the quick-

system will further enhance the driver experience while

to-spin V6 the FX35 is more than capable of handling the

calming the chickens.

Sea to Sky Highway’s rising/falling curvilinear road offer-

Driver and passenger seats are firm yet pliable with excel-

ings. Body roll is noticeable under spirited driving on the #99, but thanks to a wide stance and a dialed-in performance suspension the FX handles the weight management issue with relative ease.

lent lateral support for those alternating switchbacks on the Sea to Sky. Interior solitude is first rate with no noticeable wind noise accessing the cabin. Its heavily shod 21inch rubber introduces some road noise into the cabin,

Mileage figures averaged out for the Vancouver to Whis-

but not excessive.

tler run showed 13.1 litres per 100 km. Not fantastic, but

Storage space is commendable in spite of the decreasing

acceptable given elevation climbs, spirited driving sessions and weight.

rear cabin - a stylistic compromise I’m willing to accept.

With over 700 litres (25 square feet) of storage space with

Infiniti’s intelligent AWD system also brilliantly comple-

all the seats in use or 1,750 litres (62 square feet) be-

ments out the FX’s handling abilities. The adaptive system

hind the front row there’s enough room for the targeted

runs out as a 100-percent full-time rear wheel drive con-

demographics spatial needs, i.e. golf bag + 2 buddies,

flagration that delivers an enhanced/truer sport driving ex-

3 suitcases + dog and wife, miscellaneous art piece + 7

perience. When road conditions change the wheels with

chickens + 3 bushels of maize, etc. Consumers wanting

the most traction are tasked to engage. Although the driv-

more space should revisit the ‘de-styled’ conversation.

ing conditions were dry and sunny during the test drive,

De-styled, I like it.

when pushed under performance driving I could sense

Priced point for the FX35 starts at a tick over $53,000,

the AWD system activating and behaving like an AWD vehicle. And since it never rains in Vancouver, or snows in Whistler, it is unlikely one would ever need this system (tongue placed firmly in cheek).

but given this SUV’s stylistic statement, all-weather performance abilities, plentiful load of electronic goodies and chicken moving prowess, I would definitely put it at the top of my list. Now, define sport for me again?

Inside the FX the colour palette and design are consistent with the marque’s purposeful message. Monochromatic colours with minimal brushed accents seem almost incongruous with the exterior styling, but understated design cues don’t take away from the experience. e 197

cinquecento Fiatâ&#x20AC;&#x2122;s diminutive city-car gets taken from itâ&#x20AC;&#x2122;s urban comfort zone for a run on the Sea to Sky Highway Photos. Angus MacKenzie Ad Imagery. Fiat Copy/Test Driver. Angus MacKenzie

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The little Italia that did Is there such as thing as too cute? I’m talking babies

es the definition of a unisex automobile. Think Stefani

holding puppies while kittens recite Hello Kitty cute. Cute-

Joanne Angelina Germanotta (a.k.a Lady Gaga) meets

ness to the extreme. If such a thing exists, and I’m pretty

John Pinette in a gelato shop, over a panini, warmed up in

sure it does, then the Fiat 500 may fall into this category.

a DeLonghi 1950s retro-toaster and you have the stylistic

Born of Joe Pesci’s eyelashes, Danny DeVito’s dimples,

mandate of the 500.

a shot of cinnamon gelato and a 500 cc engine, comes

Sporting a euro-tested Twin-Air 1.4 litre engine, this pic-

the 2012 Fiat 500. Fiat short for Fabbrica Italiana Auto-

colo four-banger puts out a whopping 101 horsepower

mobili Torino has reborn the tiny road-going-toaster from

at 6,500 rpm and an accountant arm-twisting 98 foot

its Italian originations of 1957. Hardly able to stop, go or

pounds of torque at 4,000 rpm. But for city driving, where

fit anyone taller than a DeVito, the original ‘city car’ was

the 500 demographic resides, the powerplant will meet

testament to the Italian manufacturer’s ambition, and un-

most cinquecento drivers’ expectations. Buzzy would

fortunate inability to properly execute.

best describe the aural qualities under acceleration. On

Flash forward 50 years and you have the introduction of

highway, under spirited driving, much shifting is required

the ‘nuovo’ 500 in Europe. Flash ahead another 5 years to BC’s Sea to Sky Highway and you have me tossing the 2012 500 about like an Italian whippet.

If there were design awards for cuteness then the 500 would be at the podium lauding its charismatic traits over the land. With its pert, rising rear, wee snubby nose, engaging headlights, short overhangs, slim hips and rounded surfaces, the cinquecento makes itself a most unique visual piece in Whistler’s Market lot.

A ‘manly’ car it is not. With its many rounded edges, miniature footprint and effeminate attributes the 500 pushe 200

to maintain the tiny sweet zone in order to carry speed through various sections of the undulating, circuitous Sea to Sky. I don’t think we need to go into 0-60 times (9.6 sec) because for the targeted demographic, track performance is not a priority. Another 25-30 horsepower would definitely enhance the car’s overall appeal – the new Abarth version should however appease the Alonso crowd.

Curb weight is a meager 1,100 kilos (2,400 lbs), thus allowing the double air-puffer to provide the aforementioned performance specs.

The 5-speed gearbox unfortunately loses the Fiat many

an

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points. For a car that has been

rather than a chore.

tested in the Euro market for years

Low speed steering is Bud light

I find it hard to understand how the gearing could be so frenetic? 5th gear is almost useless as the legs are too long for available torque to support. 2nd to 3rd is equally disappointing with a full 1,000 drop in rpm, making for constant inner city shifting. The only gearing to make sense on the highway was between 3rd and 4th. Would hope to see this resolved in future models.

Fuel economy as expected is impressive with ratings at 6.7 L/100km city and 5.1 highway.

ited driving provides excellent linear feedback. On centre feel firms up and remains consistent under hard driving. I do recommend leaving the ‘Sport Mode’ button on as steering and throttle response are tightened up, thus providing a proper road going experience.

In spirited cornering, oversteer is easily set by coming off throttle before corner inception, inducing a rather entertaining experience via the pert rear end chasing the nose

Maneuverability is quite ridiculous,

playfully about… ensuring Sport-

or ridicolo as one would expect.

ing Mode is engaged.

The road toaster’s minimalist sizing

The Sea to Sky’s many varied and

makes abbreviated parking spots possible and trundling about Vancouver’s urban landscape a treat

e 202

and over powered, but under spir-

diverse corners, switchbacks and elevation changes afford a most

e 203

1950-60s fiat ads brandED the 500 as the â&#x20AC;&#x2DC;la dolc vitaâ&#x20AC;&#x2122; lifestyl choice of th pastel set

e 204

t ED

lce yle he

e 205

e 206

jaunty and fun road course for the 500. Born of

tions. One of the 500s more defining old-school

Italian heritage the toyish 3-door is capable of run-

touches is the colour-keyed gloss panel insert that

ning out to 140 km/h while still retaining its playful

delivers a contrasting splash of colour for a true

attitude.

retrofied experience.

Ride and suspension composure at speed finds

The large single tach/speedometer info hub quickly

the car pushed to its comfort zone. Lateral ride

provides speed and rpm info, however the degree

management is a bit chatty and jouncy on poorer

of information packed into one visual point is ex-

road sections with the back end fighting to retain

cessive. I believe the automotive term is tachdom-

composure. But overall, ride set up is compliant

eterclockenspieltempgaugecalendarmileages-

yet firm for both city and highway driving.

portmode, but then again with a name that long it

In keeping with the nod to retro and the chrome

would have to be a German car.

meets pastel theme, the 500’s interior décor is ex-

Remaining bits like AC adjusters, defroster and

actly on brand with the car’s heritage and Italian

fan controls are piled up neatly above the console-

influences. The interior is bright, fun and playful.

mounted shifter. The window up/down switches

Greenhouse space and visibility are excellent. The

are unfortunately placed on either side of the shift-

sunroof further adds to the spatial argument.

er. But the BOSE sound system provides an ex-

Spazio interno, or interior space is surprisingly

cellent aural experience and makes up for these

ample with enough headroom for six-foot plus

aforementioned design deficiencies.

drivers. Legroom is equally as impressive. Lateral

Max storage space is a whopping 852 litres (27.2

space is cozy given the car’s slender 163 cm wide

cubic feet)! But despite the spatial challenge we

hips, but then the Italians are renowned for their

managed to fit 2 suitcases, 1 ski/hockey bag, 1

ability to bring couples closer together. Seats pro-

projector, 1 camera bag, 1 six-foot Scotsman and

vide not so bad lateral support for spirited driving

his accompanying wife rather comfortably. So re-

with sufficient bum comfort for 2-plus hours of ex-

ally, who needs that Suburban?

tended driving.

If cuteness, Italian inspired design, gelato fla-

A very much personalized stylistic experience can

voured colour options, a $13,500 price point and

be found when mixing one of the car’s 14 exterior

favoloso fuel efficiency are your cup of espresso

ice cream colour combinations with interior op-

then the wee 500 may be for you.

e 207

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Inside Lamborghini!

Santâ&#x20AC;&#x2DC;Agataâ&#x20AC;&#x2122;s most famous automobilia resident 50 years on

Copy. Angus MacKenzie | Images. Angus MacKenzie & Automobili Lamborghini S.p.A. e 209

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I realize it still hasn’t been edited and the copy isn’t finished, but I figured I’d point out a few small fixes to help you out:

•

Table of Contents Box: Sant’Agata’s needs a possessive apostrophe.

• Page 73, article title: Sant’Agata’s is misspelled with an “e” – also needs the possessive apostrophe.

• Graphic Timeline – In the 1966 entry Ferruccio’s name is misspelled with only one “C”. Needs two “C’s”

• Page 84: I’m sure you already know this, but the Murciélago is no longer in production… Lamborghini’s new V12 flagship vehicle is the Aventador.

• Page 84: The full name of Lamborghini’s clothing line is Collezione Automobili Lamborghini.

now

Lamborghini Aventador LP 700-4

e 211

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Lamborghini checking crankshafts (1965)

mod sit amet. Aenean lobortis elementum lacus, vitae condimentum neque posuere ut. Etiam ornare egestas magna et elementum. Duis consectetur orci eget est imperdiet dapibus. Morbi velit turpis, fringilla eget elementum eu, malesuada ac erat.

Donec eu euismod tellus. Cras rutrum, dolor at lacinia egestas, sem quam facilisis leo, et cursus lorem nisi in arcu. Donec lacinia tortor in tempus metus tempor vitae. Vestibulum eget ipsum sem, vitae fermentum turpis. Praesent sapien nibh, scelerisque at pellentesque ut, feugiat ut odio. Phasellus ultricies euismod pharetra. Donec dignissim scelerisque velit, ut Lorem ipsum dolor sit amet, consectetur adipiscing elit. Duis facilisis tincidunt metus, sed tempus metus tempor vitae. Vestibulum eget ipsum sem, vitae fermentum turpis.

Praesent sapien nibh, scelerisque at pellentesque ut, feugiat ut odio.

Phasellus ultricies euismod pharetra. Donec dignissim scelerisque velit, ut hendrerit urna euismod sit amet. Aenean lobortis elementum lacus, vitae condimentum neque posuere ut. Etiam ornare egestas magna et elementum. Duis consectetur orci eget est imperdiet dapibus. Morbi velit turpis, fringilla eget elementum eu, malesuada ac erat.

Donec eu euismod tellus. Cras rutrum, dolor at lacinia egestas, sem quam facilisis leo, et cursus lorem nisi in arcu. Donec lacinia tortor in tempus metus tempor vitae. Vestibulum eget ipsum sem, vitae fermentum turpis. Praesent sapien nibh, scelerisque at pellentesque ut, feugiat ut odio. Phasellus ultricies euismod pharetra. Donec dignissim scelerisque velit, ut ue at pellentesque ut, feugiat ut odio. Phasellus ultricies euismod pharetra. Donec dignissim scelerisque velit, ut hendrerit urna euis-

then

mod sit amet. Aenean lobortis elementum lacus, vitae condimentum neque posuere ut. Etiam ornare egestas magna et elementum. Duis consectetur orci eget est imperdiet dapibus. Morbi velit turpis, fringilla eget elementum eu, malesuada ac erat.

Donec eu euismod tellus. Cras rutrum, dolor at lacinia egestas, sem quam facilisis leo, et cursus lorem nisi in arcu. Donec lacinia tortor in tempus metus tempor vitae. Vestibulum eget ipsum sem, vitae fermentum turpis. Praesent sapien nibh, scelerisque at pellentesque ut, feugiat ut odio. Phasellus ultricies euismod pharetra. Donec dignissim scelerisque velit, ut e 213

â&#x20AC;&#x153;Buildings are organized around the Buddhist concept of void & spiral.

Void = Buddhist meditation, the focus of the retreat, Spiral = practice of walking meditation.â&#x20AC;?

e 214

WON DHARMA RETREAT hanrahan , draft1, September 10, 2012 In upstate New York resides a very zen-like, and most un-New York-like retreat. Developed by New Yorkâ&#x20AC;&#x2122;s hanrahan Meyers architects, the recently completed 35,000 sq.ft Won Dharma Centre is an open aired meditation and recreation site highly influenced by the Korean Buddist concept of the open circle.

The retreat site, a 500-acre property located on a hill east of the Catskill Mountains is comprised of three residential dormitories, an administration building, and a meditation hall at the south of the site.

The clientâ&#x20AC;&#x2122;s belief system (a Korean Buddhist sect) drove the design mandate with an emphasis on balance in daily life and a focus on nature. The clients requested their new retreat use as many natural

Lamborghini Muira e 215

House of Justice/ Civic Centre The House of Justice serves as a two storey civic centre for the people of Mestia, a village with a strong cultural heritage. Its concrete structure frames the spectacular landscape of the Caucasian Mountains. The building is part of an ensemble of new public buildings around the main central public plaza.

Fifty years of lamborghini 1963- 2013

1962

Lamborghini begins automotive operations, based on rumour Ferruccio was constantly upset at not only having to wait for his Ferrari to be fixed but th Enzo Ferrari was giving him attitude.

1916 Mr. Ferruccio Lamborghini born near Bologna, Italy... bene!

1964

Lamborghini debuts its first sports car - the powered 350 GT.

1948 After WWII, Lamborghini purchases the factory to produce tractors to help rebuild Italy.

1950s

1966

$

Lamborghiniâ&#x20AC;&#x2122;s Trattori (tractor) company succeeded throughout the 50s making him a multimillionaire.

The no Again Mu n

hat .

s much anticipated 400 HP, V12

ow legendary Muira debuts. nst Ferrucio’s initial wishes the uira was conceived & designed at night by engineers looking to create a dual-purpose road/track car. With a transverse mounted V12, advanced iconic styling by Bertone & blistering performance the Muira was tagged the world’s first ‘supercar’.

e 220

LOCATION ARCHITECTURE SPECS INFORMATION - PRESS RELEASE COPY Lamborghini is at home in the “land of cars” The homeland of Lamborghini is Sant’Agata Bolognese, which is located roughly 25 kilometres from Bologna in the region of Emilia Romagna, Italy. Ferruccio Lamborghini bought land there for the purpose of forming the company in 1963 and erected what was already an ultra-modern factory for its time.

“The country of cars”, the “terra di motori” around Bologna and Modena, is home to a cultural and commercial passion for highly advanced automotive technology. No other region of the world is as strongly shaped by obsession for the sound of high-power engines as Emilia Romagna, birthplace of so many automotive legends in previous decades.

Lamborghini’s facilities have been extended, extensively refurbished and equipped since the takeover

by AUDI AG in 1998, with an investment of approximately Euro 420 million between 1999 and 2006 in both the site and product development. Today the Gallardo and Murciélago series are produced on two production lines, with separate units for the production of the engines and gearboxes.

Supreme expertise in engines, lightweight construction and four-wheel drive Lamborghini’s facilities occupy an area of roughly 100,000 square metres and, besides production, are home to the development division including various technical departments and testing facilities such as engine test stands. Lamborghini’s development expertise is particularly evident in the field of high-performance ten and twelve cylinder engines and the independent development of electronic components across the entire engine management system.

Lamborghini’s engineers maintain a traditionally high degree of expertise in high strength lightweight construction using carbon fibre and aluminium, as well as in the field of permanent four-wheel drive.

The new Centro Stile Lamborghini was built in 2004. Alongside the design centre is a restoration workshop for historic vehicles and a service department for all Lamborghini models that were ever built. In addition, the flagship store for Collezione Lamborghini, and the redesigned museum with numerous exhibits from the brand’s colourful history, are housed in the new buildings

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