Showing newest 19 of 34 posts from 08/01/2009 - 09/01/2009. Show older posts
Showing newest 19 of 34 posts from 08/01/2009 - 09/01/2009. Show older posts

Wednesday, August 26, 2009

Lexiconography Continued

Previously the NY Times picked up a snippet of the 'Vegetectural' (sic) and bastardization of the spelling aside, the word is obviously entering the lexicon... the latest... Architect Magazine showed a little blurb-ette in the August issue (link here, or read the entire thing online here).

The particular piece is part of the 'Screen Capture' section, which had a great extended piece of the web resource/Wiki from Morphosis called morphopedia, and links to Eikongraphia, Sixty Symbols, and Discover magazine - an eclectic bunch.

Here's the blurb from page 44:

Monday, August 24, 2009

What can we learn from this?

News of the UK’s first living wall in Islington, North London which "...died just three years after it was built," has raced across the blogs, as people hover like vultures over what is at least the first visible major failure of a green wall. While it's pretty obvious that the project had some major issues - this is, as Mr. Obama said in a totally different context '...a teaching moment."


:: image via The Architects' Journal

It's pretty much a sure bet that a combination of design and maintenance was at fault - and this goes beyond mere patches of dead vegetation - leading to mangy patches completely bare and the remaining areas with tufts of drying plantings.

It's also a given that with the adoption of new idea, there will be failures ranging from the minor to the catastrophic. What we need to do is be open about what worked or did not, remedy the problem, and acknowledge that we're still learning. This can be a good thing.


:: image via The Architects' Journal

It is good that the architects are remaining involved in remedying the issues, as well they should: "A spokesperson for DSDHA added: ‘As architects for the Paradise Park Children’s Centre, DSDHA are greatly dismayed at the current state of the vertical garden installed on the building and remain actively involved with the London Borough of Islington in addressing the problems to do with the landscape and irrigation of this innovative scheme."


:: image via The Architects' Journal

There will be those who take this opportunity to criticize, which is understandable but not necessarily beneficial. It's similar to early green roof failures. There are a couple of lessons specific to this project, beyond the specific project details: First, experimentation on a large scale visible project is not good for the designer, client, or industry as a whole. We feel the need to install 'systems' that aren't thoroughly vetted, and then are surprised when they fail. Second, if we fail, we all need to both be vocal about the issues and strategic about how this is portrayed. There are a number of issues with many current projects around plants, substrate, irrigation, maintenance, etc. One of the perils of living systems is that they need a basic level of soil, water, sunlight, and nutrients to survive. It's really simple. And they evolve beyond the initial expectations when these items are provided and we consider them out of control - or they wither and die when they are not. Much like us, they require care - but it's a pretty simple to understand set of repeatable requirements - which gives us the edge. It's not like the plants were depressed.


:: image via The Architects' Journal

But this isn't a failure in the tragic sense (unless you are one of those who feel the pain of even non-sentient beings), but rather the teaching moment we all need. Some project out there had to be the first to show that our knowledge is youthful, our excitement often outweighs our good judgment, and our approach thus is often precarious. But this doesn't mean we throw about the baby with the bathwater, and many I'm sure will propose that the entire endeavor is flawed. (such as the asinine commenter saying that we should use vegetal-print aluminum panels because they 'won't die and will always look alive and full of life.") Dude... kinda missing the point.

For some odd reason, I was reminded of the wise words of Tom Waits, again from another context... in his beautiful song 'Dead and Lovely'.

"Everything that is left
They will only plow under
Soon every one you know
Will be gone

And now she's dead
Forever dead
Forever dead and lovely now"

It's kind of tongue and cheek - but the fact that it was installed in the first place, grew, withered, died, and will grow again - is kinda lovely. It's the cycle of life that keeps us all honest, and doesn't come through photoshop rendering or aluminum panels. Let's just take a breath and figure out what we can learn.

Sunday, August 23, 2009

A Farm on Every Floor - NYT Op-Ed

In todays New York Times, vertical farming guru Dickson Despommier drops the knowledge in a piece entitled 'A Farm on Every Floor'. Some excerpts:

"...in roughly 50 years farming as we know it will no longer exist. This means that the majority of people could soon be without enough food or water. But there is a solution that is surprisingly within reach: Move most farming into cities, and grow crops in tall, specially constructed buildings. It’s called vertical farming."


:: image via NY Times

"Vertical farms are now feasible, in large part because of a robust global greenhouse initiative that has enjoyed considerable commercial success over the last 10 years. (Disclosure: I’ve started a business to build vertical farms.) There is a rising consumer demand for locally grown vegetables and fruits, as well as intense urban-farming activity in cities throughout the United States. Vertical farms would not only revolutionize and improve urban life but also revitalize land that was damaged by traditional farming. For every indoor acre farmed, some 10 to 20 outdoor acres of farmland could be allowed to return to their original ecological state (mostly hardwood forest). Abandoned farms do this free of charge, with no human help required. A vertical farm would behave like a functional ecosystem, in which waste was recycled and the water used in hydroponics and aeroponics was recaptured by dehumidification and used over and over again. The technologies needed to create a vertical farm are currently being used in controlled-environment agriculture facilities but have not been integrated into a seamless source of food production in urban high-rise buildings."

Curious how vertical farming will be the panacea for world change? Me too, even after reading. Check out the entire text on the NYT.

Reading List: The Earth-Sheltered House

Chelsea Green publishing was nice enough to send a copy of 'The Earth-Sheltered House', which is essentially a visual sketchbook of Malcolm Wells showing images, studies, and details of visionary and built work from the 1990s. Originally published in 1998, and reprinted again in 2009 (hmmm, is there a trend related to that) - the subtitled 'An Architect's Sketchbook' sums up the content and delivery.



It's an interesting idea to take sketches and compile them into some form of narrative, but it's also a stretch to think that anyone's sketchbook (even packaged up in a neat format) would be terribly interesting to read. Wells' sketches are both interesting and engaging - but as I've mentioned previously - sort of dated, evoking the Entourage books full of tracery that makes my skin crawl when seen today. Plus they are less interesting in black&white - with the exception of some detail vignettes. The typical page offers sketches and the loopy text - giving it that feel of the old Ching books from first year studio, and definitely some parallels to the Halprin sketchbooks.



The work as well both visionary, but also seemingly something unearthed from a mid-sixties utopian bent... sort of earth-sheltered Ecotopian view of architecture that pushes a singular ideology but doesn't acknowledge that it's one view - not the only one. Sort of




The text, on the other hand, isn't terribly engaging - venturing to the prosaic, which one would expect in a sketchbook. A typical excerpt:

"One of the hot-growth areas in the New Jersey suburbs of Philadelphia - Evesham Township, I think it was - was said to be considering building an addition to it's municipal building. The year: 1974. "May I submit a proposal?," I asked. "Of course," came the response, so I dreamed this dream, watercolored it until it resembled an earthly paradise, and sent it in, never to be heard from again. I never saw what they built instead. I couldn't bear to. But I've seen that township. From the quaint farmlands of the sixties it has become wall-to-wall houses and shopping centers, a town without a center, without any kind of relief from the dizzying mazes of streets that seem to go nowhere. Sour grapes. Very sour." (p.30)

Overall the philosphy of Wells is captured here both in the idealism of the text above, and the images of whimsy and practicality - trying not just to envision utopia, but provide a construction set of details for it. The work, particularly the idea of earth-sheltered construction in changing the paradigm of architectural practice, will continue to evolve, much due to the work and vision of Wells. Perhaps he was a man before his time - as the ideas are just now beginning to really gain some foothold in the collective architectural consciousness. With a more open viewpoint and an embrace of some technology to temper the rustic nature of these visions - he would today be probably a key figure in the new vegitecturalism. Instead, the work ends, by the nature of the delivery and the media, as a typically fringe endeavor. Get past the kitsch, and there's substance, but I'm not sure in the media and digital age, how well this plays in the mainstream.



If you are a fan of Malcolm Wells, you will want to pick this nice softcover addition to his collected works - and a fine grain reading would dig up some good nuggets of wisdom related to earth-sheltered design and construction. Read as well my review of 'Infrastructures' by Malcolm Wells (via Landscape+Urbanism) which I think is a much more worthy addition to the library of the non-fan...

[all images taken from the book]

Feral Houses

A great link from GOOD magazine shows off the work of Detroit photographer James Griffioen and the return to nature of 'feral houses' - those abandoned by use by never by nature. "Feral houses are no longer domesticated, having reverted to a different state, like horses in the west who roam free of any rider, stable, or whip. They have transmuted into a different state of being, yes—but they do be. They are not, nor are their neighborhoods, as many like to call them, “dead.”


:: image via GOOD

Invasive vines, Alianthus, and other vigorous pioneer species and weeds interact with the planted foundation plantings on these sites to reclaim, envelope, and slowly return these sites to nature. Perhaps the best version of re-burbia i've seen amidst all of the somewhat disappointing entries in that particular exercise. More of Griffioen's images show that the inevitable process of 'renaturing' will do just fine in restoring ecosystem health on a somewhat slower but perhaps more authentic timeline.






:: images via James Griffioen

Check out the full range of Griffioen's work at his site... some amazing stuff.

Vegetal Library

Via People and Place, this image reminds me of the images of abandoned buildings in Detroit, particularly the book depository with successional plants emerging from piles of books.


:: image via People and Place

The previous post of the Detroit Book Depository, via Treehugger:


:: image via Treehugger

British Pavilion: Shaghai Expo

One of the more representational typologies of Veg.itecture is the use of vegetal forms (versus actual vegetation) to create architectural form. While not offering the full suite of benefits, this aspect of design inspiration has value through the implementation of biomimicry and the visual benefits of biophilic design that uses natural forms. A recent example, via architechnophilia, gives a view of "Marks Barfield architects' competition entry 2010 Shanghai Exposition British Pavilion derived from tree structures"


:: image via architechnophilia

Venlo Office Green Facade

The visuals of the a municipal office in Venlo, Netherlands by Hans Goverde of Kraaijvanger • Urbis provides some great ideas for vegetated and complementary facade materials (via WAN): "The most visible of sustainable design elements are two greenhouses situated on the building's top lateral edges which, together with the office space and underground car park will collect heat for attached housing. Further sustainability measures presently include an air purification system aided by the River Maas, rainwater collection and use, and the predominance of sustainable wood in the construction."


:: image via WAN

Monday, August 17, 2009

Roots: Sendak, Pre-Vegitect?

Original Post: Landscape+Urbanism, September 30, 2008

__________________________________
One of my favorite children's books when I was a kid was the Maurice Sendak classic 'Where the Wild Things Are' (probably a close tie with Ferdinand the Bull). As many know, this tale of Max as the kid with the wild imagination and awesome wolf costume (which by god I will do for halloween some day).



:: image via Wikipedia

Recently, Strange Harvest posted some provocative imagery that took me aback with it's veg.itectural stylings... showing the evolutionary shift from architecture to forest - with the in-between moments the most compelling. And paying off with the classic "...a forest grew. And grew. And grew until his ceiling hung with vines and the walls became the world all around."


:: image via Strange Harvest

And paying off with the classic "...a forest grew. And grew. And grew until his ceiling hung with vines and the walls became the world all around."



:: images via Strange Harvest

Is it me, or does Max remind one of, say... Patrick Blanc? :) And check out the postscript with a great comment from Mr. Trevi from uber-blog Pruned, riffing (from memory?) on the salle a' manger in the Hameau at Chantilly... causing me to ask - why he ain't posting that kinda stuff on the blog? :)

Despommier on Vertical Farming

For the Greener Good: "Vertical Farming" from National Building Museum on Vimeo.

London Bridge is going Green

Via Bustler: "The Royal Institute of British Architects (RIBA) recently announced the winners of the London Bridge 800 Ideas Competition, 1st Prize – Laurie Chetwood, Chetwoods, London"


:: image via Bustler

Sunday, August 16, 2009

Veg.itecture News RoundUp

The latest in news from the Veg.itectural. Check out the latest issue of the Living Architecture Monitor, and of course find many more links around the web. here's some of the more interesting ones.



Quote of the week from Greensboring:
    "I read this article about the growing popularity of "green walls" in buildings... and all I can think of is the Monty Python sketch about the hermits discussing whether to line their caves with wattle, bracken, or moss."


Brooks Avenue House

A vegetated building addition in Venice, California by Bricault Design ... read and see more at Dezeen. From the looks of it, I'd say an off-the-shelf modular system with 12" square panels (G-Sky perhaps?). It's cool to see the various stages of early planting to more fully grown. I think I'm starting to like those sort of partly shaggy versions a bit more... a variation to some of the more slick, uniform patterning.










:: images via Dezeen

Vertical Garden: Flora Grubb

I've mentioned earlier in the year on L+U the Thigmotrope by Flora Grubb (she of the best name in horticulture...) and a post from what were the skies like shows off one of her creations in her shop in San Francisco.


:: image via what were the skies like

A good question mentioned on wwtskl... are these actually Woolly Pockets planted up? As I've been researching vertical greening for the book, more on these soon, as I will post one of the updated vegitectural typologies summaries I've been working on soon.

The Coolest Roofs in the World

by The Editorial Board
Sunday August 16, 2009, 10:32 AM
The Oregonian


Jason King, a landscape architect who designed the green space on the fifth floor of the Multnomah Building, says most folks don't even know the green roof exists.


Portland helped pioneer a growing movement in green roofs, but the city must look to Chicago, Toronto and Tokyo for more inspiration

"Portland's history with green roofs traces back to a rainy day in 1996 when Tom Liptan stood in his driveway, soaking wet, watching to see whether if his new garage roof, a combination of soil and plants, would hold water.

It did.

Thirteen years later, Portland boasts 165 green roofs, and counting. And Liptan, a landscape architect for the city's Bureau of Environmental Services, has become a nationally known expert in vegetative roofs. And every year, scores of Portland homeowners and builders now seek grants from the city to develop more green roofs.

Green roofs have become a nice little environmental success story in Portland. But they are emerging as much more in places such as Chicago, Toronto and Tokyo that have taken green roofs to a whole new scale. In Tokyo, for example, atop the towering high rises in the Mori Building complex you can find rice paddies, vegetables and trees amid a stunning rooftop garden. In Chicago, a strong push by city officials and private contractors have led to more than 600 green roofs covering more than 3 million square feet.

These roofs are cool, in every sense of the word. Tokyo, Chicago and others are emphasizing green roofs as a way to cool the "heat islands" created by the concrete, asphalt and metal of modern cities. The Mori Building complex, for example, has helped cut temperatures by several degrees in Tokyo's Roppongi Hills district.

Liptan and others pioneered green roofs in Portland as stormwater collectors, designed to catch and hold heavy rains and reduce pressure on the city's often overwhelmed combined sewer system. But during the recent string of days in the high 90s and 100s, for example, the thick, naturally insulating roofs did double duty, keeping buildings cool.

"Green roof" is a catch-all term. It covers "eco-roofs," which are thin layers of soil and simple vegetation, such as grasses, and "garden roofs," which are more elaborate and intensive green roofs. Portland now has about 9.5 acres of ecoroofs, and about 11.5 acres of garden roofs. The city has set an ambitious goal of more than doubling the acreage of green roofs by 2013.

It's an ambitious but realistic goal, even for a city that has no plans to emulate Toronto, Tokyo and others that require some green roofs in large new urban developments. Portland uses a range in incentives, from grants to expanded development rights, to coax more builders into incorporating green roofs.

That's getting easier and more feasible all the time. There's a fledging green roof industry in Portland and the Northwest that is developing best practices and new materials, and identifying plants able to best withstand the heat and wind of the roof environment. It's also helping dispel some of the myths and misconceptions, such as the worry that green roofs are especially vulnerable to leaks. In fact, well built green roofs have an anticipated life span of 40 years -- twice that of many conventional roofs.

When you spend time on some of the world's most impressive green roofs, as one of our Editorial Board members writers did during a recent trip to Tokyo, you see the tremendous potential of green roofs, not just to cool heat islands, but to create far more usable, beautiful space in a city. In one Tokyo neighborhood a high-rise was covered with a "kitchen garden," covered with olive trees and grapevines. In another, the "Vertical Garden City" of Roppongi, a rice paddy and vegetable garden stood more than 130 feet above a development that lined with thousands of cherry trees.

That's a long way from Tom Liptan's humble goal of capturing stormwater runoff on his garage roof. But smart, creative people in Portland are doing great things with their roofs, too, such as growing heirloom tomatoes and vegetables.

Yet there's still an enormous opportunity with green roofs in Portland. Yes, doubling the total area of green roofs here to 40-plus acres by 2013 is an ambitious goal. But next time you fly into Portland International Airport, or look down from a Portland high rise, look down at all the roofs. There are 12,500 acres of conventional roofs in Portland. This city has only begun to go green."

Thursday, August 13, 2009

On Artificiality

Artifice. Not just the overtly artificial or fake, but something more cunning - the insertion of a specific and devious intention - a stratagem of deception. While not necessarily bad per se, as we deal in landscapes there a distinct line between the artificial and the real - and often the use brings the intentions of the designer into question. Growing up my mother decorated our house with plastic plants - both to disguise her personal 'brown thumb' and to ward against labrador retreivers who liked to dig in the soil of any real plantings.

We are often confronted with these dilemmas on a daily basis (take real vs. artificial turf debate for instance) which can be debated, but essentially has no real 'right' answer. Barring that innate duality, we have examples of the specifically fake to the somewhat ambiguous to the downright imperceptible. While there is the need for analogs that translate into the artistic when the opportunities or desire to go the extra mile is not possible - there is the simple fact that for all the visions of nature (i.e. photos, paintings, projected digital images) the only multi-benefit version of nature is really nature.


:: GSC Group Office by SOM - image via Coolboom

Often, the abstraction is less artistic - resulting in a hybrid and often comical application where the idea is bastardized to the point where the original intention is lost.


:: Pipe-cleaner green wall - image via Inspiration Wall

While anecdotal, the idea of artifice is not new in landscape architecture. From the recent post related to James May and his plasticine garden, and the more specifically artificial Martha Schwartz' 'Splice Garden' at the Whitehead Institute in Cambridge.


:: image via Martha Schwartz Partners

While the driving force is something of a functional site limitation of weight, maintenance, available water, and the like, the 'idea' of a garden becomes the mechanism for applied artifice. "However, it was entirely possible to convey a sense of a planted garden by providing enough signals for the site to read as a garden. There are many examples of other cultures that create garden abstractions. For example, in Japanese gardens, symbolic landscapes often imply a larger landscape. This was the strategy at Whitehead -- to create a garden through abstraction, symbolism, and reference. Schwartz wanted the narrative of the garden to relate to the work carried out by the Institute. The garden became a cautionary tale about the dangers inherent in gene splicing: the possibility of creating a monster. "

Some info on the project illuminates the artifice, but also at least some of the deeper satirical reasoning behind the ruse. "This garden is a monster -- the joining together like Siamese twins of gardens from different cultures. One side is based on a French Renaissance garden; the other on a Japanese Zen garden. The elements that compose these gardens have been distorted. The rocks typically found in a Zen garden are composed of topiary pompoms from the French garden. Other plants, such as palms and conifers, are in strange and unfamiliar associations. Some plants project off the vertical surface of the wall; others teeter precariously on the wall's top edge." All the plants in the garden are plastic. The clipped hedges, which double as seating, are rolled steel covered in Astroturf. The green colors, which are the strongest cues that this is a garden, are composed of colored gravel and paint. The intent was to create for the scientists who occupy this building a visual puzzle that could not be solved. The garden is an ode to "better living through chemistry."


:: image via Harvard GSD

That brings me to what passes for a point to this post. That is one of the most wildly flaunted shams of landscape architecture to be perpetuated since the afforementioned 'Splice Garden'... the (now ASLA award-winning) 'Museum of Moder Art Rooftop Garden' by Ken Smith which left me agape at first viewing and now just leaves something ill-feeling in my stomach when I see photos of it. The simple description via ASLA Design Awards site: "The garden breaks new ground esthetically in terms of design vocabulary, wit and irony, materiality and public visibility. While physically inaccessible the garden is highly visible as a viewing garden at the urban high-rise scale of Midtown Manhattan."


:: image via ASLA

There's always the idea of site constraints, as mentioned in the Splice Garden above, and echoed in the description of the project: "The roof structure and waterproofing membrane had already been constructed. The surface had been designed with a landscape live load of only twenty-five pounds per square foot; there were to be no structural attachments to the roof or penetrations to the building’s waterproof membrane; the garden was to be designed for a program requiring minimal maintenance and no irrigation; and use of living plant materials was discouraged. Because the museum had already purchased the black and white gravel the design was encouraged to incorporate those materials as well. "




:: images via ASLA

There is the conceptual idea in the use of camouflage, derived from the WWII era idea of the "The notion of simulated nature and the simulation strategies and theories of camouflage were used to generate the roof garden forms. The design team did a periodical literature search of camouflage articles in architecture and design journals from the late 1930’s and early 1940’s."


:: image via ASLA

The specific elements of camouflage are integrated into the fabric of the design: "
The four major methods of camouflage are: 1. imitation, 2. deception, 3. decoy, 4. confusion. The landscape architect used these four strategies to develop the initial design alternatives for the roof garden. The alternate design studies were presented and discussed with the client along with representatives of the neighboring residential tower. The "deception" scheme was selected." So what we get is artifice... specifically deceiving the viewer in a literal application of camouflage. What we really get is a plastic, large, and less contextually derived copy of the Splice Garden, with repeated pseudo-rocks, and derivative topiary.


:: images via ASLA

But I'm sold... it's witty, it's eloquent, and it takes a tough site with a ton of constraints and makes it a space worth talking about. It'd be more appropriate if it pulled from something more relevant than that of japanese dry-gardens and mid-century war-inspired research related to camouflage. It's cool, fun, and a great addition to the pantheon of art-inspired post-modern landscape. Just don't call it a garden. Much like the Splice Garden... it's a monster. It could however, but what Bill Thompson is looking for in the low-cost green roof perhaps, at least in relation to maintenance?

For more, read this post at Pruned on his version of the ur-garden, which captures an essence of the issue in another, totally different way.

Phyto Purification Bathroom

In the spirit of small-scale infrastructure, why not the idea of personal phytoremediation? The project by jun yasumoto, alban le henry, olivier pigasse and vincent vandenbrouck. developed 'phyto purification bathroom' offers a small-scale ecosystem to breakdown greywater. The unique factor... you are literally immersed in the vegetation.


:: image via Designboom

A breakdown of how it works, via Designboom:
"phyto-purification is a natural water-recycling process which is commonly used in ecological purification systems. during its filtering process, the water goes through different steps :

- the rushes are planted in sand which filters larger particles. the root system of the rushes contain various bacterias which break down these particles for absorption by the plant.
- the reeds are planted next to the rushes as they have the ability to filter the heavy metals
from the water.
- the floating water hyacinths draw through their roots some of the water borne particles which are still present in the water.
- the lemnas, which are also aquatic plants, bind to the remaining aquatic micro-organisms
to complete the filtering process.
- finally, a carbon filter stops the remaining micro-particles."


:: image via Designboom

Hundreds of small scale solutions at the source, versus large, overwrought, single-source, vulnerable, and grandiose infrastructure. Perhaps the personal scale may be a bit much for some - but the sentiment is lovely.

Tuesday, August 11, 2009

The Farmery

Another in what aims to be a long line of proposals for vertical farming solutions, The Farmery offers something that is at least a bit more modest in size and scope - giving me some hope that the ideas related to this media-frenzy will come literally back to earth as we find the sweet spot between vision and reality.


:: image via The Farmery

"The Farmery reinvents small farming to better compete in an industrial farm economy by providing an environmentally sustainable growing and food retailing system that encourages the growth and success of small, environmentally sustainable farms. The Farmery is a four story urban vertical farming and retailing system that allows for small scale, local, organic, community driven agriculture, with the efficiency and profitability of a large industrial farm, without the limitations of climate or availability of agricultural land."


:: image via The Farmery

"The Farmery's growing system is an organic hydropnic and mushroom growing system that provides a continuous yield of local, organic produce regardless of the climate. The Farmery grows gourmet mushrooms inside the shipping containers and small canopy crops such as greens, strawberries and herbs in the greenhouses attached to the side of the containers. The Farmery uses shipping containers as a base structure which houses the mushroom growing rooms, and prep (nursery and planting) for the produce grown in the greenhouses attached to the sides of the container. "


:: image via The Farmery

Some more detailed information about the projects hydroponic growing system: "The Farmery's hydroponic growing system uses vertical sacks that hold the growing substrate inside, the sacks are heat sealed in between growing positions to reduce compaction of the growing substrate. The water and nutrients are fed through the top and taken back to the resevoir located in the shipping container via a channel at the bottom of the sacks. The seedlings are planted at one end and the crops are harvested at the opposite end. The reservoir inside the container allows the nutrient solution's temperature to be controlled easier. Because the nutrient solution mediates the temperature of the root zone, the Farmery will allow a greater range in air temperature inside the greenhouse."


:: image via The Farmery

Sunday, August 9, 2009

Root Bridges

A precedent for the more recent Arbo-Architecture, arborsculpture, or pooktre the Root Bridges of Cherrapungee are much like they sound, a veg.itectural creation of tree roots functionally impelled to grow across rivers and other crossings. Some info about these via a blog (root bridges) and the original source Atlas Obscura: "In the depths of northeastern India, in one of the wettest places on earth, bridges aren't built - they're grown... The Ficus elastica produces a series of secondary roots from higher up its trunk and can comfortably perch atop huge boulders along the riverbanks, or even in the middle of the rivers themselves."


:: image via Atlas Obscura

"The War-Khasi, a tribe in Meghalaya... simply grow their bridges. In order to make a rubber tree's roots grow in the right direction - say, over a river - the Khasis use betel nut trunks, sliced down the middle and hollowed out, to create root-guidance systems"



:: image via Atlas Obscura

Before you think of the sketch factor in these bridges - they are pretty amazing indigenous feats of engineering: "The root bridges, some of which are over a hundred feet long, take ten to fifteen years to become fully functional, but they're extraordinarily strong - strong enough that some of them can support the weight of fifty or more people at a time. In fact, because they are alive and still growing, the bridges actually gain strength over time - and some of the ancient root bridges used daily by the people of the villages around Cherrapunjee may be well over five hundred years old."


:: image via Atlas Obscura

A YouTube video offers a feel of what its like on the bridge crossing.



Thanks Bill Badrick (purveyor of the modern vegitectural bridge) for this one... cool stuff.