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Myriam Mahiques

Myriam B. Mahiques is an architect, graduated from Universidad Nacional de Buenos Aires (FAU) in 1986. She has collaborated in many Studios and Construction firms, developed projects and constructions as independent professional, also competitions and exhibitions in the area of Architecture and painting. In the Academy she has been chief of practic... / More

3rd Annual International Conference on Architecture, 10-13 June 2013, Athens, Greece .CALL FOR PAPE

Athens Institute for Education and Research-ATINER
Call for Papers and Participation
3rd Annual International Conference on Architecture, 10-13 June 2013, Athens, Greece


The visibility of research.CALL FOR PAPERS

Historically, society has recognized architects for their role in the creation of buildings and less so for their role in the production of knowledge. Research advances the discipline of architecture by introducing new ideas, testing questions, defining methodology, developing technology, and promot ...

Transformación de Fourier aplicada al análisis de formas urbanas


Póster presentado en el VIII Encuentro Regional de Investigación. XXVI Jornadas de Investigación, FADU, UBA, Buenos Aires.
Facultad de Arquitectura, Diseño y Urbanismo de Buenos Aires. Septiembre de 2012

Nota: El texto lo he traducido del inglés y ¨Transformación de Fourier¨ quedó como un neologismo, cuya traducción aceptada -a la aplicación matemática- sería ¨Transformada de Fourier¨. El póster que comparto en el blog es el trabajo original. Por el proceso que aplico para analizar las formas urbanas, preferí dejar la palabra ¨Transformación,¨ que es más conocida entre los arquitectos.


2nd International Congress on Ambiances.CALL FOR PAPERS

The second International Congress on Ambiances will be held under the aegis of the Ambiances International Network. The congress, organized every four years, is one of the network’s main events, an international gathering for researchers, artists and players engaged in analyzing the ambiance-related ...

PhilArch 2012: Architecture and its Image.Call for Papers

What is architecture? How is architecture understood and how should it be understood? With the rise of phenomena such as ‘starchitects,’ avant-garde investigations of different creative mediums, parametricism, and contemporary forms of architectural pragmatism, and with the increasing specialization ...

The ideal of the Islamic and Mughal garden

The detail of an eighteen century Rajput miniature of an Indian princess in a garden reveals typical features inherited from the ideal of the Islamic and Mughal garden. Within high enclosing walls with imposing entrance gates there are pavilions and lotus-filled pools, and cypresses and flowering fr ...

Acerca del documental ¨The Pruitt Igoe Myth¨

implosión de pruitt igoe en el libro de charles jencks, ¨el lenguaje de la arquitectura post moderna¨ y siempre me quedó esa impresión que el decaimiento y fracaso de las de viviendas sociales de pruitt igoe se debían estrictamente al diseño del arquitecto minoru yamasaki. 

from on .

Would a congregation hire an artist who wasn’t of the same faith?


Dome of a catholic church with painted saints. Domo de una iglesia católica con santos pintados. Digital painting by Myriam B. Mahiques

I’ve seen this discussion before and I know in history many artists, mostly in painting, could accomplish great jobs even being pagans. From the Editorial of Faith and Form, an excerpt from Michael J. Crosby to make us reflect on this issue:

The other day, in the Faith & Form LinkedIn discussion group, a group member brought up the topic of the fealty of those who work with congregations on architecture and art projects. He wanted to know if he might not be considered for a stained-glass commission if the congregation knew he was a Mormon (assuming the congregation wasn’t Mormon). An artist who is a Mormon adds another component to the issue, because some denominations don’t consider Mormons to be Christians.There are at least two issues here: Would a congregation hire a stained-glass artist who wasn’t of the same faith?; would the congregation hire someone they considered some sort of pagan? The first question deals with whether the artist can truly understand the theology of a religion that he or she is not a part of, at least well enough to create art that embodies the beliefs of that religion. The second issue is one of worthiness: should a congregation give work to a “non-believer” when there might be believers who could accomplish the work? In other words, should you reward a non-believer with a commission? Or, to put it another way, is it OK with God?A member of our group commented that you don’t have to be a believer to be a talented architect or artist: “Probably the greatest church architect of the 20th century, Bertram Goodhue, was a committed agnostic, if that’s not an oxymoron.” Another pointed out that Henri Matisse’s Chapel of the Rosary for a community of Dominican nuns in Vence, France, was the achievement of a lapsed Catholic who designed the architecture, art, and everything in it, and then pronounced it his greatest masterpiece. Another member who joined the discussion said that an architect or a designer’s religion doesn’t matter to her: “Their job is to interpret my building dreams.”

Mazes and Labyrinths

Knossos labyrinth
The theory of the description of mazes is included in Euler’s theorems given above. The paths in the maze are what previously we have termed branches, and the places where two or more paths meet are nodes. The entrance to the maze, the end of a blind alley, and the centre of the maze are free ends and therefore odd nodes.
If the only odd nodes are the entrance to the maze and the centre of it–which will necessitate the absence of all blind alleys–the maze can be described unicursally. This follows from Euler’s third proposition.
Again, no matter how many odd nodes there may be in a maze, we can always ?nd a route which will take us from the entrance to the centre without retracing our steps, though such a route will take us through only a part of the maze. But in neither of the cases mentioned in this paragraph can the route be determined without a plan of the maze.
A plan is not necessary, however, if we make use of Euler’s suggestion, and suppose that every path in the maze is duplicated. In this case we can give de?nite rules for the complete description of the whole of any maze, even if we are entirely ignorant of its plan. Of course to walk twice over every path in a labyrinth is not the shortest way of arriving at the centre, but, if it is performed correctly, the whole maze is traversed, the arrival at the centre at some point in the course of the route is certain, and it is impossible to lose one’s way.
I need hardly explain why the complete description of such a duplicated maze is possible, for now every node is even, and hence, by Euler’s second proposition, if we begin at the entrance we can traverse the whole maze; in so doing we shall at some point arrive at the centre, and ?nally shall emerge at the point from which we started. This description will require us to go over every path in the maze twice, and as a matter of fact the two passages along any path will be always made in opposite directions.
If a maze is traced on paper, the way to the centre is generally obvious, but in an actual labyrinth it is not so easy to ?nd the correct route unless the plan is known. In order to make sure of describing a maze without knowing its plan it is necessary to have some means of marking the paths which we traverse and the direction in which we have traversed them—for example, by drawing an arrow at the entrance and end of every path traversed, or better perhaps by marking the wall on the right-hand side, in which case a path may not be entered when there is a mark on each side of it. If we can do this, and if when a node is reached, we take, if it be possible, some path not previously used, or, if no other path is available, we enter on a path already traversed once only, we shall completely traverse any maze in two dimensions.
Of course a path must not be traversed twice in the same direction, a path already traversed twice (namely, once in each direction) must not be entered, and at the end of a blind alley it is necessary to turn back along the path by which it was reached.
I think most people would understand by a maze a series of interlacing paths through which some route can be obtained leading to a space or building at the centre of the maze. I believe that few, if any, mazes of this type existed in classical or medieval times.
One class of what the ancients called mazes or labyrinths seems to have comprised any complicated building with numerous vaults and passages.
Such a building might be termed a labyrinth, but it is notwhat is usually understood by the word. The above rules would enable anyone to traverse the whole of any structure of this kind. I do not know if there are any accounts or descriptions of Rosamund’s Bower other than those by Drayton, Bromton, and Knyghton: in the opinion of some, these imply that the bower was merely a house, the passages in which were confusing and ill-arranged.
Another class of ancient mazes consisted of a tortuous path con?ned to a small area of ground and leading to a place or shrine in the centre.
This is a maze in which there is no chance of taking a wrong turning; but, as the whole area can be occupied by the windings of one path, the distance to be traversed from the entrance to the centre may be considerable, even though the piece of ground covered by the maze is but small.
The traditional form of the labyrinth constructed for the Minotaur is a specimen of this class. It was delineated on the reverses of the coins of Cnossus, specimens of which are not uncommon; one form of it is indicated in the accompanying diagram. The design really is the same as that drawn in ?gure ii, as can be easily seen by bending round a circle the rectangular ?gure there given.
Mr Inwards has suggested that this design on the coins of Cnossus may be a survival from that on a token given by the priests as a clue tothe right path in the labyrinth there. Taking the circular form of the design shown above he supposed each circular wall to be replaced by two equidistant walls separated by a path, and thus obtained a mazeto which the original design would serve as the key. The route thus indicated may be at once obtained by noticing that when a node is reached (i.e. a point where there is a choice of paths) the path to be taken is that which is next but one to that by which the node was approached. This maze may be also threaded by the simple rule of always following the wall on the right-hand side or always that on the left-hand side. The labyrinth may be somewhat improved by erecting a few additional barriers, without a?ecting the applicability of the above rules, but it cannot be made really di?cult. This makes a pretty toy, but though the conjecture on which it is founded is ingenious it must be regarded as exceedingly improbable. Another suggestion is that the curved line on the reverse of the coins indicated the form of the rope held by those taking part in some rhythmic dance; while others consider that the form was gradually evolved from the widely prevalent svastika.
Copies of the maze of Cnossus were frequently engraved on Greek and Roman gems; similar but more elaborate designs are found in numerous Roman mosaic pavements. A copy of the Cretan labyrinth was embroidered on many of the state robes of the later Emperors, and, apparently thence, was copied on to the walls and ?oors of various churches. At a later time in Italy and in France these mural and pavement decorations were developed into scrolls of great complexity, but consisting, as far as I know, always of a single line. Some of the best specimens now extant are on the walls of the cathedrals at Lucca, Aix in Provence, and Poitiers; and on the ?oors of the churches of Santa Maria in Trastevere at Rome, San Vitale at Ravenna, Notre Dame at St Omer, and the cathedral at Chartres. It is possible that they were used to represent the journey through life as a kind of pilgrim’s progress.
In England these mazes were usually, perhaps always, cut in the turf adjacent to some religious house or hermitage: and there are some slight reasons for thinking that, when traversed as a religious exercise, a pater or ave had to be repeated at every turning. After the Renaissance, such labyrinths were frequently termed Troy-towns or Julian’s bowers. Some of the best specimens, which are still extant, are those at Rockli? Marshes, Cumberland; Asenby, Yorkshire; Alkborough, Lincolnshire; Wing, Rutlandshire; Boughton-Green, Northamptonshire; Comberton, Cambridgeshire; Sa?ron Walden, Essex; and Chilcombe, near Winchester.
The modern maze seems to have been introduced—probably from Italy—during the Renaissance, and many of the palaces and large houses built in England during the Tudor and the Stuart periods had labyrinths attached to them. Those adjoining the royal palaces at Southwark, Greenwich, and Hampton Court were particularly well known from their vicinity to the capital. The last of these was designed by London and Wise in 1690, for William III, who had a fancy for such conceits: a plan of it is given in various guide-books. For the majority of the sight-seers who enter, it is su?ciently elaborate; but it is an indi?erent construction, for it can be described completely by always following the hedge on one side (either the right hand or the left hand), and no node is of an order higher than three.

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