Simulations of the London urban heat island

We present simulations of London's meteorology using the Met Office Unified Model with a new, sophisticated surface energy-balance scheme to represent the urban surfaces, called MORUSES. Simulations are performed with the urban surfaces represented and with the urban surfaces replaced with grass in order to calculate the urban increment on the local meteorology. The local urban effects were moderated to some extent by the passage of an onshore flow that propagated up the Thames estuary and across the city, cooling London slightly in the afternoon. Validations of screen-level temperature show encouraging agreement to within 1–2 K, when the urban increment is up to 5 K. The model results are then used to examine factors shaping the spatial and temporal structure of London's atmospheric boundary layer. The simulations reconcile the differences in the temporal evolution of the urban heat island (UHI) shown in various studies and demonstrate that the variation of UHI with time depends strongly on the urban fetch. The UHI at a location downwind of the city centre shows a decrease in UHI during the night, while the UHI at the city centre stays constant. Finally, the UHI at a location upwind of the city centre increases continuously. The magnitude of the UHI by the time of the evening transition increases with urban fetch. The urban increments are largest at night, when the boundary layer is shallow. The boundary layer experiences continued warming after sunset, as the heat from the urban fabric is released, and a weakly convective boundary layer develops across the city. The urban land-use fraction is the dominant control on the spatial structure in the sensible heat flux and the resulting urban increment, although even the weak advection present in this case study is sufficient to advect the peak temperature increments downwind of the most built-up areas. Copyright © 2011 Royal Meteorological Society and British Crown Copyright, the Met Office

Sleepwalking from New York to Miami

In the winter of 2007, Doug Aitken’s moving image installation, sleepwalkers, was projected onto the exterior walls of the Museum of Modern Art in New York. The project was a collaboration between Aitken, the museum and Creative Time, a New York-based organisation that commissions public art projects. A site-specific version of the installation has been commissioned by the Miami Art Museum for the opening of its new facility, designed by Swiss architects Herzog and de Meuron, in 2013: “sleepwalkers (Miami) will expand the work’s landscape and characters in a manner that reflects the diverse social fabric of Miami.” This essay examines sleepwalkers as an example of the emerging form of film as public art. There are three strands to my argument: first, an examination of the role of film in the redefinition of public art, shifting away from spatial practices concerned with fixed and permanent notions of space, community and art and towards transient and experimental spatial and artistic practices; second,a discussion of the relationship between projection and the built environment and the ways that the qualities of luminescence, transparency, movement and connectivity are transferred from projected images to the surfaces on which they are projected and the spaces around them; and third, an examination of the ways that sleepwalkers uses only certain aspects of narrativity, those concerned with movement and change, and avoids hermeneutic absorption in order to keep the spectators moving (transposing the idea of sleepwalking from characters to spectators). Transience and transparency are key ideas in the conceptualisation of the work, and these are deployed with significant differences in relation to the distinctive characteristics of each city and each museum.

Utopia Ltd

Utopia Ltd. explores the relationship between utopian ideas and commodification, bringing together artwork by Blaise Drummond, Brendan Earley, Pil and Galia Kollectiv, David Mabb, Lizi Sanchez and Mary-Ruth Walsh. The seven artists’ work opens up a debate on the utopian within painting, sculpture, architecture, design and video.The works in Utopia Ltd. represent modernist architecture and design in its various mutations within a spectacularised, commodified 20th century consumer society. In these works, the utopian dream seems to burst through again and again, despite rather than because of the permutations of commodity culture. By picturing the past, present and possible future, the works destabilize fixed linear time. By rescuing, reclaiming and re-picturing, Utopia Ltd. suggests that utopian ideas persist in contemporary art, making a provocative demand on the viewer’s capacity to produce utopian dreams of their own. The exhibition’s title Utopia Ltd. is a satirical echo of an operetta by Gilbert and Sullivan, Utopia (Limited) or, The Flowers of Progress (1893), in which a utopian colony is turned into a joint stock company.

Future Monument

Based on a series of collage made from images of mega yachts, the Future Monument looks at the possibility of taking late capitalism more seriously as an ideology than it takes itself seriously. The project asks whether the private display of wealth and power represented by the yacht can be appropriated for a new language of public sculpture. The choreographed live performance of the construction of the large scale monument was scripted to a proposed capitalist manifesto and took place in a public square in Herzliya, Israel. It aimed to articulate the ideology latent in capitalism’s claims to a neutral manifestation of human nature. The Future Monument project was developed through reading seminars taking place at Goldsmiths College, as part of a research strand headed by Pil and Galia Kollectiv on irony and overidentification within the Political Currency of Art research group. This research has so far produced a series of silk screen collage prints, a sculpture commissioned by the Essex Council and a live performance commissioned by the Herzliya Biennale. However, the project is ongoing, with future outputs planned including a curated exhibition and conference in 2012, in collaboration with Matthew Poole, Programme Director of the Centre for Curatorial Studies at the University of Essex.

Modern lovers

Modern Lovers was a survey show of contemporary art practices in dialogue with modernism, bringing together established and emerging artists based in London and international artists from Berlin, Jerusalem and Zagreb. The show features video, film, installation, sculpture, music and performance work that addresses the legacy of the avant garde and the survival of its aesthetics within contemporary culture. In 1976, as punk rock was busy smashing the cultural rubble left behind by the second world war and rejecting the consumer society that had emerged from the ruins, one band bravely announced that it wanted no part in this destruction. Jonathan Richman's Modern Lovers sang about how they still loved the old world. Neither parents nor girlfriends could understand, but the decaying inner city with its false promises of progress still held a fascination for Richman, who claimed he wanted to keep his place in this arcane landscape. Punk's assault on culture was the logical conclusion of modernism's linear narrative of art as a force of innovation that must reject preceding artistic movements to establish new ones. Echoing the negations of Dada, it set out to put an end to this narrative, an end to culture. It is partly because of this inherently destructive and totalising side of Modernism that it has come under harsh critique in the post modern era. Nevertheless, we are still caught up in the same dialectic of progress, revolution and destruction. Post modernism has failed to unseat our desire for the revolutionary moment, even as it has been co-opted to the degree of meaninglessness by the discourses of marketing and Capitalism. But, like Jonathan Richman, the artists in the exhibition "Modern Lovers" keep returning to modernism for something else. Instead of taking it at its word when it proffers revolution, they turn to it in search of reform. Still loving the old world and desiring a dialogue with the past, perhaps as an antidote to the eternal present of Capitalism, they are willing to engage with its aesthetics and ideas on equal ground. Leaving behind the ironic deconstructions of post modernism, they find perspectives worth salvaging and juxtapose them with contemporary visual productions. Trading in the grand narratives of modernity for a more personal approach, they don't seek the purity of form that drove the avant garde movements that inspire them but rather revel in adulteration, dilution and contamination of the past by the present". A live performance by sala-manca was sponsored by the British Council and took place May 26th, 19:00. MODERN LOVERS was accompanied by a catalogue (14.80 cm x 14.80 cm) including essays by Avi Pitchon, the sala-manca group and the curators. A discussion panel about the exhibition themes, as well as the catalogue launch,took place at Goldsmiths College's cinema on the 27th of May at 14:00, chaired by Dr. Suhail Malik (Senior Lecturer & Course Leader Postgraduate Fine Art Critical Studies at Goldsmiths College) and with the participation of Tom Morton (curator, Cubitt Gallery, and regular contributor to Frieze magazine), sala-manca (artist group), Dr. Amanda Beech (artist, curator and senior lecturer at the Wimbledon School of Art), Matthew Poole (course director of MA Gallery Studies, dept. of Art History and Theory at the University of Essex).

Achieving carbon reduction from listed buildings in the UK: A case study on The Royal Academy of Engineering, London

A carbon reduction strategy for a historic Grade 1 listed office building in London is presented. The study evaluates the impact of49 different carbon abatement options, quantified using building simulation software, auditing procedures and qualitative methods. The impact of each option is assessed against three criteria: carbon abatement potential, practicality and cost. The strategy comprises of18interventions,integrated within 12 key recommendations. Accumulative reduction of 37% (below a 2009 carbon emissions baseline)appears achievable and only feasible with heavy reliance on changes in occupant behaviour. This theme appears central in achieving realistic and significant carbon savings from listed buildings, where planning constraints relinquish potential for major building fabric alteration and renewable energy installations.

Implementation of a new urban energy budget scheme into MetUM. Part II: Validation against observations and model intercomparison

In the first part of this article, we introduced a new urban surface scheme, the Met Office – Reading Urban Surface Exchange Scheme (MORUSES), into the Met Office Unified Model (MetUM) and compared its impact on the surface fluxes with respect to the current urban scheme. In this second part, we aim to analyze further the reasons behind the differences. This analysis is conducted by a comparison of the performance of the two schemes against observations and against a third model, the Single Column Reading Urban model (SCRUM). The key differences between the three models lie in how each model incorporates the heat stored in the urban fabric and how the surface-energy balance is coupled to the underlying substrate. The comparison of the models with observations from Mexico City reveals that the performance of MORUSES is improved if roof insulation is included by minimizing the roof thickness. A comparison of MORUSES and SCRUM reveals that, once insulation is included within MORUSES, these two models perform equally well against the observations overall, but that there are differences in the details of the simulations at the roof and canyon level. These differences are attributed to the different representations of the heat-storage term, specifically differences in the dominant frequencies captured by the urban canopy and substrate, between the models. These results strongly suggest a need for an urban model intercomparison exercise. Copyright © 2010 Royal Meteorological Society and Crown Copyright

Performance as social practice

Starting point for these outputs is a large scale research project in collaboration with the Zurich University for the Arts and the Kunstmuseum Thun, looking at a redefinition of Social Sculpture (Joseph Beuys/ Bazon Brock, 1970) as a functional device re-deployed to expand the art discourse into a societal discourse. Although Beuys‘ version of a social sculpture involved notions of abstruse mysticism and reformulations of a national identity these were never-the less part of a social transformation that shifted and re-arranged power relations. Following Laclau and Mouffe in their contention that democray is a fundamentally antagonistic process and contesting Grant Kester’s understanding of a ethically based relational practice, this work is alignes itself with Hirschhorn’s claim to an aesthetic practice within communities, following the possibility to view a socially based practice from both ends of the ethics debate, whereby ethical aspects fuels the aethetic to “create situations that are beautiful because they are ethical and shocking because they are ethical, thus in turn aesthetic because they are ethical” (O’Donnell). This project sets out to engage in activities which interact with surrounding communities and evoce new imaginations of site, thereby understanding site as a catalysts for subjective emergences. Performance is tested as a site for social practice. Archival research into local audio/visual resources, such as the Swiss Radio Archive, the Swiss Military Film Archives and zoological film archives of the Basel Zoo, was instrumental to the navigation of this work, under theme of crisis, catastrophy, landscape, fallout, in order to create a visual language for an active performance site. Commissioned by the Kunstmuseum Thun in collaboration with the University for the Arts in Zurich as part of a year long exhibition programme, (other artists are Jeanne Van Heeswijk (NL) and San Keller (CH), ) this project brings together a series of different works in a new performace installation. The performance process includes a performance workshop with 30 school children from local Swiss schools and their teachers, which was conducted publicly in the museum spaces. It enabled the children to engage with an unexpected set of tribal and animalistic behaviours, looking at situations of flight and rescue, resulting in a large performance choreography orchestration without an apparent conductor, it includes a collaboration with renowned Swiss zoologist, Prof Klaus Zuberbühler(University of St Andrews) and the Colonal General Haldimann commander of the military base in Thun. The installation included 2 static video images, shot in an around spectacular local cave site (Beatus Caves) including 3 children. The project will culminate in an edited edition of the Oncurating Journal, (issue no, tbc, in 2012) including interviews and essays from project collaborators. (Army Commander General, Thun, Jörg Hess, performance script, Timothy Long, and others)

Real Estate & the New Economy: The Impact of Information and Communications Technology

Private sector commercial property represents some #400 bn, or 34% of total UK business assets and is a vital fabric for housing commercial enterprise. Yet social and economic forces for change, linked with new technology, are making owners and occupiers question the very nature and purpose of property and real estate.

Public Art Commission, Where is Heidenheim? Tina O'Connell and Neal White

Research undertaken through significant public art commission. The researchers were both artists were selected separately by Dr Penelope Curtis of Tate and then the shortlist was awarded through competition (peer reviewed by Critics and Artist in Germany) part of the Heidenheim Sculpture Biennial, Germany (€18K). The work was realised by two companies in Heidenheim. Where is Heidenheim? was based within the Heidenheim Zietung newspaper[HZ] and drew together a site of a local paper in a small town in Germany with other local International papers; Wendover Times – Utah, USA;, Limerick Leader, Ireland; Free Imphal Press, Manipur, India; Hibr, Lebanon; Namibia Times, Namibia and The Countryman, Tasmania, Australia. Each of these papers ran a story showing a sign erected onto HZ in Heidenheim, which was subsequently printed inside HZ itself – linking together sites and local voices. Project research identifying global partners was conducted through the management of a PhD research student from the BU Media School - Venkata Vermuri. The work for both artists expands the context of their research into the impact of global networks on public art, and the traditions and norms of public art being confined to single ‘geographical’ sites. This research indicates the potential for media as a common public space that can also be used.

Public Art Commission Rung by Rung, Tina O'Connell

Research based on a significant public art commissions awarded through competition (peer reviewed) – Pearse Street Clinic Public Art Commission (€20K). Research was examining issues of the relationship between sculpture, exchange and communication, health and well-being. The research used an approach to question the aspirations and dreams of those who were visiting the health centre as part of a routine of daily life. Based on the aspirational concerns of individual visitors, and secondary research of positive effects of light, the final output draws on ideas based around the language of physical signage to occupy a space concerned with visitor health and wellbeing – a Health Clinic. The output has had an impact both at the site and more broadly in the context of examining sculpture and fine art as a social catalyst - based on work of socially-engaged historical practices. The installation at Pearse Street work in Dublin in Nov 09 has received critical and local acclaim. Further commissions within the public arena have been forthcoming despite difficult local economic landscape.

Reduction of greenhouse gas emissions from UK hotels in 2030

The feasibility of halving greenhousegasemissions from hotels by 2030 has been studied as part of the Carbon Vision Buildings Programme. The aim of that programme was to study ways of reducing emissions from the existing stock because it will be responsible for the majority of building emissions over the next few decades. The work was carried out using detailed computer simulation using the ESP-r tool. Two hotels were studied, one older and converted and the other newer and purpose-built, with the aim of representing the most common UKhotel types. The effects were studied of interventions expected to be available in 2030 including fabric improvements, HVAC changes, lighting and appliance improvements and renewable energy generation. The main finding was that it is technically feasible to reduce emissions by 50% without compromising guest comfort. Ranking of the interventions was problematical for several reasons including interdependence and the impacts on boiler sizing of large reductions in the heating load

Ranking of interventions to reduce dwelling overheating during heatwaves

Extreme weather events, including heatwaves, are predicted to increase in both frequency and severity over the coming decades. Low house building rates and a growing population mean there is a need to adapt existing dwellings. Research presented here uses dynamic thermal simulation to model the effect of passive heatwave mitigating interventions for UK dwellings. Interventions include a range of additions and modifications to solar shading, insulation and ventilation. Results are presented for typical end and mid terrace houses, with four orientations, two occupancy profiles and using weather data from the 2003 heatwave. Results show the effectiveness of interventions that reduce solar gains through the building fabric, such as external wall insulation and solar reflective coatings. Internal wall insulation is shown to be less effective and can increase the overheating problem in some cases. Control of solar gains through glazing, using shutters and fixed shading, are also effective, particularly for south, east and west-facing rooms. Results are also presented which demonstrate how it is possible to select combinations of interventions that both eliminate overheating and reduce space heating energy use. The cost of interventions is also considered in the final analysis.

‘The Making of the Book’: Roy Fisher, the Circle Press and the poetics of book art

Between 1972 and 2001, the English late-modernist poet Roy Fisher provided the text for nine separate artist's books produced by Ron King at the Circle Press. Taken together, as Andrew Lambirth has written, the Fisher-King collaborations represent a sustained investigation of the various ways in which text and image can be integrated, breaking the mould of the codex or folio edition, and turning the book into a sculptural object. From the three-dimensional pop-up designs of Bluebeard's Castle (1973), each representing a part of the edifice (the portcullis, the armoury and so on), to ‘alphabet books’ such as The Half-Year Letters (1983), held in an ingenious french-folded concertina which can be stretched to over a metre long or compacted to a pocketbook, the project of these art books is to complicate their own bibliographic codes, and rethink what a book can be. Their folds and reduplications give a material form to the processes by which meanings are produced: from the discovery, in Top Down, Bottom Up (1990), of how to draw on both sides of the page at the same time, to the developments of The Left-Handed Punch (1987) and Anansi Company (1992), where the book becomes first a four-dimensional theatre space, in which a new version of Punch and Judy is played out by twelve articulated puppets, and then a location for characters that are self-contained and removable, in the form of thirteen hand-made wire and card rod-puppets. Finally, in Tabernacle (2001), a seven-drawer black wooden cabinet that stands foursquare like a sculpture (and sells to galleries and collectors for over three thousand pounds), the conception of the book and the material history of print are fully undone and reconstituted. This paper analyses how the King-Fisher art books work out their radically material poetics of the book; how their emphasis on collaboration, between artist and poet, image and text, and also book and reader – the construction of meaning becoming a co-implicated process – continuously challenges hierarchies and fixities in our conception of authorship; and how they re-think the status of poetic text and the construction of the book as material object.