The machinist landscape:Land Art Generator Initiative (Competition)

THE MACHINIST LANDSCAPE: AN ENTROPIC GRID OF VARIANCE
‘By drawing a diagram, a ground plan of a house, a street plan to the location of a site, or a topographic map, one draws a “logical two dimensional picture”. A “logical picture” differs from a natural or realistic picture in that it rarely looks like the thing it stands for.’
A Provisional Theory of Non-Sites, Robert Smithson (1968)

Between design and ground there are variances, deviations and gaps. These exist as physical interstices between what is conceptualised and what is realised; and they reveal moments in the design process that resist the reconciliation of people and their environment (McHarg 1963). The Machinist Landscape interrogates the significance of these variances through the contrasting processes of coppice and photovoltaic energy. It builds on the potential of these gaps, and in doing so proposes that these spaces of variance can reveal the complexity of relationships between consumption and remediation, design and nature.
Fresh Kills Park, and in particular the draft master plan (2006), offers a framework to explore this artificial construct. Central to the Machinist Landscape is the analysis of the landfill gas collection system, planned on a notional 200ft grid. Variations are revealed between this diagrammatic grid measure and that which has been constructed on the site. These variances between the abstract and the real offer the Machinist Landscape a powerful space of enquiry. Are these gaps a result of unexpected conditions below ground, topographic nuances or natural phenomena? Does this space of difference, between what is planned and what is constructed, have the potential to redefine the dynamic processes and relations with the land?
The Machinist Landscape is structured through this space of variance with an ‘entropic grid’, the under-storey of which hosts a carefully managed system of short-rotation coppice (SRC). The coppice, a medieval practice related to energy, product, and space, operates on theoretical and programmatic levels. It is planted along a structure of linear bunds, stabilized through coppice pole retaining structures and enriched with nutrients from coppice produced bio-char. Above the coppice is built an upper-storey of photovoltaic (PV); its structures fabricated from the coppiced timber and the PV produced with graphene from coppice charcoal processes.

A Damascene Conversion:Additional Accommodation Church of St George and St Thomas

Additional Accommodation Church of St George and St Thomas - Critical Appraisal ‘A Damascene Conversion’ by Shane O’Toole in The Sunday Times December 2008.

Reinforced concrete wall construction formed with OSB:First published use in the United Kingdom and acknowledged by Terry Pawson Architects as the source of inspiration for the internal concrete finish of the 2010 Carlow VISUAL Centre for Contemporary Art.

The artefact was published in the following :

Bennett, D., (October 2007), Architectural Insitu Concrete, RIBA Publishing, London, , ISBN 124-3671-245, pp 101-103

Bennett, D., (2008), Concrete Elegance Four, London, Concrete Centre and RIBA Publishing, pp cover, c, 4, 9-12 & back.

Stacey, Professor M., (2011) Concrete: a studio design guide, London, Concrete Centre and RIBA Publishing, pp74-75.

Dry gel conversion of organosilane templated mesoporous silica: from amorphous to crystalline catalysts for benzene oxidation

Mesoporous silica grown using [3-(trimethoxysilyl)propyl]octadecyldimethylammonium chloride as the mesoporogen in the presence of Fe and Al is X-ray amorphous, but contains very small domains with features of MFI zeolite as evidenced by IR and Raman spectroscopy. When applied as a catalyst, this amorphous sample shows good performance in the selective oxidation of benzene using nitrous oxide. Addition of tetrapropylammonium as structure directing agent to the as-synthesized mesoporous silica and subsequent dry gel conversion results in the formation of hierarchical Fe/ZSM-5 zeolite. During dry gel conversion the wormhole mesostructure of the initial material is completely lost. A dominant feature of the texture after crystallization is the high interconnectivity of micropores and mesopores. Substantial redistribution of low-dispersed Fe takes place during dry gel conversion towards highly dispersed isolated Fe species outside the zeolite framework. The catalytic performance in the oxidation of benzene to phenol of these highly mesoporous zeolites is appreciably higher than that of the parent material.

Thou art a strange fellow:Dissonance and Discordance in Intercultural Shakespeares

Any performance of the intercultural necessarily, and always, advances the question of the cultural since it involves the inter-action and interplay of unique and particular cultural performance styles and modes. Intercultural theatre, according to Pavis, is a hybrid theatrical form “drawing upon performance traditions traceable to distinct cultural areas. The hybridization is very often such that the original forms can no longer be distinguished.” The result of this collaboration of forms is, however, often not a ‘hybrid’ where cultural texts work cohesively and in unison to produce a harmonious mise en scene. Instead, intercultural performances are performances at the interstices and at the intersections of cultures. They raise problems of authorship, authority and performance unities and expose a sense of cultural foreignness. Consequently, intercultural performance can be said to be meta-theatre that queries the construction of culture since it places alongside performance traditions that confront.

Music, as performative unit, is a significant line of action by which the intercultural spectacle is constructed. Integral to Western theatre, and certainly more so in traditional Asian performance forms, the deliberate ‘fusion’ and ‘blending’ of musical styles in intercultural performances underscore not a harmony of diverse sounds but the possible dissonance and discordance already performed by the visual and verbal texts. The paper thus seeks to examine, in particular, the musical elements in intercultural performances such as Ong Keng Sen’s Lear (Theatreworks, 1999) and explore the ways in which music could possibly intensify the confrontation of performative texts resulting in a disruption of performance unities. When watching and listening to Lear, the question of the ‘local’ thus arises not merely with identification and alienation from what is seen but also what is familiar and foreign to one’s ears.

Low-Temperature Selective Catalytic Reduction (SCR) of NOx with n-Octane Using Solvent-Free Mechanochemically Prepared Ag/Al2O3 Catalysts

Low-temperature (<200 degrees C) hydrocarbon selective catalytic reduction of NOx has been achieved for the first time in the absence of hydrogen using a solvent-free mechanochemically prepared Ag/Al2O3 catalyst. Catalysts prepared by this ball-milling method show a remarkable increase in activity for the reduction of nitrogen oxides with octane by lowering the light-off temperature by up to 150 degrees C compared with a state-of-the-art 2 wt %Ag/Al2O3 catalyst prepared by wet impregnation. The best catalyst prepared from silver oxide showed 50% NOx conversion at 240 degrees C and 99%, at 302 degrees C. The increased activity is not due to an increased surface area of the support, but may be associated with a change in.the'defeet structure of the alumina surface, leading to the formation of the small silver clusters necessary for the activation of the octane without leading to total combustion. On the other hand, since one possible role of hydrogen is to remove inhibiting species from the silver, we cannot exclude some change in the chemical properties of the silver as a result of the ball-milling treatment.