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Me and My Character

July 10th, 2006 by Monkey

When my boyfriend offered me a plush toy for Christmas i was appalled: did i really know that guy who had this super cheesy idea to offer me a plus toy for xmas? Alas! I can’t understand what happened to me. If you’ve met me you might know that now wherever i go, Kaikai Kiki goes. I bought him a fake mobile phone, a fake golden tooth and a sleeping mask.

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The upcoming exhibition Me and My Character at Platform21 investigates the emotional bond people have with their nonliving companions. In researching designer toys and character design, Platform 21 found a hidden world where creators, users, professionals and amateurs come together, united by their attraction to these creatures.

The exhibition consists of testimonials by character owners, collectors and designers about their plush friends, accompanied by photos, descriptions, videos, and many toys lent by their owner.

Platform 21 has also adopted its own character: Leaflet, created by one of my favourite Japanese artists, Akinori Oishi. Leaflet is now in good hands at the PictoOrphanage in Berlin. PictoOrphanage opened its gates in 2000 to all abandoned creatures in a bid to save them from falling into oblivion. Today they are on package designs, shop signs or posters, but tomorrow, who knows? The PictoOrphanage pair-up the abandoned orphans with ideally-suited foster parents.

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Les Petits Bonhommes by Akinori Oishi

Me and My Character: Cuddly Toys, Monsters and Robots runs 13 July-Sunday 27 August, at Platform21, in Amsterdam.

Originally from we make money not art on July 10, 2006, 10:26am

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Robotanic

July 10th, 2006 by Monkey

Breeze is an ambient robot inhabiting the body of a willow tree. Unlike us, Breeze can visually sense and react through 360 degrees, allowing her to reach out to you and others wherever you are near. Owing to a shape-memory alloy and hidden electronic wiring, its branches rise and positions themselves towards passersby in lightly undulating waves. Responding slowly or rapidly, the tree can have a brutal or gentle reaction.

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Breeze is the first protoptype of Robotany, a collective made of Jill Coffin, John Taylor, and Daniel Bauen to combine nature and robotics.

Via Grand Text Auto.

Originally from we make money not art on July 7, 2006, 4:05am

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Urban monsters only come out at night

July 10th, 2006 by Monkey

Forget for a second that i usually complain that i see to many “wave your hand and see how the projected images are modified” projects (they might be beautiful but are not meaningful nor experimental enough for me). Here’s one such project that i actually find very neat:

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We only come out at night
is an urban graffiti project. A site is selected at dawn and a sticker is stuck or a stencil image is sprayed at the location. When night falls, the funny jellyfish character on the sticker is projected many times the sticker size onto the building.

The monsters float over people’s heads often changing their moods. When they are sad, the just float around, but when they are angry, they shoot out tenticles and grab passerby’s sillouettes and consume them, leaving only crumbs. The projector is placed in such a way that the pedestrians never see the source of the projection so the image appears almost out of no where. The sticker can be removed and the project visits another place at dawn. A website is created to track the history of the monster appearance in order to promote and create a mythology.

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Video.

A work by Jiacong Yan.

See also: Sascha Pohflepp and Lisa Rave’s Reflective stencils; Frédéric Eyl, Gunnar Green and Richard The’s Parallel Worlds, Evan Roth’s Graffiti Analysis.

Originally from we make money not art on July 7, 2006, 6:09am

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The Day Life Got Tough

July 10th, 2006 by Monkey

3kifedgo.jpgJim Kosem’s The Day Life Got Tough is a magical, animated book, with big letters printed on paper, but brought to life as you turn the pages through the story with projected animations that follow your progress through the book. The story not only goes forward, but once you reach the end, starts going backwards and then ends back at the beginning… which is also the end of the other story. Stories that are multidirectional and end up folding in on themselves require new kinds of books to tell them. The Day Life Got Tough is an exploration into how writing process, narrative structures and inventing new formats affect one another as told through the universal story of a journey.

Video.

How does it work?
A system made of a camera above the book and a camera tracking software in Processing recognizes where you’re at in the story by looking for certain marks on the pages. This information tells Flash where you’re at and which animations ought to be projected onto the book. The Flash program also tracks your progress, so that when you reach the end of the book, it know it has to start going backwards. At the end of the dog’s story (the backwards one) it starts back at the beginning of the guy’s story (the first forwards one when you open the book), so the story kind of folds in on itself.

The idea of the “The Day Life Got Tough” story-wise was the universal theme of a journey and that everyone has bad days. The guy whose story you follow on the way forward through the book just has a really bad day and things start getting progressively worse. Jim explains: “We came up with the idea of being able to go backwards through a story (and time) to explore the notion of how things would change if you could go back in time almost, and then how you would do this with a different character, in this case the dog, but in the same context.”

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“One of the goals technically as well was to have the book only as paper (no wires, no electronics) and to augment it, which adds a bit of a magical quality to it. The paper is also coated which adds kind of a nice glowing effect too. I think of “The Day Life Got Tough” as more of a platform than anything, just a new way to tell stories, and technically it could all eventually be housed in a lamp lets say and you could put just about any book underneath and it would be animated. Most importantly, as a new platform one could start to write all kinds of new stories utilizing this multi-directional device, which is the eventual goal.”

Illustrations by Adam Simpson.
Images by Jim Kosem and mine.

Originally from we make money not art on July 7, 2006, 10:09am

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discarded talk: the revolution was not televised.

July 10th, 2006 by Monkey

(via ) …

I had to come up with a three minute rant for the Alliance for Community Media workshop on “Evaluating the PEG (Public Access) Model of Community Media.” This is the rant I decided not to use:

For years we talked about the coming media revolution. This revolution was going to put the power of mass media in the hands of The People. The People were the individuals and small (non-business) organizations who were ignored, marginalized, and disinfranchised. They were going to use television to allow people to take over the airwaves and make their voices heard. They were going to produce, organize, and take action. Most importantly, this revolution was going to happen because of us.

Well the revolution happened and we weren’t there to broker it.

The revolution came in the form of blogs and iMacs and cameraphones and MySpaces and YouTubes and it had the full backing of Silicon Valley, Wall Street, Rupert Murdoch, and the Fortune 500.

The revolution wasn’t broadcast quality so we thought the revolution wasn’t worth our time. The revolution was agnostic and equally exploitable by all so we said the revolution had no ideology. The revolution reduced all of our paperwork to one click agreements so we said it was too irresponsible. The revolution didn’t route through us so we thought the revolution wasn’t the real revolution.

The revolution was unorganized and we didn’t know how to deal with it.

But now’s the time to start dealing with it.

Because although more folks are talking, they still need models for organization and effective action.

Because although anyone can blog, the power laws still apply.

Because although everyones actions are becoming more explicit, no one’s holding our institutions more accountable.

Most of all, because the revolution is here and it looks just like any other day.

Originally from unmediated on July 10, 2006, 9:53am

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Antenna Search

July 10th, 2006 by Monkey

(via ) …
antennasearchmain.png AntennaSearch offers detailed information on over 1.9 million towers and antennas in the US. Includes maps, ownership details, contact information… You can pinpoint existing and future towers and even small hidden antennas. digg

Originally from unmediated on July 10, 2006, 10:00am

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The New State Television

July 10th, 2006 by Monkey

(via ) …


I know what you’re thinking. "Did he fire six shots or only five?" Well, to tell you the truth, in all this excitement I kind of lost track myself. But being as this is a .44 Magnum, the most powerful handgun in the world, and would blow your head clean off, you’ve got to ask yourself a question: Do I feel lucky? Well, do ya, punk? – Dirty Harry

State-wide television networks — over broadband — may be an idea whose time has come. With broadband penetration moving towards 70% in the United States you have to ask yourself…why not?

Nobody’s tried it. Mobile tv can carry a dozen or more channels locally. Advertisers in big cities may lease channels on local DVB-H and MediaFLO broadcasts for targeted advertising. Localized content could follow.

Mobile Television and
Mobile WiMAX could be synergtic. In Korea, WiBro handhelds also include Mobile TV (via DMB-T). Perhaps live, state-wide television networks could follow. With advertisers. Small screen broadcast news may be less successful than 5,000 time-shifted video blogs. Make your own schedule.

City TV channels already exist on cable. They vary from educational and public access shows to NY-1, a full-blown 24/7 news operation just for New Yorkers.


The broadcast center, located in a shopping mall, could plug in MPEG-4 AVC encoders (above) for broadcast-quality 1Mbps transmissions. Good to go.

Statewide. The Oregon Public Affairs Network covers the government. Oregon Education has broadband connections and a 2.5 GHz Wireless Network. Broadband wireless, using WiFi and WiMAX, can deliver the last mile. One-way Mobile TV is the billboard. Broadband is the transactional element. As seen on WiBro.

Regional networks like Northwest Cable News make money. That’s the new reality television. Eyeballs. Giving away AOL would reduce revenue by about $2 billion, but it increases eyeballs and ad revenue, says the Washington Post. AOL saw advertising revenue rise 26 percent to $392 million in the first quarter of 2006.

Portland’s Live Wire uses an entertainment format pioneered by Prarie Home Companion. Radio shows. Great Radio is where you find it. NW theatre companies include the Miracle Theatre Group (Hispanic), Triangle Productions (gay), Northwest Mystery Theater, Willamette Radio Workshop and others.

Add Event Coverage, Music, Public Forums, Antique Auctions and Plays. Don’t forget to incorporate Bloggers, Video Blogs and PodCasters into your mix. Stir.


Originally from unmediated on July 10, 2006, 9:51am

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US DOI: Freedom Of Information Act Handbook

July 10th, 2006 by Monkey

(via ) …
a manual!!

Originally from unmediated on July 10, 2006, 9:50am

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Embedding control in society: the end of freedom

July 10th, 2006 by Monkey

(via ) …

Bye bye debate.

Henry Porter’s chilling Blair Laid Bare – which I implore you to read if you have the slightest interest in your future – contains an equally quote from the LSE’s Simon Davies noting the encroachment of architectures of control in society itself:

“The second invisible change that has occurred in Britain is best expressed by Simon Davies, a fellow at the London School of Economics, who did pioneering work on the ID card scheme and then suffered a wounding onslaught from the Government when it did not agree with his findings. The worrying thing, he suggests, is that the instinctive sense of personal liberty has been lost in the British people.

“We have reached that stage now where we have gone almost as far as it is possible to go in establishing the infrastructures of control and surveillance within an open and free environment,” he says. “That architecture only has to work and the citizens only have to become compliant for the Government to have control.

“That compliance is what scares me the most. People are resigned to their fate. They’ve bought the Government’s arguments for the public good. There is a generational failure of memory about individual rights. Whenever Government says that some intrusion is necessary in the public interest, an entire generation has no clue how to respond, not even intuitively. And that is the great lesson that other countries must learn. The US must never lose sight of its traditions of individual freedom.””

My blood ran cold as I read the article; by the time I got to this bit I was just feeling sick, sick with anger at the destruction of freedom that’s happened within my own lifetime – in fact, within the last nine years, pretty much.

Regardless of actual party politics, it is the creeping erosion of norms which scares the hell out of me. Once a generation believes it’s normal to have every movement, every journey, every transaction tracked and monitored and used against them – thanks to effective propaganda that it’s necessary to ‘preserve our freedoms’* – then there is going to be no source of reaction, no possible legitimate way to criticise. If making a technical point about the effectiveness of a metal detector can already get you arrested, then the wedge is already well and truly inserted.

Biscuit packaging kind of pales into insignificance alongside this stuff. But, ultimately, much the same mindset is evident, I would argue: a desire to control, shape and restrict the behaviour of the public in ways not to the public’s benefit, and the use of technology, design and architecture to achieve that goal.

Heinlein said that “the human race divides politically into those who want people to be controlled and those who have no such desire”. I fear the emergence of a category who don’t know or care that they’re being controlled and so have no real opinion one way or the other. We’re walking, mostly blind, into a cynically designed, ruthlessly planned, end of freedom.

Related: SpyBlog | No2ID | Privacy International | Save Parliament | Areopagitica

*Personally, I have serious doubts about the whole concept of any government or organisation ‘giving’ its people rights or freedoms, as if they are a kind of reward for good behaviour. No-one, elected or otherwise, tells me what rights I have. The people should be telling the government its rights, not the other way round. And those rights should be extremely limited. The 1689 Bill of Rights was a bill limiting the rights of the monarch. That’s the right way round, except now we have a dictator pulling the strings rather than Williamanmary.

Originally from unmediated on July 10, 2006, 9:45am

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Pando – SWARM tech for emailing videos

July 10th, 2006 by Monkey

(via ) …
Super useful, totally easy (and completely free) application for Windows 2000/XP or Mac OS X that lets you send massive video files via email without compressing or transcoding them.

Originally from unmediated on July 10, 2006, 9:47am

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Reader Question: Human Rights Associated with Food

July 10th, 2006 by Monkey

fair foodReader Laura G. wrote: “I’ve been reading information on treehugger.com for about 2 years now. Thank you so much for everything you put out. I have a question relating to the post on Whole Foods Market’s new initiatives. Or, stemming from it. I am wondering if you know of any good resources for finding out about the human rights associated with the food products that we buy. I am just finishing reading “Fast Food Nation” for the first time. What has been troubling me even more than looking for meat/dairy products that come from places that treat their animals humanely is the difficulty I’m having finding out about the working/safety conditions for humans in the factories and distributions centers where our food comes from.” More after the jump. Please leave your answer in the comments.

Originally from Treehugger on July 10, 2006, 10:05am

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Meshglass

July 10th, 2006 by Monkey



Meshglass combines an enhanced flexible tiling system with a web-based digital design tool. Comprised by stained-glass and mirror pieces connected via a fiberglass underlayment, Meshglass may be easily overlaid onto complex, curvilinear surfaces like pool shells and furniture. Moreover, the glass in the product is entirely UV-stable and 100% recyclable.

The Meshglass website also offers design tools which allow one to create custom configurations using a myriad of patterns and colors. While their current tools are for online use, the company plans to offer a downloadable software package for direct output of custom patterns for fabrication. [via the Meshglass website; suggested by Clayton Whitman, Seattle.]

Originally from Transmaterial on July 7, 2006, 8:42pm

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Broken Machine

July 10th, 2006 by Monkey

Astro1

As a fan of Osamu Tezuka’s  Astroboy, I couldn’t help but love these photos by Hiroshi Araki. It’s not Tezuka’s artwork or even Astroboy’s personality that makes the manga so fascinating. It’s the fact that Tezuka managed to create an empathy for entire society of self-aware robotic beings… beings enslaved by humans.

Astro2

Though Tezuka’s inspiration was Disney, his children’s stories were usually more forcefully provoking than his American counterpart. Though it was Walt Disney who said "don’t ever talk down to a child," it was Osamu Tezuka who lived up to this statement by never shying away from topics like war, death, loss and then even some of the greater questions. What are we? Who are we? What is consciousness?

Astroboy_3

A few years back a film adaptation was made of Tezuka’s Metropolis manga. It actually share very little in common with the manga but it is great looking. And it does display Tezuka’s enslaved society of robots. I recommend it, especially as an introduction to Astroboy.

Originally from Tinselman on July 3, 2006, 2:01pm

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Migrant Structures

July 10th, 2006 by Monkey




I recently wrote an article for
Inhabitat
on Migrant Structures, which was posted fittingly enough on July 4th. You can read the article here, though I am reposting it on Subtopia with some added research I came across while putting it together. Also, thanks to Sarah Rich for helping me with some crucial edits.

With so much focus on the US Government militarizing the US/Mexico border right now, it can be easy to miss the new types of migrant urbanism cropping up in the borderlands. For architects and designers, it’s a process that presents important questions, and great potential for innovation.

How can architecture reconcile the transborder pressures of providing adequate housing with the inevitable tides of hyper-immigration? How can it help manage the increasing sprawl of the destitute colonias swelling between the two countries? And how can we bring new models of planning and infrastructure to areas of booming migrant settlement? How can design help to preserve the cultural identities of (im)migrants, or even help in some way to secure their political status here in the U.S.? Can design facilitate ties between immigrants and local municipalities, while preserving their connections to their homelands? Furthermore, how can future migrant structures suture the dismal and widespread labor-scapes of poor rural America?





From cheap hotels to border crossing choke points, smuggler tunnels to detention camps; from temporary labor shack housing to urban homeless shelters; squatter encampments to life in a vehicle, thousands of deprived families squat perpetually between various nodes of borderzone nomadism. Could a solution to farmworker housing help resolve other sectors of nomadic urbanism, like homelessness, or emergency housing for natural disaster refugees? How might our focus on migrant structures address these populations, as well?

For example, Public Architecture explores how the proliferation of informal day laborer shelters that are popping up in the urban core could be designed to help dignify and institutionalize this laborer space. But perhaps these structures could also serve as a bridge with other communities who stand to benefit from similar projects, like bicyclists seeking bike shelters, or other labor activists looking for mobile stations in their own field deployment.

















First, some quick economic context in order to better understand the farmworker housing issue and how it has played out in the evolution and development of a dispersed borderzone culture in the United States: Current estimates place the number of migrant and seasonal farmworkers in the U.S. today somewhere between 3 and 5 million. 61 percent of these people live in extreme poverty, with an average median income less than $7,500 annually, and a household income somewhere around $10,000, but not exceeding.





Bill Moyers, in 2004, ran a great series ‘On the Border’ which traced the plight of farmworkers in this country through the last century up to their current struggles today. The history of migratory farm labor in the United States began right after the Civil War “when agriculture became increasingly the domain of business enterprises rather than family or subsistence farms. Always at the bottom of the economic ladder” Moyers reminds us, “the migrant labor population was filled time and again with marginalized groups — the poor, immigrants and racial minorities.” His website goes onto emphasize the work of Philip L. Martin, a professor of agricultural economics at the University of California at Davis, who has tracked the tidal wave patterns of the migrant farmworker population, suggesting that during the 1920s there were some two million migrant farmworkers in the United States. By the 1940s, he claims, the number had fallen to about one million. Then, came industrial mechanization and the numbers fell even further close to 200,000 in the 1970s. With the advent of NAFTA, Mexico’s farming industry has faced considerable depletion since and in the last few decades the U.S. has absorbed much of the shift in agricultural output, which has drawn many desperate Latino workers across the border.





In general, employers don’t provide adequate housing, if any at all, and workers and their families are forced to seek shelter in multiple locations during the year, according to the Housing Assistance Council, “usually in small communities with very little rental housing available. Compounding the workers’ difficulty, low prevailing wage rates and limited days of employment have resulted in two-thirds of migrants living below the poverty line.”

The Rio Grande Valley in the south of Texas is the nation’s capital for farmworkers; 90% of the 1 million people there are Hispanic and approximately 1/3rd of those depend on employment in agriculture. The Migrant Legal Action Program places the housing options in two categories: “either on or off the farm.” On the farm, housing is provided, but employers impose stringent control, such as tall fences, “both to keep farmworkers in and to keep outsiders such as lawyers and health care providers out.” These facilities – labor camps, as they are called – are overcrowded and lack the most basic amenities – toilets, running water, and even electricity. On top of it all, this kind of shelter means a reduced paycheck.

The “off the farm” option usually means makeshift shelters constructed out of scrap material from nearby ditches, open fields, abandoned buildings and cars — places dislocated from basic infrastructure, and generally perceived as countryside slums. The MLAP suggested in 2004 “that [at the time] there [was] only enough adequate shelter for 425,000 of the nation’s 1.2 million farmworkers.” Or, about 35%.





In terms of demographics, migrant workers circulating in the United States “follow three general streams. In the East, workers begin in Florida and travel up through Ohio, New York and Maine, following crops that range from citrus to tobacco to blueberries. The Midwestern stream begins in Southern Texas and flows north through every state in the MidWest. Workers in the West begin their season in southern California and follow the coast to Washington state or veer inland to North Dakota.” (pdf) The majority of farmworkers are located in Florida, North Carolina, Texas, California, Michigan, Oregon and Washington.





Along the border, the lower Rio Grande Valley, for instance, is a four-county area that forms the southern tip of Texas and has a population of approximately one million people. According to the organization Migrant Health Promotion, “Nearly 90 percent of the Valley population is Hispanic.2 [And…] The Valley is the permanent home of one of the largest concentrations of farmworkers in the United States; roughly one third of the Valley population depends on employment in agriculture.3” More interesting is that the Valley population grew “an average of 31 percent across counties from 1999 to 2000, compared to 13 percent nationally; yet the region has substantially higher poverty rates than Texas or the United States as a whole”.

Their research goes on to conclude that for residents without specific skills or training, work is very scarce in the Valley. “Thirty-four percent of the entire Valley population lives in poverty compared to 15 percent of the Texas population and to 12 percent nationally. Unemployment rates in the colonias are two to three times state rates, and many sources cite rates up to 60 percent.”

For those who don’t know, colonia means neighborhood or community in Spanish. But, along the U.S.-Mexico border, MPH explains, “colonias are unincorporated and unregulated neighborhoods where lower-income families build and own their own homes. They may or may not own the land.” šAnd in general, I have heard they rarely do. The majority of these communities can be found in Texas, New Mexico, Arizona and California. Texas, unsurprisingly, has the largest number of colonia residents with 400,000 to 500,000. “The Valley alone is home to nearly 2,000 colonias and the bulk of the Texas colonia population. Valley colonia residents are predominately Mexican and Mexican American (99 percent).

Interesting facts, and certainly important while baring in mind the Rio Valley is incredibly polluted due mostly to the expansion of maquiladoras, and considering that the U.S.-Mexico border is expected to grow in population by another 10-15 million by 2020. The combination of this population explosion, the incorrigible sprawl of maquiladora by-product, and a continual expansion of the colonias, could spell a major disaster for the Valley in the coming years. Not to mention the impact of increased border security and how that will influence border crosser patterns in and around the Valley, and how constant patrol may interfere with the natural ecology of the region.





Design Corps, a community-design based architectural outreach and planning organization, has worked in close collaboration with low-income populations since it was founded in 1999. One of their primary projects has been the Farmworker Housing Program, which has helped farmworkers devise their own affordable housing in Florida, North Carolina, Virginia and Pennsylvania.





In 2004, Laura Shipman, an advisory Board member of Design Corps, worked with farmworker advocate, Rob Williams, of Florida Legal Services, to design hurricane-resistant housing just after the storms ripped through Florida and devastated much of the already substandard farmworker housing there. The project dealt with specific concerns, like balancing shared housing and communal space (washrooms, TV rooms, recreational spaces, and other community plug-ins) with the need for private and family-friendly areas.





Housing located directly on the farms requires structural elevation and hurricane-resistant features like retractable window panels and back-up ground fastening functions, so ’security’ and ‘openness’ can be equally central to the design. Most important perhaps, is that the end product can be a place which helps overturn the traditional perception that farmworkers only live in run-down shanties.

Design Corps has always treated its clients (often society’s most underserved people) as guides in the process through questionnaires, interviews and charettes; and by establishing a genuine and lasting relationship, which stimulates the community’s own design sensibility and input. Shipman’s project (pdf), while responding to the disasters of Florida’s post-hurricane landscape, is intended to be a model of community design for non-profits working with farmers and migrant workers all over.





Bryan Bell, the founder of Design Corps, who has been doing migrant housing for twelve years, was also featured in
Metropolis back in 2004
, when he spoke about the process. Specific needs, “which may not be uniform amongst farms around the country,” are teased out in many ways. He says, for instance, “Instead of trying to rewrite migrant housing law, we just do strategic strikes. Like in South Carolina, one of the farmers had used bunk beds. Now, some 48-year-old farmworker shouldn’t have to climb up into a bunk bed. So we put in our lien, ‘No bunk beds.’” Bell proves that design and architecture can provide a bargaining chip for workers seeking to improve their conditions with farmers.





The primary goal has been for housing “that accommodates diverse cultures, counters the stigma associated with farmworker housing, and provides flexibility in configuration that allows for long-term use.” Design Corps’ website, also boldly states, that “while the manufactured housing industry has gained ground in middle- and upper-income markets, it is important that the industry continue to develop its original client base, low-income households, with better products and improved image.”





Another project that was recently shown at the Mobile Living Exhibit in NYC is the Resident Alien, by designer Andrew Dahlgren, a student at the University of Arts. Considering the fact that most migrant workers “find work by word of mouth,” says Dahlgren, and “travel in small groups, from farm to farm with little to no personal belongings,” an ideal solution would be a dynamic and configurable nomadic unit made from standard cargo containers. Dahlgren’s solution (pictured also at the beginning of the article) involves three modules (kitchen and eating, social space, and a bathroom) that could be installed into the containers, or in the beds of semi-truck trailers, and would allow the workers to travel and dock in designated areas around the farms to form their own community configurations tailored to specific conjoined needs.





The architecture becomes a poetic response to fact that migrant workers are “in a way ’shipping’ their lives, belongings, and homes across the country.” And because the units “can be pulled by a truck or van and could be purchased by the workers themselves,” the Resident Alien gives workers a sense of ownership and control of their lives in a context which would otherwise treat them as nomadic serfs.

As spatial translations of global labor grind against an ironic nexus of free flow capital, how might an ideal migrant structure effect the global economy? What can farmworker housing achieve as a form of architectural negotiation with the fetid landscape of globalization’s open (and closed) borders? Can architecture help leverage migrant needs in the harsh marketplace of exploited global labor?





There are many other projects worth mentioning where migrant worker housing is resolved by the creation of affordable housing in general; a Google search pulls up some recent examples: Amistad Farm Laborers Housing, the Kingston House. Some are partially funded by the government’s assistance program, established solely for the purpose of developing farmworker housing, but those amount to a very small portion of what is actually needed.

And, of course, Teddy Cruz out of San Ysidro, California, has been mentioned on
Inhabitat
before, for doing some of the most important work in this context today, with implications for affordable housing well beyond the borderlands.

But what about all those workers who aren’t fortunate enough to find adequate rental housing or decent employer-provided accommodations? Hopefully, these projects can help suggest ways to alleviate struggles for millions who have come here to seek a better life for themselves. Perhaps, as simple as it may sound, part of the solution for everyone may very well begin with some thoughtful and decent farmworker housing.



Originally from Subtopia on July 8, 2006, 11:44am

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Personal Velocity, Placelessness and Virtual Social Connectivity

July 10th, 2006 by Monkey

Originally from Smartspace on July 10, 2006, 2:49pm

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