November 2008 Archives

Thanksgiving was great in Biloxi again this year and although I missed the live Thanksgiving Day Parade (I was busy finishing up some last minute cooking) this year's will probably stand out as the best. For those of you who aren't familiar being "rick-rolled" is an internet phenomenon in which an online prankster looking to get a laugh replaces the actual link of an article or link with a link that goes to 1980's musical artist Rick Astley's "Never Gonna Give You Up" on the YouTube. There have been many instances of large rick rolls including someone hacking the Washington Post website. It has gotten so big that an online coalition of fans actually helped win the 2008 European MTV "Best Act Ever" award after it was opened up to online voting beating such acts as U2 and Green Day. But the best ever may have been this year's Macy Parade. Here's a video and the story from the UK Telegraph:

The Yorkshire singer's most unlikely performance came more than an hour into the annual American institution, which has a television audience of millions.

Dressed in a black winter coat and gloves, Astley ran to the front of the Cartoon Network float to sing – or at least lip-synch – his most famous track next to a chorus of cheering children and a huge horned soft toy.

His performance marks the pinnacle of Rickrolling, the internet meme which involves tricking people into watching clips of Never Gonna Give You Up by leading them to believe they are clicking on something more enticing.

The stunt has single-handedly revived the pop singer's career – the video of his 1987 classic has been viewed more than 20 million times on YouTube – but Astley has until now been reluctant to exploit his unexpected popularity with a new generation.

He declined to collect his Best Act Ever gong at the MTV Europe Music Awards in person earlier this month, which he received after a groundswell of votes from his army of internet fans.

The Thanksgiving parade was the first time Astley has performed his own Rickroll, and may have been the most widely-seen Rickroll ever, thanks to the NBC cameras which filmed the event.

Within minutes word had spread across the internet through websites such as Twitter, and fans were quick to toast the singer's good humour and Cartoon Network's success in arranging the stunt.

"The fact that Rick Astley himself actually showed up makes this pretty much the most awesome thing ever," wrote one user of the Digg social bookmarking site.

"World: 0, Internet: 1," commented another.

Chapter 512: Thanksgiving!

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Thanksgiving morning after I had tossed the dressing in the oven, Nadene prepares a dish in the foreground while Stephen works on his famous steak chili in the background

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A closer look at the steak chili as Stephen chats on the phone

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Cooking up some greens over at Seal Mansion

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Set up in the background with my two Jack Daniels Chocolate Pecan Pies in the foreground

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Just a portion of the tastiness

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Mashed Potatoes!

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The Thankgiving haul:Quail by Name, Potato Filling by KZ, Dinner Roll w/ Orange Glaze by Vince, dressing by me, casserole by Mike, parsnips by Nadene, Mac & Cheese by Name, etc. ...

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...and some chili by Stephen.

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The pie course: delicious. Sam's shirt from Turkey on Thanksgiving: priceless.

NOTE: This is a special Wednesday Edition of Science Friday! because dammit, this was too cool to wait and I'm going to be sleeping off turkey on Friday.

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Huge and Bizarre Alien Squid - Watch more free videos

Is it just me or does this look a lot like the "giant milking stools" from Mars in The League of Extraordinary Gentleman?

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From National Geographic

In a brief video from the dive recently obtained by National Geographic News, one of the rarely seen squid loiters above the seafloor in the Gulf of Mexico on November 11, 2007.

The clip—from a Shell oil company ROV (remotely operated vehicle)—arrived after a long, circuitous trip through oil-industry in-boxes and other email accounts.

"Perdido ROV Visitor, What Is It?" the email's subject line read—Perdido being the name of a Shell-owned drilling site. Located about 200 miles (320 kilometers) off Houston, Texas (Gulf of Mexico map), Perdido is one of the world's deepest oil and gas developments.

The video clip shows the screen of the ROV's guidance monitor framed with pulsing inputs of time and positioning data.

In a few seconds of jerky camerawork, the squid appears with its huge fins waving like elephant ears and its remarkable arms and tentacles trailing from elbow-like appendages.

Despite the squid's apparent unflappability on camera, Magnapinna, or "big fin," squid remain largely a mystery to science.

ROVs have filmed Magnapinna squid a dozen or so times in the Gulf and the Pacific, Atlantic, and Indian Oceans.

The recent video marks the first sighting of a Magnapinna at an oil development, though experts don't think the squid's presence there has any special scientific significance.

But the video is evidence of how, as oil- and gas-industry ROVs dive deeper and stay down longer, they are yielding valuable footage of deep-sea animals.

Some marine biologists have even formed formal partnerships with oil companies, allowing scientists to share camera time on the corporate ROVs—though critics worry about possible conflicts of interest.

The Perdido squid may look like a science fiction movie monster, but it's no special effect, according to squid biologist Michael Vecchione of the U.S. National Oceanic and Atmospheric Administration (NOAA), who is based at the National Museum of Natural History in Washington, D.C.

In 1998 Vecchoine and University of Hawaii biologist Richard Young became the first to document a Magnapinna, based on juveniles of the Magnapinna pacifica species. M. pacifica was so unusual that the scientists had to create a new classification category to accommodate it: the family Magnapinnidae, which currently boasts four species.

In 2001 the pair released the first scientific report based on adult Magnapinna specimens, as seen via video. The study demonstrated that Magnapinna are common worldwide in the permanently dark zone of the ocean below about 4,000 feet (1,219 meters).

(See "'Weird' New Squid Species Discovered in Deep Sea" [December 20, 2001].)

In 2006 a single damaged specimen from the North Atlantic led to the naming of a second Magnapinna species, M. talismani. And in 2007 the scientists documented two more: M. atlantica and a species based on a specimen from the mid-Atlantic.

That fourth Magnapinna species remains nameless, because its arms were too badly damaged for a full study. "However, it was clearly different from the three known species," Vecchione said.

The Magnapinna species apparently have only slight physical differences, mainly related to tentacle and arm structure in juveniles.

The subtlety of those variations makes it impossible to identify which species is in the oil-rig video, given that at least two Magnapinna species—M. atlantica and M. pacifica—are known to inhabit the Gulf of Mexico, Vecchione said.

Enduring Mystery

Based on analysis of videos not unlike the one captured at the Perdido site, scientists know that the adult Magnapinna observed to date range from 5 to 23 feet (1.5 to 7 meters) long, Vecchione said. By contrast, the largest known giant squid measured about 16 meters (52 feet) long.

And whereas giant squid and other cephalopods have eight short arms and two long tentacles, Magnapinna has ten indistinguishable appendages that all appear to be the same length.

"The most peculiar structure is that of the arms," said deep-sea biologist Bruce Robison of the Monterey Bay Aquarium Research Institute in California.

Referring to the way the tentacles hang down from elbow-like kinks, Robison said: "Judging from that structure, we think the animal feeds by dragging its arms and the ends of its tentacles along the seafloor as it drifts slowly above it."

The elbow-like angles allow the tentacles to spread out, perhaps preventing them from getting tangled.

"Imagine spreading the fingers of a hand and dragging the fingertips along the top of a table to grab bits of food," he added.

But NOAA's Vecchione suggests a feeding behavior that is more like trapping than hunting. He speculates that Magnapinna passively waits for prey to bump into the sticky appendages.

Strange Bedfellows?

As oil companies and their ROVs spend more time in the bathypelagic zone, more discoveries are sure to follow, experts say.

Eager for hard-to-come-by deep-sea video and data, some biologists are formally aligning themselves with the companies.

The U.K.-based SERPENT (Scientific and Environmental ROV Partnership using Existing iNdustrial Technology) project, for example, matches oil companies with researchers "to make cutting-edge ROV technology and data more accessible to the world's science community," according to the project's Web site.

Despite such partnerships, Monterey Bay's Robison said, most sightings of the Magnapinna squid have come from research vessels, not oil companies. The November 2007 video, for the record, was captured without scientific involvement.

Some scientists, including Robison, are not entirely comfortable relying on corporations for new data.

Andrew Shepard, director of NOAA's Undersea Research Center, is excited about the potential for new ocean resources, but he does have concerns.

"Oil companies are there to develop hydrocarbons, not find new species," Shepard said.

"These discoveries may, in fact, have a negative impact on very expensive and valuable lease tracts if someone decides a rare species needs to be protected."

But given how expensive and time consuming ROV-based deep-sea research is, scientific cooperation with industry is crucial, SERPENT project oceanographer Mark Benfield said.

"There are relatively few research vessels and far fewer ROVs and manned submersibles capable of working down through [extremely deep regions of the ocean]," said Benfield, who teaches at Louisiana State University.

Research funds are getting scarcer, he added, and "with SERPENT we gain access to sophisticated ROVs for free.

"These systems are based on vessels or rigs that spend months to years at a single location. This allows us to build up a much more complete picture of life in the deep-sea than would be possible with [only] academic ships and deep-submergence vehicles."

NOAA's Vecchione said he has "gotten a lot of interesting observations from the SERPENT project and other petro sources."

But the oil-industry collaborations "should not get in the way of purely scientific exploration," Vecchione said. "We need to be careful about deep-sea conservation."

via Eyeteeth via Triplepundit

This is a pretty great video. As we head into the holiday season we should all look at what we're thankful for and then figure out what we can do without and maybe share that a bit. It puts a lot in perspective. Going to make a couple of Jack Daniel's Chocolate Pecan Pies tonight as well as put together a vegetarian version of my Grandma's classic cornbread dressing recipe from scratch. Updates this weekend about the feast at Seal mansion. Happy Thanksgiving!

Welcome to the second edition of *click*itecture. Each week, I'll be wrapping up some of the most notable news items I've stumbled across that aren't on the radar of some of the major blogs. These may be related to either end of the Mississippi, cross-disciplinary work, student or competition based info, or anything that may suit my fancy. Occasionally there will intentionally, or unintentionally, be themes for the week.The main stories will be in the headlines and then at the end of the column there will be "Quick Clicks".


LIST: DESIGN AND ACTIVISM
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Here's a great link to a list of the Top 10 Blogs About the Intersection of Design And Activism (compiled by Noah Scalin an activist and founder of the award winning, socially conscious design & consulting firm Another Limited Rebellion) via Eyeteeth via Colin.

*click* http://www.blogs.com/topten/top-10-blogs-about-the-intersection-of-design-and-activism/ *click*

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MAP: SLAVERY AND VOTING

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Times change (and they don’t): Comparing 2008 vote and 1860 cotton maps
By Paul Schmelzer

Last week, I spotted a blog post showing a pair of maps: one represented cotton production in the deep south in 1860 and another had Election 2008 results. Today, Strange Maps offers a composite of the two, pairing color-coded vote results by county with dots representing cotton yield (one dot equals 2,000 bales). The conclusion is unsurprising:

"The link between these two maps is not causal, but correlational, and the correlation is African-Americans. Once they were the slaves on whom the cotton economy had to rely for harvesting. Despite an outward migration towards the Northern cities, their settlement pattern now still closely corresponds to that of those days. … And while their votes did not swing their states towards ‘their’ candidate, the measure in which black residents of Louisiana, Mississippi, Alabama and South Carolina voted for Obama is remarkable in that this particular voting pattern still corresponds with settlement patterns of almost a century and a half ago." -strangemaps.com

*click* http://minnesotaindependent.com/17746/voting-slavery-maps *click*

via Paul Schmelzer, The Minnesota Independent

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DESIGNER PACKAGE

I can't remember who twitted something from this originally, but I have fallen in love with the Dieline which is a package design website spanning all sorts of commerce. A bit more via the website...

About The Dieline:

Established in 2007 by Andrew Gibbs, The Dieline is dedicated to the progress of the package design industry and its practitioners, students and enthusiasts. Its purpose is to define and promote the world’s best examples of packaging, and provide a place where the package design community can review, critique and stay informed of the latest industry trends and design projects being created in the field. The Dieline has quickly grown into the most visited website on package design in the world, and has become the voice of the industry. It is an active sponsor of the Pentawards, the first and only professional design competition devoted exclusively to the art of brand packaging, further promoting the field.

On it, I found the greatest matchbook of all time designed by Ukranian artist Yurko Gutsulyak. In addition, if you're looking to keep the cigarette usage down and can only use one match per day of the calendar: voila! Stunning design.

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*click* http://www.thedieline.com/blog/ *click*

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Quick *Clicks*:
Colin and Troy both have Tumblr blogs now. Also, they have the first video up from Solutions Vol. 3:

Antonio Rossell, founder of Community Design Group, talks about his passion for the city and alternative forms of transportation.

Los Angeles Wants to Lead the World in Solar Use : http://www.ecogeek.org/content/view/2327/

This is truly horrendous: http://www.guardian.co.uk/world/gallery/2008/nov/14/barack-obama-architecture?picture=339650771#send-share

My friend Nicole helps run the Austin affiliate of Architecture for Humanity and they have some great things going on including a new Cafe Press Store with a cool twist on the AFH logo using the skyline: http://www.cafepress.com/afhaustin

Finally, thanks to Sam for the link to the Throwback uniforms the Minnesota Twins will be sporting on Saturday games to honor the time in the Metrodome: http://www.startribune.com/sports/twins/35033514.html?elr=KArksi8cyaiUqCP:iUiD3aPc:_Yyc:aULPQL7PQLanchO7DiU

After enjoying that clip I figured I would include a couple other videos of movies I want to see that went unnoticed when making my list last week.

My friend Andy brought up The Wrestler which I'm so excited for. I can't believe I forgot it. Embarrassing.


Finally, we'll make it an even dozen with the silly absence of Trek as pointed out by KZ:

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This is just a quick one. For those who don't know, my father dedicated three decades of his life to the Dow Chemical Company and is now retired. Anyhow, when I was rolling through the interwebs this week I found a great article outlining Dow CEO Andrew Liveris' plan to impliment strategies to help green the energy policies at Dow... http://ecolocalizer.com/2008/11/18/dow-ceo-green-energy-policies-will-save-green-as-in/

There are many valid reasons to criticize the Dow Chemical Company — Napalm, Agent Orange, its massive contribution to the U.S.’s population of Superfund sites — but Dow CEO Andrew Liveris earned the Midland, Michigan-based company some kudos this week by pushing for a new nationwide energy policy.

“I will guarantee you that I am not going to drop my voice one iota until we get an energy policy in this country that makes sense,� Liveris told Reuters in an interview last week.

Liveris bases his stance not on hard-green values of the eco-friendly kind, but on the value of cold hard cash. Volatile gas and oil prices hurt businesses and employees, he says. Ups and downs in the cost of natural gas, for example, have led to a loss of 120,000 jobs in the chemical industry alone over the past 20 years, he says.

Record-breaking oil prices earlier this year also hurt the industry, Liveris says, and the current respite from those levels doesn’t mean our problems are solved.

“No one’s head-faked by $2 gasoline,� he told Reuters. “Everyone realizes that $2 gasoline is here for the wrong reasons.�

Liveris’ answer? “Dow’s Energy Plan for America,� a 22-page document released last week. The plan sets out eight goals for a comprehensive U.S. energy policy:

1. Encourage aggressive energy efficiency and conservation
2. Speed more renewable energy to market
3. Make commercial-scale alternatives a priority
4. Encourage more domestic oil and gas production
5. Optimize the carbon efficiency of coal
6. Prove the viability of carbon capture and storage
7. Accelerate the deployment of nuclear technology
8. Recognize from the outset the interrelationship between energy policy and climate solutions

While many enviros might not like some of those recommendations, at least Liveris isn’t pulling an Exxon (Exxon Mobil CEO Rex W. Tillerson was recently quoted in the New York Times as saying, “For the foreseeable future — and in my horizon that is to the middle of the century — the world will continue to rely dominantly on hydrocarbons to fuel its economy.�)

Read more at Reuters or check out the full Dow energy plan here (pdf).

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The latest discussion for Coll[arch]quial tackles the future of the "Green Job" market and what the investment in green technologies will mean for the design profession. Recently the GCCDS has been researching best practices for a new set of specs and it was really great to see so many great suggestions coming out of all the work. This got me thinking about the investment that Obama proposal to invest $150 billion over 10 years to produce 5 million jobs (there's a great article on page 15 of the November 8th issue of The Economist).

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This influx of money into the system has certain obvious advantages, but as the Economist notes should not come without penalties for waste produced by companies as well as subsidies for those companies that are producing cleaner energy and products. I also stumbled upon a great quote that was culled from the thousands of hours of off-camera recording of the election. From redgreenandblue.org...

The debates unnerved both candidates. When he was preparing for them during the Democratic primaries, Obama was recorded saying, “I don’t consider this to be a good format for me, which makes me more cautious. I often find myself trapped by the questions and thinking to myself, ‘You know, this is a stupid question, but let me … answer it.’ So when Brian Williams is asking me about what’s a personal thing that you’ve done [that's green], and I say, you know, ‘Well, I planted a bunch of trees.’ And he says, ‘I’m talking about personal.’ What I’m thinking in my head is, ‘Well, the truth is, Brian, we can’t solve global warming because I f—ing changed light bulbs in my house. It’s because of something collective’.�

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Not necessarily the Green vote that Obama was talking about, but also welcome...

But the fact remains that after all the rhetoric, what does this mean for the architectural profession and design community as a whole? We certainly have begun to explore sustainability in our own ways with LEED accreditation for our working professionals, but Sam brought up a great point. How can someone become LEED certified without ever having worked on or managed a LEED building? It seems that the memorization of facts is good enough to prove that you are a green designer without any time actually having to be logged while working on a LEED certified project. This seems a bit ludicrous to me. Now, I don't want to sell anyone short that goes through the committed efforts to study for and take the test, in fact many of my friends have just taken it today and passed. Their firm has never worked on a LEED certified project.

Another question is the idea of sustainability being one-sided in terms of qualifications and quantification. There's a great article Mike sent to me called "It's the Energy Stupid" from buildingscience.com that talks about this in great detail and makes a couple of fantastically snarky, very well informed, and articulate points regarding "greening" and sustainability in building.

The last point to touch on is the idea of SEED vs. LEED with SEED (Social/Economic/Environmental Design) being a grass roots movement dedicated to community-based architecture and ethical design practices. Read the following article off the AIA Committee on the Environment and then leave a comment and let the discussion begin!

http://www.aia.org/nwsltr_cote.cfm?pagename=cote_a_0605_SEED

The SEED Network
By Barbara Brown

The SEED Network is a collective of practitioners, activists, and theorists devoted to collaborative, community-based design. Encouraging what Stephen Goldsmith, director of the Frederick P. Rose Architectural Fellowship, refers to as a “more holistic ethic for building,� the group acknowledges an inherent value in involving community members in the shaping of their built environment, while still balancing other aspects of thoughtful design.

Advocating design as a mode of community support and empowerment, SEED participants hope to facilitate culturally and ecologically sensitive, community-based design efforts through the supportive web of its membership. Through the fusion of local and professional assets, the network believes that communities will find both the means and the best responses to their own challenges.

The Network emerged from a roundtable organized by Maurice Cox, Bryan Bell, Kathy Dorgan, and Stephen Goldsmith at Harvard in late October 2005 to discuss how design could more relevantly address the social, economic, and environmental issues faced by communities without access to such services. A second meeting at New Orleans in February 2006 furthered the development of this network, while also allowing its members to discuss potential modes of collaboration in regards to the needs of the Gulf Coast.

During the first two meetings many ideas emerged from the SEED Network including: 1) the development of a system to support young, socially inclined professionals as they enter the workforce; 2) the institutionalization of design ethics into architectural curricula; and 3) the need for a more effective system of incentivizing socially oriented design in the architectural realm. This last item might be satisfied through two complementary activities: creating a complementary system to green certification systems like LEED (Leadership in Energy and Environmental Design), and encouraging architecture critics to acknowledge the importance of positive change through design in the built works they evaluate.

Although the group has not yet adopted a single set of principles, it is significant for the many facets of design that the SEED Network exists and that its members are further developing the concept. An open forum for discussion on the Internet allows any interested persons to engage in the creation and further development of SEED Network. Plans for a third meeting on the east coast in July are already underway.

Barbara Brown is a graduate student in the School of Architecture at the University of Texas at Austin. As the first Luce Fellow associated with the Center for Sustainable Development at Utah, she is working to foster relationships between the School's Basic Initiative program and local communities, while also investigating the social architecture movement through her active participation in the SEED Network.

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On the next Coll[arch]quial: Community Design/Studio

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Also, if anyone has ideas for Coll[arch]quial let me know. I have a couple of ideas on the docket but am always looking for more. Feel free to leave a message or e.mail me at james.wheeler [at] gmail [dot] com.

Chapter 505: Return Migration!

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Welcome to the first edition of *click*itecture. Each week, I'll be wrapping up some of the most notable news items I've stumbled across that aren't on the radar of some of the major blogs. These may be related to either end of the Mississippi, cross-disciplinary work, student or competition based info, or anything that may suit my fancy. The main stories will be in the headline and then at the end of the column there will be "Quick Clicks".


REMEMBERING BRUCE ABRAHAMSON

The top story is that the world has lost the A in HGA with the passing of Bruce Abrahamson. While I have never worked for HGA, I know many people who have, and continue to that have directly felt the influence of Bruce's devotion to his craft and he will be sorely missed.

*click* www.hga.com *click*

Hammel, Green and Abrahamson, Inc. Commemorates Bruce A. Abrahamson, FAIA

Minneapolis, MN - Bruce A. Abrahamson, FAIA, approached architecture with a passion that infused his entire life.
As a partner with Hammel, Green and Abrahamson, Inc. (HGA), Bruce often wore an engaging grin as he led his teammates through creative debates that resulted in some of Minnesota's most enduring modern architecture. He was adept at articulating his thoughts on architecture as he became known as the great arbiter among HGA's three original partners-Richard Hammel, Curt Green, and himself.

"Bruce had a passion for having a good time," said Dan Avchen, FAIA, CEO of HGA. "His modesty belied his extraordinary talent and vision that proved inspiring to so many others. He truly enjoyed life."

Bruce was one of the leading figures in Minnesota architecture. He helped elevate HGA from a small boutique studio into one of the largest architecture firms in Minnesota with a national reputation for design innovation and client service.

While others his age were slowing down, Bruce gained momentum with increasing energy.
"He left a legacy for design excellence, collaboration and integrity that continues to motivate HGA today," Avchen continued.

Early Years. Bruce was destined to be an architect since early childhood. He grew up in north Minneapolis during the Great Depression, learning to draw and paint under the guidance of his father, Clifford, who worked for the Minneapolis Park Board as a crafts supervisor and for General Mills in engineering.

"My father fueled the fire in me that ignited my devotion and commitment to a life in the individual arts," Bruce said, reflecting on his career.

After graduating from North High School in Minneapolis, Bruce joined the U.S. Naval Air Force cadet training camp during the Second World War before enrolling at the University of Minnesota to study industrial design. He soon discovered the architecture program and never looked back.

Receiving a Bachelor of Architecture with distinction in 1949, Bruce headed to Harvard University Graduate School of Design on a scholarship, where he studied under modernist icon Walter Gropius.

"Gropius's teaching remains today as a guide in my philosophy and approach to architecture," Bruce said.
When he completed his Master of Architecture in 1951, Bruce won the prestigious Rotch Traveling Fellowship to Europe in 1952, where he experienced centuries-old architecture meeting a modernist new order on the postwar landscape. After his travels, he returned to the United States to accept a job with Skidmore Owings & Merrill in Chicago in 1953. His time in Chicago proved formative as he met another modernist hero, Mies van der Rohe, whose less-is-more philosophy was redefining American architecture. Abrahamson was drawn to the master.

"While working with the academic elite, I was invited to Mies's house and, with other aspiring architects, sat at his feet with my eyes watering from his cigar smoke, knowing I was in Mecca," Bruce recalled. "At 25, I was ready to sell my soul and all I had for a Barcelona chair. I believed simplicity was holiness and less just had to be more."

Joining Hammel and Green. Gaining valuable experience in Chicago, Bruce nonetheless looked for opportunities to return to Minnesota, where he would achieve his greatest professional success. In 1954, Curt Green recruited Bruce to join a new architecture firm in St. Paul that was already having an impact locally.

"Hammel and Green was a dynamic young office with design as its motivation," Bruce said. "They were just getting started and what appealed to me was the opportunity to help shape it and grow with it."

With his large-firm experience and design talents, Bruce soon became a major force at Hammel and Green. He positioned himself as a Design Principal with high standards, and he spoke with a strong voice regarding critical business decisions. His considerable contributions gained recognition when the growing firm officially became Hammel, Green and Abrahamson, Inc., in 1964.

Known as the "troika," Richard Hammel, Curt Green and Bruce shared a common philosophy that good architecture results from a multi-disciplined team approach. They did not believe in the "star" system as they pledged never to build one name over the other. They rotated roles so the design staff could benefit from the viewpoints of the three leaders.

Additionally, Bruce loved teaching and mentoring young talent as an Associate Professor at the University of Minnesota's School of Architecture from 1957 to 1977. Many of his students have since gone on to lead Minnesota architecture firms.

Design Recognition. During his career, HGA won more than 60 design awards, including three national AIA Honor Awards for Architecture, four Progressive Architecture Design Awards, more than 30 AIA Minnesota Honor Awards, two HUD Design Awards, and two national/international design competition first-place awards. HGA was also the first recipient of the prestigious AIA Minnesota Firm Award for outstanding contribution to design and professional service in 1992.

Bruce was elevated to the College of Fellows of the American Institute of Architects in 1972. And in 1998, he received Minnesota's highest architecture honor, the AIA Minnesota Gold Medal, for his lifelong commitment to the profession he loved.

A tour of Minnesota's architectural landscape reveals Bruce's award-winning accomplishments, from the Minnesota History Center in St. Paul, to the Piper Tower in downtown Minneapolis, the Minneapolis Clinic of Psychiatry and Neurology in Golden Valley, the Siebens Education Building at the Mayo Clinic in Rochester, and the downtown St. Paul Skyway system.

New Directions. After transferring leadership from HGA in 1995, Bruce continued to pursue his passion for design and his love for family. He remained an avid traveler with his wife, Victoria Abrahamson. He spent time with his family, including four daughters, one son, 10 grandchildren and one great-grandchild.

Bruce was famously active before physical activity became fashionable. He started long-distance running 45 years ago before running became a craze. He also was a skilled downhill skier and cyclist. He skied slopes from Montana to the Austrian Alps. He began cycling when he was well into his 60s, biking in Montana, the Canadian Rockies and Italy.

His design enthusiasm extended beyond the office, as well. He designed three houses for himself and Victoria and two other friends in Big Sky, Montana, as well as several private houses around the Minneapolis Chain-of-Lakes. Bruce never lost his childhood passion for drawing. He sketched beautiful pen-and-ink renderings from his travels, from intense details to entire urban vistas such as Istanbul across the Bosporus Strait.

"We were always happiest when creating something together," Victoria said. "His discipline for his art was part of his DNA. Bruce was incredibly open to new experiences. It all came so naturally to him. He felt lucky in life."


PDC IS BLOWIN' UP

Clifton Burt and Kate Bingaman-Burt formerly of Starkville, MS have picked up and moved the Public Design Center up to Portland where Kate has taken up as an Assistant Professor of Graphic Design at Portland State University. Both have very exciting news to report!

*click* http://www.20x200.com/art/2008/11/thinkmakethink.html *click*

Clifton has a piece of art up on the 20x200 website which is a great online experience explained by gallery (physical and internetial) owner Jen Bekman as such: (limited editions x low prices) + the internet = art for everyone. They introduce two new pieces a week: one photo and one work on paper. Each image is available in three sizes. The smallest size is reprinted in the largest batch – an edition of 200 – and sold at the lowest price – $20. Hence the name 20x200. (200x20 just didn't sound as good.) We also offer bigger prints for bolder collectors - medium-sized editions of 20 for $200, and large-sized editions of 2 generally for $2000 (some of the large sized editions will actually be original pieces of art and prices will vary a bit). Every single print is delivered with a certificate of authenticity numbered by the artist.

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think-make-think
by Clifton Burt

In April of 2007, John Maeda wrote a haiku entitled think-make-think and posted it to his blog. I think that it went relatively unnoticed. Over the next few months, that haiku often found its way to the forefront of my mind. When our studio, the Public Design Center, acquired the remnants of a discarded arrow sign, it was immediately clear to me that think-make-think was the perfect piece for the sign due to the haiku's small size and its potency.


*click* http://obsessiveconsumption.typepad.com/what_did_you_buy_today/2008/11/hey-i-just-signed-a-book-contract-with-princeton-architectural-press.html *click*

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Not to be outdone, Kate just signed a book deal with Princeton Press to be published in March 2010 and will bring you 650 of her daily drawings in book form! with color! Check out her Etsy shop for a preview.


KEN ROBERTS COMPETITION WINNERS

*click* http://www.krobarch.com/index.asp *click*

The KRob Competion is a worldwide competition of renderings (hand, digital, mixed, or otherwise) of an architectural nature. Entries can be elevations, sections, or perspectives, and can be conceptual or final renderings; exploration and innovation in unique techniques are encouraged. My friend Ozayr leads a trip to Turkey during the May Term at the University of Minnesota's College of Design and had a student reach the finals. Take the time to check out the renderings on the pages. There are some pretty astounding pieces. I tend to lean heavily towards the hand rendering, but the Best in Category - Professional Digital/Mixed by Aleksander (Olek) Novak-Zemplinski really caught my eye. Especially the idea that it's rendering "Compton". Other entries that I particularly enjoyed were J. Arthur Liu's perpectively flattened digital landscape/map, Hyung Jin Choi, and Christopher Aykanian.

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Quick *Clicks*:
http://www.mngreenstar.org/index.html
http://delicious.com/artcity/architecture
http://www.aplust.net/index.php?idioma=en

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A piece for the Comic Arts Forum 2008 in Savannah

Well, as many of you have heard before, my brother goes to Savannah College of Art + Design. Recently they held their annual Comic Arts Forum. The brodukes said that it was good and there were a lot of alumni who came and spoke. Through a number of the blogs and e-comics that I read from other students/alumni down at SCAD I stumbled upon the work of Meghan Kinder and totally fell in love with it. From the very clean character sketches to her longer form stuff I'm really impressed. I'd urge you to go and check out here website at http://www.meghankinder.com/.

My favorite things on the website tend to be the comics, particularly the medium of Tumbleweed, the imagery in Untitled and the stories of both An Admission and Obituary (Untitled 2). It probably doesn't hurt that a lot of her environments and other keyframes are incredibly architectural or that her style is obscenely clean in her character work. Anyhow, check her out and her blog (linked through the info portion of her site) and look through her stuff. Definitely a good way to enjoy an hour or so.

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Chapter 502: The List- 10 Movies

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Well, this is supposed to be coming out around Christmas but it got moved to next year. Boooooo.


03.06.09.0mygodIcan'twaitforWatchmen


Out now, and I must find it. My favorite quote is "Forces you to see this action-star in a completely different light"


My Name is Bruce... Starring Bruce Campbell


My City Screams...


James Bond stripped down to the basics. Guns and Girls. Oh, and lots of chase scenes apparently


Off the beaten path so I'll probably have to wait until Netflix, but I busted a gut at the trailer


Still haven't seen this but aiming to soon. Yes. Indie RomCom. You gotta problem with that?


Paul Rudd cracks my shit up + McLovin = I'm so there.


Frost/Nixon from Ron Howard looks awesome.

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Well, I didn't get a chance to use this for last week's Science Friday due to the great tip on the diesel mushrooms from Sam. Anyhow, I wanted to share this if you didn't have a chance to check it out on CNN's election coverage.

Here's the article explaining it a bit...

Beam me up, Wolf! CNN debuts election-night 'hologram'
By Chris Welch

(CNN) -- It was an election night like none other, in every sense of the phrase. In addition to the obvious -- the selection of the nation's first black president -- Tuesday night's coverage on CNN showcased groundbreaking technology.

"I want you to watch what we're about to do," CNN anchor Wolf Blitzer told viewers early in the evening's coverage, "because you've never seen anything like this on television."

And he was right. Cue CNN political correspondent Jessica Yellin.

"Hi Wolf!" said Yellin, waving to Blitzer as she stood a few feet in front of him in the network's New York City studios. Or at least, that's the way it appeared at first glance.

In reality, Yellin -- a correspondent who had been covering Sen. Barack Obama's campaign -- was at the now president-elect's mega-rally along the lakefront in Chicago, Illinois, more than 700 miles away from CNN's Election Center in New York.

It looked like a scene straight out of "Star Wars." Here was Yellin, partially translucent with a glowing blue haze around her, appearing to materialize in thin air. She even referenced the classic movie on her own, saying, "It's like I follow in the tradition of Princess Leia. It's something else." Video Watch a behind-the-scenes look at CNN's hologram project »

Jay Leno has poked fun at the hologram, and mash-up spoofs that replace Yellin's voice with Carrie Fisher's lines from the movie already are making their way around the Internet. But the million-dollar question on everyone's mind now: How'd they do it?

CNN dubbed it a "hologram" -- a three-dimensional image that's been reproduced. And it's the brainchild of a few people. A hologram creates an image using coherent light, such as lasers; CNN's technique used conventional cameras to capture multiple images from different angles.

"About a dozen years, I've been trying to do it," David Bohrman, CNN's senior vice president and Washington bureau chief, said to Blitzer on "The Situation Room" on Wednesday. "I've basically been a crazy mad scientist trying to get it done."

The technology involved placing a subject -- in this case Yellin, and later in the evening, musical artist Will.i.am -- in the middle of a bright-green circular room inside a large tent at Obama's Grant Park victory celebration.

The subject was then filmed with 35 high-definition video cameras, barely larger than average point-and-shoot cameras, which ringed the wall of the circular room. The video cameras were 6 inches apart and at eye level, 220 degrees around the subject.

Chuck Hurley, the Washington bureau's senior producer of video and the staffer tapped by Bohrman to manage the execution of the "hologram," called it simple chroma-key technology that's been taken "to the Nth degree." Video Watch the hologram on air »

"Weathermen have been standing in front of green screens for years now, but that's [with] one camera," Hurley said. "Now we can do that times 35, so you can send all the way around the subject."

Hurley said the tiny cameras "talk" to the New York studio's cameras, meaning that when a New York camera moves, it "tells" the cameras in the tent which direction it's moving and keeps the subject in the correct proportions.

On Tuesday night, Blitzer could only see Yellin on a TV monitor across the studio. Technicians placed a round piece of red laminate on the studio floor where she was "beamed in" so that Blitzer would know where to look.

The technology in play was originally developed by Israeli-based company SportVU (pronounced "sport view") as a new way of filming soccer games.

Gal Oz, a SportVU designer who came to the United States to work with CNN on the endeavor, said it was originally designed "to create a matrix effect in sports" -- in other words, to provide 360 degrees of perspective for instant replays.

But it hasn't been used for its intended purpose yet. Instead, for the past three months, the company has been perfecting it for CNN's election coverage, Oz said. Tuesday night's live interview of Yellin was essentially the technology's world debut as well.

Hurley and Oz agree that as good as the image looked on television Tuesday, it can look even more realistic. Hurley said the blue glow around Yellin and Will.i.am was added intentionally to avoid confusion.

"We could have had a much crisper, more realistic shot, almost to the extent where the viewer at home would have had no idea even that the person wasn't really there," Hurley said.

"You don't want to have the effect where it looks so good that for every future live shot, you have people on the blogs saying, 'Oh they're not really there--they're in a studio, faking the moon landing.' "

Hurley said considering it was CNN's first real "test launch" with the high-end gadgetry, they were "beyond thrilled." That's not to say there weren't setbacks.

For all the preparation that went into the tent and green room in Chicago -- a location CNN staffers dubbed "Casper" after the friendly cartoon ghost -- there was an equally elaborate setup in Phoenix, Arizona, site of John McCain's election night rally. CNN correspondent Dana Bash was ready there for her turn in the portal as well.

But because the Arizona site didn't go through as much testing in the final hours, and because the election was called in Obama's favor earlier in the evening than many expected, Chicago's "Casper" was the only "hologram' venue put to use.

Hurley and Oz both said they couldn't put a price tag on the total cost of such technology. But could this become a staple of future TV news?

"We'll see. It was a little ornament on the tree," Bohrman said. "But television evolves, and how we do things evolves, and at some point -- maybe it's five years or 10 years or 20 years down the road -- I think there's going to be a way that television does interviews like this because it allows for a much more intimate possibility for a remote interview."

The day after her virtual appearance in New York, Yellin said this kind of new technology is what keeps television news entertaining, even when it's presenting important political stories.

"We do serious journalism, but we also have fun. This is fun. This is about what we can do, about pushing the envelope and pushing the boundaries," she said. "Someday when this is even more advanced, having a fuller visual field for interview subjects could give viewers even more of a sense of people."
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Now, in hindsight, Yellin only wishes she could have come up with a better "Star Wars" joke.

"I was thinking of making an Obi-Wan Kenobi joke -- Obi-Wolf Kenobi," she said, laughing, "but I couldn't figure out the pun."

Chapter 500: Milestones

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I thought for a bit about what I could be doing for the 500th chapter of Up Your Architecture. I had a hard time thinking about what could make it special but then I had a surprise waiting for me. Two of my friends Troy and Erika are pregnant and they just went in for a 20 month exam and found out that they're having a baby girl! In a blog that is focused on not only architecture but my life as well, there's nothing more momentous than being able to share in the joy of my friends.

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In addition to Baby Girl Smith so much has happened lately. Some of it was significant to the world. Some was significant to the blog. Some of it was significant to work. And some was significant just to me if not for anyone else.

Barack Obama is the President-Elect of the United States of America. Mississippi made it to the end of hurricane season without getting hit too badly. The GCCDS was featured on the cover of Architectural Record. My sister and brother-in-law are pregnant with their third child. Ron Gardenhire just got a contract extension to stay in Minnesota with the Twins until 2011 (here's one of those that's more significant for me than the world).

Anyhow, here's a recap of the past 500 and a preview of what's coming.

For 100, I was in Minneapolis getting ready after my thesis to move down permanently to Biloxi and recapped my existence with a series of self-portraits entitled "I'm the one on the right..."

For 200, I introduced Ian, Nicole, Richard, Price, and Vince. Ian is doing his graduate work at Cincinnati, Nicole is back in Austin with her boyfriend working at a larger sized firm, Richard is still in East Biloxi working his ass off, Price is back up in Boston finishing his degree at Boston Architectural, and Vince is coming to the end of his Design Corps Fellowship. Me: I'm 35 miles west.

For 300, I declared it "The Official Anderson and Stacy UYA Week" after receiving a most excellent hat with "up your architecture" on it which was the gift of the season last Christmas. I had just finished moving to Waveland and was up in Minneapolis for Christmas about to come back to a new home and our new branch studio in Hancock County.

For 400, I recapped how I got here, thanked those responsible, and unveiled the Up Your Architecture Cafe Press store (which is feeling lonely lately and needs new t-shirts). I have to reiterate all the thank yous again and thank so many more people.

For 500, I'm going to be going back and filling in all the blanks. You can probably tell that there are some entries missing. I'm promising to rectify that over the next week or two. Some were left because I had started a thought and had to finish it. Some were picture heavy and I was either living in a tent or living in a house with no internet. Either way, I'm going back and promising to finish every last one to fill in the gaps, some of which are actually my favorite pieces of the last couple of years. Additionally I'm going to unveil some new shirts and a couple of other sweet gifts for the holiday season around Thanksgiving on the Cafe Press Store. Finally, I unveiled a bit of the new pared down look on the site due to a Movable Type main index fiasco as well as a totally sweet Domo-Kun rocking clock. I'm working on a total revamp since I've had to start from scratch but we'll have to wait and see if the U upgrades to MT 4.2 or not.

I want to thank everyone for reading, commenting, and generally being a large part of what keeps the blog fun and exciting. Also, my Dad is doing much better and sounds more like his old self when I'm talking to him lately. Thanks to everyone for their support and well wishes.

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This is one of those questions that go on and on. What to call an unlicensed architect? In Canada the can call themselves 'Graduate Architects' but we're still stuck with 'Intern Architect' here in the states. There are people who say that perhaps it is the licensed architects who should add to their title similar to engineers having the P.A. after their name, similar to P.E. And while you can't toss an "M.D." at the end until you get your license or practice without passing the bar, there's an incongruity in the essence of the 'intern' label among those practicing designers who have not yet taken their ARE's. The debate always rages whenever it comes up on a message board or in conversation and I think it's a great topic for the first Coll[arch]quial. These entries are meant to spur the comments forward on the blog and start to build a dialogue on the site so weigh in with your thoughts by leaving a message!


Prompt:

A Question of Title
By Casius Pealer
http://archrecord.construction.com/archrecord2/work/0611/johnson.asp

Many unlicensed architecture-school graduates have a difficult time describing their jobs to family, friends, and others outside of the profession. Though classified by the profession as interns, their work is remarkably similar to the kind of work they would be doing if they were licensed. Yet the title of architect is restricted by state licensing boards to refer only to currently licensed practitioners. The challenge is that, to most people outside of the profession, intern doesn't resonate as a proper title for a graduate with a professional degree in a respectable full-time job-especially one a few or more years out of school.

Based on a ruling from a recent court case in Colorado, this confusion may be resolved, at least for casual conversations and other noncommercial situations. Jack Johnson, 42, was an architecture graduate running for the Aspen city council. During his campaign, he referred to himself as an architect in various public forums, though he was also careful to explain that he was not a "licensed architect." A political rival filed a complaint with the Colorado Board of Examiners of Architects, and the board issued a formal cease and desist order to Johnson, demanding that he stop referring to himself as an architect or face a $1,000 fine or six months in jail. Johnson instead sued the board for violating his First Amendment rights, and the board eventually rescinded its order. However, Johnson pursued the case in order to fully resolve the issue, and in May 2006 the Colorado District Court ruled in his favor. Specifically, the court held that the board's action was "far more restrictive than it needed to be in order to protect the interests which were the board's charge."

When asked why he sued the board rather than simply stop referring to himself as an architect, Johnson said, "The board's position was wrong. The board refused to make a distinction between commercial and noncommercial speech, and I wanted to make it clear that there is such a distinction and that the board does not control noncommercial speech." Johnson also won his election and now sits on the Aspen City Council. He regularly draws on his architectural education and experience to inform a variety of public policy issues in Aspen, including the redesign of the main road entering the city, and affordable housing in this resort town. "As an architect influencing public policy, I would have expected the board to encourage me rather than to censor me," said Johnson. While Johnson agrees that licensing boards should regulate the use of the title, he also agrees with the court that outside of commercial transactions, unlicensed individuals have an expansive constitutional right to use the word architect as they see fit.

To get in touch with Jack Johnson, please e-mail him at writejacknow@yahoo.com

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On the next Coll[arch]quial: The Green Collar Movement
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Also, if anyone has ideas for Coll[arch]quial let me know. I have a couple of ideas on the docket but am always looking for more. Feel free to leave a message or e.mail me at james.wheeler [at] gmail [dot] com.

Chapter 498: The Book of Love

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I really can't say enough about the level of passion that Keith Olbermann brings to his journalism. It does great honor to the famous Edward R. Murrow sign off of Good Night and Good Luck that Olbermann uses when his desire to make a statement that is well-informed and well-spoken. I think that his view on Prop 8 is spot on and I agree whole-heartedly. Love should be rewarded wherever it is found in a society that doesn't have nearly enough of it. To punish those who desire to enter into a committed relationship with half of the marriages in America fail is intolerable and incomprehensible. Another great commentary by Olbermann.

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With the advent of more regular features on the site, I'm trying to branch out and work with friends and associates to help promote and distribute information and articles. The first of these collaborations is with two former classmates Britton Chambers and Nate Steuerwald who run a blog called Architecture Scholar. Both are graduates of the University of Minnesota who were frustrated in the lack of informative architectural projects being posted on some of the major design blogs. So they decided to start their own blog specifically devoted to those who are interested in the academic, conceptual, and innovative pursuits of the discipline of architecture.

Anyhow, UYA and ArchScholar will be co-publishing and curating the Q. & A.rch feature and continue to reach out to a diverse number of designers bringing you an insight into their practice and aspirations. Enjoy!

For all the people that are still in school that read the blog or if anyone reading knows someone who might be interested, we're nearing the end of our open enrollment for next spring's GCCDS Design/Build studio in Biloxi so pass the word and have people contact me via my g.mail account! I think that we'll have a great mix of students from Tennessee, Mississippi State and Minnesota so it should be another exciting year. Also, we're getting the old machine shop that I used as the model for my thesis to use as our Design Studio Annex in East Biloxi where we're setting up a wood shop and space for the students to work as well as to explore a number of issues including detailing and flood proof construction. It's an exciting time for the GCCDS as you can probably tell. Anyhow, here's the announcement one more time and the information that is on the GCCDS.org website.

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Gulf Coast Community Design Studio Spring Design/Build Studio
The GCCDS has run spring studios for the past two years. Both studios brought together students from several universities to live and work in the community of East Biloxi, Mississippi. The students benefit from being close to the work of the GCCDS because they are able to learn about community-based practice in one of the most innovative design studios in the nation. In addition, the students learn from each other as they work as a design and building team.

For the 2009 spring studio, the GCCDS will be engaging in a design/build project in East Biloxi. Director David Perkes and the other GCCDS architects will lead a house project. with a distinct family and site, and will follow team-driven methods. The students from the studio will come together for a weekly evening seminar addressing a wide variety of design issues. The house projects will be administered through Mississippi State University as described below.

Curriculum, cost, and course credits
The curriculum for the semester will be simple and pragmatic. In practice, there will be two courses: a twelve credit design/build studio, and a three credit weekly seminar. However, to meet the course credit requirements of various schools, the design/build studio can be divided into studio, construction, and an independent study. This flexibility is important to allow students from various schools to make the semester work for them.

In the previous two years the evening seminar has proven to be a great learning activity. Students and instructors meet for a shared meal and have a directed discussion about ethics, values and architecture. This reflective time is an important complement to the active learning of the building studio. We include the architects, planners and interns of the GCCDS in the seminar and also use the time to hear from invited guest speakers.

As far as registration and transfer of credits, we have flexibility to work in two ways. Students of some schools have been able to maintain their registration at their home school and transfer the course credits. Other students have registered as students of Mississippi State University for the semester. In both cases, we have been able to meet the course credit requirements for the home school.

The cost depends upon the arrangement with the home school. Our goal is for the student to be able to be part of the Biloxi studio without adding cost to their regular tuition. We have been able to do this for home schools that are able to send a portion of the student’s regular tuition to MSU. The cost difference for students that find it best to register as MSU students will depend upon the home school tuition cost. In both cases, the GCCDS budgets to receive $1200 for each student from their home school or as part of their MSU fees. These funds help pay the instructors and provide some money for studio activities.

Housing and meal arrangements
Students in both communities will be housed at volunteer camps. In previous years the living situations have added to the semester experience: the students become part of a volunteer camp, interacting with extraordinary people from other parts of the country who are dedicating their time and talent to the people of Mississippi. These volunteer camps are always evolving, and the arrangements that we had last year do not apply this year. For the past two years we have been able to avoid housing costs to the students; however, with changes to the volunteer camps we may not be able to make such an arrangement this year. Please stay tuned in as we get more information.

Next steps
If you are interested in being part of the design/build work or have any questions, please email James Wheeler: james.wheeler [at] gmail.com.

The next step is for us to begin talking with your school administration to determine the best way to make it work. We are happy to take individual students from any school. However, if there are several students from the same school, it gives the students some companions and makes the administration easier. So go ahead and talk to other students and get organized within your school.

We look forward to hearing from you and hope to be able to work with you. We guarantee that it will be a life changing experience.

Here's an absolutely brilliant article by Simon Pegg detailing his thoughts of zombies. I would like to state for the record that my name is James Wheeler and I approve of this message.

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The Dead and the Quick
Everyone knows the undead don't run - so how come they were sprinting about in Charlie Brooker's recent TV drama? Simon Pegg (Shaun of the Dead) argues for a return to traditional zombie values.

==============================================================================

As an avid horror fan, I found the prospect of last week's five-night TV zombie spectacular rather exciting. Admittedly, the trailer for E4's Dead Set made me somewhat uneasy. The sight of newsreader Krishnan Guru-Murthy warning the populace of an impending zombie apocalypse induced a sickening sense of indignation. Only five years previously, Edgar Wright and I had hired Krishnan to do the very same thing in our own zombie opus, Shaun of the Dead. It was a bit like seeing an ex-lover walking down the street pushing a pram. Of course, this was a knee-jerk reaction. It's not as if Edgar and I hadn't already pushed someone else's baby up the cultural high street - but that, to some extent, was the point. In Shaun of the Dead, we lifted the mythology established by George A Romero in his 1968 film Night of the Living Dead and offset it against the conventions of a romantic comedy.

Still, I had to acknowledge Dead Set's impressive credentials. The concept was clever in its simplicity: a full-scale zombie outbreak coincides with a Big Brother eviction night, leaving the Big Brother house as the last refuge for the survivors. Scripted by Charlie Brooker, a writer whose scalpel-sharp incisiveness I have long been a fan of, and featuring talented actors such as Jaime Winstone and the outstanding Kevin Eldon, the show heralded the arrival of genuine homegrown horror, scratching at the fringes of network television. My expectations were high, and I sat down to watch a show that proved smart, inventive and enjoyable, but for one key detail: ZOMBIES DON'T RUN!

I know it is absurd to debate the rules of a reality that does not exist, but this genuinely irks me. You cannot kill a vampire with an MDF stake; werewolves can't fly; zombies do not run. It's a misconception, a bastardisation that diminishes a classic movie monster. The best phantasmagoria uses reality to render the inconceivable conceivable. The speedy zombie seems implausible to me, even within the fantastic realm it inhabits. A biological agent, I'll buy. Some sort of super-virus? Sure, why not. But death? Death is a disability, not a superpower. It's hard to run with a cold, let alone the most debilitating malady of them all.

More significantly, the fast zombie is bereft of poetic subtlety. As monsters from the id, zombies win out over vampires and werewolves when it comes to the title of Most Potent Metaphorical Monster. Where their pointy-toothed cousins are all about sex and bestial savagery, the zombie trumps all by personifying our deepest fear: death. Zombies are our destiny writ large. Slow and steady in their approach, weak, clumsy, often absurd, the zombie relentlessly closes in, unstoppable, intractable.

However (and herein lies the sublime artfulness of the slow zombie), their ineptitude actually makes them avoidable, at least for a while. If you're careful, if you keep your wits about you, you can stave them off, even outstrip them - much as we strive to outstrip death. Drink less, cut out red meat, exercise, practice safe sex; these are our shotguns, our cricket bats, our farmhouses, our shopping malls. However, none of these things fully insulates us from the creeping dread that something so witless, so elemental may yet catch us unawares - the drunk driver, the cancer sleeping in the double helix, the legless ghoul dragging itself through the darkness towards our ankles.

Another thing: speed simplifies the zombie, clarifying the threat and reducing any response to an emotional reflex. It's the difference between someone shouting "Boo!" and hearing the sound of the floorboards creaking in an upstairs room: a quick thrill at the expense of a more profound sense of dread. The absence of rage or aggression in slow zombies makes them oddly sympathetic, a detail that enabled Romero to project depth on to their blankness, to create tragic anti-heroes; his were figures to be pitied, empathised with, even rooted for. The moment they appear angry or petulant, the second they emit furious velociraptor screeches (as opposed to the correct mournful moans of longing), they cease to possess any ambiguity. They are simply mean.

So how did this break with convention come about? The process has unfolded with all the infuriating dramatic irony of an episode of Fawlty Towers. To begin at the beginning, Haitian folklore tells of voodoo shamans, or bokors, who would use digitalis, derived from the foxglove plant, to induce somnambulant trances in individuals who would subsequently appear dead. Weeks later, relatives of the supposedly deceased would witness their lost loved ones in a soporific malaise, working in the fields of wealthy landowners, and assume them to be nzambi (a west African word for "spirit of the dead"). From the combination of nzambi and somnambulist ("sleepwalker") we get the word zombie.

The legend was appropriated by the film industry, and for 20 or 30 years a steady flow of voodoo-based cinema emerged from the Hollywood horror factory. Then a young filmmaker from Pittsburgh by the name of George A Romero changed everything. Romero's fascination with Richard Matheson's novel I Am Legend, the story of a lone survivor struggling in a world overrun by vampires, led him to fixate on an aspect of the story leapfrogged by the author: namely, the process by which humanity is subjugated by the aggressive new species. Romero adopted the Haitian zombie and combined it with notions of cannibalism, as well as the viral communicability characterised by the vampire and werewolf myths, and so created the modern zombie.

After three films spanning three decades, and much imitation from film-makers such as Lucio Fulci and Dan O'Bannon, the credibility of the zombie was dealt a cruel blow by the king of pop. Michael Jackson's Thriller video, directed by John Landis, was entertaining but made it rather difficult for us to take zombies seriously, having witnessed them body-popping. The blushing dead went quiet for a while, until the Japanese video game company Capcom developed the game Resident Evil, which brilliantly captured the spirit of Romero's shambling antagonists (Romero even directed a trailer for the second installment). Slow and steady, the zombie commenced its stumble back into our collective subconscious.

Inspired by the game and a shared love of Romero, Edgar Wright and I decided to create our own black comedy. Meanwhile, Danny Boyle and Alex Garland were developing their own end-of-the-world fable, 28 Days Later, an excellent film misconstrued by the media as a zombie flick. Boyle and Garland never set out to make a zombie film per se. They drew instead on John Wyndham's Day of the Triffids, as well as Matheson and Romero's work, to fashion a new strain of survival horror, featuring a London beset by rabid propagators of a virus known as "rage".

The success of the movie, particularly in the US, was undoubtedly a factor in the loose remake of Romero's Dawn of the Dead in 2004. Zack Snyder's effective but pointless reboot parlayed Boyle's "infected" into the upgraded zombie 2.0, likely at the behest of some cigar-chomping, focus-group-happy movie exec desperate to satisfy the MTV generation's demand for quicker everything - quicker food, quicker downloads, quicker dead people. The zombie was ushered on to the mainstream stage, on the proviso that it sprinted up to the mic. The genre was diminished, and I think it's a shame.

Despite my purist griping, I liked Dead Set a lot. It had solid performances, imaginative direction, good gore and the kind of inventive writing and verbal playfulness we've come to expect from the always brilliant Brooker. As a satire, it took pleasing chunks out of media bumptiousness and, more significantly, the aggressive collectivism demonstrated by the lost souls who waste their Friday nights standing outside the Big Brother house, baying for the blood of those inside. Like Romero, Brooker simply nudges the metaphor to its literal conclusion, and spatters his point across our screens in blood and brains and bits of skull. If he had only eschewed the zeitgeist and embraced the docile, creeping weirdness that has served to embed the zombie so deeply in our grey matter, Dead Set might have been my favourite piece of television ever. As it was, I had to settle for it merely being bloody good.

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So this is another one direct from Sam. Apparently there is a fungus in that secretes a form of diesel fuel as a defense mechanism. Gives new meaning to "tripping on mushrooms".

From NPR: http://www.npr.org/templates/story/story.php?storyId=96574076

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Scientist Discovers Fungus That Could Fuel A Car
by Alex Chadwick

A researcher at Montana State University has found a micro-organism in a plant in South America that could fuel vehicles one day. The unusual fungus contains the essence of diesel, which one could use to run a bus, for example, without processing it at all.

Professor Gary Strobel discusses his findings on "myco-diesel," which are being published Wednesday in The Journal of Microbiology in London.

Dr. Strobel made the discovery by chance, while collecting fungus from the stem of a tree in an old forest in southern Chile. When he finally got around to sending it off for sophisticated analysis — years later — he discovered that this version of Gliocladium wasn't like others he'd encountered before.

"I've scoured the earth for not only organisms like Gliocladium, but many other endophytes [a plant that lives in the tissue of another plant]. I've been to almost every rainforest on the planet," he tells Alex Chadwick. But, "in over 50 years, I've never seen anything like that."

Why would a fungus create diesel? Essentially to protect from plant invaders, he says.

He also discusses a brief scandal in his past that involved chainsawing trees and trashing an EPA document.


And some other links:
AFP: Fill her up please, and make it myco-diesel
ETA: Biofuel that Grows on Trees
TreeHugger: http://www.treehugger.com/files/2008/11/mycodiesel-made-by-patagonian-tree-fungus.php

Couldn't help but toss this up as an update to the original Studio as Jason Halloween. Not as Jason-esque as the first batch, but still very excellent.

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Christine Pressgrove

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Micheal Pressgrove

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Stephen Pressgrove

Also, my mother has been asking after Halloween pictures so here's a couple of the night's frivolity in Bay St. Louis and Waveland. We went to a party, then to a little bar downtown BSL, then to a party with some other friends by our house. Good times over all and funny to see a judge, a zombie and Jesus walking down the street together. There's a joke in there somewhere.

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Zombie Sam

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Judge James (Della said I should have gone as a conservative pro-life judge because that would have been REALLY scary)

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The Devil (Ruth) and Jesus (Mark) on the dance floor

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Erin gets sentenced...to Dance!

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and finally, say it with me now, one more time: President-Elect Barack Obama. It's starting to sink in. I can tell by the smile that's on my face...
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Chapter 491: Yes We Did!

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OBAMA WINS! Last night was an amazing experience. We have a in-studio planning charette this morning so there's not a whole lot of time to wax about it suffice to say that it was a high point in my lifetime. Here's his acceptance speech. Simply amazing. Give that speech writer a raise...


If there is anyone out there who still doubts that America is a place where all things are possible; who still wonders if the dream of our founders is alive in our time; who still questions the power of our democracy, tonight is your answer.

It's the answer told by lines that stretched around schools and churches in numbers this nation has never seen; by people who waited three hours and four hours, many for the very first time in their lives, because they believed that this time must be different; that their voice could be that difference.

It's the answer spoken by young and old, rich and poor, Democrat and Republican, black, white, Latino, Asian, Native American, gay, straight, disabled and not disabled — Americans who sent a message to the world that we have never been a collection of red states and blue states; we are, and always will be, the United States of America.

It's the answer that led those who have been told for so long by so many to be cynical, and fearful, and doubtful of what we can achieve to put their hands on the arc of history and bend it once more toward the hope of a better day.

It's been a long time coming, but tonight, because of what we did on this day, in this election, at this defining moment, change has come to America.

I just received a very gracious call from Sen. McCain. He fought long and hard in this campaign, and he's fought even longer and harder for the country he loves. He has endured sacrifices for America that most of us cannot begin to imagine, and we are better off for the service rendered by this brave and selfless leader. I congratulate him and Gov. Palin for all they have achieved, and I look forward to working with them to renew this nation's promise in the months ahead.

I want to thank my partner in this journey, a man who campaigned from his heart and spoke for the men and women he grew up with on the streets of Scranton and rode with on that train home to Delaware, the vice-president-elect of the United States, Joe Biden.

I would not be standing here tonight without the unyielding support of my best friend for the last 16 years, the rock of our family and the love of my life, our nation's next first lady, Michelle Obama. Sasha and Malia, I love you both so much, and you have earned the new puppy that's coming with us to the White House. And while she's no longer with us, I know my grandmother is watching, along with the family that made me who I am. I miss them tonight, and know that my debt to them is beyond measure.

To my campaign manager, David Plouffe; my chief strategist, David Axelrod; and the best campaign team ever assembled in the history of politics — you made this happen, and I am forever grateful for what you've sacrificed to get it done.

But above all, I will never forget who this victory truly belongs to — it belongs to you.

I was never the likeliest candidate for this office. We didn't start with much money or many endorsements. Our campaign was not hatched in the halls of Washington — it began in the backyards of Des Moines and the living rooms of Concord and the front porches of Charleston.

It was built by working men and women who dug into what little savings they had to give $5 and $10 and $20 to this cause. It grew strength from the young people who rejected the myth of their generation's apathy; who left their homes and their families for jobs that offered little pay and less sleep; from the not-so-young people who braved the bitter cold and scorching heat to knock on the doors of perfect strangers; from the millions of Americans who volunteered and organized, and proved that more than two centuries later, a government of the people, by the people and for the people has not perished from this earth. This is your victory.

I know you didn't do this just to win an election, and I know you didn't do it for me. You did it because you understand the enormity of the task that lies ahead. For even as we celebrate tonight, we know the challenges that tomorrow will bring are the greatest of our lifetime — two wars, a planet in peril, the worst financial crisis in a century. Even as we stand here tonight, we know there are brave Americans waking up in the deserts of Iraq and the mountains of Afghanistan to risk their lives for us. There are mothers and fathers who will lie awake after their children fall asleep and wonder how they'll make the mortgage, or pay their doctor's bills, or save enough for college. There is new energy to harness and new jobs to be created; new schools to build and threats to meet and alliances to repair.

The road ahead will be long. Our climb will be steep. We may not get there in one year, or even one term, but America — I have never been more hopeful than I am tonight that we will get there. I promise you: We as a people will get there.

There will be setbacks and false starts. There are many who won't agree with every decision or policy I make as president, and we know that government can't solve every problem. But I will always be honest with you about the challenges we face. I will listen to you, especially when we disagree. And, above all, I will ask you join in the work of remaking this nation the only way it's been done in America for 221 years — block by block, brick by brick, callused hand by callused hand.

What began 21 months ago in the depths of winter must not end on this autumn night. This victory alone is not the change we seek — it is only the chance for us to make that change. And that cannot happen if we go back to the way things were. It cannot happen without you.

So let us summon a new spirit of patriotism; of service and responsibility where each of us resolves to pitch in and work harder and look after not only ourselves, but each other. Let us remember that if this financial crisis taught us anything, it's that we cannot have a thriving Wall Street while Main Street suffers. In this country, we rise or fall as one nation — as one people.

Let us resist the temptation to fall back on the same partisanship and pettiness and immaturity that has poisoned our politics for so long. Let us remember that it was a man from this state who first carried the banner of the Republican Party to the White House — a party founded on the values of self-reliance, individual liberty and national unity. Those are values we all share, and while the Democratic Party has won a great victory tonight, we do so with a measure of humility and determination to heal the divides that have held back our progress.

As Lincoln said to a nation far more divided than ours, "We are not enemies, but friends... Though passion may have strained, it must not break our bonds of affection." And, to those Americans whose support I have yet to earn, I may not have won your vote, but I hear your voices, I need your help, and I will be your president, too.

And to all those watching tonight from beyond our shores, from parliaments and palaces to those who are huddled around radios in the forgotten corners of our world — our stories are singular, but our destiny is shared, and a new dawn of American leadership is at hand. To those who would tear this world down: We will defeat you. To those who seek peace and security: We support you. And to all those who have wondered if America's beacon still burns as bright: Tonight, we proved once more that the true strength of our nation comes not from the might of our arms or the scale of our wealth, but from the enduring power of our ideals: democracy, liberty, opportunity and unyielding hope.

For that is the true genius of America — that America can change. Our union can be perfected. And what we have already achieved gives us hope for what we can and must achieve tomorrow.

This election had many firsts and many stories that will be told for generations. But one that's on my mind tonight is about a woman who cast her ballot in Atlanta. She's a lot like the millions of others who stood in line to make their voice heard in this election, except for one thing: Ann Nixon Cooper is 106 years old.

She was born just a generation past slavery; a time when there were no cars on the road or planes in the sky; when someone like her couldn't vote for two reasons — because she was a woman and because of the color of her skin.

And tonight, I think about all that she's seen throughout her century in America — the heartache and the hope; the struggle and the progress; the times we were told that we can't and the people who pressed on with that American creed: Yes, we can.

At a time when women's voices were silenced and their hopes dismissed, she lived to see them stand up and speak out and reach for the ballot. Yes, we can.

When there was despair in the Dust Bowl and depression across the land, she saw a nation conquer fear itself with a New Deal, new jobs and a new sense of common purpose. Yes, we can.

When the bombs fell on our harbor and tyranny threatened the world, she was there to witness a generation rise to greatness and a democracy was saved. Yes, we can.

She was there for the buses in Montgomery, the hoses in Birmingham, a bridge in Selma and a preacher from Atlanta who told a people that "We Shall Overcome." Yes, we can.

A man touched down on the moon, a wall came down in Berlin, a world was connected by our own science and imagination. And this year, in this election, she touched her finger to a screen and cast her vote, because after 106 years in America, through the best of times and the darkest of hours, she knows how America can change. Yes, we can.

America, we have come so far. We have seen so much. But there is so much more to do. So tonight, let us ask ourselves: If our children should live to see the next century; if my daughters should be so lucky to live as long as Ann Nixon Cooper, what change will they see? What progress will we have made?

This is our chance to answer that call. This is our moment. This is our time — to put our people back to work and open doors of opportunity for our kids; to restore prosperity and promote the cause of peace; to reclaim the American Dream and reaffirm that fundamental truth that out of many, we are one; that while we breathe, we hope, and where we are met with cynicism, and doubt, and those who tell us that we can't, we will respond with that timeless creed that sums up the spirit of a people: Yes, we can.

Thank you, God bless you, and may God bless the United States of America.

Chapter 490: Election Day

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My Election via Twitter as of 5:30pm

Election Day Eve

I am hopeful that tomorrow brings a night that I can fall asleep with dreams of four years of progress. 3:24 PM yesterday from web

Election Day!

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I'm up. 5:30 am.


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One cup of coffee. Strong


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One shower later.


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Polls are open! about 10 hours ago from txt


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Line still out the door. I've not seen Waveland Elementary's additional classrooms. Pretty cool. about 10 hours ago from txt


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Line inside now probably 100 people in line in front of me including a very loud woman on her cell phone about 10 hours ago from txt


On the walk to the polls this morning. Final count: 1 obama sign, 1 mccain/palin, 21 roger wicker. Some suspiciously close to the pollin ... ... about 10 hours ago from txt

I'm really encouraged about so many people bringing their kids to the poll. about 10 hours ago from txt

And right after I say that a mom walks out with her daughter saying the line is "too long". Bollocks about 10 hours ago from txt

I love public phenomenon. A person sneezed in line and ten people said 'bless you'. Bipartisanship! about 10 hours ago from txt

Dude that is probably in his 50’s drops his dad with a cane off, sees the length of the line and tells his dad he’ll pick him up when he’s done 10 hours ago from txt

Then he proceeds to walk back up past the line and remarks before walking out the door "forget this, I'm goin fishin". Classy. about 10 hours ago from txt

Only 20 or so more in front of me. I can see the machines! about 10 hours ago from txt

10 people left and then voting! about 9 hours ago from txt

Walking on roads with no sidewalks to go cast my vote dressed in a lot of blue but no "election" gear. Voting! about 9 hours ago from txt

Lots of blue in the crowd but not a whole lot of blue voters from the sound of the comments. about 9 hours ago from txt

The couple behind me are talking about selling coffee at the polls and adding jack for 25 cents extra. Voting day in mississippi. about 9 hours ago from txt

One more! At the table. Time to produce documentation. *crosses fingers* about 9 hours ago from txt

Voted! about 9 hours ago from txt

The republicans are out in force. 2 new wicker signs and 4 thad cochran signs on the way home about 9 hours ago from txt

In Biloxi after the voting awesomeness this morning and showing Erin and Troy around who were in NOLA and visited from Minnesota. Go Obama! 2 minutes ago from web

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Check out the Up Your Architecture Flickr site for more pictures of Election Day!

Alrighty then. I decided to switch tracking programs for the site and forgot to backup my main index before I entered the new code. Therefore, sometime this week will be sidebar rebuilding time! For the time being, enjoy the wonderfully bare version of www.upyourarchitecture.com! *sigh*

To tide you over, here's a really awesome video polling the citizens of... WoW!

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