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#massive – @nickkahler on Tumblr
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el laberinto

@nickkahler / nickkahler.tumblr.com

chronicling an eclectic labyrinth of architectural contemplation based in new york city
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Walmart['s Data Center in Jane Missouri] is only the largest and most spectacular of a whole new field of stealth data-center architecture—what London architectural critic Martin Pawley called 'terminal architecture' in his 1998 book of the same name. Such buildings are springing up in the most unlikely locations, spreading a whole incipient geography of backup and repair across the world. Near the core of global finance epicenters such as London and New York, for example, bunker-like business continuity facilities cluster, ready to go into operation to support corporate data flows and archives whenever the main corporate headquarters or electronic trading floor faces a disruption of any kind. Areas adjacent to corporate and financial downtowns, such as London Docklands and New Jersey, are now chock-full of such fortified centers, and the specialized firms that operate them now constitute an important economic sector in their own right. Meanwhile, in the downtown cores, disused and obsolescent modernist tower-blocks have been converted into so-called telecom hotels. Their windows blacked out, these structures house web servers and major digital switching systems connected directly to the planet’s fiber-optic grids. They allow the world’s major communications providers to serve the world’s major metropolitan markets cheaply, efficiently, and with minimal vulnerability to disruption. Far away from these metropolitan hubs, data backup and storage centers increasingly occupy the world’s nooks and crannies. The accumulated regolith of military architecture, abandoned since the late twentieth century, offers prime real estate for reconstruction as data centers. Abandoned military bunkers, especially, lend themselves to repurposing as ultrasecure data archiving and backup facilities. In northern Washington, DC, for example, a missile control bunker from the early years of the Cold War has been turned into an ultrasecure data center known as 'Titan 1.' An abandoned intercontinental ballistic missile silo near Albuquerque, New Mexico, has been similarly retrofitted. In Europe parallel refits have been completed using World War II antiaircraft forts off the coast of South East England and civilian antinuclear bunkers deep below the Swiss Alps.
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'Hyperobjects' [are] objects of such massive scale and temporality that they exceed the perceptive capacities of humans – enables a profound and radical way to think about, and learn to live with, global warming and the ecological 'mesh', more broadly.
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What intrigues me about scale is its flexibility. ... The idea is that scale is constantly under reconsideration, it’s a little provisional. Scale is not a stable index to a particular fixed size. It is something that’s always shifting, and in that same way your relationship to the work, the size of your own body, shifts. So, you might be very tiny in a massive structure, or you may have a birds-eye view, a simultaneous view of the work versus what would happen if you were walking through the city, which is a series of views in time. I’m interested in how a model can provide a sense of understanding of space.
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'The Titan's Goblet is an oil painting by the English-born American landscape artist Thomas Cole. Painted in 1833, it is perhaps the most enigmatic of Cole's allegorical or imaginary landscape scenes. It is a work that "defies full explanation", according to the Metropolitan Museum of ArtThe Titan's Goblet has been called a "picture within a picture" and a "landscape within a landscape": the goblet stands on conventional terrain, but its inhabitants live along its rim in a world all their own. Vegetation covers the entire brim, broken only by two tiny buildings, a Greek temple and an Italian palace. The vast waters are dotted with sailing vessels. Where the water spills upon the ground below, grass and a more rudimentary civilization spring up.'

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