Monthly Archives: April 2010

APInews: E.U. Ministers Call for Culture in Economic Plan

European Union ministers have called for culture to be put at the “heart” of the blocs new economic plan, the Europe 2020 strategy according to Helen Spongenberg on euobserver.com 4/6/10. It could mean that Europe will invest more in its creative industries as a source of future growth. In late April, the E.U. executive is set to adopt its “Green Paper on Cultural and Creative Industries,” aimed at unlocking the economic potential of cultural and creative industries in Europe, a sector that generates five million jobs and represents 2.6 percent of GDP in the 27-nation bloc. The sector includes areas as diverse as cinema, music, publishing, the media, fashion, interior and product design, cultural tourism, performing arts and heritage. Critics warn that Europe should not neglect cultural diversity and caution against homogenizing European culture.

APInews: E.U. Ministers Call for Culture in Economic Plan.

More info on The Green Theatre Project at Arcola

We’ve had a great response from many talented people. More than we expected actually and it has become necessary to go through a short selection process (see message below). The project commences Saturday, April 17 at 2pm at Arcola Theatre. It is for performers, writers, theatre practitioners and generally interested people over 18. The aim is to use theatre to explore a variety of sustainability themes and create a high-quality short performance piece. If you are still interested in being involved here is some more information.

The group will meet over seven weeks, exploring sustainability issues through a variety of theatrical workshops, with the intention of devising a short performance piece. The location and dates of the performances are still to be confirmed. It will mostly likely be an outdoor or site specific performance. It is going to be very much a collaborative process and we welcome input from as many view points as possible. This is the first outing of The Green Theatre Project so there will be a lot of room to play.

Here is an outline of the sessions:

Session 1 – April 17, Arcola (2 -4pm)

  • Intros
  • Idea sharing
  • Short devising session around a theme

Session 2 – April 24, Spitalfields City Farm (2 -4pm)

  • Physical theatre workshop led by Irene Athanassiou
  • Devise short movement sequence
  • Decide on theme of final performance

Session 3 – May 1, Arcola (2 -4pm)

  • Forum theatre workshop led by Rosie Leach
  • Structure and form of final performance decided

Session 4 – May 8, Arcola (2 -4pm)

  • LeCoq workshop led by Skip Theatre (tbc)
  • Workshop potential material for final performance

Session 5 – May 15, Arcola (2 -4pm)

  • Interpreting text workshop (based on an Irish play) led by Cathal Clearly
  • Workshop and rehearse writer’s material for final performance piece

Session 6 – May 22, Arcola (2 -4pm)

  • Workshop and rehearse performance piece

Session 7 – May 29, location to be announced (2 -4pm)

  • Dress rehearsal/possible preview performance

Potential themes: energy usage, resource consumption and distribution, human/nature relationship, interconnectedness, the individual’s behaviour, fair trade, conservation, sustainable agriculture, social sustainability, etc. (These are just possibilities, the group will decide together on what issues they want to explore)

IMPORTANT: If you are interested in being involved, please send us a short paragraph describing what you hope to get out of the project and what you could bring to it. As well as what role(s) you would be interested in for the performance piece (i.e. writer, performer, stage manager, producer, etc) and a contact phone number. In order to be considered for the project we need to receive your email by the end of Tuesday, April 13. We will then let you know who has a place in the group. Please also let us know if you can not make any of the dates. We will be giving priority to people who can make six or more of the seven sessions.

Please note: That although the group is suitable for non-performers, the workshops will require some performance elements within the group.

Thank you for your interest and we look forward to hearing from you!

-Lisa and Rosie

The Green Theatre Project Arcola - greentheatreproject@googlemail.com

Aesthetics, Art, and Politics at University of Helsinki

Finnish Society for Aesthetics
PO Box 4, FIN-0 0 0 1 4 UNIVERSITY OF HELSINKI
www.estetiikka.fi

“Aesthetics, Art, and Politics,” 6.5.-7.5.2010, University of Helsinki

The Finnish Society for Aesthetics together with the research project Artification and its Impact on Art (http://www.artification.fi/) will arrange a two-day seminar on the theme “Aesthetics, Art, and Politics” from the 6th of May to the 7th of May 2010 at the University of Helsinki. The keynote speaker of the seminar is Professor Aleš Erjavec (Slovenia).

Significant connections between aesthetics, art, and politics continue to exist in the new millennium. However, alongside traditional questions about art’s relationship to politics and the political aspects of aesthetic phenomena, a new set of issues has gradually arisen which are as much a
result of changes occurring in aesthetics and art as they are a result of changes that have recently shaped politics. The criticism that different traditions of contemporary aesthetics have aimed against the idea of “pure aesthetics,” i.e., an aesthetics severed from political considerations, has been widely accepted. But what is the position of aesthetic theories which emphasize the social function of art and aesthetics today? Do the main traditions of contemporary aesthetics any longer manage to account for the current forms that the relationship between aesthetics, art, and politics takes or are novel approaches required for analyzing those connections?

Many other social practices besides art are to a growing extent characterized by features which have traditionally been associated primarily with art. What sorts of aesthetic and political consequences could this process known as “artification” involve? What are the effects of this development, for
example, to the alleged autonomous nature of art or is this supposition a mere fallacy anyway? Different artistic traditions and movements embody different kinds of ideologies. How should one understand the relationship between art and politics in a world where faith in the impact of politics is
increasingly diminishing? Changes of approach in recent art research also provide a new outlook on the theme of the seminar. Do the different research approaches articulate specific views of the connection between aesthetics and politics and what sorts of political underpinnings, if any, could these approaches themselves involve?

Art, Ecology and Citizen Power

Tomorrow, the Dutch artist Marjolijn Dijkman arrives in the UK to begin her residency atClare Cottage in Helpston, near Peterborough. Her stay marks a shift in focus for Arts & Ecology, towards exploring how the arts may engage people locally with environmental change and sustainability. As part of this, Marjolijn has been invited to stay at the home of the local romantic poet John Clare who died in 1864, so is no longer living there. The cottage was refurbished last year and Marjolijn intends to explore contemporary ideas about ‘place’ with people in the surrounding villages and the city of Peterborough, which is where the RSA Citizen Power project is located.
Wandering Through the Future (installation) by Marjolijn Dijkman, 2007. Commissioned by Sharjah Biennial 8: ‘STILL LIFE, Art, Ecology and the politics of Change’. Photo by Lateefa Maktoum

Go to RSA Arts & Ecology

ashdenizen: when science meets art … successfully

Kellie Payne has attended numerous ‘art and science’ events, but in this guest blog she argues that last weekend’s day-long symposiumRising To The Climate Challenge: Artists and Scientists Imagine Tomorrow’s World was particularly successful.

The Tate had paired with the Royal Society to present an impressive line-up of speakers, including artists Lucy Orta, Tomás Saraceno and the eminent land artist Agnes Denes. But its success could be attributed to another reason.

Kellie Payne writes:

Rather than framing the question as: ‘how can artists help scientists communicate climate change?’, last Saturday’s symposium Rising To The Climate Challenge took the view that art and science had two very different perspectives to offer and much could come from their collaborations. Art’s role isn’t simply to reformulate and appealingly package the scientific messages; instead it has a more fundamental exploratory and imaginative role. 

The climate science programme largely reflected the Royal Society’s priorities and included, along with the expected division of adaptation and mitigation a third one, geo-engineering. However, oceanographer and earth scientist Corinne Le Quéré , who introduced the topic, revealed that she was stuck with presenting it because none of the other speakers wanted it. Professor Le Quéré gave a well-balanced presentation comparing the various options’ effectiveness (predicted ˚C temperature change) versus the level of risk.

With more controversial options such as the frightening volcanic method, where artificial volcanoes are created in the atmosphere to reflect and reduce solar radiation, she demonstrated that even this was only a temporary fix. The volcanoes would need to continually be created because as soon as they ceased, CO2 levels in the atmosphere would rapidly return to pre-volcanic levels. A less risky option, managing earth radiation through afforestation was shown to be less effective, with a possible decrease in warming projected at only 1ËšC.

Agnes Denes’ land art was incorporated into the topic of geo-engineering because her large-scale works often drastically alter the landscape. In Finland she created Tree Mountain- A Living Time Capsule, building a conical mountain and planting it with 11,000 trees, and planting and harvesting a wheat field in central Manhattan (Wheatfield: A Confrontation). During her slide show, Denes explained that she likes to investigate the paradoxes of human existence: logic, evolution, time, sound, etc. and believes that by shaping and structuring the future we can control our own evolution.

Tomás Saraceno presented with an infectious energy, bursting with novel, if impractical ideas that included his floating ecosystems.  Saraceno makes bold and imaginative attempts to stretch the boundaries of our conceptions of space and gravity with his experimental floating pods. His presentation was paired nicely with Oxford social scientist Steve Rayner’s on adaptation. He focused on cities of the future and the importance of instituting greater flexibility within existing infrastructures in order to cope with future climate events such as extreme flooding. He admires Saraceno’s work, in particular his innovation with new materials, shapes, and possibilities of new patterns of organisation.

Rayner highlighted three typical art/science interactions. The first was demonstrated by a photograph of a diseased liver cell and represented the mode of seeing beauty in the scientific. The second was art’s influence on science (mainly through science fiction such as HG Wells and Jules Verne), the model of artists stimulating scientists with their work leading to new ideas and discourses. The third – which Rayner thought the most compelling – were the interactions between scientists and artists that occur when artists ‘do science through art’. Essentially, where the borders between the two are eliminated and artists employ scientific methodology in their creations, as demonstrated in Saraceno’s work.

The collaboration between scientific institutions and artists was illustrated in a discussion between the Natural History Museum’sRobert Bloomfield and artist Lucy Orta , whose upcoming exhibition at the Jerwood Gallery Perpetual Amazonia is extensively researched using the NHM’s entomology, botany and palaeontology collections. The exhibition will also be informed by Lucy and her partner Jorge’s expedition to the Peru with Cape Farewell in 2009.  Bloomfield specialises in biodiversity and stressed the importance of the interrelations between climate change and biodiversity loss and ecosystem services.

The event was recorded. Podcasts will be available soon on the Tate website.

via ashdenizen: when science meets art … successfully.

Historic preservation and sustainability go hand in hand

Reprinted from Novogradac Journal of Tax Credits: “Historic Preservation and Going Green” by John M. Tess, April 2010

Historic preservation and sustainability go hand in hand. There is a misconception that historic preservation tax credit (HTC) projects and LEED certified projects are mutually exclusive. On the contrary, green development and preservation can both be achieved when rehabilitating a historic building; thus, opening the door for developers and property owners to benefit from using federal, state and local historic incentives while meeting green building standards.

At present, the federal government offers a 20 percent investment tax credit for the rehabilitation of certified historic buildings. The rehabilitation of a historic building must meet the Secretary of the Interior’s Standards for Rehabilitation. These standards provide guidance on the appropriateness of work on a historic building, through the preservation of the building’s significant historic features. The program is administered by the State Historic Preservation Offices and the National Park Service.

The most recognizable program in green building certification is Leadership in Energy and Environmental Design (LEED). LEED is a green building certification system, providing third-party verification that a building was designed and built using strategies aimed at improving a building’s performance. LEED certification is based on seven credit categories including: sustainable sites, water efficiency, energy and atmosphere, materials and resources, indoor environmental quality, and innovation in Design/Regional Priority. Developed by the U.S. Green Building Council (USGBC), LEED provides building owners and operators a concise framework for identifying and implementing practical and measurable green building design, construction, operations and maintenance solutions.

The most common concern when performing a green rehabilitation of a historic building is energy efficiency. There is a bias throughout the green building community that if you want to achieve energy efficiency in a building you need to start from scratch. Historic buildings have embodied energy that can balance the goal in the green building community for energy efficiency improvements that may be difficult to achieve otherwise. The LEED certification system does award points for building and materials reuse. Making the LEED system work within the standards can be a challenge, as the standards have clear guidelines on retaining historic materials during rehabilitation. These challenges are illustrated through two successful LEED certified historic preservation tax credit projects: The Oregon National Guard Armory Annex and the Meier & Frank Department Store Building both located in Portland, Oregon. These projects demonstrate the amount of flexibility available for greening buildings utilizing the federal historic tax credits.

The Oregon National Guard Armory Annex, built in 1891, has thick masonry walls and a fortress-like appearance, and with more gun slits than windows it might not seem like an obvious candidate for a green rehabilitation. But the Gerding Edlen Development Company had a vision to rehabilitate this historic building into a state-of-the-art theatre while meeting the Secretary of the Interior’s Standards for Rehabilitation and achieving LEED Platinum certification, the highest level in the LEED program.

The Armory is listed in the National Register of Historic Places and is significant as the first armory built in Oregon for the newly organized Oregon National Guard. It is also significant as an excellent example of the Castellated architectural style. Throughout the building’s history it has been utilized for various functions including arms storage, shooting range, drill hall, event hall and, prior to its rehab, beer warehouse.

In 2006 the building was rehabilitated as the home of Portland Center Stage. The primary challenge of rehabilitating what was essentially a warehouse into a theatre, was to fit 55,000 square feet of program space within a 20,000-square-foot footprint while preserving and exposing the Douglas fir truss ceiling. The masonry structure also had to be braced seismically and the two performance spaces had to be isolated acoustically. The solution involved excavating 30 feet below the level of the original basement and building a concrete box inside the existing shell with access via two 14-foot-wide doors.

On the historic preservation side, the exposed roof trusses and exterior of the building were determined to be character defining features that had to be preserved. The roof trusses remained exposed in the building lobby and an oculus opening was created to provide views from the first floor to the roof trusses above. The distinctive masonry exterior was rehabilitated with no major changes.

On the green side, the spaces are distinctly contemporary in appearance and in function. The building has excellent lighting, air quality and energy efficiency with a 30 percent improvement over code standards. To improve water efficiency, rainwater is captured from the roof and used to flush toilets and urinals. The building is also equipped with dual-flush toilets and low-flow showerheads and faucets, reducing the building’s potable water use by 88 percent. Its windows also have advanced glazing to maximize daylighting while minimizing winter heat loss and summer heat gain. Where appropriate, lighting in the building is controlled by photo-sensors, occupancy sensors and dimming switches. These features all contributed to the LEED Platinum rating. Reuse of the existing building conserved not only the embodied energy of the existing materials but also the craftsmanship of the unique façade, preserving this Portland Landmark for future generations. The newly christened Gerding Theater has the distinct honor of being the first building on the National Register of Historic Places to receive federal historic tax credits and to achieve LEED Platinum status.

The Meier & Frank Department Store Building consists of three interconnected structures built over a 23-year period from 1909 to 1932. When completed, it was Oregon’s largest building. Like so many department stores, the building gradually became underutilized in the late 20th century. Sage Hospitality Resources’ renovation included modernization of the lower five floors and basement as a state-of-the-industry retail space and transformation of floors 6 and above into Oregon’s first five-star hotel. The hotel contains 331 rooms, destination atrium restaurant, rooftop lounge, 7,200-square-foot grand ballroom and 13 additional meeting rooms.

Adaptive reuse of this department store into a hotel was not a simple task. The building required seismic, fire, life safety and other code upgrades. The full-block floor plate was unwieldy, and built as three structures, the floor and ceiling levels did not always align.

On the historic preservation side, the white terra cotta exterior, original windows, and ground floor entrances and elevator lobby were determined to be character defining features that had to be preserved. These features were preserved while making way for a state-of-the-art interior that included a new atrium for the hotel.

On the green side, the effective reuse of the Meier & Frank Department Store represents an enormous accomplishment in sustainable design. This accomplishment takes two forms: first, the preservation of embodied energy and materials of one of Oregon’s largest buildings; second, the sustainable initiatives to green the building and its operations. Apart from the eco-savings accomplished through preservation, the project team embraced a number of pro-active steps towards sustainable design. Specifically, during construction the project committed to recycling removed materials, achieving 90 percent recycle rate.

Major work included the use of interior storm windows and high-performance glazing in infill elements, maximizing access to natural light. The installation of high efficiency lighting systems resulted in a savings of 26 percent energy consumption over comparable hotels. Finally, the installation of high efficiency water systems, with low-flow faucets and dual-flush toilets, collectively will save a half million gallons of water per year.

In addition to the development aspects of the project, green operations focused on the core tenets of reduce, reuse and recycle. These operations included using 100 percent renewable energy, including wind power and carbon offsets, using only Green Seal-certified products and encouraging employees to bike to work. In total, these eco-actions are anticipated to save the hotel $1 million in operating costs in its first 10 years. The Nines Hotel achieved LEED Silver certification; one of only 10 five-star hotels that are LEED certified projects. More broadly, the project demonstrates that sustainable practices and luxury hotel operations are not mutually exclusive, but that “eco-luxury” is mutually compatible.

Contrary to the misconception that historic and green projects do not work together, our experience proves that it can be done. Other recent historic tax credit projects we have been involved in that either have achieved LEED certification or are in the process of seeking LEED certification include the Palomar Hotel in Philadelphia, Pa., Court Square Center in Memphis, Tenn., Mercy Corps Headquarters in Portland, Ore., the Deco and Barclay Buildings in Milwaukee, Wis., and the IBM Building in Chicago, Ill.

Often, the owners and developers of historic buildings simply assume that their building cannot secure both historic tax credits and LEED certification, believing that the preservation standards will work against the green priorities. In the process, they forego the potential green or financial incentives, benefits that often make the difference in the viability of a project. It is important when contemplating the redevelopment of these resources that all opportunities are explored as historic buildings are often environmentally friendly and contain opportunities for becoming greener.

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Go to the Green Theater Initiative