Robert L. Peters

31 July 2010

I meant what I said and I said what I meant…


30 July 2010

Trend upwards…

Warstein, Germany

A nude climber stuck halfway up a cliff face in the pitch dark had to phone German police officers, who shone a spotlight on him so he could find handholds to lower himself back down, they said Friday.

The 47-year-old man was unable to explain why he had drunkenly stripped off at dusk on Thursday, packed all his clothes in his rucksack and headed up the 40-metre quarry wall in Warstein, 100 kilometres east of Düsseldorf.

Clinging to a ledge, he became too weak to proceed and could not get dressed for fear of falling. Hours later, becoming both very cold and sober, he managed to get out his mobile phone and contact police.

Police took him to hospital as a precaution, in case he had suffered from “exposure.”

Could happen to anyone… though methinks there’s a cautionary tale in there somewhere. Source: the Alpine Club of Canada newletter, drawing from here (thankfully without accompanying imagery).


29 July 2010

24 hours in the saddle…

Falcon Lake, Manitoba

My rockin’ kid brother John Paul Peters just completed his first 24-hour mountain bike race this last weekend. Not only did he survive, he even managed a 2nd place in the open solo category. Here’s how JP describes the experience on his blog, 29erlove.blogspot.com

“Well, it was great to race, and it was almost as good to finally be done. Each hole punched in the license plate represent a 7-km lap completed. Not an overly fast pace, the course was quite technical in places and fairly rooty and wet in the woods. Dallas told me early on that there would be sections of the trail that, after encountering over and over again, I would absolutely despise. He was right. There was that little mud hole just after the first climb. Had a way of draining my speed EVERY single time as I eventually gave up looking for that perfect line. There was that squishy swamp where I got stung in the butt cheek at least twice by wasps (pain then, Itch now). And there was that technical rocky section about half way through where several sharp rocks tried their hardest to puncture my sidewalls (luckily they were thwarted).

This was my first experience with a 24-hour race and in many ways it lived up to my expectations. There would be periods of intense desire to quit riding. There would be butt pains, hand pains, leg pains, gut pains, and all sorts of pain I’d probably never experienced. I did learn that I can stay on a bike longer than I thought I could. I learned that cantaloupe is the greatest thing in the world after 12 hours of racing. I learned that a little mud added repeatedly over the course of a number of hours has the ability to stop things from working. I learned that having someone to cheer you up and encourage you means that much more so many hours into the race. Vanessa is awesome. Thanks to everyone who was such a great cheering section for the racers (fgbc crew at the top of the list!) Renee T. even took a slow lap with me to help keep me human. Thanks dude!

Things that did not live up to my expectations: my butt is not sore from riding 23 hours—it is only sore from wasp stings.

I had no idea I could last as long as I did. I’m looking forward to getting feeling back into my left hand and being able to bend over to tie my shoes.

Great times… some random photos here
24 Hours of Falcon Ridge official site here

Congratulations, little bro!


28 July 2010

Instant oil spill…

Instant_oil_spill_Circle

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I just received an e-mail from Daniel Schutzsmith, a design colleague and “web nerd” who I first met at FITC in Toronto in 2007 (we did a video interview together there early one morning which still shows up on Vimeo). Daniel has just created an effective viral piece at http://instantoilspill.com that exhibits “the same disregard for the environment (albeit virtual) that big oil does every day! Why should they have all the fun?”

Create an OIL SPILL on any website! Visit this link, then simply enter the web address of whatever site you’d like to contaminate and watch the spill happen…


26 July 2010

Before it’s too late…

wwf_before_its_too_late

Via Ads of the World, here.


24 July 2010

You gotta have heart…

Tibetan_proverb


22 July 2010

We live in stories…

Robert_L_Peters_Two_Wolves

Robert_L_Peters_Turtle

Winnipeg, Canada

I’ve always been interested in the oral narratives that are passed on from one generation to another. The launch of INDIGO’s Mother Tongue project provided incentive to begin a series of graphic “copyfree” posters featuring such stories as told by First Peoples. Above are the first two pieces: Two Wolves features the well-known Cherokee tale of the battle between good and evil as told by an elder to his grandson; Turtle includes the Anishinaabe story of how the turtle got its shell, and passes on the knowledge of the 13 large moons and 28 smaller segments that appear on the back of every turtle (many First Nations descendants are taught that the turtle shell represents the perfect depiction of the lunar year—I learned of this from one of our Aboriginal clients).

You can read the stories (or download, distribute, or print these posters) here: Two Wolves (1.2 MB PDF); Turtle (1.3 MB PDF). I’d encourage other designers to make your own contribution to the INDIGO Mother Tongue initiative—you can access the submission information here.

Thanks to Adrian J. K. Shum for your assistance. Credit for the wolf images goes to www.firstpeople.us


21 July 2010

Today is Marshall McLuhan’s birthday…

McLuhan

Winnipeg, Canada

The great Canadian educator, philosopher, scholar, literary critic, rhetorician, and communication theorist Herbert Marshall McLuhan was born 99 years ago today and grew up here in the ‘Peg (he attended Kelvin High School). Fitting, then, that I would receive an e-mail today from good friend (and former Circle colleague) Kevin Guenther (who knows that I’m somewhat of a McLuhan fan)… providing a link to a video clip of a classic piece of Woody Allen cinema that Marshall makes a cameo appearance in (Kevin came across this via Boing Boing, here).

Good fun. Thanks, Kevin!


20 July 2010

Receding glaciers…

Rongbuk_Glacier_receding_glacier

Rongbuk_Glacier_scale

Rongbuk_Glacier_pinnacles

On mountains, everywhere

This past weekend, Ev and I enjoyed a short sortie with the Westie out to Riding Mountain National Park to take in the latest of her Manitoba Crafts Council show openings in Wasagaming. We spent a delightful dinner and overnight with old friends Celes and Sue Davar (Celes and I were both partners in Praxis Photographic Workshops some 20 years ago; he now runs Earth Rhythms—Sue is a remarkably talented potter and book-maker, and a longstanding friend of Ev’s). During the course of our conversation, Celes asked me whether I had noticed melt-back on glaciers in the Canadian Rockies in recent years (which of course I have, quite visibly in places like the Columbia Icefield). So it seemed more than a little coincidental that David Breashears’ latest documentary initiative would cross my desk today…

Rivers of Ice: Vanishing Glaciers of the Greater Himalaya showcases the work of photographer and mountaineer David Breashears, who with Glacier Research Imaging Project (GRIP), has retraced the steps of renowned mountain photographers of the past century to recapture images of these mountains and their glaciers from exactly the same vantage points. Rivers of Ice displays his recent photographs alongside the corresponding historic images, revealing the alarming loss in ice mass that has taken place over the intervening years. Visit the website (reports, videos, comparative photographs) here.

Above images: Graphic evidence of the loss of glacier mass between 1921 and 2007; the dotted line shows the Main Rongbuk Glacier’s height in 1921, while this 2007 photo freveals a loss of 320 vertical feet (nearly 100m) in ice mass since George Mallory took the same photograph in 1921; the tiny climber (upper right corner) gives scale to the remaining ice pinnacles.


19 July 2010

Bewusstsein (consciousness)…

RobertFludd_Bewusstsein

I’ve often wondered what consciousness might look like… until this explanatory illustration crossed my desk today, that is. Thanks to Robert Fludd (aka Robertus de Fluctibus, 1574-1637), I need wonder no more. Full explicative notations here.  :-|

Auditus, Visus, Odoratus, Gustus, Tactus… all ports open for input.


18 July 2010

1/4 of the victims…

crosswalk_victims_4

crosswalk_victims_3

crosswalk_victims_2

crosswalk_victims

Lisbon, Portugal

Pedestrian advocates in Lisbon have replaced the white “zebra” stripes in four crosswalks with the stenciled names of 137 pedestrians killed by cars. On the curb, the tagline reads: “1/4 das vítimas de acidentes de automóvel são peões,” 1/4 of the victims of automobile accidents are pedestrians.

Watch a brief video about the installation here. Story and images found here.


17 July 2010

Banksy… on trespassing

No_Trespassing

forgive_us

Lots more new work on display here.


16 July 2010

Deductive optimism realism…

Everything-Will-Be-OK



15 July 2010

Capitalism, illustrated…

Capitalism_Illustrated_2

Capitalism_Illustrated

Well worth watching (here), trust me…

The brilliant folks at cognitivemedia took 10 minutes of David Harvey’s marxist analysis of the financial crisis and created this entertaining information visualization. Wow!

Found on Social Design Notes.


14 July 2010

A rumi-nation for Obama…

Rumi

Albuquerque, New Mexico

This is the “rumi-nation” that my friend Maggie Macnab (author of Decoding Design) sent to U.S. President Barack (Hussein) Obama yesterday… apt, Maggie, apt indeed.


More about less…

Leonardo_da_Vinci_Simplicity

Hard to argue with and also in keeping with the heuristic Occam’s razor


13 July 2010

Fallen archetype…

Brian_Stauffer

No comments necessary… a terrifyingly candid portrait of the frocked ilk by talented illustrator © Brian Stauffer.


12 July 2010

Flashback | my first car…

Renault_R8

A mid-1960s Renault 8

I bought my first car for $300 in February of 1974, an amount earned by working for what seemed like an eternity in a window factory (in reality, it was a single two-week pay period). With some minor repairs, a set of well-used steel-belted radials, and a fresh paint job (by hand—but I swear you could hardly see the brush strokes) this beauty got me to where I needed to go in style… and while the 956 cubic cms (58.3 cubic inches) and whopping 43 horsepower could hardly be considered a powerhouse, the 40+ m.p.g. fuel efficiency and smooth performance of the svelte little five-bearing engine made up for it.

Key features included deep-sprung, super-comfortable polyurethane-molded seats, “aircraft-style air louvres,” four doors, a (synchronized!) 4-speed manual transmission, four-wheel disc brakes (a first in its class), a four-wheel independent suspension (read great road holding), a “huge luggage boot” (OK, 11 cu. ft.) in the front, and the advantageous rear-engine (complete with emergency hand-crank!) and rear-wheel drive—brilliant for muscling through snowdrifts on wintry prairie roads. My sweet little R8 also offered one of tightest turning radii of all time… which all has me waxing just a wee bit nostalgic for this diminutive French charmer.


11 July 2010

On the other hand…

Lou_Dorfsman

Thanks to Icograda Friend Frederick Burbach for this design quotable today…


10 July 2010

Mr. Eidrigevičius never sleeps…

stasys_eidrigevicius

stasys_opening_invitation

Warsaw, Poland

If you happen to find yourself in Warsaw two weeks from now (don’t laugh—it happens) be sure to attend the latest exhibition of works by my irrepressible friend Stasys Eidrigevičius (who I have posted about earlier here and here). And, if you are wandering about at the vernissage, please pass on my personal greetings, OK?

Gratulacje!


9 July 2010

Truism of the day…

Noreen_Morioka

This made me laugh out loud… and I’m still grinning. A suitably tongue-in-cheek quote by my friend Noreen Morioka, chanced across on a somewhat self-aggrandizing website posting entitled “All the Quotes About Design You’ll Ever Need or Want,” here.

No slight to dentists intended…


8 July 2010

Evelin’s latest…

On_the_surface_all_seemed_normal

Winnipeg Beach, Manitoba

I have to say—it’s a lot of fun having a partner as creative as my darlin’ Evelin (Richter). A side benefit of our relationship is my being able to assist in the ceramics studio (with the chance to hone tactile and haptic sensibilities) as her latest iterations come to life. I’ll post more of her most recent figurative work (and maybe even some of my own) as it reaches fruition over the next months. In the meantime, have a look at what she’s up to here.

Image: On The Surface, All Seemed Normal Figurative slab-built stoneware sculpture, finished with low-fire glazes and iron oxide stain (augmented with cold-finishes); sterling silver bridle and a formed copper bit; 420mm x 210mm x 340mm tall.


World Cup Typography: Yomar Augusto

unity_jerseys

unity_spain

unity_argentina

unity_specimen

Rotterdam, The Netherlands

Brazilian designer Yomar Augusto designed the distinctive Unity font featured in the current FIFA World Cup as part of a commission by Adidas. Read a great backgrounder article by Yves Peters on The Font Feed about Yomar and this unique typographic design assignment here.


7 July 2010

Playing with clouds…

SKYplay_cone

SKYplay_dragon

SKYplay_daisies

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We’ve all done it, at one time or another… playing with clouds. Likely only a few have documented this fun for the enjoyment of others—and fewer yet with the determined playfulness of the late Horst J. Bernhardt,* an industrial designer who spent most of his 40-year career with Lightolier. View his image series entitled SKYplay here (best yet, take a few minutes and watch the Flickr slideshow here).

*Horst passed into another dimension in May of this year… R.I.P.

(I’ve posted about clouds and how much I like them before, here).


6 July 2010

Call for submissions… Mother Tongue

Indigo_Mother_Tongue

Montreal, Canada

Language is not only a product of human life—it is a pre-requisite that humans require to form relationships. As a fundamental form of expression, language binds us together.

But not all languages are spoken. A language can be visual—made up of complex ideas of truth deeply rooted in symbols, custom and imagery. Mother Tongue is about the power of language—verbal and visual, formal and informal. First language. Native language. It honours languages at risk of being lost in our globalising society and those that have survived the forces of colonisation.

Mother Tongue is a healing process—stimulating creative dialogue between indigenous and non-indigenous designers, students of design, poets and writers. Mother Tongue celebrates that underlying our languages, we are the same after all.

Mother Tongue also offers a forum for non-indigenous designers to respond to the position that indigenous language iconography, process and design knowledge can and should play an integral role in contemporary design.

Mother Tongue is a cross-cultural platform to open discussion around the role of contemporary indigenous design. It encourages collaborative projects that deepen our understanding of people’s culture in our visual world of this 21 century. Claude Levi-Strauss said that no one culture is more advanced than another, each is unique and there is much to learn from everyone.

“We need a culture shift. Can design reconcile differences? Does it hold this power? If design has the power to market products and services that make consumers consume, then I am sure it can. Let’s begin a journey of understanding—fostering a new respect for life, nature and the natural world. Let’s value the principles of truth, honesty, generosity, equity and kinship.”

—David Lancashire, Melbourne, Australia (from the
Mother Tongue brief)

+  +  +  +  +

INDIGO, the International Indigenous Design Network, has launched Mother Tongue, an innovative online exhibition that seeks to capture the power of language—verbal and visual, formal and informal. Intended to stimulate creative dialogue, Mother Tongue offers designers a forum to respond to the position that indigenous language iconography, process and design knowledge can and should play an integral role in contemporary design. This cross-cultural platform will honour languages at risk and encourage collaborative projects that deepen our understanding of people’s culture in our visual world of this 21st century.

Mother Tongue is an open, multi-disciplinary, online exhibition. You may submit multiple entries, but each submission must be a single piece. The form of response is yours to determine—a poster, a photograph, a poem, a product, a piece of architecture— that interprets the spirit of Mother Tongue.

Visit the Mother Tongue project page here. Download the Mother Tongue brief (484 KB PDF) here.

+  +  +  +  +

Imagery: 1907 photograph of an Inuit/Inupiat woman; James EvansCree syllabary developed in Norway House, Manitoba in 1841 (as a blend of Devangari script from India and the phonetic Pitman Shorthand from Britain)—this syllabary was later adapted by Edmund Peck to form the basis for the modern Inuktitut writing system.


5 July 2010

On seeing…

Antoine_de_Saint_Exupery


4 July 2010

Please go home… the sooner the better.

don't_enlist

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On this holiday day of nationalist celebrations in the United States of America, billions of the world’s citizens (particularly those in the 150+ countries in which the American military is currently deployed) wish nothing more than that the “Yankees go home”—for everyone’s good. Many of my friends in the U.S. wholeheartedly agree…


1 July 2010

Sleeping beauté | Bettie Blue

1988_VW_Westfalia_Camper

Manitoba, Canada

Over the past two months I’ve invested a fair bit of effort (with Ev’s help) in refurbishing Bettie Blue, the 1988 VW Westfalia camp-mobile I had the good fortune to buy from her original owner in Alberta last September. (Bettie, my first Westie, was sold to a long-time climbing friend in March). BB came to me in great shape and with exceptionally low mileage. She’s cleaned up nicely, is now sporting new rubber all around (pop-top seals on roof, and a handsome set of Michelin HydroEdge tires on new 16″ alloy rims from GoWesty below), and has been upgraded with high-powered halogen headlights up front. Already fully kitted out with camping gear, she now awaits the open road…

Image: a 1989 magazine advert promoting the VW Westie and extolling the vehicle’s versatile virtues… I’ll post some pics of BB herself at a later date.


29 June 2010

Today… in Público

Robert_L_Peters_Publico_Interview

Lisbon, Portugal

Today’s issue of Público, Portugal’s daily national newspaper, includes an article by journalist Maria João Lopes, who interviewed me last month in Caldas da Rainha. Maria has collated our pleasant hour-long conversation (sitting in the cool shade of the trees at the ESAD/CR* campus) into a portrait of “the Portuguese persona,” as well as conveying my call to those in the design professions to make a stronger case (with business, with government) re: the powerful role that design can play in shaping culture, improving the quality of everyday life, and creating a better and more sustainable future.

Thanks for your interest, Maria!

You can view or download a screen-resolution PDF (62 KB) of the newspaper article here… if you do, I hope your Portuguese is better than mine.

* My visit to ESAD/CR (which prompted the Público interview) was triggered by the feature article about Portuguese graphic design that I wrote recently for Communication Arts magazine (1.1 MB PDF) here.


28 June 2010

A philosophical extract… from Kerouac

…see the whole thing is a world full of rucksack wanderers, Dharma Bums refusing to subscribe to the general demand that they consume production and therefore have to work for the privilege of consuming, all that crap they didn’t really want anyway such as refrigerators, TV sets, cars… and general junk you finally always see a week later in the garbage anyway, all of them imprisoned in a system of work, produce, consume, work, produce, consume, I see a vision of a great rucksack revolution thousands or even millions of young Americans wandering around with rucksacks, going up to mountains to pray, making children laugh and old men glad, making young girls happy and old girls happier, all of ’em Zen Lunatics who go about writing poems that happen to appear in their heads for no reason and also by being kind and also by strange unexpected acts keep giving visions of eternal freedom to everybody and to all living creatures.

(Yes, all one sentence… from Jack Kerouac’s 1958 The Dharma Bums).


27 June 2010

Emo_Phillips_quotation


26 June 2010

WYSIWYG…

eye

No big surprise—I have this thing about eyes.


25 June 2010

Letters become character-rich sculpture…

June_Corley_Luluu_with_ball

June_Corley_Cooper_L_Dog

June_Corley_Typographic_Sculptures

Jane_Corley_SOOOY_Bird

Loachapoka, Alabama (USA)

June Corley is a talented designer, art director, and visual artist (as well as an avid gardener and animal lover) living and working in a log cabin (built in 1842) surrounded by woodlands. During several decades she spent in the advertising field (including a spell as principal of her own agency), June collected old signage letters, vintage letterpress type, and a plethora of found objects (many resembling faces) which, for the past several years, she has been fashioning into remarkably engaging sculptural assemblages—each piece offers hidden elements of surprise, discovery, and humor.

Delightful!

All images © 2007-2010 June Corley (used here with her permission, thanks). Visit June’s lovely website to see nearly eighty additional sculptures, browse even more on her Flickr site (updated weekly), and read an in-depth background article from HOW magazine about June and her charming oeuvre here.

(Thanks to friend Martyn Schmoll for introducing me to June’s work).


24 June 2010

virtual typography | a book review

virtual_typography_1

London, United Kingdom

London-based designer Matthias Hillner (who has been on my radar since we met at the Oullim congress in Seoul, 10 years ago) uses a typography-led approach for developing multimedia and graphic design solutions. After earning a diploma in visual design (schwerpunkt Photography) from the College of Design Schwäbisch Gmünd, Germany in 1994, he graduated with a Master of Arts from the Royal College of Art, London, and subsequently launched the Studio for Virtual Typography. Since 2004, he has lectured at Ravensbourne College of Design and Communication in Kent, at London Metropolitan University, at Camberwell College of Arts in London, and at the University of Herfordshire; in 2006, Amersham & Wycombe College in Buckinghamshire appointed Matthias as Course Leader of BA Applied Graphic Studies, and in 2007 the Royal College of Art awarded him an MPhil (Master of Philosophy or Arts). Published in 2009 by AVA Publishing SA in Switzerland, virtual typography is Matthias Hillner’s first book—a “must-read” for any graphic designer or design student with interest in typographic communication and its effect on (and efficacy in) the frenetic world of information overload that surrounds us today.

virtual_typography_2

virtual_typography_3

Leaving few stones unturned, virtual typography examines “visual data that appears in a near-typographical form, operating on the borderline between image and text.” It defines virtual typography and analyzes it in the context of digital media (e.g. moving image and new digital contexts) and explores the visual interpretation of verbal language. It “reveals how virtual typography can help in the presentation of words, and avoid misinterpretation,” by including type in an image. Presented in a highly structured yet visually engaging style, the book is richly illustrated and supported by case studies and examples of work from artists and designers including (among many, many others) Joshua Reichert, Alexander Rodchenko, the Bauhaus, David Small, Why Not Associates, Tomato, Neville Brody, Reza Abedini, Channel 4, and Pentagram.

A key argument made by Matthias is that in an image-saturated world, type design can have a hard time standing out: “Over the course of the twentieth century, people’s lives have become so interlinked and information so accessible, that we struggle to put up with the infinite amount of information with which we are confronted every day. The exchange of information that once enabled us to enhance social interaction is now often seen as a burden. The growing information overload has led to a change in the use of language. Where there is no time left for reading, we return to the use of images as substitutes for words.” Quoting the great Marshall McLuhan, he drives the point home: “Information pours upon us, instantaneously and constantly,” and, “Ours is a brand-new world of allatonceness. ‘Time’ has ceased, ‘space’ has vanished. We now live in a global village… a simultaneous happening.”

My advice: 1) buy this book today; 2) savor and learn from it; 3) apply the insightful principles articulated in virtual typography to create more effective and more meaningful design solutions.

Congratulations, Matthias, and (on behalf of our profession) thanks!

+++++

virtual typography
Author: Matthias Hillner
ISBN: 2-940373-99-X, 978-2-940373-99-4
AVA Publishing SA, Lausanne CH (link)
Softcover, 184 pages, full color
Size: 160 x 230 mm (6-3/8 x 9 inches)
$29.95 US

+++++

Buy the book from your local bookseller (preferably) or on Amazon here. Read a great backgrounder written by Matthias for Icograda here. Visit virtualtypography.com. Contact Matthias Hillner directly: hillner [at] virtualtypography [dot] com.


23 June 2010

Roa…

Roa_1

Roa_2

Roa_3

Roa_4

Ghent, Belgium

“Roa” lives in Ghent… and leaves powerful illustrative statements on desolate and sundry walls across Europe. More here.


22 June 2010

Thoughts on love…

Lao_Tzu_love


21 June 2010

Signs, and more signs…

contradictory_signs

limited_vision

bike-car-lane-sign

hmup

Unexpected juxtapositions and hard-to-anticipate contextual settings provide for delightful moments… (original image sources unknown).


20 June 2010

Less boring… barcodes

barcodes

Winnipeg, Canada

First vanity license plates; now vanity barcodes. In the U.S., Vanity Barcodes has turned the ubiquitous and boring UPC codes into decorative elements. They have a number of barcode designs in stock or will customize one to your preference.

The idea of disguising this inventory management device into something else is believed to have originated in Japan with Design Barcode in 2004. The agency made the barcodes an integral part of the packaging design, tying it into the brand or cleverly building the stripes and digits into a line drawn picture. A caution: every manipulated barcode has to be thoroughly tested to make sure it gives accurate readings when passed through a retail scanner.

We’re working on a product/package design right now that I think we’ll try to incorporate one of these “more engaging” barcodes on… (thanks to Delphine Hirasuna of @issue for the image and links).


19 June 2010

Apologies are in order…

Canada_Apology

Australia_Apology

Church_Apology

Winnipeg, Canada

All this week, hundreds of Indian Residential School survivors, together with Aboriginal leaders, church groups, government representatives, and members of the public gathered locally at The Forks for the opening ceremonies of the first National Event of the Truth and Reconciliation Commission of Canada (TRC). Former students and others whose lives have been fundamentally impacted by the residential schools system have come together to talk with each other and to share their experiences with the Commission. Included in those heart-wrenching conversations are the voices of former staff and other school workers who have been contacted and encouraged to come forward.

This national event (the first of seven to be held across Canada over the next five years), is of great importance for non-aboriginal Canadians who may have had nothing whatsoever to do with the schools directly, but who have everything to gain from understanding what actually happened at them. It has drawn together thousands to participate in cultural exhibitions by First Nations, Métis, and Inuit groups, film screenings, plays, art exhibits, and musical performances.

Word clouds: I thought it would be interesting to use Wordle as a tool to compare several different apologies (and the various vocabularies deployed) regarding Aboriginal survivors of residential schools.* Wordle gives greater prominence to words that appear more frequently in a selected source text. The top image represents the formal apology given in the House of Commons by the Canadian Prime Minister on behalf of the Government of Canada on 11 June 2008. The middle image represents the historic formal apology given to the Aboriginal people of Australia by Prime Minister Kevin Rudd on behalf of its parliament and government on 12 February 2008. The bottom image represents the English version of the apology of the Anglican Church of Canada to Native People as delivered by the Primate, Archbishop Michael Peers, to the National Native Convocation in Minaki, Ontario on 6 August 1993.

*Residential schools for Aboriginal people in Canada date back to the 1870s. Over 130 residential schools were located across the country, and the last school closed in 1996. These government-funded, church-run schools were set up to eliminate parental involvement in the intellectual, cultural, and spiritual development of Aboriginal children. During this era, more than 150,000 First Nations, Métis, and Inuit children were placed in these schools often against their parents’ wishes. Many were forbidden to speak their language and practice their own culture. While there are an estimated 80,000 former students living today, the ongoing impact of residential schools has been felt throughout generations and has contributed to social problems that continue to exist.


18 June 2010

A place under the sun, naturally…

Solace_House_1

Solace_House_2

Solace_House_3

The woods of Eastern Manitoba, Canada

In December 1973, at the age of 19, I stepped off a plane into the bitterly cold darkness in Winnipeg, Canada—the temperature was below -30 degrees, cold enough to freeze your breath. While driving across the flat, frozen prairie the next day I experienced the incredible power of the sun beating down from an impossibly clear blue sky—this seeming contradiction between hot and cold made an unforgettable impression on me.

In the following months, I was amazed to discover that almost no-one was building solar-heated structures in this part of the world, seemingly missing the obvious connection between predictable need (for warmth every winter) and ongoing opportunity (a sustainable, clean, endless source of free energy). An AOPEC oil embargo and “energy crisis” was in full swing, the price of fossil fuels was soaring, and futurists were predicting dire consequences for our planet if wasteful consumer attitudes and habits were not curbed. Having been exposed to recent eco-activism in Germany by the precursor to today’s Greens (their efforts to mitigate acid rain and pollution in particular) and seeing how environmental consciousness was gathering momentum in North America as well, it was clear to me that new solutions were called for.

I had been raised and schooled in densely populated urban environments in Germany in Switzerland (accustomed to overcast grey winter skies and smog), followed by a rain-soaked year of college in the U.K.—where I had met my future wife (a small-town girl from the Canadian prairies), ultimately the reason for my leaving Europe.

I had always loved the outdoors and nature, though growing up in cities, this mostly meant visiting groomed parks, weekend bike rides along paved trails, and family camping in summertime (albeit in crowded campgrounds only meters away from the next vacationers). Arriving in the Canadian west, I had landed in a vast frontier, on the very doorstep of untrammeled natural wilderness. Manitoba (a province seven times the size of Portugal but with a human population of just over a million) offered endless virgin forestland and more than 100,000 unspoiled freshwater lakes.

Nature quickly became a dominant force in my life. My wife’s brother, an avid outdoorsman, bow-hunter, and professional taxidermist, taught me survival skills and how to hunt and fish. I bought a canoe, and began “living for the weekends,” spending every available opportunity exploring what Nature had to offer and immersing myself in the compelling quietude that lay beyond where the roads ended. I photographed the four seasons, painted landscapes, illustrated wildlife, and soaked in whatever literature on natural history and ecology I could lay my hands on.

During the next few years, a clear plan took shape. I was passionate about conservation and environmental ethics, and committed to living as simply and sustainably as possible. I dreamed of living in the woods and in close harmony with nature. Having observed how poorly conventional Canadian housing performed given the dramatic seasonal temperature changes (with minimal insulation, therefore requiring constant heating in winter and air-conditioning in summer) I was convinced that low-energy solutions were critical. And of course, the ongoing opportunity of a free solar heat source was just too compelling to pass up.

My own limited financial means, in concert with discouraging conversations with local architects and builders (who mostly expressed resistance to new ideas) made it clear to me that designing and building a sustainable home would become a “do-it-yourself” project. The fact that I was insomniac at the time offered the opportunity for night-time reading, research, and planning. I undertook an extensive literature search of solar and “vernacular” architecture (this was 20 years before Google searches), and I attended meetings of the Solar Energy Society (mostly nerdy engineers enamored with active solar collection and distribution systems). I hungrily absorbed research results from whatever experimental housing was taking place (e.g. the Saskatchewan Conservation House built in 1977 had achieved a 90% energy-use reduction, which I found particularly inspiring). I volunteered my time to help build a few barns, and through this hands-on process, learned basic construction techniques.

In 1979, the opportunity to buy 40 acres (approximately 20 mid-sized soccer fields) of virgin woodland just off the edge of the prairie presented itself—heavily forested sand and gravel ridges that had once comprised the shores of ancient Lake Agassiz, a massive body of water that covered much of western Canada after the glaciers of the last ice age receded. During the first fall and winter, my wife and I carefully cut trees for a road and small clearing. At sunny noon on 21 December (the winter solstice) I sat in the snow in the exact spot where Solace House would later be built, and observed with joy that the sun-angles (over the tops of the deciduous trees) were exactly as predicted. (I should note here that this is not “rocket science.” Thanks to the 23.5 ° tilt of the earth’s axis, the total difference in sun angle for any location on earth during a one-year period is 47 °—a fact taken into account by humans designing solar-power-enhanced shelter for thousands of years).

Building materials were delivered to the wooded site when the snow melted in late April 1980, and thanks to Herculean efforts, my wife and I (often aided on weekends by enthusiastic friends and extended family members) had completed the enclosed structure by July—though putting in windows, building staircases, installing plumbing and electrical, and finishing the interior would stretch out for more than another year.

I have now spent nearly 30 years living here in the woods in the low-energy, passive solar house I designed and built. The energy-saving efforts invested paid off very quickly, as the well-sealed and heavily insulated home is comfortable year-round and requires only about 15% of the annual energy needs of a conventional Canadian home—in fact, the home is so efficient, that no natural gas, oil-powered, or electrical furnace is required for space heating!

I still derive great joy sitting on the warm concrete lower-level floor in the bright sunshine of a clear, -35-degree day. Living here has gone a long way to fulfilling my goals of being close to nature, living simply, acting wisely, and sharing with others—and I’m pleased to say that many other conservation homes and passive-solar-heated homes have been inspired by my little housing/living experiment.

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I recently wrote and illustrated this article for EASI magazine (published by Escola das Artes | Som e Imagem, Universidade Católica Portuguesa in Porto). I’m sharing the piece here in the interest of promoting sustainable living and the use of passive solar architectural practices.

View or download an enlarged PDF (2.8 MB) of the three illustrated pages above (with much clearer callouts and annotations) by clicking on any one of the images, or here.

I welcome comments and feedback—please contact me here.


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