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Engineers Have Figured Out How the Leaning Tower of Pisa Withstands Earthquakes

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Builders had barely finished the second floor of the Tower of Pisa when the structure started to tilt. Despite foundational issues, the project was completed, and eight centuries and at least four major earthquakes later, the precarious landmark remains standing. Now, a team of engineers from the University of Bristol and other institutions claims to have finally solved the mystery behind its endurance.

Pisa is located between the Arno and Serchio rivers, and the city's iconic tower was built on soft ground consisting largely of clay, shells, and fine sand. The unstable foundation meant the tower had been sinking little by little until 2008, when construction workers removed 70 metric tons of soil to stabilize the site. Today it leans at a 4-degree angle—about 13 feet past perfectly vertical.

Now researchers say that the dirt responsible for the tower's lean also played a vital role in its survival. Their study, which will be presented at this year's European Conference on Earthquake Engineering in Greece, shows that the combination of the tall, stiff tower with the soft soil produced an effect known as dynamic soil-structure interaction, or DSSI. During an earthquake, the tower doesn't move and shake with the earth the same way it would with a firmer, more stable foundation. According to the engineers, the Leaning Tower of Pisa is the world's best example of the effects of DSSI.

"Ironically, the very same soil that caused the leaning instability and brought the tower to the verge of collapse can be credited for helping it survive these seismic events," study co-author George Mylonakis said in a statement.

The tower's earthquake-proof foundation was an accident, but engineers are interested in intentionally incorporating the principles of DSSI into their structures—as long as they can keep them upright at the same time.

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Courtesy of Fernando Artigas
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architecture
Step Inside This Stunning, Nature-Inspired Art Gallery in Tulum, Mexico
Courtesy of Fernando Artigas
Courtesy of Fernando Artigas

Upon closer inspection, this building in Tulum, Mexico, doesn’t seem like a suitable place to house an art exhibit. Everything that makes it so visually striking—its curved walls, uneven floors, and lack of drab, white backgrounds—also makes it a challenge for curators.

But none of these factors deterred Santiago Rumney Guggenheim—the great-grandson of the late famed art collector and heiress Peggy Guggenheim—from christening the space an art gallery. And thus, IK LAB was born.

“We want to trigger the creative minds of artists to create for a completely different environment,” Rumney Guggenheim, the gallery’s director, tells Artsy. “We are challenging the artists to make work for a space that doesn’t have straight walls or floors—we don’t even have walls really, it’s more like shapes coming out of the floor. And the floor is hardly a floor.”

A view inside IK LAB
Courtesy of Fernando Artigas

A view inside IK LAB
Courtesy of Fernando Artigas

A view inside IK LAB
Courtesy of Fernando Artigas

A view inside IK LAB
Courtesy of Fernando Artigas

IK LAB was brought to life by Rumney Guggenheim and Jorge Eduardo Neira Sterkel, the founder of luxury resort Azulik. The two properties, which have a similar style of architecture, share a site near the Caribbean coast. IK LAB may be unconventional, but it certainly makes a statement. Its ceiling is composed of diagonal slats resembling the veins of a leaf, and a wavy wooden texture breaks up the monotony of concrete floors. Entry to the gallery is gained through a 13-foot-high glass door that’s shaped a little like a hobbit hole.

The gallery was also designed to be eco-conscious. The building is propped up on stilts, which not only lets wildlife pass underneath, but also gives guests a view overlooking the forest canopy. Many of the materials have been sourced from local jungles. Gallery organizers say the building is designed to induce a “meditative state,” and visitors are asked to go barefoot to foster a more sensory experience. (Be careful, though—you wouldn't want to trip on the uneven floor.)

The gallery's first exhibition, "Alignments," features the suspended sculptures of Artur Lescher, the perception-challenging works of Margo Trushina, and the geometrical pendulums of Tatiana Trouvé. One piece by Trouvé features 250 pendulums suspended from the gallery's domed ceiling. If you want to see this exhibit, be sure to get there before it ends in September.

[h/t Dezeen]

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Andrea Moroni, Flickr // CC BY-NC-ND 2.0
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History
Why Jaipur’s King Painted His City Pink to Impress the Prince of Wales
Andrea Moroni, Flickr // CC BY-NC-ND 2.0
Andrea Moroni, Flickr // CC BY-NC-ND 2.0

If a member of the royal family were coming to your home, you’d probably spruce it up a bit—maybe rearrange the furniture and plop some peonies into a vase. The king of Jaipur, however, went above and beyond what's expected of a host.

In an effort to impress the Prince of Wales ahead of his state visit in 1876, it is widely believed that the king had the entire city painted pink.

A row of pink buildings in Jaipur
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The gate leading into the Pink City
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Nestled in the state of Rajasthan in northern India, Jaipur is about a one-hour flight from New Delhi. Today, this popular tourist site is affectionately known as the “Pink City,” but its streets weren’t always so rosy. Prior to a state visit from Prince Albert Edward—the eldest son of Queen Victoria and her consort, Prince Albert—Jaipur’s buildings were either white or a “sallow yellow,” according to The Rough Guide to India.

In hopes of dazzling his royal counterpart, the reigning maharaja (“great king”) of Jaipur, Sawai Ram Singh II, decided to undertake something of a remodeling project. He ordered all buildings in the city to be painted the same shade of pink—a color that symbolizes hospitality. At the urging of his favorite wife, the maharaja took it one step further and passed a law in 1877 making it illegal for buildings in the old city to be painted any color other than "Jaipur pink." This law still remains in effect today.

Ram Singh II, the Maharaja of Jaipur
Ram Singh II, the Maharaja of Jaipur
Wikimedia Commons // Public Domain

A black and white photo of Jaipur from 1875
Taken in 1875, this photo shows a street leading to the City Palace in Jaipur.
Hulton Archive, Getty Images

According to one account, the first person to call Jaipur the “Pink City” was writer Stanley Reed, a correspondent for The Times of India who wrote about the Prince of Wales’s royal visit.

The color more closely resembled a light maroon, but no one seemed to object to the city's new moniker. The pigment was brought in from Kanota, located about 10 miles away, and mines were also dug closer to Jaipur to extract the stone needed to make more pink paint.

As for the king's grand plan to impress his guests, it seems to have worked. Sir William Howard Russell, a reporter who accompanied the prince and chronicled the trip, remarked, “We passed through a gateway, and Jaipur lay before us, a surprise and wonder forever.”

A bit of flattery didn’t hurt, either. Sawai Ram Singh II, who understood the political advantage of getting in the prince’s good graces, erected the grand Albert Hall Museum in his name. The prince laid the first foundation stone during his visit.

The Albert Hall Museum
The Albert Hall Museum
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While the Prince Albert Edward story is the most widely told tale of how Jaipur got its rosy complexion, there are other notable theories. Author and historian Giles Tillotson posits that Jaipur was painted pink prior to the 19th century in an attempt to emulate the buildings of Delhi and Agra, many of which were constructed from pinkish sandstone. However, he says that Jaipur’s paint was touched up for the prince’s visit—hence the confusion.

In his 2006 book Jaipur Nama: Tales from the Pink City, Tillotson also noted a time in the late 19th century when Jaipur almost abandoned the whole pink project entirely:

“On one occasion, in 1868, the then Maharaja, Ram Singh II, recklessly suggested that the wash might be varied a bit, with different quarters of the city being painted in different colors; but by 1870 this experiment was recognized as a hideous mistake and the pink was restored ... But underneath the range of acrylic powder pinks there are traces of the geru, or terracotta pink, which was indeed original.”

Jaipur received another “facelift” in 2000 ahead of then-president Bill Clinton’s visit. In addition to requiring stores to post their signs in black Hindi lettering on white backgrounds, the city restricted some roads to traffic—which at the time was “unheard of in India,” according to The Rough Guide to India.

While Jaipur is India’s only “Pink City,” it’s not the only monochromatic metropolis in the country. In Rajasthan, there’s the “Blue City” of Jodhpur, the “White City” of Udaipur, and the “Yellow City” of Jaisalmer. Further north, the “Green City” of Chandigarh, so called for its abundant vegetation, made a list of “52 places to go in 2018” curated by The New York Times.

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