Books are one of the threads of humanity. Contributors to transmit knowledge from generation to generation, from them, build a new wisdom.

Have help to shared. The feelings of the human being, created wars, strains, affection and hatred found. Through them, you can baste the recent history from a thousand different perspectives, to plunge into the chaos of confusion.

Alicia Martín (Madrid, 1964) based his artwork on the books. Not as a writer, but as raw material for their works. Cascades of thousands of books coming out of a window and rushed into the street. Books that seem to emerge from the doldrums in the soil wall, two steady hands to break a book in two …

Using the book as a leitmotif in his work, Alicia Martin wants to highlight the informative role of the written work, but information overload in society today.

There has been limited to the sculpture, but has traveled the plastic medium from the video or photography to printmaking. His works include among others. The series of sculptures “Contemporary” “Biography,” a facility located in an old mill by the Roman bridge in Cordoba, or “Polyglot”, a video version of the labyrinth of the Minotaur computer-animated 3D, where the books dealing with the roles of Theseus, Ariadne and the Minotaur himself, lost in the maze of the Tower of Babel today.

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The program content and management to meet the expectations expressed by the client to provide a housing type T4 within certain parameters. The current building, for her portrayal structure, architecturally defined, and its close relationship with the adjacent facades of the project, presented by way of maintaining this facade and to submit only the necessary adjustments resulting from the introduction of a new range to to access by car into the new house.

Pretending to this facade incorporating new materials with existing ones. The programmatic increase over the current situation culminated in the demolition of existing housing, the building, the introduction of a new floor and the compatibility of the facade with a new program, required the adoption of solutions such as a lifting platform car parking and to improve dialogue between people and place, through the different slopes and the proposed construction.

The second floor of this proposal consists of two bedrooms, one bathroom and one suite. The suite oriented towards the east and in total harmony with spaces for the couple and the other bedroom faces west and in constant visual contact with the street.

In the new level 0, limited to the current area of the property, developing a parking space, kitchen and dining area, obtaining an optimal space for the living room and office (intermediate). These new flats are linked to each other and try to meet the expectations of customers, through the restructuring and functionality, re-qualifying the “image” of the new housing.

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The four-story structure was not constructed at this site in 1900 for no reason. The Buffalo Lounge Co., for which the building was erected, chose this precise location because of the geography of the Hydraulics at the intersection of several rail lines, including the Erie and New York Central. The Buffalo Lounge Co. was directly linked to both lines via a rail bed that once existed behind the building.

The wholesale furniture company, which sold wares in bulk from catalogue to dealer only, was part of a network of rail-connected, large-scale manufacturers that made the Hydraulics an impressive center of industry at the turn of the century. At this site the firm built lounges, couches, adjustable end divans, bed lounges, wardrobes, and bed couches to be shipped by rail to dealers across the United States.

The unique position of the building at one of the country’s largest rail intersections equally benefited the Craver-Dickinson Seed Co., which occupied the building around 1933 and sold seeds worldwide from this location for decades. Today, the building does not serve its original purpose as a traditional manufactory linked by rail, and the building’s adaptability and durable construction have assured its new lease on life. Owned by investor Chris Jacobs of 567 Exchange Street LLC, the building now houses several creative industries tenants, including, as it happens, a few very cool businesses that sell furniture.

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The best public view of the Hydraulics, where nearly every major industrial building can be witnessed in a single, striking panorama, is from the Hamburg Street bridge looking east over Exchange Street.

From here, one can capture a view of the :
• F. N. Burt Co. (1901-1927), once the largest small box manufacturer in the world
• Great Atlantic & Pacific Tea Co. warehouse (1917) and bakery (1930) complex
• New York Central rail corridor (1843)
• Larkin Power House (1902)
• Larkin L/M Warehouse (1904)
• Seneca Industrial & Warehouse Complex (1897-1913), the interconnected Larkin factory buildings containing upwards of 1.5 million square feet of affordable space, ideal for upstart urban entrepreneurs.
• Larkin Terminal Warehouse (1912), now one of Buffalo’s most successful Class A office buildings, dubbed Larkin at Exchange
• Iroquois Door Co. (1903), designed by female architect Louise Blanchard Bethune; and
• the Buffalo Lounge Co. (1901?), a loft building that is now tenanted by artists, start-up firms, and creative industries.

The Hydraulics is a small quarter, but is quite vast in terms of its scope of architectural and industrial history. Looking over Exchange Street, one can comprehend nearly all of it in a single urban montage.

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While the reason the name “Meteor Alley” was chosen is lost to history, it’s established that typically the City polled residents on a name choice. Perhaps kids in the neighborhood, fresh off reading Jules Verne’s From the Earth to the Moon, insisted it would be a neat idea, and their preferred name change prevailed. Either way, meteors and meteor showers invigorated the fascination of the public in the 1890s, as scientific theory on their nature and origin advanced considerably. The renaming of the space to “Meteor Alley” would have been very timely.

It was during this decade that astronomers George Johnstone Stoney (did his mother know that her son, with his rock-themed name, would contribute so much to our understanding of sun-orbiting stones?) and Arthur Matthew Weld Downing first offered the idea of a meteoroid stream or trail, calculating how meteoroids, once freed from a comet and traveling at low speeds relative to the comet, would drift mostly in front of or behind the comet after completing one orbit around the sun.

Only a few decades prior to this period, meteors were still thought to be only an atmospheric effect, similar to lightning, not objects colliding with the mesosphere. After Yale professor Benjamin Silliman theorized in 1807 that a meteorite fall had extraterrestrial origins, President Thomas Jefferson dismissed Silliman’s claim, saying, “I would more easily believe that (a) Yankee professor would lie than that stones would fall from heaven.” The progression in understanding astrological phenomena started to reach a crescendo in the decades to come. The renaming of Anderson Alley to Meteor Alley would have been a sign of the times.

Meteor Alley runs over the area where a millpond once existed prior to the early 1880s, when the Hydraulic Canal leading into the neighborhood was filled and this swath of land was prepped for residential development. As in most traditional neighborhoods that have alleys, Meteor Alley is fronted by garages and back yards, making driveways unnecessary and allowing detached houses to be built closer together, enhancing the civic scale of the streets the houses face. The co-mingling of back yards has always made alleys, with their minimal auto traffic, ideal places for children’s play and neighborhood gatherings. Modern planners now see alleys, or “rear lanes,” as essential tools for integrating automobile and pedestrian traffic in neighborhoods. Alleys are also more efficient spaces to plow than numerous, separate driveways.

Alleys tend to be forlorn, forgotten spaces, but they are being rediscovered by urban planners and developers who point to their functional utility and their unique charm. In Chicago, which has 1,900 miles of alleys that make up the largest network of alleys in the world, has even instituted a Green Alley Program (check out these links on the program at the New York Times and Streetsblog) to convert asphalt in alleys to permeable pavement types, better able to absorb stormwater run-off. The alley, once derided, is cool again. A name like Meteor Alley makes it even cooler!

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