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Spaces of encounter: the performative art of reading | Thinkpiece | Architectural Review
"When the ‘counter novel’ Hopscotch by Julio Cortázar was published in 1963 it was celebrated as one of the most innovative experiments in 20th-century literature. The book was written to allow and encourage many different and complementary readings. As the author’s note at the beginning of the novel suggests, it can be read either progressively in the first 56 chapters or by ‘hopscotching’ through the entire set of 155 chapters according to a ‘Table of Instructions’. Cortázar also allows the reader the option of choosing their own unique path through the book. It’s no coincidence that the narrative – from the title of the book to the several overlapping stories that are contained in it – is based on a game often played in small groups in public spaces and playgrounds, in which the player has to hop or jump to retrieve a small object tossed into numbered patterns drawn on the ground. The book’s main structure has strong allusions to the notions of ‘space’ and the way we navigate through it, with its three main sections entitled ‘From the Other Side’, ‘From this Side’, and ‘From Diverse Sides’.

[image: "Since 2010, the ‘book bloc’ has been a visible feature of protests"]

Similarly, but from a different perspective, one of the first things the reader notes when flipping through Fantasies of the Library edited by Anne-Sophie Springer and Etienne Turpin and published in 2016 by MIT Press, is that the book itself can be understood as a kind of public space. In effect, it presents a brilliant dérive through books, book collections and the physical spaces of libraries from a curatorial perspective, going from private collections and the way their shelves are organised, to more ad hoc and temporary infrastructures, such as the People’s Library at Occupy Wall Street in New York, or the Biblioburro, a travelling library in Colombia that distributes books from the backs of two donkeys, Alfa and Beto. Various configurations and layouts have been designed in response to these narratives. They include essays, photos and interviews, setting up different kinds of encounters between authors, editors, readers, photographers and illustrators. Once you have the book in your hands, you gradually start to apprehend that the four conversations are printed only on left-hand pages, interspersed with other essays on right-hand ones. So it is only when you start reading voraciously and are interrupted by the ‘non-sense’ of these jumps, when the understanding of the dynamics imposed by the layout manifests itself, that you become aware you are already ‘hopscotching’ from page to page. The chapter ‘Reading Rooms Reading Machines’ is not only a visual essay about the power of books to create spaces around them and gather a community, it is also a curated, annotated and provocative history of these spaces as a conceptual continuation between the book and the city, ‘two environments in conjunction’, as Springer writes.

In some ways, it resembles the encounters you have in the streets of your neighbourhood. Some people you only glance at, others you smile at, there are a few with whom you talk and if you’re lucky, you might meet a friend. Within the texts, you can hop back and forth, approving, underlining, or absorbing in more detail. From individual object to the container known as the library, the idea of the book as a territory is explored in depth. Different kinds and sizes of spaces and the interactions that happen in and between them emerge. Springer describes the library as ‘a hybrid site for performing the book’ – a place where the book is not a static object but a space in which the reader is an active agent, coming and going from the outside; outside the pages and outside the library. It recalls Ray Bradbury’s assertion that: ‘Books are in themselves already more than mere containers of information; they are also modes of connectivity and interrelation, making the library a meta-book containing illimitable intertextual elements.’

[image: "Improvised book blocs on the street" from source: Interference Archive]

In moving from the ‘hopscotching’ suggested by Cortázar to the idea of the ‘library as map’ as discussed by Springer and Turpin, it is clear that the inextricable relationship between books and space forms the basis of our understanding of books as spaces of encounter, and the importance of heterogeneous books – whether fiction, poetry or critical theory – as spaces of encounter for architectural discourse. In that sense, books can be perceived as new kinds of spaces, where empathy, alterity and otherness are stronger than ideologies. Catalysing dissent and open dialogue, they can be one of the most effective tools of resistance in times of censorship, fake news and post-truth. Social anthropologist Athena Athanasiou explains how books have been used in public space as part of political struggles. ‘People have taken to the streets to fight for critical thinking and public education, turning books into banners and shields against educational cuts and neoliberal regimes of university governance’, she writes. This activism emphasises the strong symbolic power of the relationship between books and architectural spaces, ‘where the books were not only at the barricades, they were the barricades’. Such agency can transgress almost any kind of limit or boundary, and can happen in any sort of space – from your mobile device to the library or the street. But it is in the public sphere where the book’s agency can have the ‘power to affect’, becoming ‘a hybrid site for performing the book’ beyond the confines of the library.

Books can be ‘performed’ in many ways, especially when critical writing and the act of reading create spaces of encounter in the city. In June 2013, after plans were unveiled to develop Istanbul’s Gezi Park, artist Erdem Gunduz initiated his Standing Man protest while he stood motionless in Taksim Square for eight hours. This thoughtful form of resistance inspired a group of ‘silent readers’ who successfully transformed a space of fighting and friction into a meaningful space of encounter by simply standing still and reading books. It became known as the Tak sim Square Book Club, paradoxically one of the most dynamic demonstrations in recent years. The strength and energy contained in the bodies of each reader, but also in every book and the endless stories and narratives between covers, transformed Taksim Square into a highly politicised space. Instead of being compromised by conflict between government and citizens, it became a space of encounter that gave agency to each silent reader and to the wider collectivity they brought into being.

[image: "Readers in Istanbul’s Taksim Square transform the space through peaceful activism"]

The moment when writing, often carried out in solitude, is published, circulated and made accessible to everyone is the moment of generating public space, argues the French philosopher and art historian Georges Didi-Huberman. This was demonstrated in the ‘Parasitic Reading Room’, a nomadic, spontaneous and parasitic set of reading spaces staged during the opening days of the 4th Istanbul Design Biennial. Initially consisting of a series of out-loud readings of texts at selected venues, it then expanded to become an urban dérive across the streets of the city in the company of a mobile radio broadcasting the live readings. In that moment, the ‘walking reading room’ became a space of exchange, knowledge and collaboration. Different points of view coexisted, enriching each other, forming knowledge assemblages. It reminds us that reading together, whether silently or aloud, forces us to interact, to respect the times and rhythms of others, to learn new words and their sounds and to think new thoughts. In doing so, we rediscover new territories of empathy that become visible when visiting these spaces of encounter, where we learn that we can host otherness as part of the self. Where comradeship is a means instead of an end. Books create the spaces in which to play hopscotch together again."
ethelbaraonapohl  césarreyesnájera  books  reading  howweread  howwewrite  rayuela  2019  neilgaiman  fiction  space  performance  etienneturpin  derive  collections  libraries  raybradbury  connectivity  interrelation  hypertext  athenaathanasiou  architecture  protest  biblioburro  nomads  nomadism  nomadic  ows  occupywallstreet  conversation  neighborhoods  urban  urbanism  cities  istanbul  geziprk  erdemgunduz  taksimsquare  georgesdidi-huberman  comradeship  solidarity  empathy  writing  visibility  hopscotch  juliocortázar  anna-sophiespringer  dérive 
27 days ago by robertogreco
Architect Chris Downey goes blind, says he’s actually gotten better at his job - 60 Minutes - CBS News
"A social worker tried to tell him about "career alternatives" after he lost his sight, but Chris Downey wasn't about to stop being an architect"



"At age 45, Chris Downey had pretty much constructed the life he'd always wanted. An architect with a good job at a small housing firm outside San Francisco, he was happily married, with a 10-year-old son. He was an assistant little league coach and avid cyclist. And then, doctors discovered a tumor in his brain. He had surgery, and the tumor was safely gone, but Downey was left completely blind.

What he has done in the 10 years since losing his sight, as a person, and as an architect, can only be described as a different kind of vision."
architecture  blind  blindness  design  2018  accessibility  chrisdowney  sound  acoustics  via:johnrickford 
5 weeks ago by robertogreco
Bauhaus bus embarks on world tour to explore the school's global legacy
"A bus that looks like the Bauhaus school in Dessau will travel around the world this year, aiming to "unlearn" the influential school's Eurocentric attitudes.

Called Wohnmaschine, which means "living house", the small-scale Bauhaus bus will travel between four cities in 2019, the school's centenary year.

Designed by Berlin-based architect Van Bo Le-Mentzel, the 15-square-metre mobile building is created in the image of the iconic workshop wing of the Bauhaus school building in Dessau – a building conceived by founding director Walter Gropius and built in 1919, to embody the school's core principles and values.

It features the same gridded glass walls that wrap around the building, as well as the famous lettering down one side.

Inside is an apartment-like space, containing an area to host exhibitions and workshops, plus a reading room filled with books charting the Bauhaus' history and legacy.

The project, called Spinning Triangles, begins in Dessau. From there the bus will travel to Berlin, where the Bauhaus-Archiv is located, before travelling overseas to Kinshasa, in the Democratic Republic of the Congo, and Hong Kong.

Over the 10-month tour, design collective Savvy Contemporary will host a series of symposiums and workshops that attempt to challenge and "unlearn" colonial attitudes towards modernity, to develop a more global interpretation of the school's teachings.

"This school will not be developed by the geopolitical west, but through the accelerated movement between deeply interwoven places," said Savvy Contemporary.

"Design has power. It creates our environments, our interactions, our being in the world," added the organisation. "For too long, practices and narratives from the global south have been kept at the periphery of the design discourse, been ignored altogether, or appropriated."

Open to the public, the installation is beginning with four workshops in Dessau between 4 and 22 January, exploring the relationship between colonialism and modernity.

"We will face the relations of coloniality and design as well as its various visibilities and invisibilities," explained Savvy Contemporary.

The Wohnmaschine will travel to Berlin between 24 and 27 January to coincide with the opening festival 100 Years Bauhaus, before making its way to Kinshasa for workshops between 4 and 12 April.

Here, hired actors will play out the roles of various colonies, to discuss how everyday environments can be used to create a "collective future". The intention is to develop an inclusive modernist manifesto, devoid of Eurocentric views.

Five representatives from the workshops in Kinshasa will travel back to Berlin to share their research with 40 students at Savvy Contemporary's headquarters between 22 July and 18 August. The aim is to show that "it may not be the south that needs development but the north".

"Words and actions aim to challenge and transform Bauhaus traditions and narratives of modernity and modernism," said the organisers.

Finally, the school will move to Hong Kong's Para Site art space, where it will discuss its research further.

The Bauhaus school in Dessau was only in operation from 1919 until 1923, when it was forced to close by the rising Nazi Party. It later moved to Berlin under the steer of third and final director Ludwig Mies van der Rohe, where it occupied a converted factory building.

Today the school operates as a centre for design, research and education, and part of it functions as a hotel. A museum is set open on the campus this year, as the building becomes the centre for the 100 Years Bauhaus festival.

The Bauhaus is the most influential art and design school in history. To mark the centenary of the school's founding, we've created a series of articles exploring the school's key figures and projects."
bauhaus  unlearning  mobile  mobility  nomads  nomadism  learning  education  buses  2019  art  design  vanbole-mentzel  wohnmaschine  berlin  kinshasa  drc  democraticrepublicofthecongo  collective  collectivism  schools  research  architecture  miesvanderrohe 
6 weeks ago by robertogreco
Making Futures
"Making Futures Bauhaus+ is an action research project that addresses questions of architecture as a collective form and architecture as a resource. Departing from these two perspectives, it operates as an experimental research unit that advances future paths for architectural practice and education. It was initiated in 2018 as a cooperation between raumlabor and the Berlin University of the Arts on the occasion of the Bauhaus’ centenary.

Architecture as a collective form brings together the cultural, the social, the economic and the political. It traverses diverse entities and scales: objects, bodies, buildings, cities; the human and the planetary. It invites us to reflect our built environment beyond obsolete dichotomies such as public and private, living and working, urban and rural.

Primarily driven by fast-paced growth and innovation imperatives, the construction industry is the largest waste producer. There is an unbalance between the energy it consumes and its capacity to repurpose it. Exploring architecture as a resource involves looking at longer-lasting dynamics, such as recuperation and maintenance in the production and reproduction of space.

Leading up to a Summer Academy in September 2019, Making Futures Bauhaus+ devises a public learning program that continuously explores future modes of architectural and urban practice. Spanning over a year and a half, a Plug-In at Floating University Berlin (April-September 2018) and three mobile workshops in Istanbul (September 2018), Palermo (October 2018) and Thüringen (March 2019) constitute the project as an open, reflexive and practice driven format. The Summer Academy in Berlin will explore forms of productive cooperation, exchange, solidarity and living.

Making Futures works towards building up alliances and making transversal connections with people across, disciplines, institutions and territories that transcend the boundaries of the academic world and go beyond the borders of Europe. This is unpinned by the belief that social change cannot be limited to a dispersed few but must instead manifest as part of a wider, synergized system. Making Futures is definitely a pluralistic endeavour, there is not one future, but many.

Team
Markus Bader, Artistic Director
Christof Mayer, Artistic Director
Rosario Talevi, Associate Researcher and Project Coordinator
Anna Kokalanova, Associate Researcher
Jöran Mandik, Programme Assistant
Sophia Sundqvist, Programme Assistant
Sabine Hanel, Administration

Contact
Fachgebiet Entwerfen und Gebäudeplanung
studio raumproduktion
institut für architektur und städtebau
universität der künste

hardenbergstr 33, 10623 berlin, deutschland
030/ 31852297

talktous@making-futures.com

making-futures.com
raumlabor.net
udk-berlin.de

facebook + instagram

#makingfuturesbauhaus"
architecture  design  lcproject  openstudioproject  markusbader  christofmayer  rosariotalevi  annakokalanova  jöranmandik  sophiasundqvist  sabinehanel  künste  berlin  makingfutures  bauhaus  collective  education  urban  rural 
8 weeks ago by robertogreco
Making the Ordinary Visible: Interview with Yasar Adanali : Making Futures
"Yaşar Adanalı defines his work over the past decade as being that of a “part time academic researcher and part time activist”. He is one of the founders of the Center for Spatial Justice in Istanbul, an urban institute that focuses on issues of spatial justice in Istanbul and beyond. In this interview, he reflects upon “continuance” as a tool of engagement, the power of attending to the ordinary within the production of space, and the different types of public that this works seeks to address.

What led to the founding of the Center for Spatial for Justice and how does its work relate to the worlds of academia, activism and urbanism?

I’m interested in questions regarding spatial production in general and more specifically justice – the injustices that derive from spatial processes or the spatial aspect of social injustices. The Center for Spatial Justice takes the acronym MAD in Turkish – a MAD organisation against mad projects, that’s our founding moto. We bring together people from different disciplines such as architects, urban planners, artists, journalists, filmmakers, lawyers and geographers to produce work in relation to what’s going here: grassroots struggles in the city and in the countryside. The Center for Spatial Justice believes in the interconnectedness of urban and rural processes.

As educator and an activist, you work both within and outside an institutional setting. Have you been able to take the latter experience back into the academy and if so, what in particular? How do these two roles inform each other?

Since 2014 I have been teaching a masters design studio at TU Darmstadt. It’s a participatory planning course that both follows and supports a cooperative housing project in Düzce, Turkey, produced for and by the tenants who were badly affected by the 1999 earthquake. Over the course of the past five years, the master students have been developing a 4000 sq m housing project from scratch. The students from Darmstadt come to Istanbul as interns, working partly on the project. The result is a long-lasting relationship with the neighbourhoods in question and with the organisations we have been working with.

Apart from that, through MAD and Beyond Istanbul we develop summer and winter schools – non-academic experiences that similarly bridge the gap between the alternative universe and the mainstream universe. When you start to put critical questions into the minds of the students, these linger and they then take them back to the university, so their friends and professors also become exposed to that. We prefer to develop this approach outside of the university so that we are freed from bureaucracy and rigid structures but we keep it open to enrolled students and professors.

What are some particular strategies and methodologies that you adopt to engender this approach to urban practice? How do you involve local residents, for example?

That building of long-term relationships with communities is why we do a lot of walking. Our research questions are informed by the community and the site we arrive at – we do not predetermine hypotheses in advance. We remain in direct contact with different groups in the city and walk through these territories – with the neighbourhood association – not just once but every week. We listen to a lot of stories and record them. Oral histories are an important part of the ethnographic enquiry.

We also use mapping, a tool commonly used to exert power but that nature can be reversed. Through mapping we reclaim territories that have perhaps been “erased” – that is, transformed by injustice. We also map informal areas and then give those maps to the communities there because the way they appear on official plans often doesn’t reflect how things look on the ground. What looks like a carpark in the plan might be someone’s house; what’s represented as a commercial development might currently be a neighbourhood park or some other form of already existing social infrastructure.

In addition, we try to embed journalistic means within our academic interests, which is why we work with documentary journalists and photographers on each of our projects. We broadcast spatial justice news videos, in depth films that offer 8-10 minutes of reporting on a particular issue, giving it context and also pointing towards possible solutions. Solution journalism, which doesn’t just focus on crisis, is very important in the work we do.

As part of its work making spatial injustices visible, MAD publishes a wide range of materials. Which are the publics you try to communicate with through this?

Research has to be coupled with a conscious effort to communicate because you want to make change. We don’t want to make research for the sake of research or produce publications for the sake of publishing. We want to create those publics you allude to – and to influence them. We are addressing people involved in the discipline in its broadest sense: planners, architects, sociologists, activists, but perhaps most especially students who are interested in spatial issues, urban questions and environmental concerns. They are our main target. We want them to understand that their discipline has much more potential than what they are learning at university. I’m not saying the entire education system is wrong but there is much larger perspective beyond it and great potential for collaboration with other disciplines and engagement with different publics as well.

Another important public is the one directly involved with our work, i.e. the community that is being threatened by renewal projects. These groups are not only our public but also our patrons – we are obliged to be at their service and offer technical support, whether that’s recording a meeting with the mayor or analysing a plan together. Then there is the larger audience of broader society, who we hope to encourage to think of and engage with these issues of inequality and spatial justice.

I found an interesting quote on your webpage that says that the founding of MAD “is an invitation to understand the ordinary in an extraordinary global city context”. Can you talk a little about the urban context of Istanbul, Turkey and why the focus on the ordinary?

Everything about Istanbul is extraordinary: transformation, speed, scale. We are interested in making the ordinary visible because when we focus so much on the mega-projects, on the idea of the global city, then the rest of the city is made invisible. We look beyond the city centre – the façade – and beyond the mainstream, dominant discourse. This “ordinary” is the neighbourhood, nature and that which lies beyond the spectacle – other Turkish cities, for example. This approach can entail initiatives that range from historical urban gardening practices, working with informal neighbourhoods subject to eviction and relocation processes, or rural communities on the very eastern border currently threatened by new mine projects.

More specifically, today we live in an extraordinary state. The public arena is in a deep crisis and the democratic institutions and their processes do not really deserve our direct involvement right now. Having said that, there are different pockets within these systems, municipal authorities that operate differently, for example, and when we find these we work with them, but we remain realistic with regards to our limits. The “now” in Turkey has been lost in the sense that its relevance is not linked to the future beyond or to the next generation. That is a deep loss. But if you have the vision and the production means, if you set up a strong system, build the capacity first of yourself and then of the groups your work with, then when the right moment comes, all of these elements will flourish."
urban  urbanism  urbanplanning  cities  maps  mapping  neighborhoods  unschooling  deschooling  education  independence  lcproject  openstudioproject  justice  visibility  istanbul  turkey  ethnography  inquiry  erasure  injustice  infrastructure  socialinfrastructure  2018  rosariotalevi  speed  scale  transformation  walking  community  yasaradanali  space  placemaking  interconnectedness  interconnected  geography  interdisciplinary  crossdisciplinary  socialjustice  architecture  design  film  law  legal  filmmaking  journalism  rural  engagement 
8 weeks ago by robertogreco
How Architecture Teaches Kids Patience, Problem-Solving - CityLab
"Through the organization Architecture for Children, Hong Kong architect Vicky Chan has taught urban design and planning to thousands of kids. Here’s why."



"Why should schools start teaching design to young kids?

What does urban planning have to do with education? Whether you’re a kid or an adult, I think the biggest challenge is often figuring out how to sift through information, deciding what information to use, and learning to make compromises. You have to understand that the best argument isn’t the loudest one. It has to be rational.

For example, we had a group of students decide to build a hotel at the top of the hill near the school, connected by a tram, because the location afforded excellent views. That’s good reasoning. But the next week, they realized that construction would be difficult, and decided to raze the hill! And I told them: “Wait, you had agreed last week that the hill was good for the hotel.” So it’s about teaching the students how to rationalize the process and to keep progressing from your original thinking to taking the next step.

Even if these students don’t end up going into the design field, these thinking skills are very important.

On the sustainability front, we also have to start teaching this from a young age. A lot of students think putting their plastic bottles in the recycling bin is what sustainability means. But there’s a broader way to think about it, [such as], how do you think about transportation to reduce car use? These are very broad and complex topics, and we have to simplify them for the students to get across the message that to make the future of cities more sustainable, you really have to think about a lot of different factors.

The students also learn how to draw as a form of expression. Nowadays, we’re surrounded by iPhones and iPads, but some students lack even simple mechanical skills. I think it’s very important to teach handicraft as a way to solve a technological problem.

With design, no solution is 100-percent right or wrong. It’s not like solving a mathematical problem. In sport, you can teach team spirit, but at the end of the day, it’s a competition and it boils down to winning and losing. But in design, there is no absolute answer, and it’s very much like in real life.

How might your students apply what they learn in their own communities?

I recently showed the students a photo of walled buildings [large buildings arranged in such a way that they form a wall, blocking an area’s air flow]. I asked the students whether they saw a problem with the wall effect. They didn’t see a problem; they haven’t yet been told what is good and what is bad. In fact, they might even live in walled buildings. But if we can teach them from an early age that there are better ways to build and construct, then perhaps flawed proposals will less easily find widespread support.

Here’s another example. In Kwun Tong, there’s Kwun Tong Road, which has multiple lanes and is very wide. When I used to live nearby, I thought, there’s the metro running overhead, so does the road really need to be this wide? But this question has to come from a certain doubt, a doubting of whether there’s a problem with the status quo. Sometimes after seeing the same thing day in, day out, you come to accept that it is right and just the way things are done.

But if you think more carefully, maybe you realize that Kwun Tong Road doesn’t have to be this wide, and that having more trees would be better. It’s about having a critical mindset. This is what we want to teach the students.

What do we lose by not teaching (and learning) design from an early age?

From a design perspective, I think you miss out on learning how to analyze a question. In math or science class, you learn to solve a problem formulaically. But you may not learn how to analyze the problem. Analysis is very important for students. In the working world, I sometimes come across very stubborn adults. It’s not that they’re not skillful enough, but that they can’t get to the core of a question and deconstruct it to find the different levels of reasoning. So I think design teaches kids how to creatively think out the reasoning.

The other thing is learning how to see opportunities. Once you discover a problem, you learn to see opportunities. Problems present opportunities. But if you can’t see the problem, then you can’t see the opportunity.

Recently, people have been debating different urban planning proposals [in Hong Kong], such as the East Lantau Metropolis [a $60 billion development plan to build a series of artificial islands in the sea]. The debates were very heated. But even after hearing the debates, I don’t fully buy into any of the proposals because at no point did anyone fully present all the pros and cons. I think if we can teach kids this from an early age, and they can as adults present ideas simply, we won’t have as many misunderstandings or misguided suggestions.

You also teach patience through architecture and design. In the first five classes, we were all planning and drawing. The students were getting bored and impatient. They were asking me, “When can we start building?” But then we started building, and no one knew how to begin. And I told them: “Didn’t we just spend five classes planning?” So we’re teaching them how important each step of the planning stage is.

What have you learned from teaching?

Once, I had some students build models of bridges. I went around and asked them what the Tsing Ma Bridge looked like to them. One student told me that it looked like a smile. I thought this was brilliant. It helped me see the bridge as a very simple message about a city’s smile. It showed me the importance of using imagination and creativity to simplify a concept so that even kids can understand it.

We architects spend a lot of time thinking about complex ideas, but sometimes you just need something simple and pure."
architecture  education  cv  teaching  making  howwelearn  vickychan  2018  design  howwethink  problemsolving  patience  howwteach  learning  schools 
9 weeks ago by robertogreco
The most exciting design summer schools of 2018 around the world. | Neon Moiré
"Our annual selection of the most exciting Design Summer Schools around the world, from New York, via Letterfrack to Rotterdam. In the spirit of discovering new summer schools we found some amazing new ones. Where you can attend a school without credit points or real diplomas, expand your horizon and make new friends for life.

Based on our annual guide of best summer schools we have made a new selection of the most exciting camps in the field of graphic design, typography, architecture and media arts. The first starts on 4 June in New York and the last ends also in New York on August 17. So you can literally do some “Voyages Extraordinaire” around the world.

What all these Design Summer Schools have in common is that they are all about getting out of your (design) comfort zone, learning new stuff, meeting new people and having a good time. For all of them you have to apply, some are free and others ask a (small) fee. If you are a student or young professional in the field of the arts, architecture and design, be prepared to experience an unique summer.

In chronological order, here’s a list of the most interesting design summer schools in 2018."
openstudioproject  classideas  summerschool  lcproject  2018  unschooling  deschooling  education  art  architecture  design  summer  summercamp 
9 weeks ago by robertogreco
Should PoMo Architecture, at the 50-Year Mark, Be Saved? - The New York Times
"One significant Post-Modernist building hasn’t won the preservation battle. Despite a petition signed by 100 prominent architects and academics, a forecourt of pergolas with chubby columns completed in 1996 by the Philadelphia architects Robert Venturi and Denise Scott Brown at the Museum of Contemporary Art San Diego is now being demolished for a major expansion by Annabelle Selldorf, the highly regarded New York architect. Inside, Ms. Selldorf is repurposing, intact, Venturi Scott Brown’s entry vestibule, with its Pop-art, WHAAM! VAROOM! neon starburst ceiling, as a meeting hall and event space.

It’s complicated. Venturi, who died this September, kicked off Post-Modernism with his hugely influential “Complexity and Contradiction in Architecture” (1966), a searing critique of Modernism’s failure to communicate and relate to its users.

The couple’s La Jolla addition belongs to a distinguished and historic portfolio. Ms. Selldorf specializes in quiet, abstract Minimalist designs especially suited to museums. She professes “huge respect” for Venturi Scott Brown’s buildings.

Ms. Selldorf’s 43,000 square foot, $75 million expansion is the museum’s fourth and largest, each addition gobbling up the last like a Russian doll. But the core remains a crisp cubic house built for the philanthropist Ellen Browning Scripps in 1915 by Irving Gill, one of the world’s first Modernists. In a succession of additions over three decades, Mosher Drew, a San Diego firm, added gallery space and an auditorium, tying the composite of buildings together with a long colonnade. Venturi and Scott Brown removed the Mosher Drew colonnade in their expansion and painstakingly restored the Gill facade, which they then partially obscured by adding their pergolas for the museum’s entry and cafe.

Ms. Selldorf’s addition shifted the museum’s center of gravity, causing her to reposition the front door elsewhere, obviating Venturi and Scott Brown’s entrance pergola. Removing the cartoonish columns reveals Gill’s original facade.

Her clean-lined, geometrically disciplined buildings represent the Modernist architecture that Venturi famously criticized when he declared “Less is a bore.” As Ms. Selldorf removes the pergolas, she eliminates the complexity and contradiction Venturi Scott Brown layered into the ensemble, denaturing their eclectic addition. In a complex that otherwise remains a collage of architectural histories, the Minimalist chose to feature Gill’s early Minimalist icon. She subtracted rather than added.

In a case of competing histories, Ms. Selldorf had to make Sophie’s choice: which history? “The greater good was revealing the Irving Gill,” she decided.

Long after Post-Modernism’s retreat, the style wars continue."
mcasd  lajolla  sandiego  architecture  pomo  potmodernism  design 
11 weeks ago by robertogreco
Overgrowth - e-flux
"Architects and urban practitioners, toiling daily at the coalface of economic expansion, are complicit in the perpetuation of growth. Yet they are also in a unique position to contribute towards a move away from it. As the drivers of growth begin to reveal their inadequacies for sustaining life, we must imagine alternative societal structures that do not incentivize unsustainable resource and energy use, and do not perpetuate inequality. Working on the frontline of capitalism, it is through architecture and urban practice that alternative values, systems, and logics can be manifest in built form and inherited by generations to come.

Editors
Nick Axel
Matthew Dalziel
Phineas Harper
Nikolaus Hirsch
Cecilie Sachs Olsen
Maria Smith

Overgrowth is a collaboration between e-flux Architecture and the Oslo Architecture Triennale within the context of its 2019 edition."

[See also: https://www.e-flux.com/architecture/overgrowth/221902/editorial/ ]

[including:

Ateya Khorakiwala: "Architecture's Scaffolds"
https://www.e-flux.com/architecture/overgrowth/221616/architecture-s-scaffolds/
The metaphor of grassroots is apt here. Bamboo is a grass, a rhizomatic plant system that easily tends towards becoming an invasive species in its capacity to spread without seed and fruit. Given the new incursions of the global sustainability regime into third world forests to procure a material aestheticized as eco-friendly, what would it take for the state to render this ubiquitous material into a value added and replicable commodity? On one hand, scaffolding offers the site of forming and performing the subjectivity of the unskilled laborer—if not in making the scaffolding, then certainly in using it. Bamboo poles for scaffolding remain raw commodities, without scope for much value addition; a saturated marketplace where it can only be replaced by steel as building projects increase in complexity. On the other hand, bamboo produces both the cottage industry out of a forest-dwelling subject, on the margins of the state, occupying space into which this market can expand.

Bamboo is a material in flux—what it signifies is not transferable from one scale to another, or from one time to another. In that sense, bamboo challenges how we see the history of materials. In addition to its foundational architectural function as scaffolding, it acts as a metaphorical scaffolding as well: it signifies whatever its wielders might want it to, be it tradition, poverty, sustainability, or a new form of eco-chic luxury. Bamboo acts more as a scaffolding for meaning than a material with physical properties of flexibility and strength. Scaffolding, both materially and metaphorically, is a site of politics; a space that opens up and disappears, one that requires much skill in making.

Edgar Pieterse: "Incorporation and Expulsion"
https://www.e-flux.com/architecture/overgrowth/221603/incorporation-and-expulsion/
However, what is even more important is that these radically localized processes will very quickly demand spatial, planning, and design literacy among urban households and their associations. The public pedagogic work involved in nurturing such literacies, always amidst action, requires a further institutional layer that connects intermediary organizations with grassroots formations. For example, NGOs and applied urban research centers with knowledge from different sites (within a city and across the global South) can provide support to foster these organizational literacies without diminishing the autonomy and leadership of grassroots movements. Intermediary organizations are also well placed to mediate between grassroots associations, public officers, private sector interests, and whoever else impinge on the functioning of a neighborhood. Thinking with the example of Lighthouse suggests that we can think of forms of collective economic practice that connect with the urban imperatives of securing household wellbeing whilst expanding various categories of opportunity. The transformative potential is staggering when one considers the speed with which digital money systems and productive efficiencies have taken off across East Africa during the past five years or so.

There is unprecedented opportunity today to delink the imperatives of just urban planning from conventional tropes about economic modernization that tend to produce acontextual technocracy. We should, therefore, focus our creative energies on defining new forms of collective life, economy, wellbeing, invention, and care. This may even prove a worthwhile approach to re-signify “growth.” Beyond narrow economism there is a vast canvas to populate with alternative meanings: signifiers linked to practices that bring us back to the beauty of discovery, learning, questioning, debate, dissensus, experimentation, strategic consensus, and most importantly, the courage to do and feel things differently.

Ingerid Helsing Almaas: "No app for that"
https://www.e-flux.com/architecture/overgrowth/221609/no-app-for-that/
Conventionally, urban growth is seen in terms of different geometries of expansion. Recent decades have also focused on making existing cities denser, but even this is thought of as a process of addition, inscribed in the conventional idea of growth as a linear process of investments and profits. But the slow process of becoming and disappearance is also a form of growth. Growth as slow and diverse accretion and shedding, layering, gradual loss or restoration; cyclical rather than linear or expansive. Processes driven by opportunity and vision, but also by irritation, by lack, by disappointment. In a city, you see these cyclical processes of accretion and disruption everywhere. We just haven’t worked out how to make them work for us. Instead, we go on expecting stability and predictability; a city with a final, finished form.

Peter Buchanan: "Reweaving Webs of Relationships"
https://www.e-flux.com/architecture/overgrowth/221630/reweaving-webs-of-relationships/

Helena Mattsson and Catharina Gabrielsson: "Pockets and Folds"
https://www.e-flux.com/architecture/overgrowth/221607/pockets-and-folds/
Moments of deregulations are moments when an ideology of incessant growth takes over all sectors of life and politics. Returning to those moments allows us to inquire into other ways of organizing life and architecture while remaining within the sphere of the possible. Through acts of remembrance, we have the opportunity to rewrite the present through the past whereby the pockets and folds of non-markets established in the earlier welfare state come into view as worlds of a new becoming. These pockets carry the potential for new political imaginaries where ideas of degrowth reorganize the very essence of the architectural assemblage and its social impacts. These landscapes of possibilities are constructed through desires of collective spending—dépense—rather than through the grotesque ideas of the wooden brain.

Angelos Varvarousis and Penny Koutrolikou: "Degrowth and the City"
https://www.e-flux.com/architecture/overgrowth/221623/degrowth-and-the-city/
The idea of city of degrowth does not attempt to homogenize, but rather focus on inclusiveness. Heterogeneity and plurality are not contrary to the values of equity, living together and effective sharing of the resources. Difference and plurality are inherent and essential for cities and therefore diverse spatial and social articulations are intrinsic in the production of a city of degrowth. They are also vital for the way such an idea of a city could be governed; possibly through local institutions and assemblies that try to combine forms of direct and delegative democracy.
]
growth  degrowth  architecture  overgrowth  2018  nickaxel  matthewdalziel  phineasharper  nikolaushirsch  ceciliesachsolsen  mariasmith  ateyakhorakiwala  edgarpieterse  ingeridhelsingalmaas  peterbuchanan  helenamattsson  catharinagabrielsson  angelosvarvarousis  pennykoutrolikou  2019  anthropocene  population  sustainability  humans  civilization  economics  policy  capitalism  karlmarx  neoliberalism  systemsthinking  cities  urban  urbanism  urbanplanning  urbanization  ecology  consumption  materialism  consumerism  oslo  bymelding  stability  change  predictability  design  africa  southafrica  postcolonialism  ethiopia  nigeria  housing  kenya  collectivism  dissensus  experimentation  future  learning  questioning  debate  discovery  wellbeing  intervention  care  technocracy  modernization  local  grassroots  materials  multiliteracies  ngos  autonomy  shigeruban  mumbai  bamboo  burkinafaso  patrickkeré  vikramadityaprakash  lecorbusier  pierrejeanneret  modernism  shivdattsharma  chandigarh  india  history  charlescorrea  scaffolding 
12 weeks ago by robertogreco
Comrade Animal: The habitat beyond anthropocentrism
"During the customary preliminary research phase of this project, we came across a meme which very soon became the starting point of the project itself. It immediately dawned on us that this meme was a condensation of the different themes we wanted to develop with the ‘Comrade Animal’ exhibition and its collection of contents.The diptych accompanied by its caption, seemed to contain all of the different aspects we have taken into consideration for this project.

The trolling meme, with a clearly xenophobic and racist intention, compares a photo of a wooden hut with the caption “Africans today” to the design of an architecture built by beavers with “beavers millions of years ago.” At the bottom: "who's the better architect?". The elements that we can extract are several. The racism of the western man towards the African continent is certainly the underlying goal; and in order to denigrate the African continent, man is compared to an animal.The second element: the animal is inferior to man, it is a being that occupies a lower level in the pyramidal structure in which mankind occupies the vertex, obviously in service to a vision of the world generated by us.

Since the beginning we have asked ourselves whether looking at the relationship between man and animal through their architectures could help us to reevaluate the extremely anthropocentric matrix with which we have shaped the global habitat. At the base we found a necessity: rethinking human creation, and in our specific case that would mean giving shape to artefacts, architectures and objects. It is from this point that the project for the 59th edition of the International Bugatti Segantini Award is born, the main objective of which is a critical re-reading of the events of May 1968 and its consequences, on the occasion of its 50th anniversary. Several reflections concentrated in the Primitive Future Office publication (plug_in, 2014) acted as the foundations of this proposal. Specifically reflections on possible processes of emancipation when dealing with how we shape the habitat, and the traditional hierarchical structures that guide it.

In the publication, our research retraced a series of experiences, starting from the American counterculture movements with manuals such as the Whole Earth Catalog, and how their cross-contamination with movements such as that of May '68, have brought us to the present day, developing the debate on open design and the open source movements applied to the human habitat with makers and fablabs. Taking this line of investigation further, we wanted to go discover non-anthropocentric ways of shaping the habitat, which take into consideration all living organisms and that can perhaps place man back amongst the animals.Would it be possible nowdays to examine the spirit that guided the great changes of '68, and imagine a future in which we can oppose a certain form of culture which, through social, economic and colonial policies, by now hegemonic, appears as dominant? It was through design that ’68 observed a society in which the maker was transformed into a supplier of instruments and not of finished projects, and thus fighting the usual structures of power. Would it be possible in the same way today, to oppose a self-proclaimed supremacy of the human species over other species considered less important? In an era in which ancient conflicts between humans have returned, it could be that a vision of our habitat no longer based solely on the human being, might represent a real turning point.

The exhibit mixes three artists/designers with three professionals from the world of social sciences, pushing for an interdisciplinary reflection on the implications of anthropocentrism and our relationship with other living beings in the way we shape the space we inhabit."

[See also:
https://www.instagram.com/comradeanimal/
https://gluqbar.xyz/Editions ]
multispecies  animals  morethanhuman  interdisciplinary  anthropocene  human-animalrelations  human-animalrelationships  leonardocaffo  sofiabelenky  hunterdoyle  leonardodellanoce  oliviergoethals  angelorenna  palazziclub  parasite2.0  stefanocolombo  eugeniocosentino  lucamarullo  architecture  art  design  albertowolfgango  amadeod'asaro 
october 2018 by robertogreco
Gehörlosengerechtes Bauen: Deaf Space Architektur | Sehen statt Hören | BR Fernsehen | Fernsehen | BR.de
"Steel, glass, concrete, open and flooded with light: modern architecture appears generous, clear and bright. This meets the needs of the deaf and hard of hearing. But what does deaf building really look like?"
deaf  architecture  schools  schooldesign  accessibility  disabilities  disability  via:cervus  design 
october 2018 by robertogreco
Ein ganzer Ort macht Schule <br />Zwischennutzung in Feldkirchen an der Donau – Blog – schulRAUMkultur
[translation from: www.DeepL.com/Translator

"A whole place goes to school
Interim use in Feldkirchen an der Donau
12.02.2017

Feldkirchen an der Donau is cheering and being cheered. A jewel of contemporary school construction and a committed pedagogical practice put this Upper Austrian community in the limelight. There are many reasons why this was successful. One of them was almost overlooked. The temporary use during the construction site period was an impressive feat of courage and cooperation on the part of civil society, preparing the team of female teachers for their practice in the cluster school unintentionally and, after almost 40 years, turning an advanced school concept from the 1970s into reality. The Feldkirchen hiking school is history again - but it has made history in Feldkirchen ...

The details can be read in the download. The text is the slightly revised version of my technical contribution in the magazine schulheft 163, which was published in autumn 2016. The building of fasch&fuchs.architekten, on everyone's lips, can in my opinion be understood more fundamentally, more profoundly, if the prehistory is also taken into account. This would almost be submerged in history. By a lucky coincidence I was able to salvage and secure it. It shows very well how meaningful spatial school development can be for the success of best architecture.

Meeting room of the parish in use as a school © parish Feldkirchen an der Donau

The use of architecture is a dance with habits. Architects understandably tend not to see the real (not imagined) use anymore. Usage is quickly invisible because "unseen", usage takes place after our creative phase. Therefore, both phases - phase 0, project development, and phase 10, settlement accompaniment - are relevant for school conversions that require laymen to act anew. I will report about it soon - in Leoben I was commissioned for phase 10 at the Bildungszentrum Pestalozzi - an experiment!

The reference to the original contribution in the school book 163: Zinner, Michael (2016): A whole place does school. Text contribution in: Rosenberger, Katharina; Lindner, Doris; Hammerer, Franz (2016, editor): SchulRäume. Insights into the reality of new learning worlds. schulheft 163; 41st year; StudienVerlag Innsbruck. 77–88

A whole place goes to school [.pdf]
http://www.schulraumkultur.at/perch/resources/170206-blog-zinner.michael-2016artikel.schulheft163-ueberarb-ein.ganzer.ort.macht.schule-seite77bis88.pdf "]
education  schools  schooldesign  microschools  community  temporary  sfh  lcproject  openstudioproject  communities  neighborhoods  decentralization  via:cervus  architecture  pedagogy  teaching  learning  howweteach  1970  austria  progressive  tcsnmy 
october 2018 by robertogreco
Innovative Learning Environments & Teacher Change
"The Innovative Learning Environments and Teacher Change (ILETC) project is an Australian Research Council (ARC) Linkage Project funded for 4 years from 2016-2019. It brings together the expertise of leading researchers in education and learning environments and partner organisations in education and learning environment design and technology.

The project will be lead by Associate Professor Wesley Imms, who heads a cross disciplinary team of researchers from the Melbourne Graduate School of Education and the Faculty of Architecture, Building and Planning at The University of Melbourne. The project is affiliated with the Learning Environments and Applied Research Network (LEaRN)."
via:cervus  australia  learning  schooldesign  melbourne  education  teaching  architecture 
october 2018 by robertogreco
ATLAS OF PLACES
"ATLAS OF PLACES is a non-profit educational and political journal of architecture, landscape, urbanism, photography, cartography, print and academic. Its goal is to question the politics of places and to stand out in an increasingly uniform architectural media landscape for its critical vision/research, in-depth analysis of contemporary issues and publications that illuminate the state and relationship between architecture, technology and society. We produce and share essays, criticisms, photographies, maps, designs, narrative journalism, as well as academic projects and university publications that deserve a wide audience.

This journal is independent and is financed solely by the editor's personal investments and the reader's contributions. If you wish to help and make it evolve, please DONATE"
geography  landscape  urbanism  photography  cartography  maps  mapping  place  places  architecture 
october 2018 by robertogreco
Jantar Mantar: The Astronomical Observatories of Jai Singh
"Between 1724 and 1730 Maharajah Sawaii Jai Singh II of Jaipur constructed five astronomical observatories in north India. The observatories, or "Jantar Mantars" as they are commonly known, incorporate multiple buildings of unique form, each with a specialized function for astronomical measurement. These structures with their striking combinations of geometric forms at large scale have captivated the attention of architects, artists, and art historians world wide, yet remain largely unknown to the general public.

jantarmantar.org presents the observatories through a variety of media, making it possible to explore and learn about these historic sites through interactive panoramic tours, time lapse sequences, and 3D models as well as articles, drawings, and historic texts. It is a comprehensive resource for exploring the observatories in depth.

Welcome to the new jantarmantar.org!
The redesigned website was launched in October 2015 - and we are still hard at work refining the content and tweaking the design. As new pages and features are added, they will be announced through our Facebook and Instagram pages, so follow us there!

New to jantarmantar.org is the Learn section, featuring a wealth of information about the observatories and the unique instruments Jai Singh created to observe celestial objects.
But more than that, the Learn section also features projects you can do to learn more about the observatories and sky observation without a telescope."

[via: http://www.ma-tt-er.org/elements/ar/ ]
architecture  astrology  astronomy  india  jaisingh  jantarmantar  observatories  measurement  science 
october 2018 by robertogreco
Commentary: Critics say a San Diego museum's Postmodern entry should be preserved. But why keep what doesn't work? - Los Angeles Times
"Now, MCASD La Jolla is set to be reconfigured again. Selldorf, whose firm is known for work on historic museum buildings — including the Clark Art Institute in Williamstown, Mass., and the Neue Galerie in New York — has been charged with adding 30,000 square feet of gallery space — the museum currently has no dedicated space to show its permanent collection — which she will achieve by transforming the auditorium into galleries and by adding another hall on a newly acquired property to the south.

To weave this Franken-complex together, she is removing a portion of VSBA’s arched facade and the pergolas. She is also shifting the museum’s main entrance to the south, aligning it with Mosher Drew’s auditorium building, which means that Axline Court will no longer serve as the principal point of access — though it will remain as a gathering space. It is these latter moves that have raised a critical outcry.

First and foremost, there is the question of the entrance.

As part of their 1990s re-do, Venturi and Scott Brown placed the main doorway to the museum behind their concrete pergola, where it was not only difficult to find but also competed visually with the rebuilt arched sun porch of the newly uncovered Scripps house a few feet away — an entryway that, ironically, no longer served as entrance.

Confusion over the location of the entrance was such that about a year after the expansion was completed, the museum asked the architects to devise some sort of signage that would help point the way, hence the addition of the word “MUSEUM” in yellow capital letters above the correct doorway.

Goldberger, who was architecture critic for the New York Times and the New Yorker before becoming a contributing editor at Vanity Fair, is one of the major figures who signed the open letter condemning the Selldorf plan. In 1996, he wrote a glowing review of the Venturi Scott Brown expansion in the New York Times, describing it as “an exquisite project.” But in the piece, he also noted the awkward position of the entrance, which required visitors to “make an illogical turn to the left to arrive at the front door.”

Goldberger said this was a minor issue, in light of the museum’s “graceful composition” and its “public presence on the streets of La Jolla.” But as someone who has directed disoriented visitors to the entrance on numerous occasions, I would argue that an important part of a public institution’s public presence is a clear and welcoming doorway.

Then there is the matter of the pergolas.

In a 1996 review of the expansion, Los Angeles Times art critic Christopher Knight noted that the pergolas designed by VSBA echoed the delicate lines of a Gill-designed pergola that hugs the facade of the Scripps house, but that it did it on a much larger scale in “clever” “Toontown” fashion. The pergolas also serve to frame the Gill house, setting it apart from the street and the rest of the museum’s facade.

The petition argues that removing the Venturi, Scott Brown pergolas would “prevent visitors from experiencing [the Scripps house] in the way Gill intended: from the intimate, pedestrian-scaled space in front of it.”

But at this point, it’s hard to say what exactly we are experiencing of Gill’s original architecture.

When Mosher Drew wrapped its own building around the Scripps house in the 1950s, a portion of the Gill house was torn down during construction. This included demolishing the original sun porch, stripping part of the facade and filling in windows. In a lecture delivered in 1979, architecture critic Esther McCoy described watching pieces of the structure come down: “I saw the wrecking company razing it. Real labor to destroy a Gill building.”

So when VSBA uncovered the Gill structure, it wasn’t simply uncovering. It was also rebuilding. And to their credit, the architects went to terrific lengths to get it right: using poured concrete where Gill had used poured concrete and reinserting windows that matched the ones in historic photographs of the house.

The Scripps house now largely exists as fragments embedded in the larger museum, the most complete original portion of which is the entry foyer. And even that is not in its original state: It was refurbished first by Mosher Drew, then by VSBA, which added gray wainscoting. (One can only imagine what Gill, who was all about stripped-down Modernism, would make of wainscoting.)

Lastly, there are the issues of urban planning.

One of the principal arguments for leaving the current design untouched is to preserve the ways in which the museum relates to the streets of La Jolla. “Its street frontage, museum store and cafe extend the rhythm of Prospect Street’s lively storefronts,” reads the petition, “celebrating the museum’s location in the village commercial center and drawing visitors towards the building.”

In my experience, that is an optimistic view of how the museum relates to the street.

Although the museum sits within a commercial zone, it is at a point where the area grows increasingly residential. Pedestrian traffic tends to peter out two blocks away, both on Prospect Street to the north and Silverado Street to the east. One of the closest commercial sites to the museum is a restaurant more than a block away that was recently shuttered for renovations and shows no signs of reopening. Most folks who land at the museum arrive intentionally, not because they happen to wander in.

Moreover, the critical focus on the street ignores the site’s larger natural context: namely, the Pacific Ocean.

For whatever reason, MCASD La Jolla has historically turned its back on this incredible feature — with loading docks that offer views of the water and a sidewalk cafe that overlooks ... asphalt.

Moreover, if, as intended, you approach the museum by walking south on Prospect Street, the first thing you encounter on the museum’s property is not a garden, cafe or gallery. It’s the parking lot — a parking lot with resplendent views of the ocean where I’ve seen families (including my own) pose for group pictures amid the parked cars. It is absurd.

In their design, Venturi and Scott Brown smartly dealt with some of these challenges. The architects sliced windows into Mosher Drew’s more oppressive structures, allowing visitors glimpses of coastline in galleries that had once been boxed in. And they linked the ocean-view garden on the site’s eastern slope — now the Edwards Sculpture Garden — with the museum for easier access. (Previously, it was accessible to the public only from Coast Boulevard; the garden will remain unchanged in Selldorf’s design.)

In her redesign, Selldorf is working to reorient the entire museum complex to the ocean, its best asset. Parking will go underground, allowing for a public park, a more pastoral place to enjoy ocean views. Other spaces that engage the Pacific will include terraces, meeting rooms, an event space. In this regard, her makeover is overdue.

Postmodern architecture is experiencing a critical moment. It is at a point where it looks old enough to be outdated — too flamboyant in our age of austere iPhone minimalism — but not old enough to have achieved the status of venerable. Iconic structures, such as Michael Graves’ Portland Municipal Services Building in Oregon and Philip Johnson’s AT&T Building in New York (now the Sony building) have faced the threat of wrecking balls and ill-conceived renovations.

I am wary of erasing architectural history. But as Aaron Betsky noted in a column in Architect magazine about the case of MCASD La Jolla, “advocates are asking us to preserve a building that has a somewhat confused organization, banal spaces and ridiculous ornamentation.”

Selldorf’s plan holds on to elements of the site’s myriad design histories — to which she will add her own story. In a way, it’s in keeping with the museum’s own history as a place of continuous architectural evolution. There is no reason that evolution should stop in the 1990s."
2018  carolinamiranda  lajolla  mcasd  sandiego  architecture  design  history 
september 2018 by robertogreco
Has This Neighborhood in Seoul Figured Out the Secret to Slow Living? - The New York Times
"The decline of vernacular architecture in the face of global urbanization is, of course, hardly new, though traditional Korean hanok are a particularly stark contrast to modern city living. Sit inside one and you immediately notice how sound and light travel differently as they’re absorbed into pine wood beams and diffused through pale mulberry-paper windows. When newly built, hanok are redolent with the bright scent of a coniferous forest; as they age, the fragrance softens toward pu-erh tea and damp bark. Their center of gravity is lower than other homes, creating a cocoon-like sensation; their radiant heating system — the ondol — means that residents sit, work and sleep on the floor.

But while any Korean can describe how a hanok feels, defining what a hanok is has proved elusive. “Hanok” simply translates to “Korean house,” though the term wasn’t used until the late 19th century, which brought the opening of the peninsula’s ports to international trade and, in turn, Western architecture. Before this, the hanok was merely a house. Today’s hanok, with its soot-black scalloped clay tiles laid atop wooden beams, resembles its 15th-century forebears. In 2015, the government legally defined hanok as a “wooden architectural structure built on the basis of the traditional Korean-style framework consisting of columns and purlins and a roof reflecting the Korean traditional architectural style,” leaving acres of room for interpretation."



"Indeed, this nostalgia for a simpler form of living is fueled by the dissatisfaction that many locals have expressed in the face of their country’s breakneck economic growth. Here, digital culture is richer and vaster than anywhere else: South Korea, home to the technology giants Samsung and LG, may have the world’s fastest internet and the highest rate of smartphone use, but amid the country’s accelerated 30-year transition from military state — which it was until the ’80s — to tech superpower, there’s a growing sentiment that somewhere along the road, much of the country’s own culture was lost. The hanok, then, has come to represent a safe vessel for introspection and a reassertion of Korean identity: a romantic return to the national architecture and, therefore, to a mythic, prelapsarian age. Rebuilding these houses is not only a chance to revisit a past that once was, free of influences from globalized monoculture, but also to create a future in Seoul that might have been."



"Tändler designed Lee Eunyoung’s hanok, one of the few one-story buildings in the village. The home is disarmingly simple: a minimally furnished, U-shaped space, encircling a madang. For the four-person family, moving into a hanok wasn’t just an aesthetic choice but an opportunity to atavistically reorient their lives. “We each have five outfits for Monday through Friday, plus one wedding outfit, one funeral outfit and one exercise outfit,” Lee Eunyoung says. The 37-year-old mother doesn’t buy toys for her two young boys, instead giving them paper and crayons or sending them out into the madang to play. This is another way the hanok has made Seoulites reconsider the way they live: By forcing them to decide how much stuff they really need, it inverts the dynamic between the house and the people within it, making the residents accommodate the dwelling, not the other way around. In doing so, they’ve discovered a different, slower way of living. Eventually, Lee Eunyoung’s children will grow up and find their own homes. Maybe they’ll go somewhere modern: a skyscraper, a glass-and-steel penthouse. But Lee says she’ll stay here, in the hanok, for the rest of her life"
slo  seoul  korea  architecture  homes  wood  2018  design  cv  housing  economics  preservation  culture 
september 2018 by robertogreco
Claire Bishop on PALACE IN PLUNDERLAND - Artforum International
"The construction of yet another enormous venue for culture feels like the harbinger of a horrible new world in which all public services are drained of resources but every High Net Worth Individual can evade taxes by pouring a fraction of their profits into a cultural project that enhances their social status. The über-wealthy once gave a percentage of their riches to the church; today they give them to flexible and adaptable visual art/performance spaces."



"A Schema for a School is one thing; the more radical proposition would be a cultural institution that includes within its architecture crucial services like a public school, day care, or a branch of the New York Public Library."
charitableindustrialcomplex  philanthropicindustrialcomplex  philanthropy  charity  publicgood  inequality  wealth  2018  via:shannon_mattern  clairebishop  arts  architecture  taxevasion  democracy  oligarchy  capitalism  influence  power  museums  control 
september 2018 by robertogreco
At MoMA, Bodys Isek Kingelez Finally Gets the Retrospective He Deserves - Artsy
"Due to Kingelez’s “lack of known art historical precedents,” Suzuki writes in the catalogue, “[the work] evades the genealogy that we love to document and trace.” While there are no artists known to have made anything quite like Kingelez did, however, there is also no shortage of associations with the visual culture of Kinshasa, the capital of what is now the DRC. “I draw my ideas from Africa,” Kingelez once said. And as indicated in catalogue texts by Suzuki, British-Ghanaian architect David Adjaye, and Chika Okeke-Agulu, a Nigerian artist and art historian at Princeton University, Kingelez must be understood in the postcolonial context of the history and culture of Kinshasa."

[https://www.moma.org/calendar/exhibitions/3889
https://www.youtube.com/watch?v=RB4jgBx16vY
https://news.artnet.com/exhibitions/bodys-isek-kingelez-1308167

“Without a model, you are nowhere. A nation that can’t make models is a nation that doesn’t understand things, a nation that doesn’t live." –Bodys Isek Kingelez]
bodysisekkingelez  congo  utopia  art  architecture  cities  models  modelmaking  classideas  africa  zaire  jeanpigozzi  okwuienwezor  sarahsuzuki  drc  democraticrepublicofthecongo  uban  urbanism  sculpture  davidadjaye  chikaokeke-agulu  chérisamba  moké  kinshasa 
august 2018 by robertogreco
Libraries – Thomas Guignard photography
[See also: https://www.instagram.com/concretelibraries/ ]

"My interest in library architecture started as I was involved in the planning for a new library building. Looking for inspiration, I started researching and then visiting other libraries that were moving into new spaces or undergoing a revitalization. I often photographed details that struck my interest, and gradually became fascinated with the unique visuals offered by all libraries, big and small.

To this day, I make a point of visiting as many libraries as I can when traveling, and often plan my trips around buildings I’m interested in visiting and photographing. My libraries bucket list never stops growing.

I have started collecting some of my favourite examples of library architecture here, many more can be found on my Flickr and Instagram feeds."
libraries  photography  thomasguignard  architecture 
august 2018 by robertogreco
New Work: Park McArthur · SFMOMA
"Park McArthur works with and through the social conditions of dependency, often in relation to care and access. This exhibition, the artist’s first solo museum presentation, examines the materials and processes frequently associated with monuments, memorials, and museums, and explores ongoing relationships with a building or place of congregation. New Work: Park McArthur features new and existing work that draws from the granite and wood of SFMOMA’s building, and includes photographs of informal gathering sites such as picnic tables in a public park. The marks and signs used at these sites question the connections—casual, recreational, ceremonial—that bind stone and wood to site, and people and locations to time."



[video]

"Artist Park McArthur discusses her exhibition at SFMOMA, New Work: Park McArthur, which examines how forms of commemoration and sites of congregation, including museums, create meaning and influence memory. She considers hidden histories and issues of access through explorations of materials, markers, and social spaces."

[via: https://twitter.com/e_mln_e/status/1019327517834899456 ]
parkmcarthur  sfmoma  art  architecture  design  materials  renovation  sanfrancisco  access  accessibility  congregation  commemoration  ramps  museums  memory  influence  meaningmaking  meaning 
july 2018 by robertogreco
Open offices are overrated - YouTube
"Open offices have been around a surprisingly long time. But they're relatively misunderstood for their role in workplace culture. Where did open offices and cubicles come from, and are they really what we want?

This episode of Overrated explores the history, including Frank Lloyd Wright, Herman Miller, and other key figures in the office design movement. Our workplaces haven't always been this way — this is how we got here."
openoffices  offices  architecture  interiors  design  2017  productivity  interaction  openness  franklloydwright  hermanmiller  furniture 
july 2018 by robertogreco
Matt Haughey on Twitter: "My favorite grad school geography/history tidbit came from a Soils professor that worked around mining. It goes like this: In the American West and Midwest you can tell who settled a city by how it looks on a map. Let me explain
"My favorite grad school geography/history tidbit came from a Soils professor that worked around mining. It goes like this: In the American West and Midwest you can tell who settled a city by how it looks on a map. Let me explain…

A town settled by miners or lumberjacks is interested in making money FAST. Roads go from mountains to town centers where the sawmill or assay office is. Adding switchbacks takes too much time & money. On maps, these cities typically follow a star pattern from above.

Farmers have time. Crops follow seasons, year after year, over decades. Making money is slow. Their cities follow grid patterns where the streets are 1st, 2nd, 3rd going one direction and A Street, B Street, C Street the other. On maps, farmer towns look like logical squares.

Here are two towns in South Dakota: one settled by farmers, one by miners. Spot the difference.

From now on, whenever you look at a map of the American West, you’ll know something about each town’s history in an instant.:"
matthaughey  geography  cities  towns  architecture  culture  design  environment  history  farming  time  mining  lumber  speed  money  americanwest  maps  mapping  patterns  midwest  settlement 
june 2018 by robertogreco
A new U.S.-Mexico border? At the Venice Biennale, imagining a binational region called MEXUS
"As part of their research into watersheds, Cruz and Forman have created an inventory of public lands in Los Laureles that can serve multiple purposes — as green space, environmental education center and natural buffers to mitigate flows of waste. And they are working to see how they can create a mechanism to invest in those spaces so that they might be preserved.

“Instead of the investing in the wall,” says Cruz, “can we invest to get the poor settlement to regulate the flow of waste? Can we get the poor residents to take care of the rich estuary?’

The subjects are tricky, but in these types of projects, Zeiger says she sees plenty of optimism.

“In architecture, if we don’t allow ourselves to visualize a condition that is different than the current condition, then we really cut off how we will impact the future,” she says.

For Forman, that consists of fomenting a new type of border culture.

“Citizenship,” she says, “is not an identity card. It’s about coexisting and building a city together.”"
teddycruz  fonnaforman  carolinamianda  border  borders  us  california  mexico  sandiego  tijuana  texas  arizona  newmexico  2018  venicebiennale  architecture  citizenship  politicalequator  geography  geopolitics  mimizeiger  annlui  afrofuturism 
may 2018 by robertogreco
We interrupt this broadcast
"Between 1975 and 1982, The Open University broadcast a series of televised courses on the genealogy of the modern movement: A305, History of Architecture and Design 1890–1939. We have asked Charlotte Lydia Riley, Owen Hatherley, and Jonathan Bignell to watch the course television programmes with us. They interrupted them to add context for a contemporary audience, from the perspective of history, architecture, and media studies. Their live annotations invite a reflection on the timeliness of authoring new histories and what it means to disseminate these histories in an always-particular moment in time."
1970s  1980s  massmedia  television  tv  video  towatch  annotation  charlottelydiariley  owenhatherley  jonathanbignell  architecture  history  mediastudies  media  modernism  design 
april 2018 by robertogreco
Vessel – The Quiet Room.
"Is it possible to find refuge from the din of 21st century life? Over the next few months I am building a room to find what “quiet” means today, and how to make time and space for such a place in the everyday. Join me on this expedition: twitter, instagram, periscope, and regular updates right here."



"Vessel.fm is created by architect Nick Sowers. Prior to starting his independent practice in 2013, Nick designed museums, residences, and offices for architects in San Francisco, Oakland, Los Angeles, and Rotterdam. He holds a Master of Architecture degree from the University of California, Berkeley where he traveled the world with a recorder looking and listening to bunkers and bases."
nicksowers  architecture  sound  construction  quiet 
april 2018 by robertogreco
Avery Trufelman - 99pi (Oakland) - YouTube
"The Way Things Live

As one of the staff producers for the design podcast 99% Invisible, Avery Trufelman spends most of her time considering the intentions behind inanimate objects. She finds stories hidden in products we encounter every day, like fire escapes and neon signs, as well as oddities and architectural outliers around the world, from art schools in Havana to garbage trucks in Taipei.

Her talk, "The Way Things Live," is a meditation of sorts—a reconsidering of the overlaps in some of the episodes she has made in the past three years. Design stories are human stories: the objects that we make are reflections of us, and they live existences parallel to ours. They fall in and out of favor with changing tastes and mores, in rich, changing narratives, until eventually, some outlive us all."

[See also:
"The Fancy Shape"
https://99percentinvisible.org/episode/the-fancy-shape/

"Octothorpe"
https://99percentinvisible.org/episode/octothorpe/ ]
averytrufelman  2016  design  symbols  shapes  iconographicdrift  architecture  history  99pi  hashtags  technology  telephones  computers  chrismessina  dougkerr  belllabs 
april 2018 by robertogreco
CalEarth
"Cal-Earth, the California Institute of Earth Art and Architecture, is a 501 (c)(3) nonprofit organization committed to providing solutions to the human need for shelter through research, development, and education in earth architecture. We envision a world in which every person is empowered to build a safe and sustainable home with their own hands, using the earth under their feet."
architecture  housing  shelter  sustainability  california  hesperia 
january 2018 by robertogreco
How teen-focused design can help reshape our cities - Curbed
"Sometimes it seems like there is nowhere for teens to be. Here’s what they are doing about it"



"A decade ago, skateparks also tended to be bounded, purpose-built environments that skaters nicknamed “exercise yards.” Today the boundaries are often more fluid, at least between a public park and the skate park. In Tacoma, rather than a 10,000-square-foot skatepark, the city built a few skate spots in a park and, in downtown Wright Park, made the semi-circular benches around the “sprayground” skateable with steel edges rather than defending them with steel knobs. In Emeryville, California, there’s a skate path, with bowls, bumps and rails spread out over a recreational corridor (provoked, it must be said, by the demolition of a DIY skate park).

These designs simulate the thrill of the streets where skateboarding began and, some skateboarders insist, it belongs. In Red Hook, the new park will stay connected to the city, and be protected by more eyes, because it will still serve as a pass-through for residents walking north.

******

Many of the teens’ suggestions, coast to coast, just seem like good sense for people of any age: seating, green space, recreation zonesclose to public transportation, an adult nearby should something happen (but not operating under a state of constant surveillance), longer and later hours. Teens are people too! These projects harness their energy, their ideas and their persuasive powers so that the education goes both ways: teens learn how to advocate for themselves on the city stage, adults learn what it is that a famously uncommunicative demographic needs.

I like Rich’s formulation of teenagers as a febrile, emotional version of adults, not yet disappeared inside a carapace of car, phone, job, gym. The skateboarders and the snackers, the watchers and the players are all alive to the built environment."
alexandralange  architecture  design  urbanism  urban  skateboarding  skateboards  skating  teens  youth  urbanplanning  cities  activism  civics  publicspace  edhook  nyc  booklyn  emeryville  skateparks  parks 
january 2018 by robertogreco
Feral Studio
"Feral Studio is a Community Interest Company based in South West UK that initiates creative collaborations and partnerships in rural communities.

We align artists, designers and other creative practitioners with land stakeholders, educational establishments, rural agencies, small businesses and wider community members to produce innovative strategies that tackle challenges, build capacity and push boundaries."



"
During the past few decades, we have witnessed a rural narrative that has been characterised by on going crisis, decline and loss of identity. Once thriving communities have been severely impacted by multiple traumas in agriculture, austerity in public finances, limited infrastructure provision, migration of ambitious youth, constrained housing availability and the older generation lacking opportunity to transfer hard-earned knowledge. Impacts from energy insecurity, climate change and environmental degradation are being felt first hand.

Yet there has been a response.

There’s been a motivated, imaginative and committed response. Rural communities are now seeing a surging land-worker movement dedicated to sustainable agriculture. Alternative economies and resilience building are now commonplace. Innovation is flourishing and a recognition of the countryside from a cultural perspective is well underway. We are committed to embracing this momentum.

Established in 2014, Feral Studio is Community Interest Company (08936225). We work locally, regionally, online and beyond to commission short-term initiatives and long-term engagements that support sustainable, self-sufficient and locally distinctive economies and cultures.

Our approach values the importance of multi-disciplinary partnership working to explore and interpret the opportunities and threats that exist in the rural context. As such, we collaborate with a dynamic group of practitioners whose skills and knowledge base include (but not limited to) design, food production, architecture, research, filmmaking, policy, horticulture, education programming, contemporary art curating and ecology.

We undertake a range of socially engaged activities, research and commission projects that are appropriate, collaborative and leave an enduring legacy. These include residencies, workshops, events, installations, publications and internships.

While our programme is shaped by local priorities, we also recognise that a great deal of thinking, practice and policy influencing rural issues emanates from beyond its geography so we participate in dialogue and exchange ideas, techniques and practice with urban and international peers and networks as well as being supported by specialist advisors."

[See also: https://twitter.com/feralstudio ]
design  art  rural  education  architecture  local  feral  multidisciplinary  resilience  alternative  economics  alternativeeconomies  uk  lcproject  openstudioproject 
january 2018 by robertogreco
Why Good Design Is a Public Good - CityLab
"Coming to a community as an outsider and designing sensitively for it requires not just good intentions, but humility. James Mitchell, Orkidstudio’s founder, recalls a project he did in Bolivia that chipped away at the confidence he had built up working for the famous Japanese architect Shigeru Ban. “We argued and we pulled in different directions, we got a lot of things wrong, and we had a lot of tears on the project. But it really taught me so much; I think it was the biggest learning curve of my life. It was maybe a bad place to be, but, in hindsight, a good place to be.”"
design  publicgood  architecture  2017  via:senongo 
january 2018 by robertogreco
Featured — Macarena Gómez-Barris
"Opacity = Radical Potential: An Interview with Julie Mehretu
Macarena Gómez-Barris | University of Southern California"

[also here: http://hemi.nyu.edu/journal/11.2/mehretu/interview.html ]
macarenagómez-barris  juliemehretu  opacity  visibility  radicalism  germany  us  ethiopia  a  architecture  space 
january 2018 by robertogreco
Design Thinking is Kind of Like Syphilis — It’s Contagious and Rots Your Brains
"Miller never bothers to define all the modes, and we will consider them more below. But for now, we should just note that the entire model is based on design consulting: You try to understand the client’s problem, what he or she wants or needs. You sharpen that problem so it’s easier to solve. You think of ways to solve it. You try those solutions out to see if they work. And then once you’ve settled on something, you ask your client for feedback. By the end, you’ve created a “solution,” which is also apparently an “innovation.”

Miller also never bothers to define the liberal arts. The closest he comes is to say they are ways of “thinking that all students should be exposed to because it enhances their understanding of everything else.” Nor does he make clear what he means by the idea that Design Thinking is or could be the new liberal arts. Is it but one new art to be added to the traditional liberal arts, such as grammar, logic, rhetoric, math, music, and science? Or does Miller think, like Hennessy and Kelly, that all of education should be rebuilt around the DTs? Who knows.

Miller is most impressed with Design Thinking’s Empathize Mode. He writes lyrically, “Human-centered design redescribes the classical aim of education as the care and tending of the soul; its focus on empathy follows directly from Rousseau’s stress on compassion as a social virtue.” Beautiful. Interesting.

But what are we really talking about here? The d.school’s An Introduction to Design Thinking PROCESS GUIDE says, “The Empathize Mode is the work you do to understand people, within the context of your design challenge.” We can use language like “empathy” to dress things up, but this is Business 101. Listen to your client; find out what he or she wants or needs.

Miller calls the Empathize Mode “ethnography,” which is deeply uncharitable — and probably offensive — to cultural anthropologists who spend their entire lives learning how to observe other people. Few, if any, anthropologists would sign onto the idea that some amateurs at a d.school “boot camp,” strolling around Stanford and gawking at strangers, constitutes ethnography. The Empathize Mode of Design Thinking is roughly as ethnographic as a marketing focus group or a crew of sleazoid consultants trying to feel out and up their clients’ desires.

What Miller, Kelly, and Hennessy are asking us to imagine is that design consulting is or could be a model for retooling all of education, that it has some method for “producing reliably innovative results in any field.” They believe that we should use Design Thinking to reform education by treating students as customers, or clients, and making sure our customers are getting what they want. And they assert that Design Thinking should be a central part of what students learn, so that graduates come to approach social reality through the model of design consulting. In other words, we should view all of society as if we are in the design consulting business."



In recent episode of the Design Observer podcast, Jen added further thoughts on Design Thinking. “The marketing of design thinking is completely bullshit. It’s even getting worse and worse now that [Stanford has] three-day boot camps that offer certified programs — as if anyone who enrolled in these programs can become a designer and think like a designer and work like a designer.” She also resists the idea that any single methodology “can deal with any kind of situation — not to mention the very complex society that we’re in today.”

In informal survey I conducted with individuals who either teach at or were trained at the top art, architecture, and design schools in the USA, most respondents said that they and their colleagues do not use the term Design Thinking. Most of the people pushing the DTs in higher education are at second- and third-tier universities and, ironically, aren’t innovating but rather emulating Stanford. In afew cases, respondents said they did know a colleague or two who was saying “Design Thinking” frequently, but in every case, the individuals were using the DTs either to increase their turf within the university or to extract resources from college administrators who are often willing to throw money at anything that smacks of “innovation.”

Moreover, individuals working in art, architecture, and design schools tend to be quite critical of existing DT programs. Reportedly, some schools are creating Design Thinking tracks for unpromising students who couldn’t hack it in traditional architecture or design programs — DT as “design lite.” The individuals I talked to also had strong reservations about the products coming out of Design Thinking classes. A traditional project in DT classes involves undergraduate students leading “multidisciplinary” or “transdisciplinary” teams drawing on faculty expertise around campus to solve some problem of interest to the students. The students are not experts in anything, however, and the projects often take the form of, as one person put it, “kids trying to save the world.”

One architecture professor I interviewed had been asked to sit in on a Design Thinking course’s critique, a tradition at architecture and design schools where outside experts are brought in to offer (often tough) feedback on student projects. The professor watched a student explain her design: a technology that was meant to connect mothers with their premature babies who they cannot touch directly. The professor wondered, what is the message about learning that students get from such projects? “I guess the idea is that this work empowers the students to believe they are applying their design skills,” the professor told me. “But I couldn’t critique it as design because there was nothing to it as design. So what’s left? Is good will enough?

As others put it to me, Design Thinking gives students an unrealistic idea of design and the work that goes into creating positive change. Upending that old dictum “knowledge is power,” Design Thinkers giver their students power without knowledge, “creative confidence” without actual capabilities.

It’s also an elitist, Great White Hope vision of change that literally asks students to imagine themselves entering a situation to solve other people’s problems. Among other things, this situation often leads to significant mismatch between designers’ visions — even after practicing “empathy” — and users’ actual needs. Perhaps the most famous example is the PlayPump, a piece of merry-go-round equipment that would pump water when children used it. Designers envisioned that the PlayPump would provide water to thousands of African communities. Only kids didn’t show up, including because there was no local cultural tradition of playing with merry-go-rounds.

Unsurprisingly, Design Thinking-types were enthusiastic about the PlayPump. Tom Hulme, the design director at IDEO’s London office, created a webpage called OpenIDEO, where users could share “open source innovation.” Hulme explained that he found himself asking, “What would IDEO look like on steroids? [We might ask the same question about crack cocaine or PCP.] What would it look like when you invite everybody into everything? I set myself the challenge of . . . radical open-innovation collaboration.” OpenIDEO community users were enthusiastic about the PlayPump — even a year after the system had been debunked, suggesting inviting everyone to everything gets you people who don’t do research. One OpenIDEO user enthused that the PlayPump highlighted how “fun can be combined with real needs.”

Thom Moran, an Assistant Professor of Architecture at the University of Michigan, told me that Design Thinking brought “a whole set of values about what design’s supposed to look like,” including that everything is supposed to be “fun” and “play,” and that the focus is less on “what would work.” Moran went on, “The disappointing part for me is that I really do believe that architecture, art, and design should be thought of as being a part of the liberal arts. They provide a unique skill set for looking at and engaging the world, and being critical of it.” Like others I talked to, Moran doesn’t see this kind of critical thinking in the popular form of Design Thinking, which tends to ignore politics, environmental issues, and global economic problems.

Moran holds up the Swiffer — the sweeper-mop with disposable covers designed by an IDEO-clone design consultancy, Continuum — as a good example of what Design Thinking is all about. “It’s design as marketing,” he said. “It’s about looking for and exploiting a market niche. It’s not really about a new and better world. It’s about exquisitely calibrating a product to a market niche that is underexploited.” The Swiffer involves a slight change in old technologies, and it is wasteful. Others made this same connection between Design Thinking and marketing. One architect said that Design Thinking “really belongs in business schools, where they teach marketing and other forms of moral depravity.”

“That’s what’s most annoying,” Moran went on. “I fundamentally believe in this stuff as a model of education. But it’s business consultants who give TED Talks who are out there selling it. It’s all anti-intellectual. That’s the problem. Architecture and design are profoundly intellectual. But for these people, it’s not a form of critical thought; it’s a form of salesmanship.”

Here’s my one caveat: it could be true that the DTs are a good way to teach design or business. I wouldn’t know. I am not a designer (or business school professor). I am struck, however, by how many designers, including Natasha Jen and Thom Moran, believe that the DTs are nonsense. In the end, I will leave this discussion up to designers. It’s their show. My concern is a different one — namely that… [more]
designthinking  innovation  ideas  2017  design  leevinsel  maintenance  repair  ideation  problemsolving  davidedgerton  willthomas  billburnett  daveevans  stanford  d.school  natashajen  herbertsimon  robertmckim  ideo  singularity  singularityuniversity  d.tech  education  schools  teaching  liberalarts  petermiller  esaleninstitute  newage  hassoplattner  johnhennessey  davidkelly  jimjones  empathy  ethnography  consulting  business  bullshit  marketing  snakeoil  criticism  criticalthinking  highereducation  highered  thomamoran  tedtalks  openideo  playpump  designimperialism  whitesaviors  post-its  transdisciplinary  multidisciplinary  crossdisciplinary  art  architecture  complexity  simplicity  methodology  process  emptiness  universities  colleges  philipmirowski  entrepreneurship  lawrencebusch  elizabethpoppberman  nathanielcomfort  margaretbrindle  peterstearns  christophermckenna  hucksterism  self-promotion  hype  georgeorwell  nathanrosenberg  davidmowery  stevenklepper  davidhounshell  patrickmccray  marianamazzucato  andréspicer  humanitariandesign 
december 2017 by robertogreco
San Francisco’s Skyline, Now Inexorably Transformed by Tech - The New York Times
[See also: "The Call Building: San Francisco's Forgotten Skyscaper
Historical Essay, by Ellen Klages excerpted from a longer article originally published in The Argonaut, Summer 1993, Volume 4, Number 1"
http://www.foundsf.org/index.php?title=THE_CALL_BUILDING:_SAN_FRANCISCO%27S_FORGOTTEN_SKYSCRAPER ]
sanfrancisco  architecture  salesforcetower  classideas  cities  2017  skyscrapers  buildings  history 
december 2017 by robertogreco
Bricks + Mortals | UCL CULTURE - UCL - London's Global University
"Hear the story of UCL's pioneering eugenicists through the landmark buildings and spaces named after them."



"Bricks + Mortals turns the buildings of UCL Bloomsbury Campus into an exhibition, uncovering a history hidden in plain sight. Walk this self-directed route to discover the pivotal role UCL played in establishing the science of eugenics.

As at many universities, the buildings on the main campus of UCL, in the heart of London's Bloomsbury district, are named for famous historical figures. In most cases, these building names commemorate the notable contributions of academics at the University.

Amongst these are the Galton Lecture Theatre, the Pearson Building and the Petrie Museum. The contributions Francis Galton, Karl Pearson and Flinders Petrie made to biometrics, genetics, statistics and archaeology are well known in those fields and beyond. What is less well known is their contribution to developing, establishing and legitimising the science of eugenics. Eugenics – the science of improving human populations through selective breeding – is generally associated with the Nazis, but in fact has its roots in Britain. It had its roots at UCL. The story of these origins is seldom told.

Bricks and Mortals sets out to tell that story. By incorporating the characters that UCL buildings are named after and exploring their relationships and research, the exhibition uncovers a history hidden in plain sight. The exhibition and podcast – which takes the form of a walking tour – describe how eugenics developed from its origins in Victorian Britain through to the progressive political movements of the 20th Century, and examines the impact of these ideas on our lives in the 21st."
ucl  eugenics  history  architecture  place  2017 
december 2017 by robertogreco
Antropoceno | dpr-barcelona
"Cuando Las Patronas lanzan comida en bolsas a las entrañas de La Bestia quizás no son conscientes de la relevancia de su gesto a escala geológica. Movidas por empatía activan colectivamente un mecanismo ancestral de cooperación recurrente en todos los seres vivos una vez superada la etapa de recelo y competencia. Al instinto competitivo que levanta muros, intercalan una estrategia inteligente que inventa protocolos, revienta límites y difumina fronteras.

Existen otros gestos que generan flujos con impacto a escala geológica. Quizás nos somos conscientes de que en nuestros bolsillos llevamos pequeños trozos de África procesados en China y del gasto energético y material de la infraestructura que nos permite estar continuamente conectados.[1] La necesidad de actualización y los ciclos cortos de renovación se traducen en teléfonos obsoletos apilándose en los cajones de nuestras casas.

Las anteriores narrativas ilustran dos formas de relación de la especie humana con el entorno y la presión que constantemente ejercemos sobre el. Un proceso de consumo y desposesión continuos, acelerados especialmente a raíz de la Revolución Industrial y puesto en evidencia por el cambio climático, es el que ha llevado a plantear conceptos como el Antropoceno, que sugiere que hemos entrado en una era geológica marcada por la influencia de la actividad humana en el planeta.

No existe consenso respecto al inicio del Antropoceno[2], algunos proponen buscarlo en los albores de la agricultura, ya que es donde se pueden encontrar las primeras evidencias de sedimentación que delatan esta actividad humana que permitió a los humanos asentarse en comunidades con densidades nunca antes vistas, mientras que otros autores señalan la Revolución Industrial o el inicio de la carrera nuclear.

Y qué papel tiene la arquitectura dentro de este panorama? Hasta ahora entendíamos que todas las realizaciones arquitectónicas han ocurrido durante el Holoceno. Es bajo las condiciones ambientales de este período geológico en las que nuestra disciplina ha ido especializándose. Sin embargo, estas condiciones no son inmutables y tenemos certeza científica de que han ido cambiando aceleradamente desde finales del siglo XIX.[3] Actualmente existe cierto consenso sobre el impacto que la práctica arquitectónica tiene sobre el medio ambiente. La mayor parte de este impacto no se debe tanto a la construcción sino al consumo de energía derivado del transporte, técnicas y materiales constructivos. Además los análisis de ciclo de vida de los edificios coinciden en que es mayor el impacto energético por su mantenimiento que por su construcción. Las buenas prácticas apuntan que el reciclaje, la minimización del transporte y el uso de recursos locales son las mejores estrategias de mitigación.

Sin embargo un repaso crítico nos muestra que las premisas ambientales están lejos de ser las que regulen la producción arquitectónica, y que en la profesión siguen importando más las valoraciones estéticas o económicas. Por otro lado, las estrategias de adaptación y cobijo que hemos refinando responden a condiciones ambientales que previsiblemente no sigan siendo las mismas. Así que al parecer practicamos una disciplina todavía muy coqueta y poco previsora.

Y es que en realidad, los arquitectos disponemos de pocas herramientas e incluso de lenguaje para lidiar con fenómenos complejos o con cambios evolutivos. Y el panorama incierto que tenemos por delante desborda las habilidades técnicas, estáticas y formales que presuntamente definen la excelencia arquitectónica. Lo sostenible no es más que una etiqueta bucólica o un slogan de marca para adaptarse a condiciones ambientales que en realidad son difícilmente reversibles, mientras que la incertidumbre y el cambio son las verdaderas constantes que tenemos por delante.[4] Los defensores del aceleracionismo lo han comprendido al anticipar un hipotético fin del capitalismo y su ethos productivo, de los que al parecer no seremos capaces de renunciar. Porque seamos absolutamente sinceros: no hemos logrado mucho con buenas intenciones, apelaciones morales o previsiones desalentadoras. Mientras tanto la arquitectura sigue siendo en realidad una práctica subordinada a los intereses, posibilidades y consecuencias del sistema financiero.

Es posible reorientar nuestra profesión frente a este panorama? Tal vez el reto esté en una paulatina reconversión, que incorpore protocolos que permitan responder a la incertidumbre en lugar de generar soluciones cerradas. Una estrategia de acciones capaces de incorporar accidentes y generar respuestas emergentes a problemas que no han aparecido todavía, que es como funciona la evolución.

Es posible que en el gesto de Las Patronas encontremos alguna pista. Este grupo trabaja colectivamente con la incertidumbre; sus acciones afectan y se ven afectadas por una infraestructura de movilidad. Sin planificarlo a largo plazo, inciden sobre un flujo de vidas y memorias, ayudan a modificar la ecología de las poblaciones, de los sistemas urbanos y las regiones en los que interactuará la población que emigra. Y de forma análoga, quizás el coltán, cobre y demás minerales de nuestros teléfonos móviles estén a la espera de nuevas formas de minería que los rescaten de nuestros cajones.

Porque no solo moldeamos el mundo con nuestra actividad; el medio ambiente también nos moldea a nosotros y los cambios que introducimos modifican entornos y organismos que al final tienen consecuencias sobre nosotros mismos. La arquitectura del Antropoceno será menos anthropos y más colectivo. Un sistema de gestión de incertidumbres que genere soluciones dinámicas y evolutivas útiles para diferentes formas de vida, sean humanas o no."
anthropocene  2017  architecture  capitalism  laspatronas  mexico  migration  borders  competition  cooperation  markets  sustainability  uncertainty  collectivism  accelerationism  groth  ecology  environment  ethelbaraonapohl  césarreyesnájera  dpr-barcelona 
november 2017 by robertogreco
kimberly rose drew on Twitter: "Tadao Ando wall text at the National Art Center was some of the most beautiful text I've ever encountered in a museum. https://t.co/xopnThMZeo"
"Tadao Ando wall text at the National Art Center was some of the most beautiful text I've ever encountered in a museum."

[image:

"Buildings and plants are similar in the sense that they will wither if neglected. They will not grow unless they are attentively watered or maintained and carefully looked after. Architecture is thus an endeavor not only for those who create it but also for all the people who use and nurture it.

A project to create a building and a project to create a forest have the same meaning to me as they both involve engaging with a site and imbuing it with new value. The tree-planting programs that I have led over the years, such as the Hyogo Green Network, Setouchi Olive Fund, Heisei-Era Alley of Cherry Blossoms Campaign, and Umi-no-Mori (Sea Forest), have all been projects to nurture forests through planting trees one at a time using funds donated by the general public. In other words, they have been initiatives premised on community participation. For me, this is the most important thing about these projects.

There is only so much that we can do to solve the problems of the environment as creators of buildings. In the end, it all comes down to the awareness and sensitivity of each and every person living within it. Imagine if everyone saw their everyday surroundings as their own problem and took action in whatever small way they could. There could be no endeavor more creative or richer with possibilities than this. I believe that such visions that people to think freely beyond preconceptions and existing frameworks will be crucial for our future."
tadoando  kimberlyrosedrew  architecture  environment  2017  forests  trees  everyday  responsibility  wareness  surroundings  treeplanting  multispecies  plants  maintenance  growth  care  caring 
november 2017 by robertogreco
About SYS [See Yourself Sensing: Redefining Human Perception] — Madeline Schwartzman
"See Yourself Sensing: Redefining Human Perception is an explosive and timely survey that explores the relationship between design, the body, technology and the senses over the last fifty years. Get ready to say goodbye to unconscious sensing and embrace cyborgs, post-humans, mediated reality and all manner of cutting edge sensory interventions like seeing with your tongue or plugging your nervous system directly into a computer. Astounding experiments with interaction design, cybernetics, neuroscience and art illustrate how we see and sense, and how artistic interpretation can undermine our fundamental perception of the world and ourselves.

The book presents the work of key practitioners in this field, from Rebecca Horn's mythical wearable structures and Stelarc's robotic body extensions, to Carsten Höllers' neurally interactive sculptures, as well as the work of artists who have emerged in the last five years, like Internet sensation Daito Manabe, Hyungkoo Lee and Michael Burton. The book explores projects such as solar-powered contact lenses that augment reality, LED eyelashes and goggles that allow one to communicate with electric fish, all created with the purpose of transforming and provoking the wearer's sensory experience. Madeline Schwartzman brings together this unique collection of images with provocative chapters and thoughtful descriptions of the concepts informing the work in this book."

[via: "It's an extended research project for her (incl. the book See Yourself Sensing - http://www.madelineschwartzman.com/see-yourself-sensing … - which I helped with the permissions for) and right now she's currently interviewing pilots about the sensory affordances of flying a plane."
https://twitter.com/chenoehart/status/930500542639489024 ]

[See also: http://www.madelineschwartzman.com/teaching/

via "Part of my inspiration for thinking about these vehicles from sensory POV comes from working with my former architecture professor Madeline Schwartzman, who gave us a design project to make a wearable device extending the sensory capabilities of our bodies"
https://twitter.com/chenoehart/status/930500099544719360 ]
madelineschwartzman  senses  sensing  sensory  architecture  design  perceptions  humans  bodies  body 
november 2017 by robertogreco
Making the Garden by Christopher Alexander | Articles | First Things
"Up until that time, I had accepted the academic, positivistic, scientific philosophy and practice of my youth. I had been trained in physics and ­mathematics, and assumed, virtually as part of my educational birthright, that these scientific disciplines could be relied on, and that I should not step outside the ­intellectual framework that they provided. But to solve the practical and conceptual problems in architecture, I now embarked on a study of a series of concepts that, though formulated more or less within scientific norms, nevertheless opened ways of ­thinking that were highly challenging to the academic ­establishment:

• Wholeness
• Value, as an objective concept
• Unfolding wholeness
• Connection with the inner self
• Centers
• Structure-preserving transformations
• Degrees of life

I introduced these concepts and a few others only because I found them essential to the task of thinking clearly about the life of buildings. Yet they were almost undefinable within the terms of contemporary scientific thinking. This was true to such a degree that even raising these topics as matters for discussion in professional architectural circles caused raised eyebrows, obstructive reactions, and little sincere effort to get to the bottom of the issues."



"I would like to summarize our work by explaining this new kind of empirical complex in the following way. In any part of what we call nature, or any part of a building, we see, at many levels of scale, coherent entities or centers, ­nested in each other, and overlapping each other. These ­coherent entities all have, in varying degree, some quality of “life.”

For any given center, this quality of life comes about as a result of cooperation between the other living centers at several scales, which surround it, contain it, and appear within it. The degree of life any one center has depends directly on the degrees of life that appear in its associated centers at these different scales. In short, the life of any given entity depends on the extent to which that entity had ­unfolded from its own previous wholeness, and from the wholeness of its surroundings.

When one contemplates this phenomenon soberly, it is hard to imagine how it comes about. But what is happening is, in effect, that life appears, twinkling, in each entity, and the cooperation of these twinkling entities creates further life. You may view this phenomenon as ordinary. Or you may think of it as the Buddhists of the Hua-Yen canon did, when they viewed it as the constantly changing God-like tapestry that is God, and from which life comes."



"My life began with childlike faith. After then going through the dark forests of positivistic science, to which I gladly gave myself for so many years, I was finally able, through contemplation of the whole, to emerge into the light of day with a view of things that is both visionary and empirical.

It is a view that has roots in faith, and from it builds bridges of scientific coherence towards a new kind of visionary faith rooted in scientific understanding. This new kind of faith and understanding is based on a new form of observation. It depends for its success on our belief (as human beings) that our feelings are legitimate. Indeed, my experiments have shown that in the form I have cast them, feelings are more legitimate and reliable, perhaps, than many kinds of experimental procedure.

It is in this way that I was led from architecture to the intellectual knowledge of God. It was my love of architecture and building from which I slowly formed an edifice of thought that shows us the existence of God as a necessary, real phenomenon as surely as we have previously known the world as made of space and matter."



"What is new is the discovery that the so-called subjective, or inner, view of things is no less objective than the objective or mechanical view of things. When questions about the subjective are asked carefully, and in the right way, they are as reliable as the experiments of physics. This understanding has led to a new view of experiment that uses the human being as a measuring instrument and leads to reliable, shared results when properly done."



"As I have said, grasping the wholeness, awakening our ability to see it and to adhere to it—these are all profound and often difficult. In order to understand these operations from a practical and mathematical point of view, we need to be guided by an inner voice, and I believe that voice is tantamount to a vision of God. Thus, although it is formless and shapeless, nevertheless it is this vision of God that draws us on.

That new vision can become a new source of inspiration and motivation. I call it new not because it is at root genuinely new. Of course it is not—it is ancient. But it is entirely new in our era to take such a thing with full seriousness, and to be able to derive from it well-fashioned, scientifically endowed conceptions of what is needed to heal a given place. It will not be governed by money or profit; it will not be governed by social politics; it will be governed simply by the desire and firm intention to make beauty (which is to say, true life) around us.

Perhaps that sounds as though it is not solid enough for sober and enlightened action. Quite the opposite is true. The vision of God we hold in our inner eye, which we draw from the hills and mountains, from the cities, towers, and bridges, from the great oak trees, and the small and tender arbors, from the stones and tiles that have been carefully laid, it is that which is God, and which we encounter as we try to find a vision of God in the world. It guides us, as if with a certain hand, towards a future which is yet more beautiful.

The capacity to make each brick, each path, each baluster, each windowsill a reflection of God lies in the heart of every man and every woman. It is stark in its simplicity. A world so shaped will lead us back to a sense of right and wrong and a feeling of well-being. This vision of the world—a real, solid physical world—will restore a vision of God. Future generations will be grateful to us if we do this work properly.

Taking architecture seriously leads us to the ­proper treatment of tiny details, to an understanding of the unfolding whole, and to an understanding—mystical in part—of the entity that underpins that wholeness. The path of architecture thus leads inexorably towards a renewed understanding of God. This is an understanding true within the canon of every religion, not connected with any one religion in particular, something which therefore moves us beyond the secularism and strife that has torn the world for more than a thousand years."
2016  christopheralexander  architecture  urban  urbanism  design  wholeness  value  spirituality  god  religion  enlightenment  beauty  aesthetics  form  shape 
november 2017 by robertogreco
Felipe Vera - Urbanismo Efimero - YouTube
"Charla en Scola da Cidade sobre ciudades temporales y el Kumbh Mela."

[1:41:33] "Déjame ver si entendí la pregunta. Me está preguntando cuáles con ls implicancias del urbanismo efímero para el tema patrimonial, en resumen? … Una cosa muy interesante, yo creo, es que nosotros tendemos en pensar en temas de conservación como temas de conservación de lo material. Estos caso del urbanismo efímero, cuando uno lo analiza, se da cuenta que el valor está en la práctica, en la praxis, en la conservación de maneras particulares de o bien reconstruir una ciudad o bien construir un ídolo y llevarlo y botarlo en un lugar para que se disvuelva o bien reformular todos los pasajes y cambiar la funcionalidad de algunos espacios urbanos. Entonces, lo que es interesante, yo creo que es interesante esto, sí ahora para las ciudades permanentes es decir en algún minuto vamos a tener que entender que la preservación arquitectónica no tiene que ver con parar el tiempo y con dejar que las cosas no se muevan, sino que va a tener que ver con como durar el cambio, modular el cambio a través de la memoria. Y en una formulación de ese tipo, pensar en la preservación como una práctica y no como la preservación de la forma y yo creo que nos pueda ayudar a desarollar nuevas estrategias."

[Translation (mine, quickly)]: "Let me see if I understand the question. In summary, you are asking me what are the implications of ephemeral urbanism with regard to cultural heritage? … Something very interesting, I think, is that when we think about conservation we tend to think about it in terms of the material. When you analyze these cases of ephemeral urbanism, you realize that the value is in the practice — the praxis — in the conservation of particular ways of things like rebuilding a city or constructing an idol and taking it and throwing it in a place that will make it dissolve, or reformulating all the passages and changing the function of some urban spaces. Then, what is interesting, I think, is to think about this for permanent cities and how at some time we are going to have to think about architectural preservation not as stopping time or preventing things from moving, but rather how to persist through change, how to manage change through memory. And think about preservation through practice and not the preservation of the form and I think that can help us develop new strategies."]

[More related bookmarks collected here:
https://pinboard.in/u:robertogreco/b:76144fff16c5 ]
felipevera  architecture  2015  ephemerality  ephemeral  kumbhmela  india  praxis  practice  heritage  conservation  preservation  culture  urbanism  urbanplanning  urbandesign  cities  design  process  craft  rahulmehrotra  memory  change 
october 2017 by robertogreco
Heterotopias |
"Heterotopias is a project focusing on the spaces and architecture of virtual worlds.

Heterotopias is both a digital zine and website, hosting studies and visual essays that dissect spaces of play, exploration, violence and ideology.

The zine can be bought from the pages listed on your left. Sales of the zine go directly to supporting the project.

For updates follow @heterotopiasZn or sign up to our newsletter.

Creator and Editor Gareth Damian Martin

Associate Editor Chris Priestman"
architecture  design  games  geography  gaming  videogames  chrispriestman  garethdamianmartin  vr  virtualreality  virtualworlds  play  exploration  violence  ideology 
october 2017 by robertogreco
srishti archive | Designing Spaces for Learning - Talk by Geetha Narayanan
"Experience or experimenting, expanding or developing, remembering or copying are all choices designers and educators make as they engage with notions of learning and of change. This paper presents a set of four case studies that articulate the pedagogical visions of a collective who have been investigating the connections between context, culture, consciousness and learning. Set within learning spaces for the urban poor and the elite this paper positions that fostering deep connections between place, space and the child is critical to the development of consciousness and competence. Designing spaces for learning needs, as this paper argues for an appreciation of forms of knowing that juxtaposes primary ways of knowing with the analytic and the designerly. Speaker : Geetha Narayanan (Principal Investigator, Project Vision Design and Research Collective, Centre for Education Research, Training and Development, Srishti School of Art Design & Technology) Seminar Date: March 23rd, 2010 Venue: National Institute of Advanced Studies (NIAS), Indian Institute of Science Campus Time: 3.00 p.m. Respondents: Prem Chandavarkar (Architect) & Ampat Varghese(Faculty at Srishti)"

[See also: https://vimeo.com/11049855 ]
geethanarayanan  education  learning  design  architecture  experimentation  pedagogy  2010  context  culture  consciousness  schooldesign 
october 2017 by robertogreco
Wiley: The Eyes of the Skin: Architecture and the Senses, 3rd Edition - Juhani Pallasmaa
"First published in 1996, The Eyes of the Skin has become a classic of architectural theory. It asks the far-reaching question why, when there are five senses, has one single sense – sight – become so predominant in architectural culture and design? With the ascendancy of the digital and the all-pervasive use of the image electronically, it is a subject that has become all the more pressing and topical since the first edition’s publication in the mid-1990s. Juhani Pallasmaa argues that the suppression of the other four sensory realms has led to the overall impoverishment of our built environment, often diminishing the emphasis on the spatial experience of a building and architecture’s ability to inspire, engage and be wholly life enhancing.

For every student studying Pallasmaa’s classic text for the first time, The Eyes of the Skin is a revelation. It compellingly provides a totally fresh insight into architectural culture. This third edition meets readers’ desire for a further understanding of the context of Pallasmaa’s thinking by providing a new essay by architectural author and educator Peter MacKeith. This text combines both a biographical portrait of Pallasmaa and an outline of his architectural thinking, its origins and its relationship to the wider context of Nordic and European thought, past and present. The focus of the essay is on the fundamental humanity, insight and sensitivity of Pallasmaa’s approach to architecture, bringing him closer to the reader. This is illustrated by Pallasmaa’s sketches and photographs of his own work. The new edition also provides a foreword by the internationally renowned architect Steven Holl and a revised introduction by Pallasmaa himself."

[via: https://www.instagram.com/p/BYOgbLqHRWb/ ]

[two different PDFs at:

http://arts.berkeley.edu/wp-content/uploads/2016/01/Pallasmaa_The-Eyes-of-the-Skin.pdf
http://home.fa.utl.pt/~al7531/pedidos/livros/Juhani%20Pallasmaa%20-%20Eyes%20of%20the%20Skin.pdf ]
books  toread  architecture  senses  multisensory  juhanipallasmaa  humans  bodies  stevenholl  sight  smell  sound  taste  texture  touch  humanism  sfsh  design  peterkeith  body 
august 2017 by robertogreco
Architecture + Design · SFMOMA
"Design affects atmosphere, alters perception, and even changes behavior. SFMOMA’s Architecture + Design collection connects audiences with pivotal works of design that influence contemporary culture. It brings innovative architecture and design into focus, revealing its powerful ability to enlighten, and often transform, our experience of and response to our world.

Long before architecture and design were a focus of museum collecting, SFMOMA was participating in discussions about their influence on environment and behavior. Though the Architecture + Design department wasn’t officially formed until 1983, in 1940 SFMOMA featured the groundbreaking Telesis exhibition, which focused on urban issues and architecture and prompted the city of San Francisco to establish an office of planning. Since then, the collection has featured historical and contemporary works of architecture, furniture, product design, and graphic design, as well as works of art that address these design disciplines."

[Examples:
Yves Béhar/fuseproject, One Laptop Per Child XO laptop computer, 2007
https://www.sfmoma.org/artwork/2008.83.A-B

Olivo Barbieri, site specific_ MONTREAL 04, 2004
https://www.sfmoma.org/artwork/2008.223

Ant Farm, Beyond Things Past, 1971-1972
https://www.sfmoma.org/artwork/2014.240.A-NN

Hiroshi Sugimoto, Chapel de Notre Dame du Haut I - Le Corbusier, 1998
https://www.sfmoma.org/artwork/2014.111

Giovanni Pintori, Olivetti Studio 44 typewriter poster, 1954
https://www.sfmoma.org/artwork/2008.175.1

Corita Kent, tomorrow the stars, 1966
https://www.sfmoma.org/artwork/2008.9 ]

[Exhibition:
Noguchi’s Playscapes
July 15–November 26, 2017
https://www.sfmoma.org/exhibition/noguchis-playscapes/ ]
sfmoma  sanfrancisco  california  architecture  design  antfarm  olivobarbieri  yvesbéhar  isamunoguchi  hiroshisugimoto  coritakent  sistercorita  giovannipintori  olivetti 
august 2017 by robertogreco
Memories of Underdevelopment | Museum of Contemporary Art San Diego
"In collaboration with Museo Jumex in Mexico City and the Museo de Arte de Lima, MCASD will present an exhibition examining the ways in which Latin American artists from the 1960s to the 1980s responded to the unraveling of the utopian promise of modernization after World War II, most notably in Argentina, Brazil, Mexico, and Venezuela. In the immediate postwar period, artists had eagerly embraced the “transition to modernity,” creating a new abstract geometric language meant to capture its idealistic possibilities. As modernization failed, and political oppression and brutal military dictatorships followed, avant-garde artists increasingly abandoned abstraction and sought new ways to connect with the public, engaging directly with communities and often incorporating popular strategies from film, theater, and architecture into their work. Memories of Underdevelopment will be the first significant survey exhibition of these crucial decades and will highlight the work not only of well-known artists such as Hélio Oiticica and Lygia Pape but also lesser-known artists from Colombia, Peru, Chile, and Uruguay.

Memories of Underdevelopment is organized by the Museum of Contemporary Art San Diego in partnership with the Museo de Arte de Lima and the Fundación Jumex Arte Contemporáneo. Lead support is provided through grants from the Getty Foundation. Additional support provided through a grant from the National Endowment for the Arts. This project has received generous underwriting support from Maryanne and Irwin Pfister and the LLWW Foundation. Institutional support of MCASD is provided by the City of San Diego Commission for Arts and Culture, and the County of San Diego Community Enhancement Fund."
colombia  chile  peru  uruguay  brazil  brasil  mexico  venezuela  latinamerica  argentina  héliooiticica  lygiapape  modernity  development  mcasd  tosee  togo  1960s  1970s  1980s  art  architecture 
august 2017 by robertogreco
The origin of the '80s aesthetic - YouTube
"Memphis Design movement dominated the '80s with their crazy patterns and vibrant colors. Many designers and architects from all around the world contributed to the movement in order to escape from the strict rules of modernism. Although their designs didn't end up in people's homes, they inspired many designers working in different mediums. After their first show in Milan in 1981, everything from fashion to music videos became influenced by their visual vocabulary."
1980s  memphisdesign  ettoresottsass  1981  glennadamson  georgesowdenpetershire  michaelgraves  design  furniture  architecture  graphicdesign  graphics  radicaldesign  radicalism  milan  mtv  1987 
august 2017 by robertogreco
Bureau Spectacular
"BUREAU SPECTACULAR is an operation of architectural affairs founded and led by Jimenez Lai since 2008. It is located in Los Angeles.

BUREAU SPECTACULAR imagines other worlds and engages the design of architecture through telling stories. Beautiful stories about character development, relationships, curiosities and attitudes; absurd stories about fake realities that invite enticing possibilities. The stories conflate design, representation, theory, criticism, history and taste into cartoon pages. These cartoon narratives swerve into the physical world through architectural installations, models and small buildings.

BUREAU SPECTACULAR is a group of individuals who practice architecture through the contemplation of art, history, politics, sociology, linguistics, mathematics, graphic design, technology, and storytelling. We often find ourselves at the crossroads of all disciplines, yet comfortably embracing the healthy intersections between the many intellectual human discourses."



"JIMENEZ LAI works in the world of art, architecture and education. Previously, Jimenez Lai lived and worked in a desert shelter at Taliesin and resided in a shipping container at Atelier Van Lieshout on the piers of Rotterdam. Before founding Bureau Spectacular, Lai worked for various international offices, including MOS and OMA. Lai is widely exhibited and published around the world, including the MoMA-collected White Elephant. His first book, Citizens of No Place, was published by Princeton Architectural Press with a grant from the Graham Foundation. Draft II of this book has been archived at the New Museum as a part of the show Younger Than Jesus. Lai has won various awards, including the Architectural League Prize for Young Architects and Debut Award at the Lisbon Triennale. In 2014, Lai designed theTaiwan Pavilion at the 14th Venice Architectural Biennale. In 2015, Lai organized the Treatise exhibition and publication series at the Graham Foundation. In 2017, Lai and his studio exhibited a large scale installation at SFMOMA based on the drawing insideoutsidebetweenbeyond, 2014 which the Museum acquired in 2015.



JOANNA GRANT received her M.Arch from Princeton University. She has worked for architecture offices in Los Angeles, Chicago, Guangzhou, and Shenzhen for a diverse range of internationally renowned firms, including the L.A. based firm, Johnston Marklee & Associates. She has previously worked with Beatriz Colomina on a research projects of couples in architecture, as well as the Danish office ADEPT Architects in their Chinese satellite firm. In 2013 she became a member of Bureau Spectacular, assisting in multiple competitions in which they were awarded honorable mentions or finalists, and the winning proposal for the Taiwan pavilion for the 2014 Venice Biennale. Joanna curates the blog "Cloudzwatching," which features student design work from schools across the United States. She has contributed to Conditions Magazine and Nova Organa, and recently organized a conference at Princeton University called "& Delight" with Kevin Pazik. Her work has been described as "Takashi Murakami meets Mario Botta." She likes rainbowy, cute and fluffy architecture. And Postmodernism."

[via: https://www.sfmoma.org/exhibition/bureau-spectacular/ ]

See also some posts about the SFMOMA exhibit:
http://archinect.com/features/article/149995194/new-bureau-spectacular-exhibition-at-sfmoma-explores-the-narrative-properties-of-architecture
https://archpaper.com/2017/02/bureau-spectacular-insideoutsidebetweenbeyond-exhibition/
https://www.dezeen.com/2017/03/10/bureau-spectacular-shows-fantastical-architectural-models-san-francisco-museum-modern-art-sfmoma/ ]

[See also: "Citizens of No Place"
http://graphic-novel-architecture.com/#/lai/
https://www.amazon.com/Citizens-No-Place-Architectural-Graphic/dp/1616890622
http://www.papress.com/html/product.details.dna?isbn=9781616890629
http://www.archdaily.com/253563/citizens-of-no-place-jimenez-lai

See also: "When I Grow Up"
http://miamirail.org/spring-2017/when-i-grow-up/
http://bureau-spectacular.net/when-i-grow-up/ ]
jimenezlai  architects  comics  design  architecture  bureauspectacular  sfmoma  sfsh  classideas  joannagrant  education  art 
august 2017 by robertogreco
Birdhouses: Miniature mansions of Istanbul - Daily Sabah
"A very compassionate offering to feathered friends, the history of bird houses adorning mosques, inns and bridges around Turkey go back a long way. An important expression of love for animals, these birdhouses are an element of Ottoman-era architecture with their intricate designs and tiny architecture

The Ottomans established foundations (Waqf) for helping street dogs to find food, birds to drink water on hot days, storks to be treated when they are injured, wolves to be fed with meat or wounded horses to receive treatment. They built birdhouses on the facades of mosques, madrasahs or palaces that had sunlight and no wind, at a height that people couldn't reach. They also placed small plates on graves from which birds could drink water.

Bird love

In the past, more people had a reputation for bird loving. There were many families feeding birds at home. Children were treating them as if they were family. More or less, birds helped people to cure their loneliness. Storks, pigeons, sparrows and swallows used to fearlessly make their nests on rooftops or chimneys of any building. Located in the western city of Bursa, the "Gurabahane-i Laklakan" (The Home for Homeless Storks), which still stands, was built to treat wounded storks centuries ago.

On the other side, birds, particularly pigeons, were the regular guests of mosques. Muslims observing prayers at the mosque used to feed these birds and the mosque courtyards were surrounded by birds.

A special element in Ottoman-era mosque architecture, gracious birdhouses have a unique place. These small houses helped to provide birds with shelter and prevented bird droppings from polluting and corroding mosque walls. From a religious perspective, it was believed that if a person builds a bird house, he gains good deeds because the birds find shelter there.

The birdhouses were designed to shelter any bird flying freely around such as sparrows, wisecracks, swallows, pigeons and storks. A small nest carved into the walls is actually an architectural masterpiece. Birdhouses also have other names given to them by the public such as "kuş köşkü" (bird pavilions), "güvercinlik" (dovecots) and "serçe saray" (sparrow palace). They can be seen not only at mosques, but also in inns, libraries, madrasahs, schools, aqueducts, fountains and even on walls. By doing so, locals from every age group and social class were infused with love and mercy for animals.

During the Ottoman era, functionality and aesthetics were both important while creating. The birdhouses were built using very elaborate techniques. There were either one-story and one-section houses or multiple-story and multiple-section houses. Among those that were built as multi-story, there were even some birdhouses that were built in the shape of a palace or mosque. There were two steps for building birdhouses. The first one was carving the wall and the second was assembling it to the wall. With elaborate door and window details, the houses were crowned with a roof, dome and vault.

Reminiscent of a palace

Some birdhouses have managed to survive until today. The oldest birdhouse in Istanbul is located on the Büyükçekmece Bridge. Those which were built in the 17th century, are still seen on the walls of Eminönü Yeni Valide Mosque. Other birdhouses that were built with different techniques at the end of 18th century and are located on three facades of the Üsküdar Yeni Valide Mosque are some of the well-preserved examples of this architectural style. One of them is in the shape of a house and the other two are in the shape of a mosque with two minarets.

However, the birdhouses built in 1760 and located in Ayazma Mosque in Üsküdar set the most brilliant examples of this type. Birdhouses in different styles, such as one-story houses, pavilion's and palace's, sparkle on three facades of the mosque. The plate of Eyüp Mosque, which dates back to 1800, is encrusted with birdhouses. One of the birdhouses in the shape of a two-story pavilion is located on a console. Also, the hemstitched windows of a two-story birdhouse in Üsküdar Selimiye Mosque opened in 1801 are striking. There are also two birdhouses in the mausoleum of Sultan Selim III in Laleli.

It is possible to see birdhouses in other formal or civil architecture examples. The birdhouse on the wall of Seyyid Hasan Pasha Madrasa in Beyazıt, which dates back to 1745, differs from the others with the "Malakari" technique. It was built in the shape of a mosque with two minarets. There is another birdhouse that is in the shape of a pavilion covered with two vaults on the Bereketzade Madrasah.

The birdhouse on Taksim Maksemi, a building that was built in 1732 for the aim of distribution of water in the city is one-story, but has three rooms. Another birdhouse on İbrahim Tennûrî Fountain in Kayseri is one of the remarkable examples of Anatolian birdhouse architecture.

There is a birdhouse on the wall of the library of Fatih Mosque, which was built upon the commission of the Sultan Mahmud I, with two stories and six rooms. Apparently, Ottoman Sultan Mahmud I, who was known for his passion for books and the libraries he built, also loved and had mercy for birds.

The golden age

There is another birdhouse with remarkable brickwork and chambers carved into the wall in Ragıp Pasha Library in Laleli. Another birdhouse from 1800, which is in the shape of a two-story pavilion, is located on a fountain in front of Şah Sultan School in Eyüp, while another one in the inner court of Darphane in Istanbul is in the shape of a magnificent chateau. Most birdhouses that survived until today are from the 18th century. Similarly, all of the works that were done by Sultan Selim III, one of the sultans in the 18th century, included these birdhouses.

The Taş Han in Laleli sets a good example of the application of birdhouses of inn architecture. One-story, multiple-story and multiple-chambered bird houses were built on the limestone that goes along the wall. The Spice Bazaar in Eminönü also has different birdhouses. Shopkeepers put food on these houses, which are located on the bazaar's section facing the Marmara Sea every morning before they open their stores.

There are birdhouses on the walls of houses in Istanbul and Anatolia, too. Some of them were built at the same time as the home itself and some were added to the homes later. Even though there are a limited number of these houses, few can still be seen. Some of the birdhouses on some homes along Bağdat Avenue have also survived until today."
via:tealtan  birds  birdhouses  istabul  multispecies  2016  human-animalrelations  human-animalrelationships  animals  nature  architecture  classideas 
july 2017 by robertogreco
how to do nothing – Jenny Odell – Medium
[video: https://vimeo.com/232544904 ]

"What I would do there is nothing. I’d just sit there. And although I felt a bit guilty about how incongruous it seemed — beautiful garden versus terrifying world — it really did feel necessary, like a survival tactic. I found this necessity of doing nothing so perfectly articulated in a passage from Gilles Deleuze in Negotiations:
…we’re riddled with pointless talk, insane quantities of words and images. Stupidity’s never blind or mute. So it’s not a problem of getting people to express themselves but of providing little gaps of solitude and silence in which they might eventually find something to say. Repressive forces don’t stop people expressing themselves but rather force them to express themselves; what a relief to have nothing to say, the right to say nothing, because only then is there a chance of framing the rare, and ever rarer, thing that might be worth saying. (emphasis mine)

He wrote that in 1985, but the sentiment is something I think we can all identify with right now, almost to a degree that’s painful. The function of nothing here, of saying nothing, is that it’s a precursor to something, to having something to say. “Nothing” is neither a luxury nor a waste of time, but rather a necessary part of meaningful thought and speech."



"In The Bureau of Suspended Objects, a project I did while in residence at Recology SF (otherwise known as the dump), I spent three months photographing, cataloguing and researching the origins of 200 objects. I presented them as browsable archive in which people could scan the objects’ tags and learn about the manufacturing, material, and corporate histories of the objects.

One woman at the Recology opening was very confused and said, “Wait… so did you actually make anything? Or did you just put things on shelves?” (Yes, I just put things on shelves.)"



"That’s an intellectual reason for making nothing, but I think that in my cases, it’s something simpler than that. Yes, the BYTE images speak in interesting and inadvertent ways about some of the more sinister aspects of technology, but I also just really love them.

This love of one’s subject is something I’m provisionally calling the observational eros. The observational eros is an emotional fascination with one’s subject that is so strong it overpowers the desire to make anything new. It’s pretty well summed up in the introduction of Steinbeck’s Cannery Row, where he describes the patience and care involved in close observation of one’s specimens:
When you collect marine animals there are certain flat worms so delicate that they are almost impossible to capture whole, for they break and tatter under the touch. You must let them ooze and crawl of their own will onto a knife blade and then lift them gently into your bottle of sea water. And perhaps that might be the way to write this book — to open the page and let the stories crawl in by themselves.

The subject of observation is so precious and fragile that it risks breaking under even the weight of observation. As an artist, I fear the breaking and tattering of my specimens under my touch, and so with everything I’ve ever “made,” without even thinking about it, I’ve tried to keep a very light touch.

It may not surprise you to know, then, that my favorite movies tend to be documentaries, and that one of my favorite public art pieces was done by the documentary filmmaker, Eleanor Coppola. In 1973, she carried out a public art project called Windows, which materially speaking consisted only of a map with a list of locations in San Francisco.

The map reads, “Eleanor Coppola has designated a number of windows in all parts of San Francisco as visual landmarks. Her purpose in this project is to bring to the attention of the whole community, art that exists in its own context, where it is found, without being altered or removed to a gallery situation.” I like to consider this piece in contrast with how we normally experience public art, which is some giant steel thing that looks like it landed in a corporate plaza from outer space.

Coppola instead casts a subtle frame over the whole of the city itself as a work of art, a light but meaningful touch that recognizes art that exists where it already is."



"What amazed me about birdwatching was the way it changed the granularity of my perception, which was pretty “low res” to begin with. At first, I just noticed birdsong more. Of course it had been there all along, but now that I was paying attention to it, I realized that it was almost everywhere, all day, all the time. In particular I can’t imagine how I went most of my life so far without noticing scrub jays, which are incredibly loud and sound like this:

[video]

And then, one by one, I started learning other songs and being able to associate each of them with a bird, so that now when I walk into the the rose garden, I inadvertently acknowledge them in my head as though they were people: hi raven, robin, song sparrow, chickadee, goldfinch, towhee, hawk, nuthatch, and so on. The diversification (in my attention) of what was previously “bird sounds” into discrete sounds that carry meaning is something I can only compare to the moment that I realized that my mom spoke three languages, not two.

My mom has only ever spoken English to me, and for a very long time, I assumed that whenever my mom was speaking to another Filipino person, that she was speaking Tagalog. I didn’t really have a good reason for thinking this other than that I knew she did speak Tagalog and it sort of all sounded like Tagalog to me. But my mom was actually only sometimes speaking Tagalog, and other times speaking Ilonggo, which is a completely different language that is specific to where she’s from in the Philippines.

The languages are not the same, i.e. one is not simply a dialect of the other; in fact, the Philippines is full of language groups that, according to my mom, have so little in common that speakers would not be able to understand each other, and Tagalog is only one.

This type of embarrassing discovery, in which something you thought was one thing is actually two things, and each of those two things is actually ten things, seems not only naturally cumulative but also a simple function of the duration and quality of one’s attention. With effort, we can become attuned to things, able to pick up and then hopefully differentiate finer and finer frequencies each time.

What these moments of stopping to listen have in common with those labyrinthine spaces is that they all initially enact some kind of removal from the sphere of familiarity. Even if brief or momentary, they are retreats, and like longer retreats, they affect the way we see everyday life when we do come back to it."



"Even the labyrinths I mentioned, by their very shape, collect our attention into these small circular spaces. When Rebecca Solnit, in her book Wanderlust, wrote about walking in the labyrinth inside the Grace Cathedral in San Francisco, she said, “The circuit was so absorbing I lost sight of the people nearby and hardly heard the sound of the traffic and the bells for six o’clock.”

In the case of Deep Listening, although in theory it can be practiced anywhere at any time, it’s telling that there have also been Deep Listening retreats. And Turrell’s Sky Pesher not only removes the context from around the sky, but removes you from your surroundings (and in some ways, from the context of your life — given its underground, tomblike quality)."



"My dad said that leaving the confined context of a job made him understand himself not in relation to that world, but just to the world, and forever after that, things that happened at work only seemed like one small part of something much larger. It reminds me of how John Muir described himself not as a naturalist but as a “poetico-trampo-geologist-botanist and ornithologist-naturalist etc. etc.”, or of how Pauline Oliveros described herself in 1974: “Pauline Oliveros is a two legged human being, female, lesbian, musician, and composer among other things which contribute to her identity. She is herself and lives with her partner, along with assorted poultry, dogs, cats, rabbits and tropical hermit crabs.” Incidentally, this has encouraged me to maybe change my bio to: “Jenny Odell is an artist, professor, thinker, walker, sleeper, eater, and amateur birdnoticer.”

3. the precarity of nothing

There’s an obvious critique of all of this, and that’s that it comes from a place of privilege. I can go to the rose garden, or stare into trees all day, because I have a teaching job that only requires me to be somewhere two days a week, not to mention a whole set of other privileges. Part of the reason my dad could take that time off was that on some level, he had enough reason to think he could get another job. It’s possible to understand the practice of doing nothing solely as a self-indulgent luxury, the equivalent of taking a mental health day if you’re lucky enough to work at a place that has those.

But here I come back to Deleuze’s “right to say nothing,” and although we can definitely say that this right is variously accessible or even inaccessible for some, I believe that it is indeed a right. For example, the push for an 8-hour workday in 1886 called for “8 hours of work, 8 hours of rest, and 8 hours of what we will.” I’m struck by the quality of things that associated with the category “What we Will”: rest, thought, flowers, sunshine.

These are bodily, human things, and this bodily-ness is something I will come back to. When Samuel Gompers, who led the labor group that organized this particular iteration of the 8-hour movement, was asked, “What does labor want?” he responded, “It wants the earth and the fullness thereof.” And to me it seems significant that it’s not 8 hours of, say, “leisure” or “… [more]
jennyodell  idleness  nothing  art  eyeo2017  photoshop  specimens  care  richardprince  gillesdeleuze  recology  internetarchive  sanfrancisco  eleanorcoppola  2017  1973  maps  mapping  scottpolach  jamesturrell  architecture  design  structure  labyrinths  oakland  juliamorgan  chapelofthechimes  paulineoliveros  ucsd  1970s  deeplisening  listening  birds  birdwatching  birding  noticing  classideas  observation  perception  time  gracecathedral  deeplistening  johncage  gordonhempton  silence  maintenance  conviviality  technology  bodies  landscape  ordinary  everyday  cyclicality  cycles  1969  mierleladermanukeles  sensitivity  senses  multispecies  canon  productivity  presence  connectivity  conversation  audrelorde  gabriellemoss  fomo  nomo  nosmo  davidabram  becominganimal  animals  nature  ravens  corvids  crows  bluejays  pets  human-animalrelations  human-animalelationships  herons  dissent  rowe  caliressler  jodythompson  francoberardi  fiverr  popos  publicspace  blackmirror  anthonyantonellis  facebook  socialmedia  email  wpa  history  bayarea  crowdcontrol  mikedavis  cityofquartz  er 
july 2017 by robertogreco
What's Wrong with Apple's New Headquarters | WIRED
"But … one more one more thing. You can’t understand a building without looking at what’s around it—its site, as the architects say. From that angle, Apple’s new HQ is a retrograde, literally inward-looking building with contempt for the city where it lives and cities in general. People rightly credit Apple for defining the look and feel of the future; its computers and phones seem like science fiction. But by building a mega-headquarters straight out of the middle of the last century, Apple has exacerbated the already serious problems endemic to 21st-century suburbs like Cupertino—transportation, housing, and economics. Apple Park is an anachronism wrapped in glass, tucked into a neighborhood."



"Apple Park isn’t the first high-end, suburban corporate headquarters. In fact, that used to be the norm. Look back at the 1950s and 1960s and, for example, the Connecticut General Life Insurance HQ in Hartford or John Deere’s headquarters in Moline, Illinois. “They were stunningly beautiful, high modernist buildings by quality architects using cutting-edge technology to create buildings sheathed in glass with a seamless relationship between inside and outside, dependent on the automobile to move employees to the site,” says Louise Mozingo, a landscape architect at UC Berkeley and author of Pastoral Capitalism: A History of Suburban Corporate Landscapes. “There was a kind of splendid isolation that was seen as productive, capturing the employees for an entire day and in the process reinforcing an insular corporate culture.”

By moving out of downtown skyscrapers and building in the suburbs, corporations were reflecting 1950s ideas about cities—they were dirty, crowded, and unpleasantly diverse. The suburbs, though, were exclusive, aspirational, and architectural blank slates. (Also, buildings there are easier to secure and workers don’t go out for lunch where they might hear about other, better jobs.) It was corporatized white flight. (Mozingo, I should add, speaks to this retrograde notion in Levy’s WIRED story.)

Silicon Valley, though, never really played by these rules. IBM built a couple of research sites modeled on its East Coast redoubts, but in general, “Silicon Valley has thrived on using rather interchangeable buildings for their workplaces,” Mozingo says. You start in a garage, take over half a floor in a crummy office park, then take over the full floor, then the building, then get some venture capital and move to a better office park. “Suddenly you’re Google, and you have this empire of office buildings along 101."

And then when a bust comes or your new widget won’t widge, you let some leases lapse or sell some real estate. More than half of the lot where Apple sited its new home used to be Hewlett Packard. The Googleplex used to be Silicon Graphics. It’s the circuit of life.

Except when you have a statement building like the Spaceship, the circuit can’t complete. If Apple ever goes out of business, what would happen to the building? The same thing that happened to Union Carbide’s. That’s why nobody builds these things anymore. Successful buildings engage with their surroundings—and to be clear, Apple isn’t in some suburban arcadia. It’s in a real live city, across the street from houses and retail, near two freeway onramps.

Except the Ring is mostly hidden behind artificial berms, like Space Mountain at Disneyland. “They’re all these white elephants. Nobody knows what the hell to do with them. They’re iconic, high-end buildings, and who cares?” Mozingo says. “You have a $5 billion office building, incredibly idiosyncratic, impossible to purpose for somebody else. Nobody’s going to move into Steve Jobs’ old building.”"



"The problems in the Bay Area (and Los Angeles and many other cities) are a lot more complicated than an Apple building, of course. Cities all have to balance how they feel about adding jobs, which can be an economic benefit, and adding housing, which also requires adding expensive services like schools and transit. Things are especially tough in California, where a 1978 law called Proposition 13 radically limits the amount that the state can raise property taxes yearly. Not only did its passage gut basic services the state used to excel at, like education, but it also turned real estate into the primary way Californians accrued and preserved personal wealth. If you bought a cheap house in the 1970s in the Bay Area, today it’s a gold mine—and you are disincentivized from doing anything that would reduce its value, like, say, allowing an apartment building to be built anywhere within view.

Meanwhile California cities also have to figure out how to pay for their past employees’ pensions, an ever-increasing percentage of city budgets. Since they can’t tax old homes and can’t build new ones, commercial real estate and tech booms look pretty good. “It’s a lot to ask a corporate campus to fix those problems,” Arieff says.

But that doesn’t mean that it shouldn’t try. Some companies are: The main building of the cloud storage company Box, for example, is across the street from the Redwood City CalTrain station, and the company lets people downtown park in its lot on weekends. “The architecture is neither here nor there, but it’s a billion times more effective than the Apple campus,” Arieff says. That’s a more contemporary approach than building behind hills, away from transit.

When those companies are transnational technology corporations, it’s even harder to make that case. “Tech tends to be remarkably detached from local conditions, primarily because they’re selling globally,” says Ed Glaeser, a Harvard economist who studies cities. “They’re not particularly tied to local suppliers or local customers.” So it’s hard to get them to help fix local problems. They have even less of an incentive to solve planning problems than California homeowners do. “Even if they see the problem and the solution, there’s not a way to sell that. This is why there are government services,” Arieff says. “You can’t solve a problem like CalTrain frequency or the jobs-to-housing ratio with a market-based solution.”

Cities are changing; a more contemporary approach to commercial architecture builds up instead of out, as the planning association’s report says. Apple’s ring sites 2.5 million square feet on 175 acres of rolling hills and trees meant to evoke the Stanford campus. The 60-story tall Salesforce Tower in San Francisco has 1.5 million square feet, takes up about an acre, has a direct connection to a major transit station—the new Transbay Terminal—and cost a fifth of the Apple ring. Stipulated, the door handles probably aren’t as nice, but the views are killer.

The Future

Cupertino is the kind of town that technology writers tend to describe as “once-sleepy” or even, and this should really set off your cliche alarm, “nondescript.” But Shrivastava had me meet her for coffee at Main Street Cupertino, a new development that—unlike the rotten strip malls along Stevens Creek Blvd—combines cute restaurants and shops with multi-story residential development and a few hundred square feet of grass that almost nearly sort of works as a town square.

Across the actual street from Main Street, the old Vallco Mall—one of those medieval fortress-like shopping centers with a Christmas-sized parking lot for a moat—has become now Cupertino’s most hotly debated site for new development. (The company that built Main Street owns it.) Like all the other once-sleepy, nondescript towns in Silicon Valley, Cupertino knows it has to change. Shrivastava knows that change takes time.

It takes even longer, though, if businesses are reluctant partners. In the early 20th century, when industrial capitalists were first starting to get really, really rich, they noticed that publicly financed infrastructure would help them get richer. If you own land that you want to develop into real estate, you want a train that gets there and trolleys that connect it to a downtown and water and power for the houses you’re going to build. Maybe you want libraries and schools to induce families to live there. So you team up with government. “In most parts of the US, you open a tap and drink the water and it won’t kill you. There was a moment when this was a goal of both government and capital,” Mozingo says. “Early air pollution and water pollution regulations were an agreement between capitalism and government.”

Again, in the 1930s and 1940s, burgeoning California Bay Area businesses realized they’d need a regional transit network. They worked for 30 years alongside communities and planners to build what became BART, still today a strange hybrid between regional connector and urban subway.

Tech companies are taking baby steps in this same direction. Google added housing to the package deal surrounding the construction of its new HQ in the North Bayshore area—nearly 10,000 apartments. (That HQ is a collection of fancy pavilion-like structures from famed architect Bjarke Ingels.) Facebook’s new headquarters (from famed architect Frank Gehry) is supposed to be more open to the community, maybe even with a farmers’ market. Amazon’s new headquarters in downtown Seattle, some of 10 million square feet of office space the company has there, comes with terrarium-like domes that look like a good version of Passengers.

So what could Apple have built? Something taller, with mixed-use development around it? Cupertino would never have allowed it. But putting form factor aside, the best, smartest designers and architects in the world could have tried something new. Instead it produced a building roughly the shape of a navel, and then gazed into it.

Steven Levy wrote that the headquarters was Steve Jobs’ last great project, an expression of the way he saw his domain. It may look like a circle, but it’s actually a pyramid—a monument… [more]
apple  urbanism  cities  architects  architecture  adamrogers  2017  applecampus  cupertino  suburbia  cars  civics  howbuildingslearn  stevejobs  design  housing  publictransit  civicresponsibility  corporations  proposition13  bart  allisonarieff  bayarea  1030s  1940s  1950s  facebook  google  amazon  seattle  siliconvalley  isolationism  caltrain  government  capitalism  publicgood  louisemozingo  unioncarbide  ibm  history  future  landscape  context  inequality 
june 2017 by robertogreco
Indian Summer – Boom California
"You follow the execution of architectural plans with the extreme precision of a surgeon. In your line of work, perfection is a requirement. From the structural integrity of the foundation to the application of a subtle shade of paint, you meticulously manage every detail. The architect and contractor are conciliatory as you are kind but assertive, even forming your commands as gentle requests followed by astute observations and independent research. That is to say, before you make your recommendations, you hit the books, study the matter, prepare with knowing. Your assumption of authority has been learned in the military, but of gentleness, trained at the hospital bedside. But there is another veneer not so easily interpreted. You were born into one of the few Japanese families in a small rural town in Montana. Your father came at the turn of the century, labored as a foreman to complete the Northern Pacific—Minnesota to Spokane, and one day made enough to pay for your mother’s passage, a picture bride. As you come of age, you and your family represent an enemy from a place you have never known. To compare the small tightknit fishing villages of your parents to the rugged mountainous cowboy town of your upbringing is to imagine a folktale about two distant and exotic lands. If only it were a folktale and not a navigation through territories of hatred. Within months after the bombing of Pearl Harbor, you are aware that less than 200 miles away, across the border in Wyoming, 10,000 Japanese Americans evicted from the West Coast have been incarcerated in the same spectacular but desolate landscape in which you continue to be free. But it is a perilous freedom, especially for your immigrant parents designated enemy aliens. Thus every movement, every action, every facial expression must avoid trouble, anticipate a precarious future. Like any other kid from Montana, your older brother volunteers for the military. Your mother embroiders a thousand knots into a woven cotton belt that he obediently wears under his uniform, a protective talisman; so he returns but only to be killed in peacetime. You follow your brother’s path as if to complete what can never be completed, but you are driven to succeed. You skip lunch and drive from your practice at midday to see the rising stone escarpment, 650 tons of quarried Arizona sandstone, flashing a toothy grin toward the Pacific, a gesture of grandeur and place against a precarious future."
california  2017  karenteiyamashita  santacruz  franklloydwright  architecture  bayarea  aarongreen  fiction 
may 2017 by robertogreco
Jay Owens en Instagram: “Book 11 completed of 2016 is a guidebook, and I wouldn't normally count these in the year's reading tally except this one's Atlas Obscura…”
""hautepop: Book 11 completed of 2016 is a guidebook, and I wouldn't normally count these in the year's reading tally except this one's Atlas Obscura good. 111 one-page stories about the city's buildings, history & development - from the stones from a C12th Spanish monastery that lie, "like quiet odes to Ozymandias", in the Golden Gate Park arboretum, to the first European settlement of the city at Mission Dolores, and the graves of the Miwok & Ohlone people they enslaved. The Grace Cathedral labyrinths, the parrots on Telegraph Hill, the Tenderloin National Forest.

This series - from a German publisher - covers a number of Western European cities, Istanbul and NY. Worth checking out.

Background: spoils of the Christopher Kane menswear/tees sample sale I stumbled upon on Friday.

I saw... #8 the Armory, #13 Bay Lights, #37 Fog Bridge at the Exploratorium, #40 Frank Lloyd Wright Building, #47 the green roof of the Academy of Sciences, Renzo Piano, #55 Interval at the Long Now, #63 the Malloch Building, #75 de Young Museum, Herzog & de Meuron (but not up the observation tower), #79 Telegraph Hill (but not parrots), #110 Wave Organ. Evidently need to go back...

zerosociety: "...from the stones from a C12th Spanish monastery that lie..." There's a second location where stones form that monastery can be found -- the semi-hidden "Monarch Bear Grove." The grove stands on the spot where the old Monarch bear enclosure once stood, not too far from the AIDS Memorial Grove. It's not as hidden as it was even a few years ago thanks to park construction, but it's been a sacred site for Bay Area Druids and Pagans, allegedly going back to the 40's.""
jayowens  books  sanfrancisco  toread  2017  history  ohlone  miwok  spanish  telegraphhill  deyoung  californiaacademyofsciences  rnezopiano  franklloydwright  exploratorium  architecture  culture 
may 2017 by robertogreco
Vito Acconci, Performance Artist and Uncommon Architect, Dies at 77 - The New York Times
"Some performances might have gotten him arrested, though Mr. Acconci also seemed to possess the instincts of a cat burglar. In one of his most famous early works, “Following Piece,” from 1969, he spent each day for almost a month following a person picked at random on the streets of Manhattan, sometimes taking a friend along to photograph the action. The rules were only that Mr. Acconci had to keep following the person until he or she entered a private place where he couldn’t go in.

Mr. Acconci saw himself not as a stalker but as an unmoored soul searching for direction.

“It was sort of a way to get myself off the writer’s desk and into the city,” he once told the musician Thurston Moore. “It was like I was praying for people to take me somewhere I didn’t know how to go myself.”

The dozens of performance pieces that followed through the early 1970s, many of them now little-known, featured varying elements of bodily discomfort, exhibitionism and gender play — elements he shared with other artists of the time, particularly female — as well as a devious wit and a Svengali aura that were Mr. Acconci’s own.

In “Seedbed” (1972) — Mr. Acconci’s most infamous piece, which came to overshadow much of his other work — he constructed an angled false floor at the Sonnabend Gallery in SoHo and hid himself beneath it with a microphone; as people walked above him he spoke to them as he masturbated. The piece became a touchstone of performance art in part because of its sheer, outlandish audacity.

But it also underscored Mr. Acconci’s abiding interest in art that did not exist as an object set apart from the world, in a frame or on a plinth, but as something deeply embedded in everyday life.

“I wanted people to go through space somehow, not to have people in front of space, looking at something, bowing down to something,” he said of the performance in an interview with The New York Times in 2016 on the occasion of a retrospective at MoMA PS 1 in Queens. “I wanted space people could be involved in.”

That ambition took hold fully in the mid-1970s, when, in a radical career turn, he abandoned the gallery world and remade himself as a highly unorthodox architect and designer, creating works like public parks, airport rest areas and even an artificial island on a river in Austria.

The move confused his peers and caused his profile in the art world to recede, to the point where many younger artists who were indirectly influenced by his work had little idea who had created it. In his later years, Mr. Acconci sometimes agonized over this situation, but he said he had no choice but to follow his interests where they took him — which was no less than an ambition to change the way people lived.

“I wish we could make buildings that could constantly explode and come back in different ways,” he said in one interview. “The idea of a changing environment suggests that if your environment changes all the time, then maybe your ideas will change all the time. I think architecture should have loose ends. This might be another problem with Modernism — it’s too complete within itself.”

Vito Hannibal Acconci was born on Jan. 4, 1940, and raised in the Bronx in a tightly knit Italian-Catholic family. His father, Hamilcar — Hamilcar Barca was the father of the Carthaginian general Hannibal, hence Mr. Acconci’s unusual middle name — was a bathrobe manufacturer whose business was never very good. His mother, Chiara, known as Catherine, worked as a school cafeteria attendant to help makes ends meet.

Mr. Acconci spoke often about how his father’s unusual name, and his love of literature and opera, sparked a fierce interest in words at an early age. (“I prefer Hannibal to Vito,” he once told an interviewer, “but, then again, that was before ‘Silence of the Lambs.’”)

His father died when Mr. Acconci was in his early 20s. He said he was spoiled and protected long into adulthood by his mother, whom he labored to keep in ignorance of the shocking specifics of his work.

In 1962, he enrolled in the graduate writing program at the University of Iowa, in thrall to postmodern writers like Alain Robbe-Grillet and John Hawkes. He married a fellow artist, Rosemary Mayer (they divorced in the late 1960s), and with her sister, the poet and artist Bernadette Mayer, he published a journal called “0 to 9,” after the numeral paintings of Jasper Johns.

By 1969, in what he called “a kind of fever,” he was making performances at a rate of sometimes several a week, documenting them in a decidedly analog archive of metal filing cabinets that grew vast toward the end of his life, taking up a large room in the studio in the Dumbo neighborhood of Brooklyn, where he and Maria Acconci ran Acconci Studios, a design and architecture firm.

Holland Cotter, describing Mr. Acconci’s sui-generis performance persona in The Times in 2016, wrote: “Thirty-something, hirsute, in slack shape, he looks and acts the part of sleazoid voyeur, stand-up comic, psychopath and self-martyred saint.”

He added: “In ways not so different from Cindy Sherman’s in photography, he was creating multiple characters who happened to share a body — his — that he wanted both to explore and escape, and that was coming apart under stress.”

In 1980, the Museum of Contemporary Art in Chicago organized a retrospective, and by that time videos, photographic documentations and other works of his had entered numerous important public collections, including those of the Museum of Modern Art and the Whitney Museum of American Art.

To support himself throughout a career that was never careerist, he taught and lectured in art schools around New York, and his classroom presence became legendary, a kind of performance work itself — with his long unruly hair, his all-black wardrobe, his gravel-bed voice with its distinctive loping stutter and, before he quit, the endless cigarettes he would light, stub out, pocket, retrieve and light again.

Even when thinking about the end of his life, he seemed to conceive of it as consonant with his work, a performance. In a letter to an unknown recipient in 1971, he spoke of his fears of dying on a plane trip to Canada and stated that before the flight he would deposit an envelope with a key to his apartment at the registrar’s desk at the School of Visual Arts.

“In the event of my death,” the letter, a kind of will, concluded, “the envelope can be picked up by the first person who calls for it; he will be free to use my apartment, and its contents, any way he wishes.”"
vitoacconci  2017  names  naming  art  artists  public  architecture  design  careers  careerism  body  bodies  multitudes  modernism  change  environment 
april 2017 by robertogreco
VTN | Vo Trong Nghia Architects - Farming Kindergarten
"The Kindergarten for 500 preschool children, situated next to a big shoe-factory, is a prototype of the sustainable education space in tropical climate. The building is designed for the children of factory workers within low-budget.

The concept of building is “Farming Kindergarten” with continuous green roof, providing food and agriculture experience to Vietnamese children, as well as safe outdoor playground."

[via: http://www.e-flux.com/announcements/126422/farming-kindergarten/

"Vietnam is historically an agricultural country. As it moves to a manufacturing based economy, the country is facing changes as a toll is being taken on the environment. Increased droughts, floods and salinization jeopardize food supplies, while numerous motorbikes cause daily congestion and air pollution in the cities. Rapid urbanization deprives Vietnamese children of green lands and playgrounds, and thus their relationship with nature.

Farming Kindergarten is a challenge to counter these issues. Located next to a big shoe factory and designed for 500 children of the factory's workers, the building is conceived as a continuous green roof, providing a food and agricultural experience to children, as well as an extensive playground to the sky.

The green roof is a triple-ring shape drawn with a single stroke, encircling three courtyards inside as safe playgrounds. Recently, an experimental vegetable garden was realized on its top. Five different vegetables are planted in 200 square-meter garden for agriculture education.

All functions are accommodated under this roof. As the roof lowers to the courtyard it provides access to the upper level and vegetable gardens on top—the place where children learn the importance of agriculture and recover a connection to nature.

Environmental strategies
The building is made of a continuous narrow strip with two side operable windows which maximize cross ventilation and natural lighting. Additionally, architectural and mechanical energy-saving methods are comprehensively applied including, but not limited to: green roof as insulation, green facade as shading and solar water heating. These devices are visibly designed and play an important role in the children’s sustainable education. Factory wastewater is recycled to irrigate greenery and flush toilets.

As a result, the kindergarten operates without air conditioners, despite being located in a harsh tropical climate. According to a post-occupancy record issued 10 months after completion, the building saves 25% of energy and 40% of fresh water compared to baseline building performance.

Cost-efficiency
The building is designed for low-income factory workers' children, therefore construction budget is quite limited. Therefore, the combination of local materials (ex. bricks, tiles) and low-tech construction methods are applied, which also help minimize the environmental impact as well as promote local industry."]

[see also: https://www.dezeen.com/2014/11/11/farming-kindergarten-vo-trong-nghia-architects-vietnam-vegetable-garden/
http://www.archdaily.com/566580/farming-kindergarten-vo-trong-nghia-architects ]
kindergarten  gardening  farming  education  schools  schooldesign  architecture  vietnam  votrongnghia  agriculture 
april 2017 by robertogreco
FOR-SITE Foundation
"Established in 2003, the FOR-SITE Foundation is dedicated to the creation, understanding, and presentation of art about place. Our exhibitions and commissions, artist residencies, and education programs are based in the belief that art can inspire fresh thinking and important dialogue about our natural and cultural environment.

FOR-SITE has broken new ground and provided a model for engaging audiences through artistic collaborations on national park land. In the unprecedented project @Large: Ai Weiwei on Alcatraz, the internationally renowned Chinese artist and activist created a series of new works for Alcatraz Island, the notorious prison turned national park. Raising urgent questions about freedom of expression and human rights, the exhibition revealed new perspectives on the island for nearly 900,000 visitors during its run in 2014–15. The 2012 exhibition International Orange, enjoyed by more than 145,000 visitors, celebrated the 75th anniversary of the Golden Gate Bridge with site-specific installations at historic Fort Point. FOR-SITE projects in the Presidio of San Francisco include Andy Goldsworthy’s installations Spire, Wood Line, and Tree Fall and the acclaimed Presidio Habitats exhibition, for which artists, designers, and architects created animal habitats in the park.

The foundation’s residency program offers artists space and funding for reflection, production, and exhibition. Residencies take place at a 50-acre site on the edge of the South Yuba River gorge, just outside the historic gold-mining town of Nevada City, California. FOR-SITE partners with museums and other institutions to show the work created in these residencies. Past artists in residence include Mark Dion, Chris Drury, Richard Long, Cornelia Parker, and Shi Guorui; museum partners include the de Young Museum, Oakland Museum of California, Nevada Museum of Art, San Francisco Museum of Modern Art, and Yerba Buena Center for the Arts.

FOR-SITE’s education program enriches the learning experience of graduate-level art students by offering educators the space and resources to create courses focused on their interests. The foundation provides access to the Nevada City residency site and funding that covers project expenses. Participants have included such distinguished faculty as landscape architect Walter Hood (University of California, Berkeley), artist Donald Fortescue (California College of the Arts), and designer Amy Franceschini (San Francisco Art Institute).

The FOR-SITE Foundation is a nonprofit, 501(c)(3) organization. It is governed by a five-person board of directors and supported by contributions from individuals and foundations."
glvo  art  sanfrancisco  architecture  environment  landart 
march 2017 by robertogreco
Sugar Hill Museum Preschool (David Adjaye) - YouTube
[See also:
http://www.archdaily.com/514785/david-adjaye-s-sugar-hill-development-a-new-typology-for-affordable-housing
http://www.averyreview.com/issues/20/sugar-hill-two-years-later
http://www.designboom.com/architecture/adjaye-associates-sugar-hill-housing-complex-harlem/ ]

"Sugar Hill Museum Preschool is one of the most inspiring projects I've ever seen. Design by the worldwide recognized architect David Adjaye.This educational center, located in between Harlem and Washington Heights is an action from the past, developing right now to expect future results. This project composed by an environment that helps early childhood education to communicate visually within the city, through transparent windows, but at the same time involving the children in an interaction with natural elements. Expression, self-determination, creativity, imagination, economics are some of the splendorous skills offered by Sugar Hill Museum Preschool. Thanks to Broadway Housing Communities for show us the place.

THE SUGAR HILL PROJECT

898 St. Nicholas Avenue, New York, NY 10032.

The Sugar Hill Project, BHC’s most recent initiative, leverages the success of our integrated model which pairs permanent housing with early education and educational advocacy, and access to the arts. The 191,000sf mixed-use building designed by globally renowned architect David Adjaye was prominently located in Upper Manhattan’s Sugar Hill historic district on 155th Street, the crossroads of the traditionally African-American neighborhood of Harlem and the immigrant, mostly Latino communities of Washington Heights.

BHC received more than 48,000 applications for housing at Sugar Hill.

Conceived as an oasis of stability, learning, and opportunity for children and families in an area where more than 70% of children are born into poverty, the Sugar Hill Project features:

• 124 affordable studio, one-, two- and three-bedroom apartments
• Sugar Hill Children’s Museum of Art & Storytelling
• 11,000sf Sugar Hill Museum Preschool
• Community art gallery
• Parking garage for residents and community members
• Seasonal green market (June-November)

All 124 apartments have been leased to low-, very low- and extremely low-income families and single adults; 25 of these households came from the NYC homeless shelter system.

A light-filled early childhood center with the capacity to serve up to 200 children from birth to five and their families serves building residents and the wider community.

The innovative Sugar Hill Children’s Museum of Art & Storytelling is dedicated to the cognitive and creative development of children ages 3-8. An exhibition, education, and storytelling programs celebrate the cultural legacy of one of New York’s most prestigious neighborhoods. Young visitors and their families are invited to engage with art and artists as they explore and share their creative voices.

A replicable model of innovation in affordable housing and community development, BHC’s Sugar Hill Project is poised to generate transformational change for generations to come.

sugarhillmuseum.org "
preschool  davidadjaye  architecture  schooldesign  design  2016  nyc  education 
march 2017 by robertogreco
rosanbosch.com
"“What is the most flexible in a room? You! Design needs to relate to the development of people, to the development of our mind and body. It’s not just an instrument of decoration, but a tool for change. Rosan Bosch at TEDx in Indianapolis 2013.

Rosan Bosch Studio is an interdisciplinary agency working in the cross-field of art, design and architecture. We believe that the physical environment makes a difference to the way we act in the world. Therefore we use interior design as active tool to create change - whether it comes to urban spaces, schools or workplaces.

Our portfolio ranges from small art and development projects to total designs of schools, libraries and private companies. We base each project on the customer's specific challenges and customize the design solution to the people who will use it in everyday life.

With a focus on creativity and innovation we convert ideas into physical product and create spaces and environments that make a difference. See examples of our projects."

[See also:
https://www.instagram.com/rosanboschstudio/

http://www.designboom.com/architecture/jeanne-gang-studio-gang-architects-the-academy-for-global-citizenship-chicago-urban-farm-05-23-2016/
http://studiogang.com/project/academy-for-global-citizenship ]
design  architecture  schooldesign  alexandralange  rosanbosch  interiors  schools  education 
january 2017 by robertogreco
A Boom Interview: Mike Davis in conversation with Jennifer Wolch and Dana Cuff – Boom California
"Dana Cuff: You told us that you get asked about City of Quartz too often, so let’s take a different tack. As one of California’s great urban storytellers, what is missing from our understanding of Los Angeles?

Mike Davis: The economic logic of real estate and land development. This has always been the master key to understanding spatial and racial politics in Southern California. As the late-nineteenth century’s most influential radical thinker—I’m thinking of San Francisco’s Henry George not Karl Marx—explained rather magnificently, you cannot reform urban space without controlling land values. Zoning and city planning—the Progressive tools for creating the City Beautiful—either have been totally co-opted to serve the market or died the death of a thousand cuts, that is to say by variances. I was briefly an urban design commissioner in Pasadena in the mid-1990s and saw how easily state-of-the-art design standards and community plans were pushed aside by campaign contributors and big developers.

If you don’t intervene in the operation of land markets, you’ll usually end up producing the opposite result from what you intended. Over time, for instance, improvements in urban public space raise home values and tend to become amenity subsidies for wealthier people. In dynamic land markets and central locations, nonprofits can’t afford to buy land for low-income housing. Struggling artists and hipsters inadvertently become the shock troops of gentrification and soon can’t afford to live in the neighborhoods and warehouse districts they invigorated. Affordable housing and jobs move inexorably further apart and the inner-city crisis ends up in places like San Bernardino.

If you concede that the stabilization of land values is the precondition for long-term democratic planning, there are two major nonrevolutionary solutions. George’s was the most straightforward: execute land monopolists and profiteers with a single tax of 100 percent on increases in unimproved land values. The other alternative is not as radical but has been successfully implemented in other advanced capitalist countries: municipalize strategic parts of the land inventory for affordable housing, parks and form-giving greenbelts.

The use of eminent domain for redevelopment, we should recall, was originally intended to transform privately owned slums into publicly owned housing. At the end of the Second World War, when progressives were a majority in city government, Los Angeles adopted truly visionary plans for both public housing and rational suburban growth. What then happened is well known: a municipal counter-revolution engineered by the LA Times. As a result, local governments continued to use eminent domain but mainly to transfer land from small owners to corporations and banks.

Fast-forward to the 1980s. A new opportunity emerged. Downtown redevelopment was devouring hundreds of millions of dollars of diverted taxes, but its future was bleak. A few years before, Reyner Banham had proclaimed that Downtown was dead or at least irrelevant. If the Bradley administration had had the will, it could have municipalized the Spring-Main Street corridor at rock-bottom market prices. Perhaps ten million square feet would have become available for family apartments, immigrant small businesses, public markets, and the like, at permanently controlled affordable rents.

I once asked Kurt Meyer, a corporate architect who had been chairman of the Community Redevelopment Agency, about this. He lived up Beachwood Canyon below the Hollywood Sign. We used to meet for breakfast because he enjoyed yarning about power and property in LA, and this made him a unique source for my research at the time. He told me that downtown elites were horrified by the unexpected revitalization of the Broadway corridor by Mexican businesses and shoppers, and the last thing they wanted was a populist downtown.

He also answered a question that long vexed me. “Kurt, why this desperate, all-consuming priority to have the middle class live downtown?” “Mike, do you know anything about leasing space in high-rise buildings?” “Not really.” “Well, the hardest part to rent is the ground floor: to extract the highest value, you need a resident population. You can’t just have office workers going for breakfast and lunch; you need night time, twenty-four hour traffic.” I don’t know whether this was really an adequate explanation but it certainly convinced me that planners and activists need a much deeper understanding of the game.

In the event, the middle class has finally come downtown but only to bring suburbia with them. The hipsters think they’re living in the real thing, but this is purely faux urbanism, a residential mall. Downtown is not the heart of the city, it’s a luxury lifestyle pod for the same people who claim Silverlake is the “Eastside” or that Venice is still bohemian.

Cuff: Why do you call it suburbia?

Davis: Because the return to the center expresses the desire for urban space and crowds without allowing democratic variety or equal access. It’s fool’s gold, and gentrification has taken the place of urban renewal in displacing the poor. Take Anastasia Loukaitou-Sideris’s pioneering study of the privatization of space on the top of Bunker Hill. Of course, your museum patron or condo resident feels at home, but if you’re a Salvadorian skateboarder, man, you’re probably headed to Juvenile Hall."



"Jennifer Wolch: Absolutely. However it’s an important question particularly for the humanities students, the issue of subjectivity makes them reticent to make proposals.

Davis: But, they have skills. Narrative is an important part of creating communities. People’s stories are key, especially about their routines. It seems to me that there are important social science skills, but the humanities are important particularly because of stories. I also think a choreographer would be a great analyst of space and kind of an imagineer for using space.

I had a long talk with Richard Louv one day about his Last Child in the Woods, one of the most profound books of our time, a meditation on what it means for kids to lose contact with nature, with free nomadic unorganized play and adventure. A generation of mothers consigned to be fulltime chauffeurs, ferrying kids from one commercial distraction or over-organized play date to another. I grew up in eastern San Diego County, on the very edge of the back country, and once you did your chores (a serious business in those days), you could hop on your bike and set off like Huck Finn. There was a nudist colony in Harbison Canyon about twelve miles away, and we’d take our bikes, push them uphill for hours and hours in the hope of peeking through the fence. Like all my friends, I got a .22 (rifle) when I turned twelve. We did bad things to animals, I must confess, but we were free spirits, hated school, didn’t worry about grades, kept our parents off our backs with part-time jobs and yard work, and relished each crazy adventure and misdemeanor. Since I moved back to San Diego in 2002, I have annual reunions with the five or six guys I’ve known since second grade in 1953. Despite huge differences in political beliefs and religion, we’re still the same old gang.

And gangs were what kept you safe and why mothers didn’t have to worry about play dates or child molesters. I remember even in kindergarten—we lived in the City Heights area of San Diego at that time—we had a gang that walked to school together and played every afternoon. Just this wild group of little boys and girls, seven or eight of us, roaming around, begging pennies to buy gum at the corner store. Today the idea of unsupervised gangs of children or teenagers sounds like a law-and-order problem. But it’s how communities used to work and might still work. Aside from Louv, I warmly recommend The Child in the City by the English anarchist Colin Ward. A chief purpose of architecture, he argues, should be to design environments for unprogrammed fun and discovery."



"Wolch: We have one last question, about your young adult novels. Whenever we assign something from City of Quartz or another of your disheartening pieces about LA, it’s hard not to worry that the students will leave the class and jump off of a cliff! But your young adult novels seem to capture some amount of an alternative hopeful future.

Davis: Gee, you shouldn’t be disheartened by my books on LA. They’re just impassioned polemics on the necessity of the urban left. And my third LA book, Magical Urbanism, literally glows with optimism about the grassroots renaissance going on in our immigrant neighborhoods. But to return to the two adolescent “science adventure” novels I wrote for Viggo Mortensen’s wonderful Perceval Press. Above all they’re expressions of longing for my oldest son after his mother moved him back to her native Ireland. The heroes are three real kids: my son, his step-brother, and the daughter of our best friends when I taught at Stony Brook on Long Island. Her name is Julia Monk, and she’s now a wildlife biologist doing a Ph.D. at Yale on pumas in the Andes. I’m very proud that I made her the warrior-scientist heroine of the novels, because it was an intuition about her character that she’s made real in every way—just a remarkable young person."
mikedavis  2016  interviews  economics  california  sanfrancisco  losangeles  henrygeorge  urbanism  urban  suburbia  suburbs  jenniferolch  danacuff  fauxurbanism  hipsters  downtown  property  ownership  housing  populism  progressive  progressivism  reynerbanham  planning  urbanplanning  citybeautiful  gentrification  cities  homeless  homelessness  michaelrotundi  frankgehry  richardlouv  gangs  sandiego  friendship  colinward  thechildinthecity  architecture  fun  discovery  informal  unprogrammed  freedom  capitalism  china  india  england  ireland  famine  optimism  juliamonk  children  teens  youth  development  realestate  zoning  sanbernardino  sciarc 
january 2017 by robertogreco
New Year's resolutions for architecture and design in 2017 by Will Wiles
"With 2016 coming to an end, Will Wiles doses out his New Year's resolutions for architecture and design in 2017, which include resisting the hygge trend and finally taking responsibility for the climate.

I suggested New Year's Resolutions for architecture and design at the end of 2015, and the response was great. So, one year later, I've made some more:

1. An end to TED's glib solutionism

Consider president-elect Donald Trump's proposed wall to keep out Mexico. It was the most consistent pledge he made during his precedent-smashing election campaign. Trump admitted that it was his secret rhetorical weapon for when he sensed a crowd was getting bored: "I just say, 'We will build the wall!' and they go nuts," he told the New York Times.

The wall is a strong pledge to make: it's a simple, easy-to-understand design solution to a perceived problem. It's also crass, offensive and impractical in the extreme, but that didn't matter to the target audience. They got it. They went nuts.

There was a lot of this in 2016, the year zealots of various stripes promised to sweep away the knotted, stifling problems of globalisation with no more than a wave of the tiny hand. Build the wall, make America great again, drain the swamp, vote leave, take back control.

Architecture and design, which is well populated with experts and systems-thinkers, might regard itself as being apart from all this. But, in fact, one of the throbbing nerve centres of the post-expert, hand-wave era lies closer than you might think: TED, the wildly popular talks series.

TED, of course, presents itself as a hub of expertise and intelligence. And in criticising TED, I don't mean to denigrate the vast majority of its speakers, or to imply that TED equals Trump, or anything so dim. It's the format that's the problem, and the kind of intellectual legerdemain it encourages.

TED is the golden cap of the yaddering pyramid of hackism: that every wicked problem has a nifty workaround or backdoor, that it's all got a glib little design solution that'll bypass all the waffle and the smoke, and make everything OK. Ted Everyman, outsider genius, has cracked the problem that has the eggheads stumped, and it was so simple.

Trump's wall is very TED. So is his insistence that generic "smartness" on his part means that he can do without the expert advice previous presidents have relied upon, such as intelligence briefings.

The trouble for democratic opposition to these forces is that complexity and intractability make for very unenticing messages. Even more problematic is the fact that "it's complicated, let us experts handle it" is the way the globalist managerial class has ushered in many of the problems that Trump and others now claim to have solved.

Where architecture and design might be able to make a difference in the coming months is by shunning hackism and solutionism, and demonstrating instead its remarkable ability to research, explore and expose.

2. Take personal responsibility for the climate

With Trump's administration stuffed full of climate-change deniers and oil men, concerted international state action to address the warming planet looks unlikely. Worse, existing measures, such as the Paris Agreement that came into force this year, might be in peril. American leadership isn't essential for progress on the climate, but its active obstruction and wrecking of vital research could be a disastrous setback when renewed effort is needed.

The abdication of governments from climate action serves, at least, as a reminder that they can't be relied upon to enforce change. The long-awaited economic breakthrough of renewable energy has at last arrived: solar is now the word's cheapest form of energy. Simple economic forces might now drive down carbon emissions while national governments are preoccupied. Texas, a place strongly associated with oil and gas, now gets as much as half of its electricity from wind, and is anticipating a solar boom. China may also be a source of surprises.

These are changes that may yet halt the incipient climate catastrophe: not grandiose treaty-signing, but aggregated individual decisions. Be part of it in what you make and build.

3. Health warnings for the whimsy

Another Trump-related one, sadly. Trump's victory has also sparked a debate over so-called "fake news": the growing welter of misinformation, disinformation and scurrilous falsehood online. This risks crowding out more reliable sources of information and overwhelming civil society's already overtaxed critical faculties.

Again, you might wonder what that has to do with architecture and design. But of course architecture and design has a long history of generating its own "fake news" in the form of the more fanciful speculative proposals and vapourware.

There's nothing wrong with speculation, paper architecture and design fictions, of course – they're all useful endeavours and we'd be hugely poorer without them. It suits architecture and design to propose their own forms, as well as to simply deliver the proposals of others.

Even the grubbier end of that kind of activity isn't inherently bad. Here I'm talking about the completely senseless floating lilypad cities or vertical farms that get pitched out as blog-fodder for no practical purpose than showing off a designer's rendering skills and get their name about. They probably belong on Deviantart rather than Dezeen, but no one's harmed.

Really what's needed is appropriate labelling: making it clear what is speculation for the purposes of debate, what's a real proposal that's seeking backers, what might actually have a chance of actually appearing, and what's just a bit of hey-look-at-me fun. That's where the ethics get murky. Remember that Chinese straddling bus concept that turned out to be little more than a scam? Or that kooky London Garden Bridge concept that also turned out to be little more than a scam. Whimsy can be costly, people!

But seriously, knock it off with the floating cities and the vertical farms.

4. Leave "hygge" in 2016

Financial Times critic Edwin Heathcote has already done a sterling job of debunking hygge, the ubiquitous pseudo-Scandinavian lifestyle craze. Like many ubiquitous lifestyle crazes, it's a subtle blend of total common sense (fires are nice in winter) and complete balderdash.

Anyway, it's upon us now and resistance is futile – the tie-in books have already been given as presents, and they already sit amid the Christmas wreckage of many, many living rooms. And I'm sure they look harmless enough. So it's time for a word of warning.

The Guardian's Charlotte Higgins has already shown how hygge was confected within the publishing industry. I think the part played by architecture and design has been understated, though. For a start, the sector has done much to import interest in Scandinavian lifestyles by importing lots of Scandinavian people. No one in their right mind would think this was anything other than a tremendous boon, and I can only apologise to my Scandinavian friends and colleagues for the way Britain is presently making a travesty of their culture. That, and Brexit.

Let's not do hygge urbanism. The temptation will be strong, and you must resist
It truly has been a terrible year. Architecture – specifically, architecture publishing – was also making something of a fetish of things hygge before hygge was a thing, with its recent boom in cabins and log piles. I attribute this more to an interest in consumer survivalism, rather than Danish culture, but nevertheless "cabin porn" was very much the gateway.

Anyway, here's the warning. Already, thoughts will be turning to next year's endeavours, and fun ways to present them to the public. The eye will blearily cast around the living room for ideas. Thanks to architects from Jan Gehl to Bjarke Ingels, the Danish way of making cities is already rightly praised and emulated. But let's not do hygge urbanism. The temptation will be strong, and you must resist. No hygge placemaking. I beg of you. Just don't."

[via "These resolutions from @WillWiles are all worth considering, especially the one that equates Speculative Design and Fake News."
https://twitter.com/sevensixfive/status/815242847095951361

"There's a subtle but not so subtle difference between projects that are intended as critique, click bait, or outright hoax.

The hoax, as @bruces says, is in the territory of the Black Arts, and almost always maliciously and dangerously deployed.

I say this as someone whose proposal to launch manatees into space was reposted w/ straight seriousness by the Daily Mail & their commenters

The project, intended as critique (&, to be honest, clickbait!) was weaponized by DM, in the genre of "goofy eggheads wasting tax dollars""
ted  tedtalks  solutionism  climatechange  2016  2017  willwiles  architecture  design  hackism  government  governance  policy  economics  energy  renewableenergy  fakenews  news  media  specualtivedesign  fredscharmen  brucesterling  hoaxes  clickbait  critique  hygge  responsibility  speculation  whimsy  edwinheathcote  charlottehiggins  scandinavia  fetishes  publishing  cabinporn  bjarkeingels  jangehl  hyggeurbanism  urban  urbanism  placemaking 
january 2017 by robertogreco
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